TEXT: BY P E T E R D E L L ’ O R TO
  A N D S E A N P U N C H
  
  STEVE JACKSON GAMES
  Written by PETER DELL’ORTO and SEAN PUNCH
  Additional Material by VOLKER BACH and C.J. CARELLA
  Edited by SEAN PUNCH
  Cover Art by BOB STEVLIC
  Illustrated by ABRAR AJMAL and BOB STEVLIC
  ISBN 978-1-55634-762-7
  1 2 3 4 5 6 7 8 9 10
  
  GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names 
  of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, 
  or used under license. GURPS Martial Arts is copyright © 1996, 1998, 2007 by Steve Jackson Games Incorporated. All rights reserved. Printed in Thailand.
  The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal, 
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  Research Assistance: Kim Bernard, Richard Johnson, Seth Milstein, and Brian Wasson
  Lead Playtester: Jeff Wilson
  Playtesters: Alex Borghgraef, Dave Brown, Jonathan Carryer, Giuseppe Chiapparino, Ken Clary, Doug Cole, Ciaran Daly, Andy Dokachev, Shawn Fisher, 
  Scott Harris, Leonardo Holschuh, Dan Howard, Rob Kamm, Jonathan Lang, Jason Levine, Norman Lorenz, Phil Masters, Antoni Ten Monros, and Emily Smirle
  Special Thanks: Phil Dunlap, Jin Kazeta, Don Wagner, Old Sensei Don, 
  Kromm’s Victims (Marc Bourbonnais, Martin Bourque, Bonnie Punch, Mike Ryan, Stéphane Thériault, Robert Thibault), 
  and Peter’s Victims (Andy Dokachev, Jessica Dokachev, Mike Dokachev, Aaron Falken, John Milkewicz, Sean Nealy, and Tom Pluck)
  GURPS System Design ❚ STEVE JACKSON
  GURPS Line Editor ❚ SEAN PUNCH
  Indexer ❚ NIKOLA VRTIS
  Page Design ❚ PHIL REED and ––––
  JUSTIN DE WITT
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  STÉPHANE THÉRIAULT
  2
  CONTENTS
  INTRODUCTION . . . . . . . . . . . . . 4
  Publication History . . . . . . . . . . . . . . . . 4
  About the Authors . . . . . . . . . . . . . . . . . 4
  1. HISTORY . . . . . . . . . . . . . . . . 5
  TIMELINE . . . . . . . . . . . . . . . . . . . . . . . . 6
  ASIA
   . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  China. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  Xia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  Monks and Martial Arts . . . . . . . . . . . . . 9
  India . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  Northern vs. Southern Kung Fu . . . . . 10
  Religion, Philosophy, and Fists . . . . . . 11
  Indonesian Archipelago. . . . . . . . . . . . 12
  Japan. . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  Ryu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  Ninja: Legend vs. History . . . . . . . . . . . 13
  Korea. . . . . . . . . . . . . . . . . . . . . . . . . . . 14
  Other Nations. . . . . . . . . . . . . . . . . . . . 14
  EUROPE AND THE MIDDLE EAST . . . . . . 15
  Ancient Greece and Rome . . . . . . . . . 15
  Gladiators . . . . . . . . . . . . . . . . . . . . . . . 15
  Medieval Europe . . . . . . . . . . . . . . . . . 16
  Yeomen Archers. . . . . . . . . . . . . . . . . . . 16
  Masters of Defence . . . . . . . . . . . . . . . . 17
  Fechtbücher and Traveling Masters . . . 17
  Renaissance Europe . . . . . . . . . . . . . . 18
  Modern Europe . . . . . . . . . . . . . . . . . . 18
  Beyond Western Europe . . . . . . . . . . . 18
  AFRICA  . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
  THE NEW WORLD  . . . . . . . . . . . . . . . . 20
  Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  United States . . . . . . . . . . . . . . . . . . . . 20
  Women in the Martial Arts. . . . . . . . . . 20
  SOME FAMOUS MARTIAL ARTISTS  . . . . . 21
  MYTHS AND MISCONCEPTIONS  . . . . . . . 25
  Boards Don’t Hit Back. . . . . . . . . . . . . 25
  Don’t Bring a Fist to a Knife Fight. . . 25
  When Do I Learn Weapons?. . . . . . . . 26
  Martial Arts and the Law . . . . . . . . . . 26
  Bad Reenactments . . . . . . . . . . . . . . . . 26
  Style™ . . . . . . . . . . . . . . . . . . . . . . . . . . 27
  2. CHARACTERS . . . . . . . . . . . . 28
  Power Level . . . . . . . . . . . . . . . . . . . . . 29
  Realism Level . . . . . . . . . . . . . . . . . . . . 29
  Beginning Students as PCs. . . . . . . . . . 30
  CHARACTER TEMPLATES  . . . . . . . . . . . . 31
  Del Duque (350 points) . . . . . . . . . . . . 33
  Frauds . . . . . . . . . . . . . . . . . . . . . . . . . . 35
  Adrian Froste (200 points) . . . . . . . . . . 37
  Kai Lian (250 points) . . . . . . . . . . . . . . 39
  ADVANTAGES, DISADVANTAGES, 
  AND SKILLS  . . . . . . . . . . . . . . . . . 42
  Advantages . . . . . . . . . . . . . . . . . . . . . . 42
  Desirable Advantages . . . . . . . . . . . . . . 43
  Chi Powers for Martial Artists . . . . . . . 46
  Perks . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
  Disadvantages. . . . . . . . . . . . . . . . . . . . 53
  Common Disadvantages. . . . . . . . . . . . 53
  Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
  Combat Skills . . . . . . . . . . . . . . . . . . . . 55
  Wildcard Skills for Styles . . . . . . . . . . . 60
  New Skills. . . . . . . . . . . . . . . . . . . . . . . 61
  3. TECHNIQUES . . . . . . . . . . . . 63
  Learning Techniques . . . . . . . . . . . . . . 64
  REALISTIC TECHNIQUES  . . . . . . . . . . . . 65
  Techniques That Aren’t . . . . . . . . . . . . . 66
  Optional Rule: Targeted Attacks. . . . . . 68
  “Go for the eyes!” . . . . . . . . . . . . . . . . . 72
  Dirty Tricks . . . . . . . . . . . . . . . . . . . . . . 76
  Using Your Legs . . . . . . . . . . . . . . . . . . 79
  Optional Rule: Combinations . . . . . . . 80
  CINEMATIC TECHNIQUES . . . . . . . . . . . . 82
  Secret Techniques . . . . . . . . . . . . . . . . . 86
  Silly Techniques. . . . . . . . . . . . . . . . . . . 88
  CREATING NEW TECHNIQUES  . . . . . . . . 89
  Designing Realistic Techniques . . . . . 93
  Designing Cinematic Techniques . . . . 94
  Useless Techniques . . . . . . . . . . . . . . . 95
  Designing Techniques 
  for Nonhumans . . . . . . . . . . . . . . . 95
  4. COMBAT . . . . . . . . . . . . . . . 96
  EXPANDED COMBAT MANEUVERS  . . . . . 97
  Aim . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
  All-Out Attack. . . . . . . . . . . . . . . . . . . . 97
  Attack . . . . . . . . . . . . . . . . . . . . . . . . . . 98
  Change Posture . . . . . . . . . . . . . . . . . . 98
  Committed Attack . . . . . . . . . . . . . . . . 99
  Defensive Attack. . . . . . . . . . . . . . . . . 100
  Evaluate . . . . . . . . . . . . . . . . . . . . . . . 100
  Feint . . . . . . . . . . . . . . . . . . . . . . . . . . 100
  Ready . . . . . . . . . . . . . . . . . . . . . . . . . 101
  Who Draws First?. . . . . . . . . . . . . . . . 103
  Move . . . . . . . . . . . . . . . . . . . . . . . . . . 105
  Move and Attack . . . . . . . . . . . . . . . . 107
  Wait . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
  ADDITIONAL COMBAT OPTIONS  . . . . . . 109
  Melee Attack Options . . . . . . . . . . . . 109
  A Matter of Inches . . . . . . . . . . . . . . . 110
  Untrained Fighters . . . . . . . . . . . . . . . 113
  Close-Combat Options. . . . . . . . . . . . 114
  Teeth. . . . . . . . . . . . . . . . . . . . . . . . . . . 115
  Grab and Smash! . . . . . . . . . . . . . . . . 118
  Ranged Attack Options . . . . . . . . . . . 119
  Rapid Fire with Thrown Weapons. . . 120
  Active Defense Options . . . . . . . . . . . 121
  Harsh Realism for 
  Unarmed Fighters. . . . . . . . . . . . . 124
  CINEMATIC COMBAT  . . . . . . . . . . . . . . 125
  Multiple Attacks. . . . . . . . . . . . . . . . . 126
  Chambara Fighting . . . . . . . . . . . . . . 128
  Mind Games . . . . . . . . . . . . . . . . . . . . 130
  Extra Effort in Combat . . . . . . . . . . . 131
  More Cinematic Combat Rules . . . . 132
  TOURNAMENT COMBAT  . . . . . . . . . . . . 134
  Roleplaying Tournaments . . . . . . . . . 134
  Competition Types . . . . . . . . . . . . . . . 134
  INJURY AND RECOVERY . . . . . . . . . . . . 136
  Realistic Injury. . . . . . . . . . . . . . . . . . 136
  Cinematic Injury . . . . . . . . . . . . . . . . 139
  5. STYLES . . . . . . . . . . . . . . . . 140
  Cinematic Abilities 
  and Prerequisites . . . . . . . . . . . . . 141
  COMPONENTS OF A STYLE . . . . . . . . . . 141
  Skills . . . . . . . . . . . . . . . . . . . . . . . . . . 141
  Techniques . . . . . . . . . . . . . . . . . . . . . 141
  Perks . . . . . . . . . . . . . . . . . . . . . . . . . . 142
  Optional Traits . . . . . . . . . . . . . . . . . . 142
  Style vs. Style. . . . . . . . . . . . . . . . . . . . 143
  CHOOSING A STYLE  . . . . . . . . . . . . . . 144
  Ultimate Styles . . . . . . . . . . . . . . . . . . 144
  Self-Defense . . . . . . . . . . . . . . . . . . . . 145
  Styles for Cops . . . . . . . . . . . . . . . . . . 145
  Styles for Soldiers . . . . . . . . . . . . . . . 145
  Streetfighting . . . . . . . . . . . . . . . . . . . 145
  BUYING A STYLE . . . . . . . . . . . . . . . . . 146
  Styles Bought During 
  Character Creation . . . . . . . . . . . 146
  CONTENTS
  
  Learning New Styles During Play. . . 146
  Creating New Styles . . . . . . . . . . . . . . 146
  Combining Styles. . . . . . . . . . . . . . . . 147
  The Training Sequence . . . . . . . . . . . . 147
  HISTORICAL AND MODERN STYLES  . . . 148
  Do vs. Jutsu . . . . . . . . . . . . . . . . . . . . 148
  Aikijutsu . . . . . . . . . . . . . . . . . . . . . . . 149
  Armatura. . . . . . . . . . . . . . . . . . . . . . . 150
  Armatura Equestris . . . . . . . . . . . . . . 150
  Bajutsu . . . . . . . . . . . . . . . . . . . . . . . . 151
  Bando . . . . . . . . . . . . . . . . . . . . . . . . . 151
  Bando Animal Forms . . . . . . . . . . . . . 151
  Boxing. . . . . . . . . . . . . . . . . . . . . . . . . 152
  Capoeira . . . . . . . . . . . . . . . . . . . . . . . 153
  The Sweet Science. . . . . . . . . . . . . . . . 153
  Chin Na. . . . . . . . . . . . . . . . . . . . . . . . 154
  Dagger Fighting . . . . . . . . . . . . . . . . . 155
  Escrima. . . . . . . . . . . . . . . . . . . . . . . . 155
  “Kung Fu” . . . . . . . . . . . . . . . . . . . . . . 155
  Fencing Styles . . . . . . . . . . . . . . . . . . 156
  Stickfighting . . . . . . . . . . . . . . . . . . . . 157
  Furusiyya . . . . . . . . . . . . . . . . . . . . . . 159
  Sport Fencing . . . . . . . . . . . . . . . . . . . 160
  Hapkido . . . . . . . . . . . . . . . . . . . . . . . 161
  Hoplomachia . . . . . . . . . . . . . . . . . . . 161
  Hsing I Chuan . . . . . . . . . . . . . . . . . . 162
  External vs. Internal, Hard vs. Soft. . . 162
  Hung Gar Kung Fu 
  (Tiger-Crane Style). . . . . . . . . . . . 163
  Hwa Rang Do. . . . . . . . . . . . . . . . . . . 163
  Jeet Kune Do . . . . . . . . . . . . . . . . . . . 164
  Martial-Arts Uniforms . . . . . . . . . . . . 165
  Judo. . . . . . . . . . . . . . . . . . . . . . . . . . . 166
  Jujutsu. . . . . . . . . . . . . . . . . . . . . . . . . 166
  Kajukenbo . . . . . . . . . . . . . . . . . . . . . 168
  Kalaripayit . . . . . . . . . . . . . . . . . . . . . 168
  Karate . . . . . . . . . . . . . . . . . . . . . . . . . 169
  Marma. . . . . . . . . . . . . . . . . . . . . . . . . 169
  Kempo. . . . . . . . . . . . . . . . . . . . . . . . . 172
  Kenjutsu . . . . . . . . . . . . . . . . . . . . . . . 173
  Knightly Mounted Combat . . . . . . . . 175
  Armed Styles . . . . . . . . . . . . . . . . . . . . 176
  Kobujutsu . . . . . . . . . . . . . . . . . . . . . . 178
  Kuntao . . . . . . . . . . . . . . . . . . . . . . . . 178
  Kusarijutsu . . . . . . . . . . . . . . . . . . . . . 179
  Kyujutsu . . . . . . . . . . . . . . . . . . . . . . . 179
  Longsword Fighting. . . . . . . . . . . . . . 180
  Archery. . . . . . . . . . . . . . . . . . . . . . . . . 181
  Masters of Defence 
  Weapon Training . . . . . . . . . . . . . 182
  Military Hand-to-Hand . . . . . . . . . . . 182
  The Purpose of Military 
  Hand-to-Hand. . . . . . . . . . . . . . . . 184
  Muay Thai. . . . . . . . . . . . . . . . . . . . . . 185
  Naginatajutsu. . . . . . . . . . . . . . . . . . . 186
  Pa Kua Chuan . . . . . . . . . . . . . . . . . . 187
  Polearm Fighting. . . . . . . . . . . . . . . . . 187
  Pak Hok . . . . . . . . . . . . . . . . . . . . . . . 188
  Pankration . . . . . . . . . . . . . . . . . . . . . 188
  Pentjak Silat . . . . . . . . . . . . . . . . . . . . 189
  Mixed Martial Arts . . . . . . . . . . . . . . . 189
  Silat Traditions . . . . . . . . . . . . . . . . . . 190
  Pollaxe Fighting . . . . . . . . . . . . . . . . . 191
  Praying Mantis Kung Fu. . . . . . . . . . 191
  Quarterstaff . . . . . . . . . . . . . . . . . . . . 192
  Staff Fighting. . . . . . . . . . . . . . . . . . . . 192
  Savate . . . . . . . . . . . . . . . . . . . . . . . . . 193
  Savate Rankings . . . . . . . . . . . . . . . . . 193
  Shaolin Kung Fu . . . . . . . . . . . . . . . . 194
  Shortsword Fighting . . . . . . . . . . . . . 195
  Shurikenjutsu. . . . . . . . . . . . . . . . . . . 195
  Shaolin Traditions . . . . . . . . . . . . . . . 195
  Spear Fighting. . . . . . . . . . . . . . . . . . . 196
  Sojutsu . . . . . . . . . . . . . . . . . . . . . . . . 197
  Sumo. . . . . . . . . . . . . . . . . . . . . . . . . . 198
  Sumo Traditions . . . . . . . . . . . . . . . . . 198
  Sword-and-Buckler Play . . . . . . . . . . 199
  Sword-and-Shield Fighting. . . . . . . . 199
  Tae Kwon Do . . . . . . . . . . . . . . . . . . . 200
  T’ai Chi Chuan . . . . . . . . . . . . . . . . . . 200
  Taihojutsu. . . . . . . . . . . . . . . . . . . . . . 201
  Taijutsu . . . . . . . . . . . . . . . . . . . . . . . . 202
  Ninja and Ninjutsu. . . . . . . . . . . . . . . 202
  Wing Chun . . . . . . . . . . . . . . . . . . . . . 203
  Wrestling. . . . . . . . . . . . . . . . . . . . . . . 204
  Wushu. . . . . . . . . . . . . . . . . . . . . . . . . 206
  FICTIONAL STYLES  . . . . . . . . . . . . . . . 207
  Death Fist . . . . . . . . . . . . . . . . . . . . . . 207
  Dragon-Man Kung Fu . . . . . . . . . . . . 208
  Force-Swordsmanship. . . . . . . . . . . . 209
  Freefighting . . . . . . . . . . . . . . . . . . . . 210
  Smasha . . . . . . . . . . . . . . . . . . . . . . . . 210
  6. WEAPONS AND
  EQUIPMENT . . . . . . . . . . . 211
  WEAPONS  . . . . . . . . . . . . . . . . . . . . . . 212
  Cross-Cultural Encounters. . . . . . . . . 212
  Combination Weapons . . . . . . . . . . . . 214
  Weapons of Quality. . . . . . . . . . . . . . . 216
  Hidden Weapons. . . . . . . . . . . . . . . . . 218
  Unorthodox Attacks . . . . . . . . . . . . . . 220
  Silly Weapons . . . . . . . . . . . . . . . . . . . 223
  Improvised Weapons . . . . . . . . . . . . . 224
  Melee Weapon Table . . . . . . . . . . . . . 226
  Muscle-Powered Ranged 
  Weapon Table. . . . . . . . . . . . . . . . 231
  TRAINING EQUIPMENT  . . . . . . . . . . . . 232
  Special Arrows . . . . . . . . . . . . . . . . . . 232
  Gloves . . . . . . . . . . . . . . . . . . . . . . . . . 233
  Targets. . . . . . . . . . . . . . . . . . . . . . . . . 233
  Training Weapons . . . . . . . . . . . . . . . 234
  Weights . . . . . . . . . . . . . . . . . . . . . . . . 234
  Armor . . . . . . . . . . . . . . . . . . . . . . . . . 234
  7. CAMPAIGNS . . . . . . . . . . . . 235
  CINEMATIC VS. REALISTIC
  CAMPAIGNS . . . . . . . . . . . . . . . . . 236
  The Realistic Campaign . . . . . . . . . . 236
  The Cinematic Campaign . . . . . . . . . 238
  Special-Case NPCs . . . . . . . . . . . . . . . 238
  Hybrid Campaigns. . . . . . . . . . . . . . . 239
  CAMPAIGN SETTING  . . . . . . . . . . . . . . 241
  Classical Greece and Rome. . . . . . . . 241
  Historical China. . . . . . . . . . . . . . . . . 242
  Historical Japan. . . . . . . . . . . . . . . . . 243
  Post-Classical Europe . . . . . . . . . . . . 244
  Fantasy . . . . . . . . . . . . . . . . . . . . . . . . 245
  Modern Day . . . . . . . . . . . . . . . . . . . . 246
  Post-Apocalypse . . . . . . . . . . . . . . . . . 246
  Science Fiction. . . . . . . . . . . . . . . . . . 246
  CAMPAIGN THEMES . . . . . . . . . . . . . . . 247
  The Quest for the Master . . . . . . . . . . 248
  GLOSSARY. . . . . . . . . . . . . . . . 251
  BIBLIOGRAPHY . . . . . . . . . . . . 252
  INDEX . . . . . . . . . . . . . . . . . . 254
  About GURPS
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  CONTENTS
  3
  
  Say “martial arts” and most people start talking about
  karate, katanas, and ninja . . . or kung fu (or the old Kung Fu
  TV series) . . . or Bruce Lee. Non-Asiaphiles will share their
  views on such sports as boxing and fencing . . . or no-holds-
  barred fighting . . . or good old rasslin’ (“Pro wrestling is
  real!”). And Europhiles will bring up pankra-
  tion in ancient Greece, English “Masters of
  Defence,” and the deadly truth about the rapi-
  er, pausing only to lament that Europe gets
  short shrift with martial-arts fans – or to
  recruit you as a live-steel reenactor.
  Sport vs. combat, unarmed vs. armed,
  movies vs. reality, Asia vs. everywhere else –
  the truth about the martial arts can be con-
  fusing. Who’s right? The answer is “All of the
  above.”
  GURPS Martial Arts examines the fight-
  ing arts of the world, or at least a good-sized
  sample chosen from the past three millennia.
  It doesn’t let fiction color reality or realism
  stand in the way of a good story – such deci-
  sions are left to the GM. Of course, because many martial
  arts originated with the warriors who carved out the world’s
  great empires, and the best-kept records are those of the
  Asian and European powers, there is an almost inevitable
  bias toward the fighting styles of those regions. But Martial
  Arts does its best to venture outside that territory; to bal-
  ance the historical with the modern; to give equal time to
  combat, sport, and art; and, especially, to dispel myths.
  The biggest myth laid to rest is that the martial arts aren’t
  appropriate for every genre and setting – that they only
  belong in historical games and those based on action
  movies. Martial Arts definitely supports cinematic games –
  of the Hollywood, Hong Kong, and Tokyo varieties – while
  also presenting historically accurate styles, but it doesn’t
  assume a genre or a set-
  ting. You can use it to give
  fantasy warriors the depth
  of knowledge and ability
  that spells give wizards . . .
  or for hand-to-hand com-
  bat in a gritty modern
  technothriller . . . or for
  futuristic swashbuckling
  with force swords.
  So grab your katana,
  rapier, or iklwa – or just
  bandage your knuckles.
  Say a prayer to Allah,
  scream a kiai, or psyche
  yourself up with a little
  shadowboxing. You won’t know who’s out there until the
  arena door opens – but with Martial Arts, you’ll be ready!
  PUBLICATION HISTORY
  This is the third edition of GURPS Martial Arts. It was
  inspired by GURPS Martial Arts, Second Edition (1996),
  which itself combined GURPS Martial Arts, First Edition
  (1990) with GURPS Martial Arts
  Adventures
  (1993). Other important
  GURPS Third Edition supplements were
  GURPS Japan, Second Edition (1999) for
  Japanese fighting styles and equipment;
  GURPS Low-Tech (2001) for weapons in
  general; and GURPS Swashbucklers,
  Third Edition (1999) for European swords
  and swordplay. The authors also wish to
  thank Volker Bach for access to two arti-
  cles originally published in Pyramid mag-
  azine: “The Western Way of War” and
  “Vechten Unde Schirmen: European
  Martial Arts Before The Rapier.”
  The current volume is a new work, not
  a revision of any of the above – they served
  primarily as sources of concepts, references, and terminolo-
  gy, not text.
  ABOUT THE AUTHORS
  Peter V. Dell’Orto started roleplaying in 1981, with
  Dungeons & Dragons, and has played GURPS since Man
  to Man. He has been active as a GURPS playtester, editor,
  and contributing author since 1996, and has written many
  GURPS articles for Pyramid magazine. Peter is an enthusi-
  astic martial artist who has trained in places as varied as a
  McDojo, a private instructor’s garage, and a hardcore gym.
  He has practiced Goju-ryu and Shorin-ryu Karate, T’ai Chi,
  Kali Silat, and Wing Chun, and has trained in at least a
  dozen other styles. His most recent studies have been in
  Kachin Bando and Kendo, and fighting amateur in Shooto.
  His other hobbies include fitness, reading, painting minia-
  tures, and music. Born and raised in New Jersey, he present-
  ly lives and trains in Niigata, Japan.
  Sean “Dr. Kromm” Punch set out to become a particle
  physicist and ended up as the GURPS Line Editor. Since
  1995, he has compiled the two GURPS Compendium vol-
  umes, written GURPS Wizards and GURPS Undead, edit-
  ed or revised over 20 other GURPS books, and master-
  minded rules for dozens more. Most recently, he created the
  GURPS Basic Set, Fourth Edition with coauthor David
  Pulver and wrote GURPS Powers with coauthor Phil
  Masters. Sean has been a fanatical gamer since 1979. His
  non-gaming interests include cinema, computers, and wine.
  He lives in Montréal, Québec with his wife, Bonnie. They
  have two cats, Banshee and Zephyra, and a noisy parrot,
  Circe.
  INTRODUCTION
  4
  INTRODUCTION
  Chain Whip
  Longsword
  
  HISTORY
  5
  CHAPTER ONE
  HISTORY
  “The Temple is ancient, Kai Lian,” the Grandmaster lec-
  tured. “Things remain much as they were during the Wei
  Dynasty.”
  Kai nodded. “Yes, sifu.”
  “The theft of the Five Tigers Jade Buddha dishonors 
  every monk who has lived and trained here over the past 
  14 centuries.”
  “It does, sifu.”
  “Go to America and find the thieves.”
  “As sifu wishes.”
  “These devils do not respect our history because they have
  none of their own.”
  “Your wisdom illuminates their weakness, sifu.”
  “When you find them, deal them a blow for each dynasty
  that the Temple has seen fall. Even a fool should respect the
  Temple’s long and honorable past after such a lesson.”
  “I shall, as the Americans say, learn ’em, sifu.”
  
  The martial arts are as old as history. Ancient
  tomb carvings show men fighting with sticks and
  shields, and wrestling with holds still used in modern
  fighting arts. The oldest texts tell of warriors with
  great skill at arms, demonstrating their strength and
  technique.
  There’s no one “origin” of the martial arts – no sin-
  gle founding culture or style from which all system-
  atic combat training sprung. The martial-arts world
  is nevertheless full of claims of antiquity, each style
  maintaining that it’s older than the next. Martial Arts
  makes no attempt to settle such debates. It takes the
  stance that all cultures have their own martial-arts
  styles and that although they’ve often influenced each
  other, no one culture or style can truly claim to be the
  wellspring of all martial arts. There are only so many
  ways to use hands, feet, and weapons to defeat a
  rival, after all. (In a cinematic or mythic game, of
  course, all martial arts might truly have a common
  genesis; see Ultimate Styles, p. 144.)
  Still, the world’s many cultures have trained and
  continue to train in ways fascinating as much for
  their similarities as for their differences.
  6
  HISTORY
  What Is a Martial Art?
  Broadly, a “martial art” is any system of physical, mental,
  and sometimes philosophical and spiritual training intended
  as preparation for combat or a combative sport, or a related
  form of self-improvement. The details vary widely. All such sys-
  tems are “martial” in that their core physical training is at least
  modeled on man-to-man combat. Some go further, focusing on
  actual combat skills to the exclusion of sport, religion, and aes-
  thetics. Others emphasize the “art,” perhaps going so far as to
  be strictly noncompetitive and noncombative.
  Martial Arts defines a “martial art” as any systematically
  taught fighting style used for any purpose – combative or oth-
  erwise. Geography and ethnicity don’t enter into it. Boxers,
  knights, samurai, African stickfighters . . . they’re all martial
  artists. This book covers all kinds of martial arts, but empha-
  sizes combat styles over sportive ones and sports over artistic
  systems. This isn’t because combat styles are “real” martial arts
  and others aren’t, but because the heroes in RPGs are more
  likely to be steely eyed warriors than pacifistic monks!
  TIMELINE
  To help put everything in perspective, we’ll start with a
  brief timeline of the martial arts and related history. Items
  marked with an asterisk (*) are mythical or legendary. Some
  contain elements of truth while some verifiable entries are
  colored by legend – read the entry! For more on the individ-
  ual styles mentioned, see Chapter 5.
  *2697 B.C. – According to later documents, Yellow Emperor
  Huang Di ruled China and invented wrestling, swords-
  manship, archery, and Taoism. Huang Di probably existed,
  but claims of his inventions are of early 20th-century
  origin.
  *c. 2000 B.C. – According to legend, the now 700-year-old
  Yellow Emperor of China defeats a fabulous monster in a
  head-butting contest. Similar head-butting games continue
  into the modern era.
  c. 1950 B.C. – Tomb friezes in Beni Hasan, Egypt depict the
  first wrestling manual, showing over 400 holds and
  counters.
  c. 1520 B.C. – Wall frescos in Thera show boys boxing.
  *c. 1500 B.C. – According to the Bible, the Hebrew Jacob
  wrestles a spirit at the ford of Jabbok and defeats it.
  *c. 1250 B.C. – According to the legend of the Argonauts,
  Polydeukes (a Spartan) defeats the foreign boxer Amykos.
  Amykos uses brute strength while Polydeukes uses his skill
  to avoid Amykos’ blows and pound him into submission.
  *c. 1200 B.C. – Fall of Troy. Later accounts of Greek funeral
  games mention boxing, wrestling, and pankration.
  1160 B.C. – Egyptian tomb friezes depict wrestling and stick-
  fighting matches for the pharaoh’s coronation.
  *1123 B.C. – Traditional date for the writing of the I Ching.
  Its three-line trigrams form the basis of Pa Kua Chuan
  (pp. 187-188), developed much later.
  *776 B.C. – Traditional date of the first Panhellenic games
  at Olympia, Greece.
  722-481 B.C. – Spring and Autumn Period in China.
  According to chronicles attributed to Confucius, this
  period was the heyday of the xia (p. 8).
  628 B.C. – First statue of an Olympic wrestling champion
  erected.
  544 B.C. – First statue of an Olympic boxing champion
  erected.
  *544 B.C. – Buddha, himself a champion wrestler and
  archer, achieves enlightenment. Buddhism goes on to
  inform many martial-arts styles.
  536 B.C. – First statue of an Olympic pankration champion
  erected.
  c. 440 B.C. – Spartans practice the pyrrhiche, a war-dance
  involving shields and swords. The dancers executed
  blocks and strikes, and learned to fight in rhythm with
  their companions.
  348 B.C. – Plato’s Laws describes boxers and pankrationists
  wrapping their hands with padded gloves and thongs in
  order to strike at full force “without injury” (presumably
  to their hands) during practice – and using shadow-
  boxing and punching bags when no partner was
  available.
  264 B.C. – First recorded Roman gladiatorial matches:
  three pairs of slaves fight to the death at a funeral.
  209 B.C. – Emperor Qin Shi Huang of China is buried in a
  massive underground tomb filled with terra-cotta statues
  of warriors, horses, chariots, and more. Some warriors
  are depicted in unarmed-combat poses that match tradi-
  tional kung fu postures.
  22 B.C. – Emperor Augustus of Rome bans the use of glad-
  iators as private bodyguards.
  
  *141 – Birth of Hua Duo, a Chinese physician later credited
  with inventing Wu Chin Hsi or “Five Animals Play,” exer-
  cises based on animals’ movements. Performing them
  supposedly strengthened the body and improved health,
  giving long life.
  c. 400 – Kama Sutra is written. Among other things, it advis-
  es women to practice stickfighting, staff, archery, and
  sword in order to win the affections of men.
  *530 – The monk Bodhidharma comes to China from India
  and teaches the Shaolin monks exercises to strengthen
  them for their long meditation. This is said to be the
  basis of all kung fu. (Realistically, even if Bodhidharma
  did introduce these skills, combative martial arts pre-
  dated his arrival by more than a millennium!)
  747 – Traditional date of the first sumo match. Early
  matches permitted striking and many holds not used in
  later matches.
  778 – Frankish knight Roland and his companions are
  defeated by the Moors, according to a 12th-century man-
  uscript. This battle played an important role in the devel-
  opment of romantic chivalric ideals.
  780 – Charlemagne, king of the Franks and later the first
  Holy Roman Emperor, grants lands to his subjects in
  return for oaths of loyalty, marking a crucial develop-
  ment in European chivalry.
  792 – Government of Japan begins to rely more on feudal
  cavalry armed with bows than on conscript infantry. This
  leads to the rise of feudal lords – and the samurai.
  960 – Chinese emperor T’ai Tsu sponsors a martial art
  known as “long boxing.” The details are long lost, but it’s
  often claimed as the origin of modern kung fu forms.
  10th century – Japanese kyuba no michi or “bow and horse
  path” takes form. This would later become the code of
  bushido.
  Late 10th century – Normans adopt high-backed saddles
  that allow the use of couched lances, as well as kite-
  shaped shields to protect their legs during mounted
  fighting.
  1066 – Battle of Hastings. Saxon King Harold Godwinson is
  killed, perhaps by an arrow in the eye. The Normans con-
  quer England, bringing with them their feudal system
  and martial styles.
  c. 1300 – An unknown German author pens the manuscript
  later known as the “Tower Fechtbuch” (after the Tower of
  London, where it was kept) – the earliest surviving man-
  ual of European swordsmanship.
  1346 – Battle of Crécy. The English slaughter the French, a
  victory attributed to the power and distance of the
  English longbow.
  1443 – Hans Talhoffer produces his Fechtbuch (“Book of
  Fighting”), which depicts a variety of armed and
  unarmed fighting techniques. Its name is eventually
  applied to all earlier and later books of its type.
  1478 – According to tradition, King Sho Shin of Okinawa
  bans the possession and use of weapons by civilians.
  Unarmed combat forms flourish and techniques for
  fighting with household tools appear. Modern historical
  research points to the decree being not a ban on weapons
  but an order to stockpile them.
  1521 – An overwhelming force of Filipinos attacks
  Magellan’s expedition on the island of Cebu. After a
  fierce fight, they drive off the Spaniards and kill
  Magellan. Modern Filipino martial artists often credit
  this victory to the strength of local escrimadors, but
  arrows, spears, and machetes were the weapons of the
  day.
  1540 – Former soldier Ignatius of Loyola founds the Jesuits,
  whose exercises include fencing and meditation. Henry
  VIII of England incorporates the Masters of Defence of
  England, giving them royal patronage.
  1543 – Portuguese merchant adventurers introduce guns
  into Japan. They’re soon in mass production.
  1559 – King Henry II of France dies of a lance wound
  received in a tournament joust, simultaneously reducing
  the popularity of the sport and showing that even the
  King took his chances with potentially lethal matches.
  *1560s – Selected Chinese soldiers are sent to the Shaolin
  Temple to learn unarmed and staff-fighting arts. Some
  scholars suggest that certain troops received training in
  other Chinese martial arts and even in Japanese
  swordsmanship.
  1568 – Camillo Agrippa of Milan publishes his fencing man-
  ual, Trattato di scientia d’arme (“Treatise on the Science of
  Arms”). This work advocates the thrust over the slash,
  the use of the sword as the primary defense, and a more
  side-facing stance with one hand held back and high.
  1576 – Rocco Bonetti opens a rapier school in Oxford,
  sparking both an immediate rivalry with local Masters of
  Defence and a fashionable trend toward rapier fencing.
  1578 – Japanese warlord Oda Nobunaga organizes a major
  sumo tournament, or basho. First use of the tatami-
  edged clay ring (dohyo) and the beginning of modern
  sumo.
  1609 – Japan conquers Okinawa, disarms the population,
  and bans unarmed fighting techniques. This drives train-
  ing underground. Teachers instruct selected pupils in
  secret.
  1721 – James Figg starts holding fighting exhibitions in
  England. Brawling, weapon play, and wrestling were
  already popular entertainment; Figg added women’s box-
  ing, arranged international bouts, and vigorously pro-
  moted the fights.
  1728 – Donald McBane – soldier, pimp, gambler, and fenc-
  ing master – publishes The Expert Sword-man’s
  Companion; or the True Art of Self-Defence. This
  smallsword manual gives advice on how to use and
  counter dirty tricks, and deal with treacherous duelists.
  1735 – A government army crushes the Shaolin Temple.
  *1767 – According to legend, Thai prisoner Nai Khanom
  Tom earns his freedom by beating several Burmese kick-
  boxers in succession. (Modern Thailand marks March 17
  as Nai Khanom Tom Day.)
  1777 – In China, White Lotus rebels – relying on martial
  arts, breathing techniques, and magical incantations to
  protect them from bullets – fight Manchu soldiers. The
  troops use guns to crush the rebels, but many kung fu
  practitioners continue to believe that their art can make
  them invulnerable to bullets.
  1827 – Jim Bowie uses his eponymous knife to kill Norris
  Wright at Sandbar, Mississippi. Newspapers widely
  report the fight, making the bowie knife famous.
  HISTORY
  7
  
  1835 – New Jersey outlaws prizefighting. Other states fol-
  low. Arranging prizefights becomes an exercise in
  bribery, secret locations, and last-minute publicity.
  1859 – Sir Richard Francis Burton publishes his booklet on
  bayonet fighting. Aided by his combat experience and
  language skills, Burton recorded details about the many
  weapons and fighting arts he encountered, making him
  one of the first hoplologists.
  1900 – Uyenishi Sadakazu arrives in England and begins
  teaching Jujutsu (pp. 166-168). One of his students, Hans
  Köck, goes on to introduce the art to Vienna in 1905.
  1904 – Greco-Roman Wrestling (p. 205) becomes a modern
  Olympic sport.
  1920s – Chinese immigrants open Chinese-only kung fu
  schools in Hawaii.
  1930s – Judo (p. 166) clubs exist all over Europe, America,
  and Australia – including U.S. Army Air Force teams.
  Kendo (p. 175) spreads from Japan to the U.S. and Europe.
  Japanese students routinely receive training in both sports
  to “build character” and encourage physical development.
  1940s – Allied commandos learn a stripped-down fighting
  style based on Eastern martial arts, taught by W.E.
  Fairbairn. German commandos learn an equivalent
  style.
  1946 – First Karate (pp. 169-172) school on the U.S. main-
  land is established in Phoenix, Arizona.
  1961 – Korean government orders the unification of all Tae
  Kwon Do (p. 200) schools. Three years later, TKD
  becomes an official Korean national sport.
  1972 – Judo becomes an official Olympic sport.
  1990 – Tae Kwon Do becomes an official Olympic sport.
  1993
  –
  In the U.S., the first Ultimate Fighting
  Championship pits different martial-arts stylists against
  one another with minimal rules, triggering the rise of
  modern “mixed martial arts” in the U.S. Jiu-jitsu practi-
  tioners from Brazil’s Gracie family dominate.
  2005 – City of Mostar, Bosnia unveils a statue of Bruce Lee
  as a symbol of peace.
  8
  HISTORY
  For many people, Asia and the martial arts are insepara-
  ble. Asian martial arts have a storied history stretching from
  antiquity to the present. Today, many if not most martial-
  arts schools teach styles with origins in China, Japan,
  Thailand, and more exotic Asian locales.
  CHINA
  Chinese martial arts have a rich history that extends back
  to a legendary origin almost 5,000 years ago. Tradition has
  it that the Yellow Emperor, Huang Di, invented the first
  martial arts in 2697 B.C. In 209 B.C., Emperor Qin Shi
  Huang was buried in grand style with a life-sized terra-cotta
  army, and some of the warriors were posed in stances seen
  in Chinese martial arts even today. A continuous lineage is
  difficult to trace, but it’s clear that China’s fighting styles
  have a heritage dating back at least to Qin’s reign.
  Most of the armed and unarmed arts of China don’t seem
  to originate with one man, though – be he emperor or com-
  moner. Traditions of wrestling, primitive head-butting
  games, and (later) systematic training in combative arts
  existed across China. Several periods of Chinese history are
  especially interesting from a martial-arts perspective.
  Spring and Autumn Period
  The “Spring and Autumn Period” lasted from 722 to 481
  B.C. During this time, China was blessed – some say plagued
  – with martial artists known as the xia (see box). The period
  was one of central rule, but most areas were the jurisdiction
  of local governors appointed by a distant bureaucracy. Some
  governors were just and fair; others, corrupt or cruel.
  Overall, the period was one of stability, and China faced no
  major menace from abroad. Bandits, local injustice, and
  corruption thrived, however, and the xia felt they must
  intervene.
  The Shaolin Temple
  Few places are the subject of as many myths and legends
  as the Shaolin Temple. It’s credited with being the wellspring
  of all martial arts. Its monks are reputed to be masters of
  mystical powers, yet free of worldly desires and ambitions.
  The Shaolin Temple was built at the end of the 5th cen-
  tury A.D. There was more than one Buddhist temple in the
  same geographical area; legends of the Temple likely borrow
  from tales about all of these to some degree. All were occu-
  pied and abandoned several times.
  Xia
  The xia were essentially Chinese knights-errant.
  Unlike the knights of feudal Europe, though, they
  were neither members of the aristocracy nor
  required to uphold the social order. Instead, they
  were wanderers who used their martial skills to
  maintain justice and right wrongs according to their
  personal philosophy.
  Xia were as much like Robin Hood as like
  Lancelot . . . in fact, the Chinese regard Robin Hood
  as a xia! They weren’t always popular with the
  bureaucracy. They could be useful, but the powerful
  typically saw them as one of society’s plagues. The xia
  were often as dangerous, scruffy, and poor as the ban-
  dits and evildoers they battled, but regardless of their
  conduct – which at times included gambling, wom-
  anizing, and drinking – they fought for the common
  good. Tales of their exploits formed the basis of the
  wuxia genre of films.
  In a historical game, xia PCs should take Code of
  Honor (Xia) (p. 53). Without it, they aren’t xia –
  they’re the ruffians and bandits the xia oppose!
  ASIA
  
  The most famous Shaolin monk was Bodhidharma, who
  journeyed to the Temple from India. Tradition has it that he
  noticed the monks lacked the fitness needed to meditate for
  long periods, so he introduced martial arts to strengthen
  them. While these events are the legendary origin of Chinese
  martial arts, they actually would have post-dated many doc-
  umented combative styles.
  The military prowess of the Shaolin monks was first
  noted in 728, when a small handful of them helped win a
  war. A stele was erected to memorialize the staff-fighting
  monks. Legends spread of their ability. The Temple became
  a place to go and train, but spiritual development – not
  schooling warriors – remained its focus.
  After the rise of the Manchu, the Shaolin Temple became
  famous as a symbol of resistance to government rule. It gave
  sanctuary to rebels and revolutionaries, and the Temple as a
  whole occasionally meddled in outside political events. This
  involvement was sometimes pro-government: the Temple
  was credited with aiding Manchu soldiers in several cam-
  paigns. In the end, playing politics led to the Temple’s down-
  fall. An army was dispatched to besiege the Temple. It fell in
  1735, scattering the few survivors across China.
  Legend claims that five masters survived the suppression
  of the Shaolin Temple. They went their separate ways, train-
  ing select students met during their travels in the secrets of
  the Temple’s martial arts. Along the way, they also founded
  cells of resistance to the Manchu Dynasty – the first Triads.
  Monks reoccupied the Temple – and abandoned it or
  were driven out – several times. In 1928, it was burned.
  Later, the Communists came to regard it as reactionary and
  shut it down. The People’s Republic of China eventually
  realized its potential as a historical attraction and rebuilt it.
  The modern Temple still offers training in the martial arts,
  and is a popular destination for tourists and martial artists
  alike.
  Secret Societies
  China has a long history of secret societies. Some of
  these were fairly innocuous, even benign. Others were ded-
  icated to overthrowing the Manchu and restoring the earli-
  er dynasty. Many were also martial-arts schools (and vice-
  versa), and students of the school would be recruited into
  the secret society.
  In some areas,
  these secret societies
  amounted to bandits
  or organized crimi-
  nals. In others, they
  became a de facto
  part of the local gov-
  ernment, providing
  police forces, charity
  centers, and social
  gatherings. In yet
  others, they were the
  government!
  Ironically, secret
  societies eventually
  became an ally and
  tool of the ruling
  Manchu. During the 18th and 19th centuries, the world’s
  colonial powers – primarily European nations, but also
  Japan and America – were steadily carving up and tram-
  pling down China. The secret societies came to oppose the
  foreigners and to regard the Manchu as the lesser of two
  evils, if not the legitimate government.
  The most famous of these societies was the I Ho Chu’an,
  or Righteous and Harmonious Fist, dubbed the “Boxers” by
  the colonial powers. They claimed that kung fu could defeat
  guns – that through special rituals and unblinking faith,
  practitioners would be immune to bullets. This wasn’t a new
  idea; the White Lotus and the Native American Ghost
  Dancers also believed this. The Boxers rose up and mur-
  dered Europeans and Christian Chinese. On June 17, 1900,
  they besieged the hastily fortified foreign consulates in
  Beijing. Despite their kung fu skills and magical rituals, the
  boxers were unable to crack the consulates before a relief
  force fought its way to Beijing. Modern firepower quickly
  dispersed the Boxers. Shortly thereafter, the Imperial gov-
  ernment fell.
  In the chaotic post-Imperial period, secret societies such
  as the Triads largely degenerated into criminal gangs. Drug
  smuggling, gambling, extortion, and prostitution became
  their main sources of income. Feuds between societies over
  criminal territory were common. The societies’ martial-arts
  skills became the weapons of gang warfare . . . alongside
  modern firearms.
  HISTORY
  9
  Monks and 
  Martial Arts
  Japan’s warrior-monks and the monks of the
  Shaolin Temple are at least as famous for their fight-
  ing arts as for their faith. European monks are com-
  monly remembered as pacifistic, but early medieval
  monasteries only admitted members of the nobility –
  many of whom took their vows after receiving mar-
  tial training. By the 12th century, some dispensed
  altogether with the veneer of pacifism and created
  military orders, such as the Knights Templar. Later
  monks penned several fechtbücher and appeared in
  the illustrations of many more, demonstrating
  sword-and-shield play and wrestling moves. The Far
  East hardly had a monopoly on the fighting monk.
  A monk might practice the martial arts for sever-
  al reasons. One is that many traditions deem physical
  exercise vital to spiritual health: a fit body helps a
  monk spend hours meditating without discomfort.
  As well, monks sometimes had to fight to protect
  their monasteries from bandits, raiders, and unhap-
  py governments that saw them as targets. And as pre-
  viously noted, not every monk chose the monastic life
  as a youth. Former members of the warrior class
  often kept their martial skills sharp after taking their
  vows – whether due to a desire to defend the
  monastery, out of devotion to their art, or in antici-
  pation of a return to the world of politics.
  Three-Part Staff
  
  Eventually, the links between secret societies, martial-
  arts schools, and the Shaolin Temple led to all three being
  tied to revolutionary and antigovernment activities. The
  stigma remains to this day, and helps explain some of 
  the policies of the People’s Republic of China toward the
  martial arts.
  Communism
  The Communists were eminently aware of the historical
  link between the martial arts and revolutionaries – or in this
  case, “reactionaries.” They denounced any martial art that
  claimed mystical powers or an ancient lineage as being “con-
  trary to Communist ideals.” Such thinking reached its peak
  during the Cultural Revolution, when many styles were
  labeled anti-Communist and their instructors deemed “coun-
  terrevolutionaries” and ruthlessly marginalized or purged.
  At the same time, the Communists saw the martial arts as
  a source of physical fitness for the people and as a repository
  of cultural heritage. They adopted the term wushu for
  “acceptable” martial arts. The sports commission of the
  People’s Republic of China went on to develop a unified style
  known by the same name; see Wushu (pp. 206-207).
  Modern China downplays the internal, chi-oriented
  aspects of the martial arts, but these things haven’t disap-
  peared. The whole world now enjoys Chinese wuxia films,
  which feature acrobatic martial arts, improbable displays
  of skill, and chi abilities that defy reality. Ironically, many
  of these movies celebrate rugged individualists who use 
  their mystical martial-arts skills to right wrongs or root
  out corruption – ideas not terribly popular with the
  Communist Party.
  INDIA
  Like China, India has had martial arts since antiquity,
  along with many myths tied to receiving and teaching them.
  Some historians trace Indian martial arts back to the inva-
  sion of northwestern India by Alexander the Great. This is
  unlikely; Alexander might have brought Pankration (pp. 188-
  189), but the warriors of the local princes already had a
  strong tradition of armed fighting and unarmed wrestling.
  According to myth, the gods handed down these arts to
  humans so that heroes could defeat their demonic foes!
  On the teaching side, Bodhidharma supposedly passed
  along Indian martial arts to China; see The Shaolin Temple
  (pp. 8-9). Prior evidence of the martial arts undermines this
  theory, too. However, Indian religious beliefs probably con-
  tributed the concept of prana, which is more commonly
  known by its Chinese name, chi (see Religion, Philosophy,
  and Fists, p. 11).
  Whatever the truth, the Indian martial arts are ancient.
  Kalaripayit (pp. 168-169) dates to the 9th century A.D. and
  similar arts predate that. These early styles certainly covered
  both unarmed combat (striking and grappling) and armed
  combat (especially bow, sword, and two-handed mace).
  Modern nationalists in India – like those in most places with
  a martial tradition – espouse the idea that practicing these
  historical arts makes one a better person, and push for their
  continued study. Hinduism continues to play a strong role,
  too; even today, Kalaripayit and Indian Wrestling (pp. 205-
  206) expect students to be good Hindus.
  Wrestlers
  The most visible Indian martial art is wrestling (see
  Indian Wrestling, pp. 205-206), which has been a revered or
  at least royally patronized activity in India since ancient
  times. Great wrestlers were sought after for the fame they
  brought their patrons. In the 19th and early 20th centuries,
  Indian wrestlers dominated the world’s grappling scene,
  their remarkable size, skill, and endurance allowing them to
  defeat all comers. The greatest of these was Gama (p. 23).
  Their reign ended only after Greco-Roman Wrestling
  (p. 205) and Professional Wrestling (p. 206) eclipsed tradi-
  tional freestyle wrestling.
  Today, traditional Indian wrestlers train much as they
  did at the opening of the 20th century and in the centuries
  before. The training isn’t based on Hinduism, but wrestlers
  are expected to be paragons of the faith.
  Other Indian Martial Arts
  Martial arts of the Indian subcontinent also include the
  Sikh sport of gatka (see Victorian Singlestick, p. 157) and a
  brutal form of bare-knuckle boxing. India long regarded
  archery as a sport of kings and warriors; the specifics vary,
  but it’s game-mechanically similar to Kyujutsu (pp. 179-
  180), although more commonly performed from a chariot
  than from horseback. Many arts are lost to modern knowl-
  edge, leaving behind only names and brief descriptions.
  10
  HISTORY
  Northern vs.
  Southern Kung Fu
  The Chinese often claim that Northern martial
  arts are “long” while Southern ones are “short” – a
  stereotype that isn’t entirely unjustified. Many
  Northern styles do feature deep stances, lunging
  punches, and high kicks. Southern arts often favor
  narrow stances, close-in punches, and low-line kicks.
  Explanations offered for this include the greater
  height of Northerners and the cramped quarters
  aboard Southern houseboats.
  Weapons constitute another division. Northern
  stylists frequently encountered military and aristo-
  cratic arms – spears, polearms, and swords – thanks
  to their proximity to the capital (Beijing) and the
  Mongolian border. Southern fighters, generally com-
  moners, favored everyday tools: staff, knife, cleaver
  (“butterfly sword”), etc.
  As with most style splits, adaptations to specific
  needs and cross-pollination between styles make the
  divisions more traditional than actual. Nevertheless,
  “North vs. South” might generate the dramatic ten-
  sion that drives a cinematic or mythic campaign!
  
  HISTORY
  11
  A traditional fighting art often has a philosophy that
  augments its martial base or even constitutes the founda-
  tion upon which it’s built. For instance, the strikes, foot-
  work, and forms of Pa Kua Chuan (pp. 187-188) are all
  founded on an interpretation of the I Ching. Stylists walk
  circles to stay in harmony with the Tao and practice uti-
  lizing chi (see below) to protect themselves and defeat
  foes.
  Many traditional styles have strong religious content,
  too. The religion might be external to the art (like
  Christianity for European knights or Islam for those who
  practice Pentjak Silat, pp. 189-191); taught in conjunction
  with the martial art; or form its underpinning, informing
  how students are taught and which moves
  are considered “proper” even if the fight-
  er doesn’t practice the religion (e.g.,
  Sumo, pp. 198-199, has close ties to
  the Shinto faith). Rarely, the style
  is the religion: Shorinjikempo is
  officially a religion in Japan (see
  Kempo, p. 172-173).
  Only a purely combative or
  sportive modern style is likely to lack
  such traits. Mixed martial arts (p. 189)
  and Greco-Roman Wrestling (pp. 205-
  206) are examples of entirely sportive
  arts; Krav Maga (p. 183) is a wholly
  combative one. Styles like this don’t try
  to make you a better person through a philosophy or set
  of beliefs.
  Yin and Yang
  Traditional Chinese beliefs describe the universe in
  terms of two fundamental principles: yin and yang. Yin
  signifies the feminine, yielding, and soft while yang rep-
  resents the masculine, forceful, and hard. Together they
  form a harmonious, balanced state. A person who has too
  much yin or yang isn’t in harmony with the universe and
  is consequently limited in potential.
  The ubiquitous yin/yang symbol is a visual representa-
  tion of this concept. The swirling drops of yin and yang
  form a circle, implying a perpetual cycle. Each color con-
  tains a spot of the other, showing that yin isn’t complete
  without yang, and vice versa. Only the two together form
  a balanced whole.
  Chi, Ki, and Prana
  Chi (also qi) is the Chinese character for “breath.” The
  Japanese and Koreans use this character, too, but pro-
  nounce it ki. In traditional belief, chi is much more than
  just breath: it’s an invisible force that pervades all living
  things. Disciplined individuals can – with proper knowl-
  edge and practice – control and manipulate it. Someone
  with balanced, strong chi will live long and be capable of
  great acts. One’s chi can become unbalanced, however.
  Those with unbalanced chi must rebalance it or suffer ill
  health (in game terms, adjusting chi is a form of Esoteric
  Medicine, p. B192).
  Proponents of traditional Chinese martial arts often
  claim that masters can project their chi to control stu-
  dents’ actions, move objects . . . even kill. Such masters
  can also direct their chi internally to perform superhu-
  man feats: mighty leaps, impossible lifts, running up
  walls, shattering objects, and so forth. In modern China,
  though, the concept of chi runs contrary to the state’s
  atheistic Communist philosophy. Chi is seen as nothing
  more than the vitality of a body in perfect health; it’s a
  matter of fitness, not mystical forces.
  Historical Japanese styles make fewer claims about
  supernatural powers but still regard ki as something to
  cultivate and project. Ki development
  and the power of breathing medita-
  tion became popular in Japanese
  swordsmanship during the 18th
  century. A Japanese warrior
  with strong ki should have
  great skill and high Will – not
  use superhuman powers to
  attack foes at a distance.
  Modern Japanese anime hews
  more closely to the Chinese
  approach, however.
  The Indian term for chi is prana.
  Prana – like chi or ki – is an invisi-
  ble, subtle, yet all-pervasive force that provides life to the
  body. It causes respiration, keeps the heart beating, allows
  speech, digests food, and equalizes bodily functions. It’s
  possible to regulate prana through breathing, using a skill
  called pranayama. Some believe that this allows superhu-
  man feats of endurance, strength, and willpower.
  The concept of “breath as life” and the importance of
  deep breathing aren’t exclusively Asian. For instance, the
  great Greek physician Galen held that something could
  only be considered exercise if it increased respiration, and
  that respiration was important to health and to success in
  physical activities. Martial Arts refers to any such view of
  life force and the powers that derive from it as “chi,”
  regardless of its cultural origin.
  Folk Beliefs
  Many martial arts have an associated body of folk
  beliefs. Pentjak Silat holds that the kris (p. 219) can kill
  merely by pointing. Masters of Kalaripayit (pp. 168-169)
  learn magical phrases to use in emergencies. Capoeira
  (pp. 153-154) is sometimes linked with Candomblé, an
  African-derived folk religion. Some adherents of Chinese
  martial arts believed that incantations, willpower, and
  proper kung fu would make them invulnerable to blades
  and guns. The latter idea isn’t uniquely Chinese – corpo
  fechado (Portuguese for “closed body”) is a magic ritual,
  known to some Capoeira players, to become impervious
  to knives and bullets . . .
  Religion, Philosophy, and Fists
  Rondel Dagger
  
  INDONESIAN ARCHIPELAGO
  The Indonesian Archipelago is a chain of hundreds of
  islands – most of them tiny – over an area that includes
  Borneo, Java, Sumatra, the Malay Peninsula, and the
  Philippines. It has a diverse mix of cultures: the native
  Malay (once feared for headhunting and ritual cannibal-
  ism), plus Arab, Chinese, Dutch, English, Indian,
  Portuguese, and Spanish, and their many religions.
  Countless martial arts have emerged from this jumble –
  most famously Pentjak Silat (pp. 189-191) and Kuntao
  (pp. 178-179). It’s said that at least one form of Silat exists
  for each island!
  Indonesia
  During the 1940s and 1950s, Pentjak Silat grew even
  more prominent in Indonesia. The islands were Dutch pos-
  sessions when they fell to the Japanese in World War II.
  Many Indonesians resisted and fought alongside the Dutch
  against the Japanese. After defeating the Japanese, the
  Indonesians turned to their fight for independence. The
  locals widely credited Pentjak Silat with giving them an edge
  over their opponents. Its role in the fighting is debatable –
  driving out the Japanese and the Dutch (and later defeating
  the Communists) depended more on the gun than on the kris
  (p. 219). Even the common claim that martial-arts training
  gave the fighters warrior spirit is arguable – but it’s a theory
  to which armies worldwide subscribe, and probably the real
  reason why unarmed combat is taught in the age of auto-
  matic weapons and grenades!
  Philippines
  Foreign powers have invaded the Philippines many
  times. The most significant of these invaders were the
  Spanish, who brought their language and fighting styles.
  The extent to which this influenced indigenous martial arts
  is the subject of vigorous debate. While Filipino styles use
  largely Spanish terminology, their techniques little resemble
  those of European fighting arts. The best-known local style
  is Escrima (pp. 155-156), a system of armed and unarmed
  fighting.
  Filipino martial arts saw regular use in combat until rel-
  atively recent times. During the American occupation, after
  the Spanish-American War, the local resistance fought back
  using martial-arts skills. The ferocious Moros inspired the
  American military to beef up the service pistol from .38 to
  .45 caliber in order to better stop fanatical warriors. During
  World War II, resistance fighters against the Japanese used
  Escrima and Pentjak Silat alongside firearms and explosives
  to attack the Japanese garrison.
  The Philippines have been relatively peaceful since
  WWII, but some regions are still infested with pirates 
  and religious or political resistance groups. Escrima
  remains popular, both for settling scores and in stickfighting
  sporting events.
  JAPAN
  In the popular mind, Japan is the wellspring of the mar-
  tial arts. The oldest verifiable Japanese martial art is a form
  of combative wrestling that evolved into the sport of Sumo
  (pp. 198-199). This and other early arts developed locally
  but were influenced by the Chinese and later the Koreans.
  Japanese martial arts would, in turn, go on to influence the
  styles of both of these cultures – and the world at large.
  The Samurai
  The samurai, or bushi, were Japan’s warrior class. They
  rose to prominence during the Yamato period (c. 300-710),
  when the use of levied infantry gave way to warlords pro-
  viding full-time mounted archers. This evolution weakened
  central control, leading to long periods of internecine
  warfare.
  The appearance of the samurai marked the birth of
  martial-arts schools, or ryuha. Each ryu taught both armed
  and unarmed combat, often alongside such skills as horse-
  manship and strategy. A samurai was expected to learn to
  fight both mounted and dismounted with bow (yumi),
  sword (tachi and later the katana), spear (yari), polearms
  (naginata and nagamaki), and knife (tanto), and to wrestle
  armored and unarmored. Different schools added other
  weapons, including the shuriken (p. 223), kusarigama
  (p. 219), axe, hammer, and flail.
  12
  HISTORY
  Ryu
  Ryu (plural: ryuha) is a Japanese term for a
  school’s collected martial-arts teachings. A ryu might
  be broad or extremely narrow. For example, Musashi
  Miyamoto’s Niten Ichi Ryu contained one fighting
  style – see Nito Ryu (pp. 174-175). By comparison,
  the still-extant Toda-ha Buko Ryu teaches several
  arts: Bojutsu (p. 192), Kenjutsu (p. 173-175),
  Kusarigamajutsu (p. 180), Naginatajutsu (p. 186),
  and Sojutsu (pp. 197-198).
  Ryuha have a “public” and a “private” curriculum.
  Outsiders are shown strictly the public techniques;
  only the school’s students receive demonstrations of
  the full style. Hidden techniques, called urawaza, are
  a way to keep enemies from learning the ryu’s full
  potential. They often deal with unusual weapons or
  those that work better by surprise (e.g., shuriken or
  improvised weapons). Some masters reserve
  urawaza for a select few students or even a single
  chosen successor!
  In game terms, a ryu usually contains more than
  one style. In a Japan-based campaign, the GM might
  wish to assess Style Familiarity (p. 49) by ryu rather
  than by style. For instance, familiarity with Toda-ha
  Buko Ryu gives familiarity with its version of
  Kenjutsu and all of its other component styles, but
  not with the Kenjutsu of Katori Shinto Ryu.
  Knowledge of slight differences between your ryu
  and your opponent’s could spell the difference
  between victory and death. The urawaza might be as
  narrow as a single skill, technique, or Style Perk . . .
  or as broad as an entire style. See the skills, tech-
  niques, and perks under each style’s “Optional Traits”
  for ideas. The PCs won’t necessarily have free access
  to these abilities!
  
  Initial emphasis was on mounted
  archery, but the samurai evolved into
  swordsmen as infantry tactics became
  more important. Armor changed to match:
  boxy o-yoroi, suitable when using and fac-
  ing the yumi, gave way to suits that freed
  the arms for swordplay. On foot, samurai
  wielded spears, swords, and to a lesser
  extent hammers, staves, polearms, and
  other weapons. Firearms entered the arse-
  nal with the arrival of the Portuguese, but
  like Europe’s knights, the samurai
  absorbed the gun into their fighting meth-
  ods. To bulk out their armies, they raised
  conscript light infantry called ashigaru.
  These troops had sparse armor (typically a
  helmet and inferior torso armor) and
  lower-grade weaponry.
  With the unification of Japan and the
  ensuing Tokugawa Shogunate (1603-
  1868), Japan entered a prolonged peace.
  Only the Shogunate was allowed firearms.
  Martial-arts schools became more wide-
  spread but often more specialized – those
  that taught only a subset of weapons or
  skills (or one weapon) grew more com-
  mon. Weapons suited to piercing armor,
  such as the bow and spear, were overshad-
  owed by the sword, which was ideal for
  fighting unarmored foes.
  With potential masters no longer
  becoming battlefield casualties (or indeed,
  needing to prove their skill in duels), the
  number of ryuha boomed. Duels were for-
  bidden and matches between schools were
  discouraged. Use of kata as the core of skill
  transmission became common. This status
  quo inspired a backlash in favor of contact
  training and led to the eventual develop-
  ment of Kendo (p. 175).
  The Ninja
  Historically, ninja were the spies, assassins, and special
  agents of the warrior clans – and later the Shogunate – of
  Japan. They were famous for their pragmatism, using what-
  ever methods could most efficiently accomplish the task at
  hand. Given the nature of bushido (the Japanese warrior
  code) and its embrace of victory at all costs, this made them
  quite ruthless. They were noted for their disregard of social
  norms, disguising themselves as monks, the opposite sex,
  low-caste Japanese, and so on. They studied Ninjutsu, the
  art of stealth and disguise. Included in this was the martial
  art Taijutsu (pp. 202-203): an unarmed combat style used to
  disable opponents.
  The ninja probably originated with the use of specialist
  spying troops (called shinobi) by an empress in 6th-century
  Japan. Several clans of ninja existed, especially in the Iga-
  Ueno region. A modern “Ninja Festival” is held in this area
  – although it focuses on ninja more as depicted in folklore
  than as they actually were.
  Like China’s Shaolin monks, the ninja are awash in myth
  and legend. Almost every improbable martial-arts feat
  appears in ninja lore! They’re famous as masters of disguise,
  weapon use, unarmed combat, acting, and technology.
  Modern authors have expanded on the legend; many so-
  called ninja tools, garments, and gadgets are actually 20th-
  century inventions. Notable among these is the ninja sword,
  or ninja-to (p. 221). The same authors have also wrongly
  designated weapons often used by samurai – such as the
  shuriken and kusarigama – “ninja weapons,” sometimes
  going so far as to invent myths about samurai rejecting such
  armaments as dishonorable.
  The ubiquitous “ninja uniform” is another modern-day
  creation. It looks as if it was inspired by the clothing that
  puppeteers and stagehands wore to blend into the darkness
  of a theatre. Historical ninja almost certainly disguised
  themselves to fit in wherever they might be. They might not
  have donned any disguise! Many were samurai in public
  and agents of the Emperor in private, trained to spy on sub-
  jects and root out conspiracy, or dispatched to solve special
  problems.
  HISTORY
  13
  Ninja: Legend vs. History
  Folklore portrays ninja as peasants and outcasts, scorned by the samu-
  rai. History doesn’t support this. It’s hard to uncover facts about such a
  deliberately secretive group, but reliable evidence suggests that several
  samurai clans were verifiably ninja or had members with ninja-like skills.
  Historical ninja seem to have been spies more often than assassins, secret
  police rather than outcasts.
  The Chinese Connection?
  Some sources claim that the ninja learned their arts from renegade
  Chinese monks called the Lin Kuei, but there’s little evidence of this group
  outside of folk tales. There’s no documentation of their supposed connec-
  tion to the ninja, either. However, such a link might exist in a cinematic
  campaign, in which case the Lin Kuei could be a source of opponents for
  PC ninja – or of masters who can train non-ninja PCs to counter the nefar-
  ious skills of NPC shinobi.
  Other Ninja
  Japan’s ninja – and possibly China’s Lin Kuei – weren’t the only ones
  in Asia with training in disguise, stealth, and espionage. Many other
  groups mixed these tactics with the martial arts to help deal with
  enemies.
  The 7th-century Korean kingdom of Silla had a group known as the
  sulsa: commando-like warriors trained in irregular operations. Unlike
  ninja, it appears that the sulsa were deployed alongside other forces and
  used as an integrated part of the army. They were held in high esteem –
  much like modern special-ops troops. Like the ninja, colorful and equal-
  ly unverifiable legends about their skills and prowess abound. In a cine-
  matic campaign, any claim that’s true for the ninja should also be true for
  the sulsa.
  In Thailand, groups of monks were trained in the art of stealth, sub-
  terfuge, and survival, as well as in the martial arts. Their role is unknown,
  but their potential to the Siamese kings as spies, irregular troops, and
  scouts is obvious.
  
  Okinawa
  Okinawa has always had strong ties with China, its close
  neighbor. Okinawan nobles sent their children to Fushin
  province to study literature, writing, culture, and the martial
  arts. Some believe that Okinawan martial arts originated in
  China and were brought back by returning nobles. Others
  claim that Okinawa had indigenous fighting systems which
  were influenced by Chinese styles.
  In local legend, weapons were banned at several points in
  Okinawan history. One such instance, in the 15th century,
  wasn’t so much a ban as a shortage. The native rulers, fearing
  rebellion, monopolized weapons production in order to stock
  their own armories. Depriving the population of weapons was
  a side effect – albeit one that favored those in power! The 17th-
  century Japanese conquerors imposed a genuine ban. The net
  result in both cases was that the martial arts flourished.
  The Okinawans turned their tools and farm implements
  into weapons and developed fighting styles for using them
  effectively. They also honed their unarmed martial arts, or Te
  (pp. 169-170). The Japanese banned the practice of Te, but
  instructors and students survived, even thrived in secrecy.
  They trained to fight armed and unarmed opponents, parry-
  ing the attack and then launching a devastating counterattack
  with lethal intent.
  In the late 19th and early 20th centuries, Japan recognized
  the potential of Te as a form of military and fitness training.
  Japan imported instructors from Okinawa – starting with
  Funakoshi Gichin (p. 23) – and created the sport of karate-do.
  Karate’s inventors soon changed the characters used to spell
  its name from “China” and “hand” to “empty” and “hand”
  (both pronounced “karate”), added a belt system based on the
  sport of Judo (p. 166), and established a formal body of
  instructors.
  After World War II, the large U.S. military presence in
  Okinawa helped spread Karate in the West. Many servicemen
  studied karate-do in Okinawa and brought their skills home
  with them. Today, a wide range of martial-arts schools exist in
  Okinawa and many American servicemen still train while sta-
  tioned there.
  KOREA
  Korea has a rich martial-arts history tied inextricably to
  that of nearby China and Japan. Many martial arts passed
  from China to Japan, and vice versa, by way of Korea. Prior
  to the 20th century, China’s influence was dominant by virtue
  of proximity, shared history, and the regular exchange of
  ideas. In the 20th century, the Japanese conquest of Korea
  lent Korean martial arts a strong Japanese flavor that’s still
  evident today.
  The Hwarang
  Around 550 A.D., nobles known as the Hwarang
  (“Flowering Knights”) rose to prominence as rulers, warriors,
  and officials in the Korean kingdom of Silla. These knights
  adhered to Hwarang O Kae, or “the Five Ethics,” which
  stressed loyalty, filial piety, trustworthiness, valor, and justice
  – much like bushido or chivalry. They studied fighting arts, lit-
  erature, administration, and philosophy. In 668, Hwarang
  general Kim Yu-shin completed the conquest of the region’s
  other two significant kingdoms, Koguryo and Paekche, there-
  by unifying Korea.
  Elite among the Hwarang were the sulsa (“technicians”).
  These warriors practiced am ja (“the art of shadows”) and un
  ship bop (“invisibility methods”), and were used for special
  missions. For details, see Other Ninja (p. 13).
  Modern Korea
  From 1910 to 1945, Japan occupied Korea and Japanese
  martial arts displaced Korean ones. When World War II
  ended, though, Korea asserted its proud martial heritage.
  Traditional styles were resurrected or came out of hiding, and
  new styles were formed with ancient names. Japanese influ-
  ence was still great, as many Korean martial artists had train-
  ing in Karate (pp. 169-172) or Jujutsu (p. 166-168).
  Today, Korea is best known for Tae Kwon Do (p. 200), a
  sport form cobbled together from numerous punching and
  kicking styles. It takes its name from a much older combat
  art. Tae Kwon Do has become popular worldwide and is now
  an Olympic sport.
  OTHER NATIONS
  Many other Asian countries have martial-arts traditions
  that extend from the distant past to the present day. Possibly
  the best-known of these are Burma and Thailand.
  Burma
  Burma – now called Myanmar – is surrounded by India,
  China, and Thailand. Like its neighbors, Burma is home to
  many martial arts. The collective term for Burmese martial
  arts is Thaing. This encompasses four major subgroups:
  unarmed combat (Bando), armed combat (Banshay), boxing
  (Lethwei), and wrestling (Naban). These arts date to around
  the 11th century, when they played a role in local warfare.
  Bando is a comprehensive system of unarmed combat. It
  has deep historical roots, but the Japanese invasion in 1942
  helped shape its modern form – Japanese unarmed-combat
  systems influenced it, and guerrillas used it against the
  Japanese occupiers. Two major schools have emerged since
  then; these are quite similar in their training. For more infor-
  mation, see Bando (p. 151-152), Banshay (p. 176), and Lethwei
  (p. 186).
  Thailand
  Thailand, formerly known as Siam, also has a rich martial-
  arts history. Unfortunately, a terrible fire during the 17th cen-
  tury destroyed most of its historical records, obliterating reli-
  able accounts of the origins of Thai martial arts. The modern
  arts of Muay Thai (pp. 185-186) and Krabi Krabong (p. 176)
  can trace their origins at least as far back as the loss of those
  records; they likely go back much farther. Another style – now
  lost – emphasized stealth, subterfuge, and survival techniques.
  It was taught to a sect of monks who might have filled a ninja-
  like role for the Siamese kings.
  Today, Muay Thai and Krabi Krabong are the most promi-
  nent Thai martial arts. Muay Thai is a form of kickboxing,
  world-renowned for its tough training and tougher competi-
  tion. Krabi Krabong is an armed style. Originally a combat
  form, it’s now primarily a sport.
  14
  HISTORY
  
  EUROPE AND THE MIDDLE EAST
  HISTORY
  15
  Europe and the Middle East have a martial-arts history
  as long and as colorful as that of Asia, although it hasn’t fea-
  tured as prominently in dreadful action movies. Highlights
  include the fighting arts of Classical Greece and Rome, the
  martial arts on both sides of the Crusades, the swordsman-
  ship of the Middle Ages and Renaissance, and of course the
  sport wrestling and mixed martial arts so popular across
  Europe today.
  As in Asia, fighting skills also figured prominently in leg-
  end and folklore. Ancient Celtic tales – collected in the
  Middle Ages – told of such heroes as Cu Chulainn receiving
  training at swordsmanship, spear-dodging, charioteering,
  wrestling, breath control, and chess, and performing super-
  human combat feats. Likewise, Norse myths pitted heroes
  and gods against supernatural foes in wrestling matches.
  ANCIENT GREECE
  AND ROME
  Ancient Greece was home to a number
  of the world’s earliest verifiable martial
  arts; in fact, these predate the legendary
  origins of many Asian styles. In the Greek
  city-states of the Classical age, every citi-
  zen was a soldier. Even after Greece aban-
  doned the citizen armies of the polis,
  Greek society long held that martial skills
  were essential to a well-rounded upbring-
  ing for every male Hellene. For most, this
  meant little more than physical condition-
  ing at the public gymnasium and the basics
  of handling the shield and spear. Dedicated
  practitioners went much further, however,
  and teachers of hoplomachia (“armed
  combat”), boxing, wrestling, and pankra-
  tion (literally, “all powers”) found no short-
  age of eager youths willing to take advan-
  tage of their services.
  The Games
  The Olympic Games of ancient Greece
  featured three different martial-arts con-
  tests: wrestling, pankration, and boxing.
  None of the three concerned themselves
  with weight classes, rounds, or time limits.
  All were brutal contests of skill, strength,
  and endurance. The Romans were also
  fond of games and held similar contests.
  Wrestling was much like modern
  freestyle wrestling. Victory was by submis-
  sion and striking was forbidden. A match
  consisted of a single, untimed round.
  Endurance was as important as strength,
  since defensive tactics and stalling to
  exhaust one’s opponent were legal. The
  lack of weight classes meant that heavyweights dominated
  the sport.
  Pankration (p. 188-189) was full-contact, no-holds-
  barred fighting. Only eye-gouging and biting were forbidden
  – and the Spartans allowed even this. Many strikes common
  to modern Asian martial arts – chops with the hand’s edge,
  punches with protruding knuckles, leg sweeps, etc. – saw
  use. One famous bout ended when a fighter aimed a stiff-
  ened finger strike (what Asian martial arts call a “spear
  hand”) at his opponent’s armpit, piercing his vital organs
  and killing him. Pankration matches lasted until one con-
  testant submitted or was incapacitated. Most bouts ended
  with a submission from a lock or wrestling hold, although
  one pankrationist famously won his bouts by breaking his
  adversaries’ fingers, and death in the ring wasn’t uncom-
  mon. At least one contender won posthumously: he forced
  his rival to submit even as he was dying from a fatal blow!
  Gladiators
  Through much of Roman history, gladiators provided public enter-
  tainment by fighting animals, prisoners, and each other in the arena.
  Most were slaves, but their ranks could include almost anyone – from the
  impoverished, looking to earn a living, to wealthy thrill-seekers. Because
  gladiators risked their lives in the arena, Roman society saw them as
  being above such “petty” concerns as morality and responsibility. Thus, a
  successful gladiator was often rich and pampered, able to indulge in his
  most cherished (or debauched) pleasures. It was said that all men wished
  to be gladiators and all women wished to be with them.
  During the era of professional fighters, they or their promoters would
  pick their opponents from the ranks of slaves, prisoners, or (occasionally)
  volunteers. Most match-ups were calculated to guarantee the professional
  fighter a victory and the audience a good spectacle. Fights weren’t to the
  death as a rule – at least, not between professionals. Still, some Romans
  found entertainment in massacres and lopsided contests where untrained
  fighters had to defend themselves against merciless pros.
  Gladiators enjoyed treatment that would be familiar to modern pro-
  fessional athletes. Top schools kept a physician on staff, and masseurs,
  bonesetters, and coaches – all likely to be former gladiators – helped keep
  the fighters fit and healthy. The school’s head (lanista) was typically polit-
  ically and socially connected, and took care of the school’s financial, reli-
  gious, and gladiatorial affairs. The top trainer was responsible for hiring
  other instructors (generally former soldiers or gladiators), who might be
  broadly skilled or very specialized. These teachers tutored the gladiators
  in armed and unarmed combat, and even monitored the fighters’ diet.
  They led their charges in daily weapons drills and exercises designed to
  improve strength and fitness. Legion officers sometimes regarded gladia-
  tors as useful trainers for their soldiers and had them show the troops the
  dirty tricks of arena combat.
  The celebrated doctor Galen, whose views on medicine were long seen
  as infallible in later eras, was a physician to gladiators for five years early
  in his career. He prescribed a program of walking to improve breathing,
  rhythmic movements to settle the soul, and progressive weight training to
  build muscle.
  
  Boxing in ancient Greece and Rome consisted solely of
  strikes to the head and upper body. Protective headgear
  existed but wasn’t used in competitive bouts. Contestants
  wrapped their hands and wrists with leather. The original
  purpose of this seems to have been to protect the hand, but
  later wraps were twisted – some sources claim edged – to
  increase the injury from punches, and the Romans some-
  times boxed wearing the cestus (p. 214), a studded or spiked
  glove. Bouts lasted until one of the fighters submitted or was
  incapacitated. Disfigurement was common: legendary
  Greek boxers withstood enormous punishment, and period
  texts depict cauliflower ears, broken noses, and marred
  faces.
  Men competing in both boxing and pankration would
  occasionally request that the pankration events be held first
  – a reversal of the usual order. Boxing was held to be so bru-
  tal that competitors worried about being too injured to com-
  pete in pankration, even if they won! A pankration bout
  could end with a submission hold or choke, but a boxing
  match ended only when one boxer was too injured to
  continue.
  MEDIEVAL EUROPE
  Medieval knights fought with a pragmatic ruthlessness
  that seems quite at odds with modern beliefs about chival-
  ry. Period accounts tell of knights killing each other’s hors-
  es, grappling foes and bearing them down to be stabbed to
  death, and dealing vicious shield bashes, chokes with sword
  blades, and “murder strokes” using the handle of a reversed
  sword. Knights did have a concept of honor . . . but in duels
  and warfare, victory mattered at least as much as how one
  fought.
  Modern myth also tends to portray knights as brutal
  sluggers with little technique. A perusal of written manuals
  of period martial arts – collectively known as fechtbücher –
  puts the lie to this. The design of knightly weapons was
  rugged in order to overcome heavy armor, but the tech-
  niques for using them were quite refined. These martial arts
  weren’t restricted by borders or culture. Germanic and
  French knights bowed to different kings but shared nearly
  identical weapons and fighting styles.
  On the unarmed front, complex striking arts such as
  pankration and boxing fell out of use when the infrastruc-
  ture for martial sports disintegrated with the Roman
  Empire. The prevalence of heavy armor made wrestling
  much more useful, though, and every warrior learned at
  least basic grappling. The heavier the armor, the more
  important this became – penetrating metal armor is diffi-
  cult, but sliding a knife through your foe’s visor is easy once
  you have him prone and pinned.
  As the Middle Ages wore on, both armor and the
  weapons needed to defeat it became heavier. Early knights
  wore mail, relied on shields to block, and fought from horse-
  back with spears. With the development of high-backed sad-
  dles, it became possible to charge with the lance “couched,”
  or held under the arm. Armor improved, making it possible
  to discard the shield and fight with two-handed weapons
  better able to overcome the armor. The period saw a steady
  development of weapons, armor, and techniques for using
  them.
  Warfare wasn’t the only forum for the martial arts. Mock
  battles and tournaments – melees and jousts – kept knights’
  skills sharp. They also served as a way for a knight to spread
  his reputation and display his expertise. Trial by combat was
  another fixture of the era. An accused criminal could claim
  this right and battle his accuser (either could use a willing
  champion), with the “court” finding in favor of the victor.
  Noblemen weren’t the only warriors of the Dark Ages and
  Middle Ages. Commoners such as England’s yeomen and
  Masters of Defence, Asiatic horsemen such as the Mongols,
  and the feared Vikings of Scandinavia all practiced martial
  arts. For much of the period, though, the premier armed
  martial-arts styles in Europe were those of the knights.
  16
  HISTORY
  Yeomen Archers
  Across most of medieval Europe, farmers were
  serfs. In England, though, some farmers – called
  yeomen – actually owned small pieces of land. While
  still peasants, yeomen were free by the standards of
  their time. In return for their freedom, the law
  required them to train from youth with the longbow
  and other weapons. The government encouraged
  archery with contests, tournaments, and laws. It
  sometimes went so far as to ban cockfighting, dice,
  football, and other distractions in order to encourage
  archery practice!
  The finest longbows were made of a single piece
  of yew, carved with both core and edge wood to give
  a natural composite effect. Yeomen armed with such
  weapons were credited with hitting massed troops at
  nearly 400 yards. The usual length of a shot against
  an individual target would have been markedly
  shorter.
  The legend of Robin Hood owes much to the real
  accomplishments of English longbowmen. Robin
  Hood was reputed to be the greatest archer in a com-
  pany of seasoned archers. His most famous feat of
  skill was splitting a rival’s arrow in an archery tour-
  nament. (Even GURPS is colored by his exploits: its
  rules let archers make individual shots at distances
  that would have challenged massed bowmen shoot-
  ing at an entire army!)
  Robin Hood was also a master of another cele-
  brated English weapon: the quarterstaff. He used his
  staff to spar with and defeat his eventual companion,
  Little John – a giant of a man. Like the longbow, the
  staff was inexpensive and available while swords
  were costly and spears were inconvenient for daily
  use. The iron-shod staff was as much a walking aid as
  a weapon, and the English masters praised its value
  in self-defense against all foes.
  Robin Hood’s legend curiously parallels that of
  Japanese hero Yoshitsune. Both were rebels against
  authority, skilled archers, and leaders of men, and
  both had a huge, polearm-using companion. In a
  mythical campaign, they could be rivals – or allies
  against an even greater foe.
  
  HISTORY
  17
  Masters of Defence
  In England at the end of the Middle Ages and begin-
  ning of the Renaissance, certain influential masters of
  personal combat became famous as the “Masters of
  Defence.” Of common birth, they apprenticed themselves
  to skilled martial artists and studied all of the period’s mil-
  itary and civilian weapons, truly earning the title “mas-
  ter.” At times they even had a royal charter for their activ-
  ities. They acted as fight instructors for noble and com-
  moner alike, and were occasionally stand-ins during legal
  duels – a practice sometimes legal, often not.
  During the Elizabethan period, instructors from over-
  seas began to challenge the Masters indirectly. In particu-
  lar, Italian rapier masters taught their skills to the wealthy
  and noble. Masters of Defence such as George Silver
  issued challenges to these newcomers and wrote pam-
  phlets and even books denigrating their teachings, but
  their rivals dismissed them as social inferiors – the
  Masters weren’t nobility. The fencing masters likely saw
  no reason to accept: defeating a commoner in a no-holds-
  barred competition would do little to impress patrons and
  students, and failure (or less than total success) could
  mean ignominy or even death.
  Regardless of the relative efficacy of the competing
  styles, it was fashion that undid the Masters’ dominance
  over English martial arts. Broadswords, polearms, and
  staves were not stylish accessories, while rapiers became
  such. Much as in Japan during the Tokugawa era, the
  decline of real combat tests meant that instructors of
  questionable skill – making dubious claims – could flour-
  ish and surpass those with true ability.
  For more on the Masters’ skills, see Masters of Defence
  Weapon Training (p. 182).
  Fechtbücher and
  Traveling Masters
  Two facets of Renaissance martial arts merit special
  discussion: fechtbücher and traveling masters.
  Fechtbücher
  The fechtbuch (plural: fechtbücher), or “book of fight-
  ing,” represents an important historical resource. Masters
  would pen fechtbücher to illustrate their techniques –
  mainly armed but also unarmed striking and grappling
  (often using holds that modern readers would con-
  sider “low” or “dirty”). These works varied greatly in
  quality. Some were poorly illustrated, badly written
  pamphlets full of common techniques. Others had
  excellent art – in one case, by Albrecht Dürer – and
  clear text. Many fechtbücher survive to this day, giv-
  ing the modern student a glimpse of the incredible
  depth of the martial-arts training of an earlier time.
  The purpose of fechtbücher wasn’t
  self-
  instruction. Students were supposed to refer to
  them while training under the master. As a result,
  many fechtbücher and their instructions were
  intentionally unclear. A notable example was the
  14th-century fechtbuch of Johannes Liechtenauer.
  It had excellent illustrations but deliberately cryptic
  instructions. Liechtenauer gave only his students
  the key to his mnemonic devices. Armed with this,
  they could profit from the book while others would
  be stymied. It wasn’t until the 15th century that a
  student, Sigmund Ringeck, broke ranks and
  explained Liechtenauer’s writings.
  Books of this type weren’t unique to Germany or
  even Europe. Virtually every culture had some form
  of written, inscribed, or painted combat manual.
  Some of these were straightforward texts on fenc-
  ing, others were books of military strategy reputed to con-
  tain hidden lessons in swordplay (or vice versa), and yet
  others were scrolls that illustrated fighting techniques but
  gave only cryptic descriptions. Perhaps the earliest “fecht-
  buch” was Egyptian: a set of tomb paintings that depict-
  ed wrestling moves that are still in common use.
  Traveling Masters
  Germany’s martial-arts masters were similar to
  England’s Masters of Defence: commoners who trained
  until they attained master status through grueling public
  duels. Like the Masters of Defence, they knew how to put
  on a show. Groups of masters – accompanied by their
  journeymen, apprentices, and inevitable camp-followers
  – would travel around Germany demonstrating their
  skills at festivals. They would conduct tests for mastery,
  stage mock combats to show off their proficiency, and
  collect money from spectators. In a historical campaign,
  such an eclectic group of combat-trained wanderers
  would be an ideal party of PCs!
  
  RENAISSANCE EUROPE
  By the time of the Renaissance, heavy armor, guns, and
  masses of disciplined infantry were the norm in warfare. On
  the battlefield, arms designed for use by ranked troops over-
  shadowed those suited to individual combat. In the civilian
  world, though, there was a growing need for weapons and
  training useful in street skirmishes and duels.
  The first important civilian weapon of the period was the
  rapier. Its long blade was designed to let the wielder hit with
  a thrust before an opponent with a shorter, broader sword
  of comparable weight – like a military sword – could attack.
  Early rapiers could cut and thrust, but as time went on, tac-
  tics favored the thrust so much that later blades were rarely
  edged. Rapiers became the center of an arms race, with
  longer and longer rapiers emerging to increase the wielder’s
  chances of scoring the first strike. These were unwieldy
  against other weapons but their length gave them an edge in
  a rapier vs. rapier fight – very useful when dueling!
  The rapier’s length made parrying difficult. Most
  rapierists relied on the off hand to parry, using a cloak,
  main-gauche, or mail glove. Some preferred a second rapi-
  er – not for its parrying ability but for the increased odds of
  defeating the foe before needing to parry! Fencers in this
  period sought the botte segrete (p. 86), or the secret unstop-
  pable attack. This might have been the lunge – an extended
  thrust that took advantage of the rapier’s length and thrust-
  ing ability.
  Long blades eventually went out of fashion as masters
  discovered that shorter ones had a defensive advantage.
  This led to a cycle of new tactics that inspired even shorter
  weapons and necessitated further refinements in technique.
  The smallsword was the end result: a short, light, stiff blade
  designed solely for thrusting and equally useful for offense
  and defense. The quest for the parata universale – the 
  Universal Parry, which could stop even the botte segrete –
  replaced the search for the unstoppable attack. For more on
  such “ultimate” attacks and defenses, see Secret Techniques
  (p. 86).
  MODERN EUROPE
  Modern Europe owes much of its martial-arts heritage to
  an explosion of interest in combative sports – and later,
  Asian fighting styles – that began during Victorian times.
  Victorian Europe
  The Victorian period saw a great resurgence in sportive
  martial arts across Europe. Polite society still regarded box-
  ing and wrestling as brutal sports of the lower classes – and
  indeed these activities were extremely popular with those
  classes. This “lower-class” nature didn’t stop the posh from
  sponsoring fighters, attending fights, and wagering reck-
  lessly large amounts of money, though; it simply kept them
  from participating.
  As for armed martial arts, the period witnessed the devel-
  opment of sport quarterstaff forms (using a far shorter staff
  than the medieval version) and the widespread practice of
  singlestick (stickfighting based on broadsword combat).
  With dueling outlawed and combative fencing no longer
  acceptable to settle scores, sport fencing began to surge in
  popularity. New weapons and rules appeared to make fenc-
  ing safer, shifting the emphasis to technique and
  sportsmanship.
  This renaissance had some unfortunate consequences for
  martial-arts history, though. The writings of Victorian histo-
  rians and fencing enthusiasts alike painted fencing as the
  pinnacle of swordfighting evolution. This myopic viewpoint
  helped generate the myth that knights were unskilled thugs
  when compared to skilled, elegant fencers – an error that
  would poison histories of the European martial arts until the
  present day.
  20th-Century Europe
  Asian martial arts made their European debut near the
  close of the 19th century. In the 1890s, several Japanese
  teamed up with self-promoter and showman E.W. Barton-
  Wright to teach Jujutsu in England. For Barton-Wright, this
  was more an exercise in money-making than in teaching a
  martial art – but it wasn’t long before Jujutsu and Judo came
  to stay for real. The first European Jujutsu instructor opened
  a school in Austria in 1904. By the 1930s, Judo had students
  across Europe. Even the Hitler Youth trained in Judo; the
  Nazis saw it as a masculine sport, worthy of future warriors.
  Sport fencing, boxing, and wrestling remained popular,
  too. Most people saw these activities as excellent training in
  fitness, proper conduct, and gentlemanly behavior – and as
  suitable competition between nations. Boxing in particular
  surged in popularity as the Marquess of Queensbury rules
  removed some of its stigma without dulling its brutal edge.
  During World War II, commandos trained in military
  martial arts. They needed skills to eliminate sentries and to
  fight using improvised weapons – or no weapons – when the
  ammunition ran out or circumstances made firearms unde-
  sirable. The knife, in particular, was popular.
  After WWII, Asian martial arts continued to flourish.
  European judoka helped make Judo a competitive Olympic
  sport, and influenced its rules. Meanwhile, other Asian arts –
  such as Karate (pp. 169-172), and Pentjak Silat (pp. 189-191)
  brought back from Indonesia by the Dutch – became more
  popular. The French kickboxing style of Savate (pp. 193-194),
  its practitioners decimated by the World Wars, became more
  sportive in form.
  In the late 20th century, two developments exerted a
  major influence on European martial arts. The first was an
  increase in academic interest in the martial arts of medieval
  and Renaissance Europe, accompanied by the appearance of
  hobbyists who wished to replicate those arts. The second was
  the rapid spread of mixed martial arts (p. 189). Today’s
  Europe is a cultural swirl of martial arts, with traditional
  armed and unarmed European arts, Asian imports, and the
  increasingly popular mixed martial arts among its mosaic of
  styles.
  BEYOND WESTERN EUROPE
  Many Eastern European and Middle Eastern nations had
  or have their own martial arts. These styles receive less detail
  here only because they are for the most part either defunct
  or extremely new.
  18
  HISTORY
  
  Middle East
  Islamic warriors fighting against the Crusaders devel-
  oped Furusiyya (pp. 159-161): a style of mounted combat
  that combined horse archery with close-in tactics. Its main
  practitioners were the Mamluks, who first served as soldiers
  in Egypt and then ruled there.
  Wrestling has long been popular in Iranian and Turkish
  culture. Legendary heroes wrestled demons. Rulers kept
  famous wrestlers at their courts, and sometimes wrestled
  themselves. A Turkish wrestling tournament, Kirkpinar, is
  said to be the oldest continuously running sporting compe-
  tition in the world, having been held since c. 1362. Both
  Turkey and Iran regularly send successful teams of wrestlers
  to international competitions.
  Today, the Arab states sponsor many sporting events.
  One of the biggest grappling tournaments in the world is
  that of the Abu Dhabi Combat Club (ADCC), which attracts
  competitors from all over the globe. This is no longer held
  exclusively in the Middle East, but grappling champi-
  onships remain popular there. In addition, most modern
  Arab states train their special-operations forces in the mar-
  tial arts.
  Israel
  Present-day Israel is an embattled state, surrounded by
  potential foes and in internal turmoil owing to deep ethnic
  and religious divides. This motivates many people to study
  a martial art for protection. A popular modern style native
  to Israel is Krav Maga (p. 183), developed by Imi Sde-Or
  (born Imi Lichtenfeld) on the basis of his experience fight-
  ing Nazi toughs on the streets of Prague in the 1930s. Krav
  Maga stresses pragmatic self-defense tactics – especially
  alertness, fight-avoidance, and improvised weapons – and
  learning simple techniques thoroughly.
  Russia
  The Russian Empire covered a vast territory and
  engulfed many cultures. Wrestling was popular throughout
  the region. It came in several varieties, including belt
  wrestling (each contender wore a thick belt and tried to grab
  his opponent’s belt and throw him), shirt wrestling, and free
  wrestling.
  In the 1930s, when Soviet culture was on the rise,
  Anatolij A. Kharlampiev, Viktor A. Spiridonov, and Vasilij S.
  Oschepkov synthesized Sambo (p. 185) from many indige-
  nous wrestling styles and Judo. Sambo went on to become
  the official martial art of the USSR. Aside from Sambo, only
  Judo – as an Olympic sport – enjoyed official sanction.
  Sambo practitioners have often done well in Judo and
  mixed martial arts competitions. Other martial arts have
  made inroads in the post-Soviet era, but Sambo’s roots are
  firmly established and it remains Russia’s signature fighting
  style.
  HISTORY
  19
  AFRICA
  Few people regard Africa as a hotbed of martial arts, but
  in fact the earliest verifiable evidence of the martial arts
  comes from ancient Egypt. Other African fighting styles are
  poorly known outside their homelands. It’s clear that fierce
  warriors wielded spears and sticks with great skill through-
  out African history, however.
  Ancient Egypt
  Paintings on the walls of a tomb at Beni Hasan, dating to
  1950 B.C. or even earlier, constitute the oldest known record
  of the martial arts. The frescoes depict wrestlers using holds
  that modern grapplers would recognize. These might have
  been for teaching – an early wrestling “manual” – or for
  artistic purposes.
  Friezes on the walls of other Egyptian tombs show men
  and boys fighting with sticks before the pharaoh. It isn’t
  clear whether this depicts a sport, training for war, or an
  exhibition for the pharaoh’s entertainment. What is clear is
  that the Egyptians had their own martial arts, and that
  training and practice were a spectator sport for kings.
  In a cinematic campaign, adventurers might plumb the
  depths of a musty Egyptian tomb searching not for funerary
  treasures but for the lost teachings of an ancient martial-
  arts master!
  The Zulus
  In the 19th century, the Zulus were pastoral herders liv-
  ing in southern Africa. They built an empire after the rise of
  a new king, Shaka. Shaka organized his warriors into disci-
  plined regiments. His army developed a new method of
  spear fighting that used not only the traditional javelin but
  also a short spear for stabbing. Decades later, the Zulus dealt
  Britain a catastrophic defeat at the battle of Isandlwana.
  Subsequent battles proved disastrous for the Zulus, but
  their victory at Isandlwana cemented their reputation as
  fierce opponents.
  Stickfighting
  Many African tribes retain a tradition of stickfighting as
  both a sport and (until recently) a combative art. In some
  cases, fighters wear padding and wield whippy sticks; in
  others, they wear no protection and use heavy knobbed
  clubs. There are both one-stick and two-stick styles; two-
  stick styles use the off-hand stick for parrying. Some tradi-
  tions eschew parrying and simply alternate strikes until one
  fighter gives in from the pain. Defending in such a contest is
  considered cowardly and weak! Whether African stickfight-
  ing traditions stretch back to those of ancient Egypt or are
  independent local developments isn’t known.
  
  THE NEW WORLD
  20
  HISTORY
  Asian and European martial arts made the long trek to
  the New World along with immigrants from their home-
  lands – often acquiring a distinctive flavor along the way.
  You can find martial artists from Canada to Argentina, but
  Brazil and the U.S. are home to the most active
  communities.
  BRAZIL
  Brazil, the largest nation in South America, is also the
  point of origin of two widely known martial arts: Capoeira
  (pp. 153-154) and Brazilian Jiu-jitsu (pp. 167-168). Both can
  trace their origins to Old World styles.
  Capoeira developed from a fusion of styles, most from
  Africa but possibly including Savate (pp. 193-194). Largely
  practiced as a sport outside of Brazil, it originated as a com-
  bative form practiced by slaves. Even in modern
  times, streetfighters use it to settle differences.
  Brazilian Jiu-jitsu originated with the
  Gracie family. They learned Jujutsu (pp. 166-
  168) and Judo (p. 166) from a Japanese immi-
  grant and then applied their own experience to
  those teachings. The Gracies tested and
  refined their art in numerous no-holds-barred
  matches, called vale tudo (“anything goes”) in
  Portuguese. Vale tudo makes an excellent
  venue for a campaign centered on competitive
  martial artists; see The Contender (p. 250).
  UNITED STATES
  The earliest martial arts in the U.S. were
  boxing and wrestling, which have origins that
  long predate the colonization of America.
  During the 19th century, these were popular
  pastimes among the poorer strata of society.
  Lawmakers often outlawed prizefights, but
  this simply drove them underground or led to
  bizarre legal dodges such as paying an
  “appearance fee” at a bar, charging customers
  a “membership fee” for a one-night-only pri-
  vate club, or staging bouts on barges or at
  unadvertised locations along a train route.
  Today, American boxing and wrestling have a
  dedicated following in the U.S. and worldwide.
  Few martial arts claim the U.S. as their
  point of origin, and even those that do – for
  instance, Hawaii’s Kajukenbo (p. 168) and
  California’s Jeet Kune Do (pp. 164-165) – can
  trace their development from Asian arts.
  Contact with America has changed many mar-
  tial arts, though. The present-day U.S. has an
  eclectic collection of martial arts; look hard
  enough and you can find almost any style
  within its borders. Asian styles and mixed
  martial arts are especially common. This
  makes the U.S. a hotbed of martial-arts
  development.
  The wealth of the modern U.S. means that even the
  smallest town can support one (or more!) martial-arts
  schools. It’s common for parents to send little Taylor and
  Ashley off to the local dojo to get fit, learn confidence and
  self-defense, and “get better grades.” Today, training in the
  martial arts is no more unusual than playing baseball or
  football.
  The typical American school emphasizes tournament
  fighting, forms, and kata. Some academies hold an unusu-
  ally large number of promotional exams – almost everyone
  gets a black belt after a predictable time period. Derogatory
  terms for such a business include “belt mill” and “McDojo.”
  Other schools work on a tiered system, training most stu-
  dents in the art form but teaching a select few the entire
  combat style, either to preserve the tradition or to produce
  competitors for no-holds-barred bouts.
  Women in the Martial Arts
  Nature, nurture, or a combination of the two . . . whatever the 
  reason, it’s a historical fact that most of the combatants in humanity’s
  wars have been male. Thus, it isn’t especially surprising that men 
  have dominated the martial arts since their inception. This certainly
  doesn’t mean that women don’t practice or teach martial arts!
  Women have been martial artists for much of recorded history.
  Greek legends described the Amazons, reputed to be unrivalled as
  archers. Early tales of Celtic hero Cu Chulainn told of a female war-
  rior. Both no doubt had some basis in fact. Muslim traveler Ibn
  Battuta wrote of women warriors in Southeast Asia. The naginata is
  famous as the weapon of Japanese noblewomen – both for fitness and
  defense in wartime – and in the 1930s was taught to schoolgirls.
  Several martial arts – notably Wing Chun (pp. 203-204) and one
  form of Pentjak Silat (pp. 189-191) – claim a female founder in their
  legendary history. Tradition has it that Wing Chun is named after the
  woman who founded it, and that the Silat style was invented by a
  woman who observed two animals fighting. Neither origin is verifi-
  able, but these styles certainly attract numerous female martial
  artists. Silat, especially, prides itself on female participation and has
  many women students and masters. Kalaripayit (pp. 168-169), too,
  has legends of female practitioners and instructors. Again, it’s difficult
  to verify these but they clearly show that the art isn’t solely for men.
  Many modern schools are open only to women or hold women-
  only classes. This is somewhat controversial. For artistic styles, it’s of
  little consequence. For combat or self-defense styles that might be
  used against men, however, it’s a valid argument that practicing only
  against women leaves out an essential element of training: employing
  techniques against opponents of the type you’re likely to face in an
  actual conflict. Suggesting that a women-only school produces poor
  or incomplete martial artists is a good way to start a fight, though!
  In the sports world, competitive Judo has a women’s division that
  features many competitors at the Olympic level. Mixed martial arts
  and professional boxing and wrestling have women’s tournaments,
  too, and participation levels have grown steadily. In Japan, local
  Kyudo (p. 181) and Kendo (p. 175) schools and clubs are co-ed, and
  women and men sometimes compete head-to-head.
  
  SOME FAMOUS
  MARTIAL ARTISTS
  HISTORY
  21
  Below are short biographies of some important figures
  from martial-arts history, arranged chronologically to give a
  sense of the evolution of the fighting arts.
  Milo of Croton (6th Century B.C.)
  Milo was born in the 6th century B.C. in the Greek colony
  of Croton, in southern Italy. A prodigiously strong wrestler, he
  rose to prominence at the 60th Olympic Games (540 B.C.). He
  won at least 32 major wrestling contests – including six
  Olympic crowns – over a career spanning more than two
  decades. His attempt to win a seventh crown failed when his
  younger opponent (also from Croton) made it a contest of
  endurance and refused to close with the more powerful Milo.
  Despite his age, his rivals still feared his massive strength!
  Milo was famously strong and large – it’s said that he car-
  ried a bull calf around on his shoulders daily to strengthen his
  muscles, finally eating the bull when it reached adulthood
  four years later. Due to this feat, some credit him as the father
  of progressive resistance exercise. Milo also performed feats
  of strength and balance. He challenged people to move him
  from a precarious perch atop an oiled discus, or to bend his
  fingers or arm, and could burst a band stretched around his
  temples by inhaling. Legend has it that Milo himself carried
  and placed the great bronze statue dedicated to his Olympic
  victories.
  Detractors made Milo out to be a buffoon, a glutton, and a
  man who thought with his muscles. He wasn’t simply a
  wrestler, though – some sources claim that he was a disciple
  of Pythagoras (and once saved his life by holding up a falling
  roof), a man of political influence, and a brave warrior
  respected by his fellow soldiers. According to legend, he died
  of hubris: finding a partially split tree stump held open by
  wedges, he tried to tear it apart with sheer strength but the
  wedges fell out and his hands were trapped. Helpless, he was
  devoured by wild beasts. This legendary death features promi-
  nently in the many statues and paintings immortalizing Milo.
  Theogenes of Thasos (5th Century B.C.)
  Born on the island of Thasos in the early 5th century B.C.,
  Theogenes was a boxer and pankrationist of legendary skill.
  A full-time athlete, he traveled widely to compete. He pur-
  portedly won between 1,200 and 1,400 bouts. These included
  23 major contests, among them two Olympic crowns – one in
  boxing, one in pankration – and a “double victory” at Isthmus
  (winning boxing and pankration in the same day). Some
  sources claim that he killed or disabled most of those he
  defeated. True or not, his rivals feared him: he won at least
  one boxing competition because his opponents chose to with-
  draw rather than face him!
  Theogenes was famously arrogant, aggressive, and con-
  cerned with personal honor. He named his son “Diolympos”
  – “twice at Olympia” – to commemorate his Olympic victo-
  ries. He also had a reputation for competitiveness, and once
  challenged his guests at a feast to fight him at pankration.
  Trying to win at both boxing and pankration at the 75th
  Olympiad, Theogenes lost to his best opponent only after
  exhausting him and forcing him to default in the final match.
  The judges felt that Theogenes had deliberately undercut his
  opponent’s chances for victory, fined him one talent (enough
  to pay at least 6,000 soldiers for a day!), and sternly rebuked
  him. He apparently took this in stride, as he continued to
  compete for many years.
  Upon his death, Theogenes was enshrined like a god, com-
  plete with a statue hollowed out to hold donations. This relic
  acquired a reputation for miraculous healing. Theogenes was
  one of the first professional martial artists – he built his
  career entirely around fighting in contests and lived off his
  prize money.
  William Marshal (1146-1219)
  William Marshal was born c. 1146, the son of John
  Marshal – a middle-class knight and tender of the king’s 
  horses. Squired to another knight at age 12, he was himself
  knighted just before battle at age 20. William fought ably in
  his first battle. He went on to fight in dozens of tournaments
  and melees, and was more often than not victorious.
  William served under four English kings, including Henry
  II and Richard I. He once put down a rebellion by Richard
  while in the service of Henry, but Richard so admired
  William’s valor and loyalty that he granted him lands and a
  command upon becoming king. William also went on a cru-
  sade to the Holy Lands, where he fought for five years.
  William was a paragon of knighthood: humble, well-
  spoken, honorable, and a noted leader of men. He was loyal
  to his king, brave, and dedicated. He was also a terrifically
  skilled fighter, a loyal companion in battle (and in the taverns
  afterward!), and fond of jousts. Like most Western martial
  artists, he claimed no particular school or master. He was
  skilled with knightly weapons (sword, lance, and mace), an
  expert horseman, and – based on what’s known of his time
  period – almost certainly an adept wrestler, capable of han-
  dling himself unarmed as well as armed.
  William’s fearsome combat skills apparently waned little
  with age. He fought in battles and tournaments, and put down
  rebellions against his lord, right up until his death. At age 73,
  he led a charge against rebelling knights. He took three dents
  to his helm and personally fought the rebel commanders
  hand-to-hand. He died not in battle but of natural causes.
  Musashi Miyamoto (1584-1645)
  Born in the village of Miyamoto, Mimasaka province,
  Japan in 1584, Shinmen Musashi no Kami Fujiwara no
  Genshin – better known as Musashi Miyamoto – was the son
  of a samurai with a long and honorable lineage. His father
  either left or was killed, and his mother died, leaving
  Musashi an orphan in the care of a local priest.
  
  Musashi was a precocious martial artist. Large for his
  age and prone to violence, he slew his first man in single
  combat at age 13, throwing his sword-armed opponent to
  the ground and dashing in his head with a stick – foreshad-
  owing a tactic for which he would later become famous. At
  age 16, he joined the Ashikaga army in their fight against
  Tokugawa Ieyasu at the battle of Sekigahara. Musashi chose
  the losing side but survived both the battle and the subse-
  quent hunting down and massacre of the defeated army.
  Musashi then began his “Warrior’s Pilgrimage.” He trav-
  eled around Japan, honing his sword skills and fighting any-
  one willing to meet him in mortal combat. He was utterly
  single-minded about the martial arts. He left his hair uncut
  and took neither a wife nor a job. His sole concern was per-
  fecting his art, and he thought only of battle. It’s said that he
  wouldn’t bathe without his weapon close at hand, to prevent
  enemies from taking advantage. He was eccentric, and
  showed up to more than one duel so disheveled and behav-
  ing so oddly that it unnerved his foe.
  Musashi fought in six wars and hundreds of single com-
  bats until about age 50. A legend in his own time, he features
  prominently in stories from all parts of Japan. For instance,
  practitioners of Jojutsu (p. 192) proudly tell the tale of how
  their founder lost to Musashi and went on to perfect a style
  so powerful that even Musashi couldn’t defeat him!
  After his pilgrimage, Musashi adopted a son and became
  a teacher, commander, and advisor at the court of a daimyo
  on Kyushu. He fought in even more battles, acted as a gen-
  eral and sword instructor, and took up painting and wood-
  carving. In his final years, he left the court and lived alone
  in the mountains, contemplating the ways of the sword and
  of strategy. Shortly before his death, he wrote Go Rin No
  Sho, or “A Book of Five Rings,” in which he expounded that
  strategy and swordsmanship were identical.
  Musashi is best known for the style of Kenjutsu (pp. 173-
  175) he created, Hyoho Niten Ichi Ryu. He felt that fighting
  exclusively with two hands on a single sword was limiting,
  and espoused fighting with long and short swords simulta-
  neously. Musashi did not himself use actual swords often –
  his preferred weapon was the bokken, or wooden training
  sword. His record of success in duels leaves little room to
  debate its deadliness. Musashi even fought duels with
  improvised clubs made from tree branches or oars.
  Musashi was a ferocious fighter in his youth, ruthlessly
  killing his foes regardless of age, skill, and social position. In
  his later years, though, he became less bloodthirsty and was
  widely regarded for his great skill in Kenjutsu, earning the
  name Kensei, or “sword saint.”
  George Silver 
  (Late 16th/Early 17th Century)
  George Silver was a Master of Defence in late 16th- and
  early 17th-century England. He’s best known for his written
  attacks on foreign martial-arts masters – notably those
  teaching the popular new dueling weapon, the rapier. He
  wrote two treatises on the subject. Paradoxes of Defence was
  published in 1599. The manuscript for Brief Instructions on
  My Paradoxes of Defence remained in a museum collection
  until finally published in 1898.
  Silver epitomized the Master of Defence. Of humble ori-
  gins and by most accounts literate and well-spoken, he was
  a master of all of the requisite weapons of personal combat
  and war. He honed his skills with constant training and test-
  ed them against other masters in open matches. Silver was
  confident of his ability to defeat any foe with any combina-
  tion of weapons. The Italian rapier masters teaching in
  England rebuffed or ignored his many challenges, however.
  Silver felt that the rapier masters’ emphasis on the thrust
  was dangerous thinking. He acknowledged that a thrust
  through the body could kill, but pointed out that it wasn’t so
  immediately disabling that the victim couldn’t return the
  favor before falling! He favored a weapon that could deal
  cuts severe enough to cripple an opponent’s limbs, effective-
  ly neutralizing him. His writings are often strident defenses
  of a combat form on its way to becoming outmoded and
  unfashionable, but they’re also the work of a true martial-
  arts master who sought to prepare his readers for battle in
  all its forms.
  Wong Fei-Hung (1847-1924)
  Wong Fei-Hung was a physician and martial artist in
  Canton province, China. He was born in 1847, the son of
  Wong Kei-Ying – one of the famous Ten Tigers of Canton, a
  group of top martial-arts masters. Wong Kei-Ying traced his
  own martial-arts lineage – from his sifu (master) to his sifu’s
  sifu – back to the Shaolin Temple’s scattered masters.
  As a physician, Wong was known for his compassion and
  skill. He would treat any patient, rich or poor. As a martial
  artist, he was credited with developing the Tiger-Crane form
  of Hung Gar Kung Fu (p. 163). A political revolutionary as
  well, Wong participated in a mass protest against the gover-
  nor of Fujian province, which was brutally crushed. He fled
  to Canton, where he married several times and lived a quiet
  life until his death in 1924.
  After Wong’s death, Woshi Shanren wrote a series of pop-
  ular novels about his life. Wong was also the main character
  in many Peking Opera productions and over 100 movies.
  Many actors have portrayed him, including Kwan Tak-Hing
  (who played him in most of those movies), Jet Li, Sammo
  Hung, and Jackie Chan. Wong’s abilities and deeds grew in
  the retelling. He became a full-fledged folk hero, credited
  with fighting off scheming Triads, defeating secret plots, and
  standing up for China against rampant European colonial-
  ism. His name is instantly recognizable in Chinese cinema –
  complete with a theme song, a statue in his honor, and still-
  growing legends of his exploits.
  John L. Sullivan (1858-1918)
  John Lawrence Sullivan was born to Irish immigrant
  parents in Boston, Massachusetts on October 12, 1858. By
  1880, he had started fighting, first in exhibitions (usually
  with gloves) and then in prize rings (with gloves, kid gloves,
  or bare knuckles). At the time, prizefighting was illegal and
  promoters nonexistent. The fighters’ backers put up the
  prize money and side bets. Spectators paid admission and a
  hat was passed to gather money for the fighters. Police often
  interrupted the bouts, which were as a result frequently
  staged in undisclosed locations (once even on a barge!).
  22
  HISTORY
  
  Sullivan stood 5’10” and weighed just under 200 lbs. in
  fighting trim. He sported the long handlebar mustache of
  his era and wore his dark hair short to prevent hair-pulling
  in the ring. He was the stereotypical celebrity athlete. He
  drank heavily, womanized, and partied, and saved little for
  the future. He took crazy dares, shot off guns, and once even
  ran into a burning building to help salvage furniture. He
  could also be generous, offering money or goods to those in
  need.
  Sullivan fought under the loose London Prize Ring rules,
  which featured untimed rounds and allowed standing grap-
  ples, throws, and bare knuckles; in fact, he was the last of
  the bare-knuckle champs. Later, he became the first prize-
  fighter to accept the Marquess of Queensbury rules – the
  forerunner of today’s boxing regulations. Whatever the
  rules, he wasn’t a finesse fighter. He ran down his opponents
  with his famous bull-like rushes and defeated them with
  ferocious strength. He participated in 47 prize bouts, with a
  record of 43-3-1. He fought in a match in France and one in
  Canada, and in hundreds of exhibitions.
  In 1889, just outside New Orleans, Sullivan fought in the
  last great bare-knuckle boxing championship. He accepted
  the bout while he wasn’t in top form, and hired a noted
  wrestling and boxing coach to whip him into shape for the
  reported sum of $10,000! It was money well-spent. Sullivan
  knocked out his opponent, Jake Kilrain, after 75 brutal
  rounds under the London Prize Ring rules. This was also
  Sullivan’s greatest moment; he lost his next bout to James J.
  Corbett, a young fighter known for a bobbing, weaving, and
  ducking style that would soon characterize all prizefighting.
  Although Sullivan would win one more bout under the
  Marquess of Queensbury rules, his career as a boxer was
  over.
  Sullivan died of a heart attack on February 2, 1918.
  Funakoshi Gichin (1868-1957)
  Funakoshi Gichin was in many ways the father of the
  modern sport of Karate. Born in Okinawa in 1868, at the
  dawn of the Meiji Restoration, he was a small and weak
  child. One of his classmates was the son of a Te (pp. 169-
  170) instructor, and Funakoshi took lessons – at night and in
  secret, since instruction was still illegal. His health
  improved, and this turned out to be the first step in what
  would later become his way of life.
  Funakoshi sat for and passed the entrance exams for
  medical school, but furor over his samurai-class topknot led
  him to withdraw his application. He later cut off his topknot
  and became a schoolteacher, drawing on his early education
  in Chinese classics. Funakoshi continued to study martial
  arts at night under Azato Yasutsune. Azato was strict,
  requiring his student to repeat the same kata or drill until it
  was mastered before moving on to the next. Funakoshi went
  on to learn from several of Okinawa’s top Te instructors.
  In 1922, Funakoshi came to Japan as an official ambas-
  sador for Karate. He founded a dojo and called it and the
  style he taught there Shotokan (p. 170), after a nom de
  plume he used for his poetry (Shoto, or “Pine Wave”).
  Funakoshi was a great believer in the power of Te and the
  benefits of Karate as healthy exercise, and attempted to
  spread the practice of the martial arts to all. He was 
  peaceful, and taught that the martial arts should only be
  used for self-defense – and even then, only when one’s life
  was in danger. He had little tolerance for exaggerated tech-
  niques or myths about “fatal blows,” and regarded “iron
  hand” training as bunk.
  Funakoshi constantly refined and improved his style. He
  believed that each instructor should teach his own way and
  encouraged a diversity of Karate styles. Indeed, Shotokan is
  the forerunner of many modern Karate styles – including
  Kyokushin (pp. 171-172), founded by Funakoshi’s student
  Mas Oyama (p. 24). Funakoshi died in 1957.
  Ghulam Muhammad (“Gama”)
  (1878-1960)
  Ghulam Muhammad – better known as “The Lion of the
  Punjab” or simply “Gama” – was born in 1878 to Kashmiri
  parents in what was then India. Both he and his brother,
  Imam Bux, became wrestlers. Despite being a Muslim,
  Gama was accepted into Indian wrestling circles thanks to
  his enormous skill and power. By age 19, he stood 5’7” and
  weighed 200 lbs. He fought numerous matches against
  Indian opponents, defeating or drawing against them all
  and eventually defeating those capable of drawing against
  him.
  In 1910 (some sources say 1908), Gama traveled to
  Europe to wrestle. He engaged in several catch-as-catch-can
  wrestling matches against the best grapplers he could find.
  These included the 234-lb. American B.F. “Doc” Roller and
  the 254-lb. Pole Stanislaus “Stanley” Zbyszko. Zbyszko was
  unable to take the offensive but his weight advantage
  allowed him to sustain a draw after a match that lasted over
  two and a half hours. He didn’t show for the decision match,
  so Gama won the John Bull Belt by default.
  Gama returned to India, where he had become a celebri-
  ty. He met all comers, reigning undefeated as world cham-
  pion. Zbyszko fought Gama again in 1928 – this time in a
  traditional Indian dirt pit. Gama quickly disposed of him,
  throwing him in only six seconds and winning in 42
  seconds.
  Gama’s strength and endurance were legendary. Every
  day, he would rise hours before dawn – common practice for
  Indian wrestlers – and begin his routine of 2,000 dands (a
  kind of pushup) and 4,000 baithaks (deep knee bends). His
  skill was equally fearsome: few could take the offensive in
  matches against him, and those who tried lost more quick-
  ly than those who chose to delay. His combination of power,
  stamina, and ability was unmatched.
  Gama continued to wrestle until the India-Pakistan par-
  tition of 1947. He moved to Pakistan, losing his wealth, tro-
  phies, and state pension. He was unable to wrestle against
  champions because of the bitter political and religious
  divide the partition created. He died in 1960.
  William E. Fairbairn (1885-1960)
  William Ewart Fairbairn was born in England in 1885.
  He served in the Royal Marine Light Infantry from 1901 to
  1907. Upon leaving the military, he joined the Shanghai
  Municipal Police.
  HISTORY
  23
  
  In China, Fairbairn came into contact with Chinese and
  Japanese martial arts. As part of a SWAT-style “flying squad”
  called in to deal with troublemakers on a routine basis, he
  was able to put his training to immediate, practical use.
  Police records document his personal involvement in over
  600 altercations! Despite his famous toughness, Fairbairn
  didn’t escape unscathed – in fact, he once survived a beating
  by Triad hatchet men who left him for dead. This merely
  encouraged him to further develop his unarmed-combat
  abilities. He trained his men in “Defendu” – his own style,
  stripped down for quick instruction and effectiveness. In
  1940, he retired from his post.
  During World War II, Fairbairn was recruited to teach
  hand-to-hand combat to U.S. and British commandos, and
  to members of the OSS. Fairbairn and Eric Anthony Sykes
  (another member of Fairbairn’s Shanghai squad) developed
  a system of sentry removal and quick, ruthless tactics for
  dealing with German troops. They also developed a knife –
  the Sykes-Fairbairn commando knife – for use with their
  style. Colonel Rex Applegate of the OSS contributed to their
  style, too, as well as to the pistol, submachine gun, and rifle
  training used by these special-operations troops. Some of
  Fairbairn’s teachings were published in the book Get Tough.
  Fairbairn died in 1960.
  Oyama Masutatsu (“Mas Oyama”)
  (1923-1994)
  Oyama Masutatsu was born Yong I-Choi in Korea in
  1923. At age 15, he moved to Japan, hoping to become a mil-
  itary pilot. Life as a Korean in Japan was difficult, though,
  and his dreams of aviation fell away. He took the name
  Oyama after the family he lived with and began to train in
  Karate under Funakoshi Gichin (p. 23). He made rapid
  progress, having trained in Chinese martial arts while in
  Korea. He was a nidan (second-degree black belt) by age 18,
  when he joined the military.
  After World War II, Oyama started to study Goju Ryu
  (pp. 170-171). He also took up Judo (p. 166), achieving yon-
  dan (fourth-degree black belt) after only four years. Oyama’s
  life changed yet again after killing a knife-wielding attacker
  with a single strike to the head. Taking a life left him dis-
  traught. He supported the dead man’s widow and children
  by working on their farm until they were able to take care of
  themselves. He then retreated into the mountains for a year
  and a half, meditating and developing his martial arts in
  constant training.
  Oyama returned to civilization in time to win the first
  Japan-wide Karate tournament. In 1952, he toured the U.S.
  for a year, meeting all challengers, from all styles. He fought
  270 matches, winning most with a single, well-placed blow.
  Oyama believed that fancy techniques and stances were sec-
  ondary to power, and both his kicks and punches were
  strong. Word had it that if you failed to block him, you were
  defeated . . . but if you did block him, your arm was broken!
  For his incredible punching power, he became known as the
  “Godhand.”
  Oyama is also famous for bullfighting, although not in
  the traditional sense – he fought bulls barehanded, pitting
  his Karate against their brute strength. It’s said that he
  fought 52 bulls in total, killing three and striking off the
  horns of most of the others using only his hands. In 1957, he
  fought a bull in a public match in Mexico. The bull gored
  Oyama but he got off its horns . . . and then removed one of
  them with a sword-hand strike. Oyama was bedridden for
  six months, but upon recovery returned to fighting bulls and
  practicing the martial arts.
  Oyama founded Kyokushin (pp. 171-172) karate-do and
  established its first official dojo in 1956. Prior to this, he and
  fellow stylists gathered in a Tokyo field to practice with few
  holds barred, using open hands or towel-wrapped fists.
  Injuries were common and the dropout rate was prodigious.
  Over the years, Kyokushin has spread worldwide. Its train-
  ing isn’t nearly as brutal as Oyama’s early classes, but it still
  has a well-deserved reputation for turning out tough martial
  artists.
  Oyama died from lung cancer in 1994.
  Bruce Lee (1940-1973)
  Bruce Lee was born in San Francisco, California in 1940.
  His father – a popular entertainer – was in the U.S. to appear
  in a play. Bruce grew up in Hong Kong, however. By most
  accounts he was a good kid, if rambunctious; playful, but
  also hot-tempered and competitive. In his teens, he demon-
  strated ability as a dancer, winning a Hong Kong-wide cha-
  cha competition.
  Bruce’s introduction to the martial arts came from his
  father, who practiced T’ai Chi Chuan (pp. 200-201). Bruce
  preferred the more direct art of Wing Chun (pp. 203-204),
  and started training with Yip Man – an instructor from a
  long line of instructors. A talented and enthusiastic martial-
  arts student, Bruce also boxed for his high school. His tem-
  per got him into a lot of less-decorous fights with other teens
  around town, however. He often fought in full-contact chal-
  lenge matches held on rooftops or in alleyways, against both
  armed and unarmed foes. It was a run-in with the police for
  fighting that convinced his family to send him to the U.S. to
  finish school. He arrived in America in 1959. In 1964, while
  at college in Seattle, Washington, he married Linda Emery,
  one of his kung fu students.
  Soon after, Bruce began to teach martial arts full-time,
  opening what would become a chain of three schools. He
  had to turn away would-be students despite his high rates!
  He trained those of either sex and of any racial background.
  This caused quite a stir in the local Chinese community. A
  group of instructors offered Lee a formal challenge: cease
  teaching non-Chinese or face a duel. Bruce chose the duel
  and won handily, chasing his opponent around the room
  until he could force him to submit. Lee’s students eventual-
  ly included Kareem Abdul-Jabbar (seen in Game of Death),
  Lee Marvin, James Coburn, and Dan Inosanto.
  After his duel, Bruce was unhappy. He had won but felt
  that his style had been too inefficient to let him win as
  quickly as he should have. This led him to develop a more
  streamlined method of fighting, which became known as
  Jeet Kune Do (pp. 164-165): “the way of the intercepting
  fist.” Bruce drew on all of his martial-arts knowledge – box-
  ing, fencing, and especially Wing Chun – to develop his art.
  He eventually closed his schools because he felt that they
  were leading to a rigid style instead of the adaptive process
  he sought to create.
  24
  HISTORY
  
  Lee was a fanatical martial artist and an enthusiastic
  weightlifter, and jogged or ran daily. He also read books on
  martial arts, weight training, running, and anatomy. Never
  satisfied with his progress, he pushed himself and constant-
  ly sought out ways to work more efficiently. He paid a price
  for this enthusiasm: while doing a set of heavy back exer-
  cises without a proper warm up, he injured his sacral nerve.
  This sent him to the hospital and threatened to end his
  training permanently. Undaunted, Bruce spent his time in
  the hospital filling notebook after notebook with thoughts
  on the martial arts. In 1975, these notes would see posthu-
  mous publication as The Tao of Jeet Kune Do.
  Hollywood discovered Bruce Lee in 1966, while he was
  demonstrating his art at a Karate tournament. He was cast
  as “Kato” on the television show The Green Hornet. This
  wasn’t Lee’s first acting experience. From age six until his
  late teens, Bruce had acted in Hong Kong films. Lee found
  it hard to make an impact in Hollywood, though – the film
  business there was resistant to the idea of a Chinese star. He
  eventually moved to Hong Kong to make movies with
  Golden Harvest Productions.
  In Hong Kong, Lee was a tremendous success. His first
  movie, The Big Boss (called Fists of Fury in the U.S.),
  smashed all Hong Kong box-office records. Each of his two
  subsequent films, Fists of Fury (known as The Chinese
  Connection in America) and Way of the Dragon (titled Return
  of the Dragon in the U.S.), outdid the previous one. He did
  the fight scenes for a film to be called The Game of Death
  before a bigger project came along – Enter the Dragon.
  Near the peak of his fame, just after Enter the Dragon was
  filmed, Bruce Lee died suddenly. Suffering from a severe
  headache while visiting a friend, he took medication, laid
  down for a nap, and died in his sleep. Rumors were rife that
  his death was caused by poison, a drug overdose, or rival
  martial artists using secret “hand of death” techniques. The
  truth is more prosaic: the headache remedy he took triggered
  a cerebral edema, killing him. He had previously had a scare
  and a hospital visit for a similar drug reaction, but neither
  Bruce nor the friend who gave him the medication realized
  that it contained ingredients to which Lee was allergic.
  After Lee’s death, his popularity hit an all-time high.
  Enter the Dragon launched the action-movie genre, and
  interest exploded in Chinese martial arts and Asian martial
  arts in general. Hong Kong and Hollywood alike sought “the
  next Bruce Lee” but found no one who could match his on-
  screen charisma, fantastic fitness, and sheer skill. To this
  day, Lee memorabilia, books, and movies continue to sell.
  His legacy of influence over the martial arts in America is
  immeasurable.
  Bruce’s son, Brandon, was on his way to modest movie
  stardom of his own when he suffered an untimely death on
  the set of The Crow. Brandon was shot dead by a gun that
  was supposed to be firing blanks. While indisputably an
  accident, his death rekindled conspiracy theories about
  Secret Masters or angry Chinese martial artists out to
  destroy Bruce Lee and his legacy.
  Bruce is survived by his wife, Linda, and their daughter,
  Shannon.
  HISTORY
  25
  Myths and misconceptions heavily influence “common
  wisdom” about the martial arts. This comes as no surprise –
  the martial-arts world itself is full of unverifiable legends,
  misinformed students, wild claims, and bad data!
  BOARDS DON’T HIT BACK
  Tameshiwari is the art of using unarmed strikes to break
  things: boards, roofing tiles, blocks of ice, and even stones.
  It sometimes includes breaking flaming boards, shearing off
  the tops of beer bottles, and snuffing candles with the force
  of a blow. Tameshiwari is inextricably linked with Karate in
  the public mind – especially since many schools use it in
  flashy demonstrations and promotions. In reality, it’s a
  minor, fairly impractical aspect of the martial arts.
  Tameshiwari normally takes place under highly con-
  trolled conditions. Practitioners carefully select wood –
  most often pine – that is free of knots and has a clear grain.
  They choose tiles made of pottery known for its breakabili-
  ty and the fact that it doesn’t shatter into sharp, hand-
  shredding shards. There are many tricks involved, too –
  some of them legitimate “training wheels” for beginners,
  others the tools of unscrupulous showoffs. These include
  drying or baking boards to remove springiness; separating
  multiple boards with spacers to make them easier to break;
  and shaving ice blocks in half and re-freezing them with
  rock salt between the halves to conceal the flaw.
  Tameshiwari isn’t purely for show, though. Karate masters
  often teach their students to pull their punches and kicks in
  practice, to prevent injury. Tameshiwari represents an oppor-
  tunity to strike at full-force and prepare for actual contact.
  Asian styles aren’t the only ones to emphasize showy
  techniques. Greek wrestlers were fond of demonstrating
  their strength, balance, and dexterity. To show off their abil-
  ity without fighting, they would break rocks, stand on a
  greased shield while people tried to dislodge them, and so
  on. More recently, Western circus wrestlers and boxers took
  on all comers and paid out prizes to those who could stand
  against them.
  DON’T BRING A FIST TO A
  KNIFE FIGHT
  In the real world, fists are no match for weapons. If an
  unarmed martial artist faces sticks, knives, swords, etc., he’ll
  probably lose. Even if he’s victorious, he’s liable to be
  wounded.
  MYTHS AND MISCONCEPTIONS
  NEVER FIGHT UNARMED BY CHOICE
  – Ned Beaumont, Kill-As-Catch-Can
  
  GURPS reflects this reality. An armed fighter who par-
  ries a barehanded attack can injure his attacker (p. B376).
  An unarmed warrior who slugs a shield due to a successful
  block, or who strikes armor thanks to a failed defense, can
  hurt himself (p. B379). If these outcomes don’t seem severe
  enough, the GM can use Harsh Realism for Unarmed
  Fighters (p. 124) to raise the stakes. Because weapons don’t
  suffer these drawbacks – and enjoy superior reach, swing
  damage, and/or wounding modifiers – a weaponless fighter
  needs to be far more skilled (and lucky) than an armed
  opponent to win unscathed.
  Martial-arts fiction doesn’t always work this way. It often
  seems as if the bad guy who brings weapons to a fight ends up
  more vulnerable to the heroes’ punches and kicks! Armed
  flunkies serve only to give the heroes a chance to show off by
  deflecting arrows, snapping swords, and dodging ill-timed
  spear thrusts. Archvillains and important henchmen who
  wield weapons against unarmed heroes fare better – but the
  finale inevitably comes down to fists and feet. Those who
  enjoy this genre convention should consider using Unarmed
  Etiquette (p. 132).
  Movies where the heroes themselves are armed are an
  exception. Chambara movies delight in showing swordsmen
  gruesomely carving up unarmed foes, and wuxia movies often
  center on swordfighting. What matters is a fair contest – both
  sides armed or unarmed. And if an armed hero is disarmed
  and must fight barehanded, he’ll certainly be victorious.
  WHEN DO I 
  LEARN WEAPONS?
  Traditional martial arts either focused entirely on armed
  combat, emphasized barehanded techniques but included
  some weapons training, or balanced the two. European
  masters included wrestling in their armed styles. Filipino
  masters regarded sticks and knives as training tools, and
  taught advanced students the same techniques with bare
  hands. Only ancient sports styles minimized weapons train-
  ing – and even then, the participants, being able-bodied
  men, were expected to be adept at another, weapon-
  dominated style for war. In short, it’s historically inaccurate
  to segregate weapons from unarmed combat. Even today,
  there are parts of the world where it’s best to assume that
  martial artists are armed!
  This doesn’t prevent modern schools – especially those
  that teach art or sport forms – from reserving weapons
  training for top students, or restricting it to tournaments
  and demonstrations. Reasons for this include philosophy
  (“master your body first”), cost (weapons are expensive), and
  safety (even the “safest” training weapons are more danger-
  ous than bare hands). If a style is entirely weapon-based, it’s
  likely to be purely an art or sport form; e.g., Épée (p. 160) or
  Kyudo (p. 181).
  Even so, most modern military and police styles – and
  some weapon-based styles – do train in realistic conditions.
  Practitioners accept injuries as the cost of realism!
  And “martial-arts weapons” capture the popular imagi-
  nation from time to time even among those with no train-
  ing. Witness the nunchaku fad of the ’70s or the obsession
  with “ninja weapons” in the ’80s. This fascination some-
  times leads to weapons training in styles that weren’t meant
  to use weapons.
  MARTIAL ARTS AND THE LAW
  The martial arts – armed and unarmed – have had an
  interesting relationship with the law since the earliest days
  of both. At various points in history, certain regions have
  enforced laws restricting martial-arts training by class or by
  sex; banning weapons partly or completely; and even for-
  bidding unarmed training.
  In the modern world, unarmed fighting skills are rarely
  regulated. The use of fighting skills can sometimes result in
  difficulties with the law, though. As well, a jurisdiction that
  puts severe limits on the possession and use of firearms or
  knives is likely to extend those restrictions to “martial-arts
  weapons” – although one can usually carry them to and
  from martial-arts class unchallenged.
  26
  HISTORY
  Bad Reenactments
  A problem hardly unique to the martial arts is that
  of bad reenactments. Simply put, these are demon-
  strations of martial skills that don’t actually prove
  what they set out to establish. Most take one of two
  forms: the deliberately staged event or bad science.
  Deliberately staged events are pure showmanship
  – whether to entertain or to deceive – by masters who
  claim chi powers, incredible speed or skill, or other
  special abilities. Such demonstrations seem to occur
  under “real-life” conditions but actually involve pre-
  pared props and/or subjects trained or coached by
  the master, typically in carefully engineered situa-
  tions. Swords thrust into an iron throat might be
  flimsy “thunder blades” designed for showy looks
  and safety. Boards struck by a “power blow” might be
  baked to remove moisture, meaning they’ll snap
  under minimal pressure. The master might “knock
  out” cooperative students using pressure-point
  strikes or “push” them across the room using his chi
  powers. And so on.
  Bad science involves a methodical effort to prove
  or disprove a claim without genuine scientific rigor.
  If the objective is to demonstrate the impracticality of
  a technique, the weapons used might be inappropri-
  ate (e.g., a cheap replica) or wielded incorrectly (e.g.,
  using a broadsword with katana techniques). A test
  of chi powers might lack any kind of control group. A
  computer model that “proves” that certain martial-
  arts techniques can snap ribs or break necks with
  ease might assume impossibly ideal conditions. Such
  exercises often lack proper attention to the sources,
  making it easier to pass off flimsy claims and inaccu-
  rate numbers as true.
  Both types of bad reenactment help perpetuate
  false claims about the martial arts. Even successfully
  debunked myths can enjoy incredible vitality. Martial
  arts mythology is resilient . . . mostly because people
  want to believe in it!
  
  Martial Arts in Court
  Contrary to longstanding urban legend, black belts don’t
  have to register their hands as deadly weapons. This myth is
  traceable to publicity stunts before professional boxing
  matches and to outlandish claims made in the movies.
  Nowhere in the modern world is there a legal requirement
  for trained martial artists to register with the authorities.
  Martial-arts experience can influence the case against a
  defendant on trial for a violent crime, though. If he’s a mar-
  tial artist, he can expect investigators to bring up his back-
  ground in an attempt to show that he had the training to
  cause harm – or the knowledge and experience to show
  restraint. Major considerations include whether the initial
  attack was provoked, whether either party acted in self-
  defense, and whether the martial artist used “reasonable
  force.” Most jurisdictions allow lethal force only if a life is at
  stake. In the U.S., there’s precedent for considering an
  attacker’s martial-arts training in a self-defense claim; a
  court could even find that someone who shot an unarmed
  assailant he knew to be martial-arts master was acting in
  “self-defense.” On the other side of the coin, muggers have
  brought assault charges against victims who’ve fought them
  off – and the more injured they look in the witness box, the
  better the chance of convincing a jury.
  In the eyes of the law, the best policy is to avoid a fight.
  If you can’t, then “reasonable force” – such as restraining
  your attacker without harming him – is second-best. In such
  a situation, the police might opt not to intervene or simply
  to send everybody home: no harm, no foul. Unnecessary
  force – for instance, striking a drunk and stomping him after
  he hits the ground, or using any weapon against an
  unarmed man – is an excellent way to attract serious police
  attention in even relatively lawless parts. Macho posturing
  isn’t a great way to avoid legal trouble, either. Remarks such
  as “Even with that knife, he didn’t have a chance against
  me!” and “I could kill a guy in three seconds
  flat!” aren’t conducive to a successful
  defense.
  Ultimately, the police, magistrates,
  judges, jury, etc., who examine the events
  leading up to a fight or an assault may or
  may not see things from the martial
  artist’s perspective . . . and it’s their judg-
  ment that counts. Lethal force or even
  unnecessary nonlethal force can mean
  prison time. The GM should keep all this
  in mind if the PCs in a modern-day cam-
  paign get too “karate happy.”
  These considerations might not apply
  in historical or fictional settings. In some
  game worlds, the nobility might possess
  absolute, life-and-death power over com-
  moners. A commoner striking a noble,
  however lightly, might receive a death
  sentence. A noble killing a commoner to
  test his new sword technique might be
  guilty only of showing off – or at most of
  damaging another noble’s property by
  slaying a valuable peasant.
  Teaching
  Through most of history, all that a would-be teacher
  needed was the will to hang out a shingle. Instructors thus
  varied greatly in terms of skill, teaching ability, enthusi-
  asm, and fees. Of course, if dueling was legal, the
  unskilled were unlikely to risk claiming mastery unless
  the money was excellent. But where dueling was illegal or
  looked down upon, and the martial arts rarely saw use in
  anger, false masters flourished alongside true ones.
  In some times and places, though, martial artists did
  require a license to teach. For instance, in medieval and
  Renaissance Europe, those who wished to sell instruction
  sometimes needed a royal charter – which in turn
  required them to produce certification of their mastery.
  No such legal requirements exist today, but modern fight-
  ers must often join a federation or an organizing body in
  order to compete.
  Separate from the issue of “who’s a master” is the mat-
  ter of injury – physical, psychological, or social.
  Historically, if a student suffered injury or was shown to
  be less skillful than his reputation demanded, the master
  could lose noble patronage or social approval. The teacher
  might face the law if he struck a social superior – even in
  training. Worries of modern teachers include insurance,
  lawsuits (for injury or harassment), half-hearted students,
  and concerned parents. Any of these things could lead to
  watered-down techniques, emphasis on Combat Art skills,
  and non-contact training.
  Lastly, an instructor might not wish to teach just 
  anyone lethal techniques for fear that an irresponsible
  student might use them unnecessarily, resulting in legal
  consequences! This was a serious concern for historical
  masters, and a realistic (and relatively benign) reason to
  apply the “Trained by a Fraud” lens (p. 145) to a style.
  HISTORY
  27
  Style™
  The names of many martial-arts styles – e.g., Hwa Rang Do (pp. 163-
  164) and Shorinjikempo (see Kempo, pp. 172-173) – and schools (such as
  Dog Brothers Martial Arts, mentioned under Escrima, pp. 155-156) are
  trademarked. Martial Arts doesn’t append the trademark sign (™) because
  this isn’t a legal requirement for a game. What the law does require is that
  those who sell martial-arts instruction under these names have the
  trademark-holder’s permission.
  There’s a good reason for this. Historically, the first fake teacher proba-
  bly set up shop 15 minutes after the first real one. Today’s laws protect busi-
  ness from this kind of theft. Of course, a trademark sign says nothing about
  the quality of the martial art. Trademark law protects the fraud who wants
  to keep competing scam artists off his turf as well (or as poorly) as it pro-
  tects the true master.
  Historical style founders would have adopted trademarks if they could
  have – especially the frauds! Such self-promoters as E.W. Barton-Wright
  (see Bartitsu, p. 167) would have appreciated the veneer of legitimacy 
  that a legal trademark provided back when such things still impressed the
  masses. In the absence of such protection, warrior and swindler alike had
  to resort to more direct action if they wished to defend against misuse of
  their good (or at least popular) name . . .
  
  Jon Gilbey shouted, “No, Adrian. The high guard!” Less
  loudly, “Whatever possessed me to teach a girl?”
  Adrian smiled sweetly and repositioned her splintery
  waster. “The fact that Tom would teach me if you would not?”
  Jon blushed and then focused on the business at hand.
  “Here we go,” he said, swinging his wooden blade. “One, two,
  three!”
  Adrian parried expertly.
  Jon nodded approvingly. “Again! One, two – ow!”
  Adrian’s weapon snaked past Jon’s and knocked him on the
  head. Adrian smiled again. “You said not to be predictable.”
  Jon rubbed his head. “Oh, you aren’t. I wonder often which
  of us is the teacher here.”
  Any adventurer might know a few combat skills and be a
  capable fighter, but these things alone don’t make him a
  martial artist. A true martial artist strives to master a system
  of fighting arts. He’s dedicated to physical, mental, and pos-
  sibly spiritual self-improvement in pursuit of that goal. He
  probably started training as a youth and has devoted far
  more than just his free time to learning and practicing his
  craft since then.
  Such a lifestyle is usually only practical for those who are
  cloistered . . . or skilled enough to work as professional
  fighters, coaches, or instructors . . . or fortunate enough to
  be independently wealthy or have a generous patron. To
  hold a normal job and still be an accomplished and recog-
  nized martial artist requires almost fanatical determination!
  In game terms, the GM would be within his rights to forbid
  Laziness to such characters, require high Will, and perhaps
  even make one or more of Fanaticism, Obsession, and
  Workaholic mandatory.
  On the other hand, law enforcers, soldiers, and others in
  occupations that bring them into contact with physically
  hostile individuals commonly learn to fight as part
  of their job. And anyone might take self-
  defense lessons or practice a sportive
  martial art to stay in shape. Such
  people aren’t full-time martial
  artists like those discussed
  above, but they can justify
  being familiar with a fighting
  style and knowing its core skills
  and techniques – especially
  since their teachers often are
  career martial artists, support-
  ing themselves by tutoring.
  Martial Arts supports both
  kinds of characters. The differ-
  ence has to do with focus, not
  with who would win in a fight. A
  career martial artist should put
  most of his points into ST, DX,
  HT, physical advantages, and his
  style’s skills and techniques. A
  part-time student can certainly
  be in similar physical shape. He
  might be a good fighter, too –
  maybe better than a dedicated
  athlete, when it comes to playing
  for keeps. He’ll have fewer points
  in martial-arts abilities, though,
  and probably no points in his
  style’s cinematic or optional traits
  (see Chapter 5).
  28
  CHARACTERS
  CHAPTER TWO
  CHARACTERS
  
  POWER LEVEL
  The power levels discussed on p. B487 remain valid for
  both part-time and full-time martial artists. Some
  guidelines:
  Feeble (under 25 points): No successful career martial
  artist will have so few points! Those in other professions
  will need their points for job skills – they won’t have
  enough left over for martial-arts abilities. This level best
  suits the legions of hopeless goons that action heroes wade
  through in martial-arts movies.
  Average (25-50 points): Too low for a dedicated martial
  artist other than a youth who’s just starting out. “Ordinary
  folks” at this level can spare a point or two for martial-arts
  lessons, but dangerous occupations that include martial
  arts as on-the-job training remain out of reach.
  Competent (50-75 points): This is probably the lowest
  level where a dedicated martial artist can work as an
  adventurer – and only if he takes a few disadvantages and
  focuses exclusively on the martial arts. Green military or
  police recruits will have enough points to cover their basic
  job skills and still learn the rudiments of a martial art.
  Exceptional (75-100 points): At this level, it’s possible to
  create a respectable career martial artist, although being a
  “star” requires extra points from disadvantages and leaves
  little room for other skills. A cop, soldier, etc., could be
  good at his job and have enough points left over to be com-
  petent at the martial arts, too.
  Heroic (100-200 points): Most famous real-world mar-
  tial artists are at this level. If they focus on the martial arts,
  they’ll be very good – but many spread their points across
  abilities useful for acting, teaching, or writing. Individuals
  in other professions will have enough points to perform
  solidly at a job and a martial art. This level is ideal for real-
  istic Martial Arts games. It lets the PCs be capable without
  being godlike or one-dimensional.
  Larger-than-Life (200-300 points): As the Basic Set says,
  this level suits the leading roles in kung fu movies! Those
  with ordinary jobs can afford to be world-class in their
  field and heroic martial artists. Both character types are
  only borderline-realistic, but this is a good starting level for
  cinematic Martial Arts games and action-movie
  campaigns.
  Legendary (300-500 points): Any character who starts
  out this powerful and has more than a few points in
  martial-arts skills will be an adept martial artist – even if
  ostensibly something else – unless intentionally designed
  to be physically incompetent. This level is suitable for style
  founders and the heroes of wuxia and chambara movies.
  Superhuman/Godlike (500+ points): This is the realm of
  comics and video games, where “martial arts” is often code
  for “super-powers.” Superhuman attributes and exotic
  advantages don’t have to overshadow skills, though. By
  requiring the PCs to spend their many points on believable
  attribute levels and mundane traits, with the only excep-
  tions being cinematic martial-arts skills and the special
  advantages in this chapter, the GM can run a campaign
  that’s truly superheroic but nothing like “mutants in
  tights.”
  REALISM LEVEL
  Few fields are as fertile ground for extravagant claims as
  the martial arts. Such claims, in turn, drive skeptics to doubt
  even believable, well-documented feats, further obscuring
  matters. Fortunately, the GM has the final say about what’s
  “real” in his campaign – which is as important as the power
  level.
  Realistic Martial Artists
  Realistic martial artists are limited to normal human abil-
  ities. Attribute scores above 15 should be rare – and DX, IQ,
  and HT can’t exceed 20 in any event. ST might go past 20, but
  the GM may restrict such scores to practitioners of styles that
  emphasize bulk (e.g., Sumo, pp. 198-199). The GM should
  strictly enforce secondary characteristic limits, too:
  • HP and FP can’t vary by more than 30% of ST and HT,
  respectively.
  •Will and Per can’t exceed 20 or be lowered by more than
  four levels.
  • Basic Speed must stay within ±2.00 of its calculated
  value.
  • Basic Move must remain within ±3 yards/second of its
  base value.
  Only mundane advantages and disadvantages are allowed;
  those labeled exotic 1 or supernatural 5 are off-limits.
  Mundane traits described as “cinematic” – Enhanced
  Defenses, Gadgeteer, Gizmos, Gunslinger, Rapier Wit,
  Trained by a Master, Weapon Master, etc. – are also forbid-
  den. The GM might even wish to rule out such borderline-
  supernatural advantages as Danger Sense, Daredevil,
  Empathy, Luck, and Serendipity.
  The above restrictions weaken somewhat in TL8+ cam-
  paigns. Steroids, surgery, and so on can grant “superhuman”
  physical abilities even in realistic settings. GURPS Bio-Tech
  is indispensable for such games.
  Realistic PCs can’t learn skills that have prohibited advan-
  tages as prerequisites. This eliminates all cinematic martial-
  arts skills (for a list, see Trained by a Master, p. 48) and magic
  spells. It would be reasonable to forbid skills that produce
  supernatural effects, too, such as Alchemy, Enthrallment,
  Exorcism, Herb Lore, Musical Influence, and Ritual Magic.
  Realistic martial artists can have any point total the GM
  likes . . . but as suggested under Power Level (above), anything
  over 200 points verges on unrealistic. A fighter with 250 or
  more points in purely realistic abilities won’t seem realistic in
  play! He’ll be a “combat monster” whose extreme attribute
  and skill levels let him duplicate the effects of cinematic abil-
  ities through brute force.
  Even at low power levels, believable martial artists should
  spend their points evenly on all of their style’s skills, not just
  on those useful in a fight. Unless they’re cops, street fighters,
  or soldiers, they’re liable to have Combat Art or Sport skills
  rather than combat skills, and are highly unlikely to have
  Combat Reflexes. There’s no special reason to let high-tech
  martial artists capitalize on their typically high DX to have
  awesome Guns skills, either – not unless they’re police or mil-
  itary sharpshooters. If the players want to play lethal fighters
  above all, consider running a cinematic campaign!
  CHARACTERS
  29
  
  Cinematic Martial Artists
  Cinematic martial artists are free of some, most, or all of
  the limitations just described for realistic martial artists.
  The GM decides how far to go.
  The simplest option is to permit no superhuman abilities
  other than Heroic Archer, Trained by a Master, Weapon
  Master, and cinematic skills. At low power levels, this can
  feel more authentic than a high-powered “realistic” cam-
  paign. For instance, many people find it easier to accept that
  an aged (and presumably skilled) martial-arts master with
  ST 10 can break boards using Breaking Blow than that a
  youthful warrior can have ST 20 – even if the latter is real-
  istic by the letter of the rules. This treatment suits settings
  where the world looks like ours and anything unusual is hid-
  den away in monasteries, rarely seen outside secret battles
  between masters.
  To get a feel closer to a swashbuck-
  ling or sword-and-sorcery tale, allow
  superhuman attribute, secondary char-
  acteristic, and skill levels – and perhaps
  one or two levels of an exotic advantage
  like Damage Resistance or Striking
  Strength – but not cinematic skills. The
  heroes’ 
  feats 
  are 
  larger-than-life
  because the PCs are extraordinary raw
  material. There’s nothing mystical
  afoot. The strong man has ST 25, not
  Power Blow. The rapier fighter can
  strike twice per second because his skill
  is high enough to absorb the -6 for
  Rapid Strike, not because Trained by a
  Master lets him halve the penalty. And
  so on.
  Allowing all of the above – and most
  of the cinematic advantages under
  Advantages (pp. 42-53) besides – brings
  the campaign closer to a wuxia or
  chambara movie. Still, the heroes are
  limited to abilities from traditional
  martial-arts myth. They fly by project-
  ing chi using Flying Leap. Their fists
  have DR because they punched iron for
  10 years. They don’t possess super-
  powers. They’re legendary
  martial
  artists . . . but they’re still martial artists.
  Throwing in exotic and supernatu-
  ral advantages in general turns the
  campaign into a video game or super-
  hero comic book that’s only loosely
  martial arts-based. The heroes do pos-
  sess super-powers – they fly, shoot fire
  from their fists, and have skin that
  turns bullets. The players in such a “four-color” or “over-the-
  top” campaign will probably want access to GURPS Powers
  as well as Martial Arts when creating their PCs!
  Like their realistic brethren, cinematic martial artists
  can have any point total the GM likes. The availability of
  flashy, expensive abilities means that the cinematic style of
  play works best at generous power levels – probably over
  200 points, perhaps higher – but a cinematic campaign
  doesn’t have to be high-powered. “Cinematic” has more to
  do with attitude than with cool powers. The GM should read
  The Cinematic Campaign (p. B488) and require the players
  to do the same. There’s no denying the link between “high-
  powered” and “cinematic” in martial-arts games, though. At
  a sufficiently high power level, even a campaign that per-
  mits no special abilities will seem cinematic!
  30
  CHARACTERS
  Beginning Students as PCs
  The guidelines in this chapter assume that the PCs are experienced fight-
  ers, but it can be fun to play martial artists who are just starting out. If all the
  PCs are students, the GM may require everyone to start with the Student tem-
  plate (pp. 38-40) – or his own variation on it – and study the same style under
  a common master. Whatever ground rules the GM sets, the heroes should be
  low-powered. As the template suggests, 75 points is typical. Anything over
  100 points is cinematic . . . for a student.
  The fun of student PCs is that the players get to see them grow during
  play, painstakingly advancing in ability as they adventure. From a game-
  mechanical standpoint, the gradual introduction of new abilities and the
  associated optional combat rules enables players who are unfamiliar with
  Martial Arts to learn the rules in play. How quickly the students develop their
  skills is up to the GM.
  If the GM religiously enforces Improvement Through Study (p. B292) and
  requires that even earned points be spent at the rates given there, it will take
  the students many game sessions to master their style. Since campaigns often
  don’t last that long and because many players only enjoy the “absolute begin-
  ners” theme in small doses, the GM should consider using Intensive Training
  (p. B293) to keep things interesting. This isn’t the only option, though – even
  if it’s the most realistic one. The GM may let the heroes learn as described in
  The Training Sequence (p. 147), which abstracts long, possibly realistic train-
  ing times as a die roll and a few minutes of play. In a cinematic game, the
  GM might even let the players spend earned points to increase their skills
  without pausing to train at all!
  Alternatively, the students might be otherwise competent at their careers
  but beginners at the martial arts. The only limit on such PCs is that they can’t
  have more points in their martial-arts abilities than indicated on the Student
  template. The heroes might even know nothing about the martial arts, in
  which case they must learn them in play – see Learning New Styles During
  Play (pp. 146-147). This is another good place for a training sequence; e.g.,
  for spies learning to be ninja in a week . . .
  
  CHARACTER TEMPLATES
  CHARACTERS
  31
  Below are templates for character types especially suit-
  able as PCs in Martial Arts games. To use a template, simply
  pay its point cost, choose any options left open on the tem-
  plate, and note what abilities this gives you. To customize
  your PC, spend your remaining points – and any additional
  points from quirks or personal disadvantages – on whatever
  you like (subject to GM approval). See How to Use Character
  Templates (p. B258) for details.
  Each template sets aside points for a martial-arts style but
  doesn’t list the individual abilities to spend them on. To cus-
  tomize the character, choose a style from Chapter 5 and
  spend these reserved points on its components, as explained
  under Components of a Style (pp. 141-143). The template’s
  “Customization Notes” section sug-
  gests especially suitable styles, along
  with appropriate “style lenses” from
  Choosing a Style (pp. 144-146).
  Only Contender (p. 32), Instructor
  (pp. 34-35), Monk (p. 36), and
  Student (pp. 38-39) portray “career”
  martial artists. All of the remaining
  templates give traits for heroes who
  work at occupations where martial-
  art experience could be useful. These
  don’t depict typical members of
  those professions, but unusual peo-
  ple who’ve chosen to invest a lot of
  time in martial-arts training, either
  for reasons of personal philosophy
  or to impress potential employers.
  The base templates assume a 100- to 150-point realistic
  game. However, each has one or two “lenses” that convert it
  into a template suitable for a 200- to 250-point cinematic
  campaign. The GM should use the higher end of these point
  ranges if he wants the PCs to be naturally gifted and well-
  trained, as the templates keep attributes modest (between 10
  and 13) and focus on skills. As well, the Instructor template
  is intended for a master – someone who is by definition bet-
  ter than most martial artists – and calls for closer to 200
  points in a realistic game or 300 points in a cinematic one.
  Remember that templates are neither required nor pre-
  scriptive. You can use them “as is,” alter them, or ignore
  them and create a PC from whole cloth. But even if you
  choose to ignore them, they’re worth skimming for ideas that
  could help you with your character concept.
  Assassin
  100 points
  You’re a silent killer. You might be a ninja, a government
  agent, a hired hit man, or a dangerous nutcase with an agen-
  da. Whatever your motivations, you’ve chosen the martial
  arts as your tool. Unarmed combat is valuable for taking out
  targets that would never let a weapon get near, while “tradi-
  tional” weapons – bows, knives, etc. – are quieter and less
  random than firearms or explosives. The trick is to get close
  enough . . . and you’re an expert at that.
  Attributes: ST 10 [0]; DX 12 [40]; IQ 12 [40]; HT 10 [0].
  Secondary Characteristics: Damage 1d-2/1d; BL 20 lbs.; HP
  10 [0]; Will 12 [0]; Per 12 [0]; FP 10 [0]; Basic Speed 5.50
  [0]; Basic Move 5 [0].
  Advantages: 20 points chosen from among DX +1 [20], IQ +1
  [20], Per +1 to +4 [5/level], Acute Senses (any) 1-5 [2/level],
  Alternate Identity (Illegal) [15] or Zeroed [10], Cultural
  Familiarity [1/culture], Danger Sense [15], Honest Face
  [1], Night Vision 1-9 [1/level], Perfect Balance [15],
  Peripheral Vision [15], Style Familiarity (any) [1/style], or
  Style Perks [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -20 points chosen from among Duty (Agency,
  clan, or guild; Extremely Hazardous; 12 or
  less) [-15] or (15 or less) [-20], Greed [-15*],
  Intolerance (Nation or other large group) [-5],
  Obsession (Assassinate a particular target) 
  [-5*], Secret (Professional assassin) [-20],
  Sense of Duty (Clan or guild) [-5], or Social
  Stigma (Criminal Record) [-5]. • Another -20
  points chosen from among Bloodlust [-10*],
  Callous [-5] or Low Empathy [-20], Code of
  Honor (“Stay bought”) [-5], Light Sleeper [-5],
  Loner [-5*], Nightmares [-5*], No Sense of
  Humor [-10], Paranoia [-10], or Trademark 
  [-5, -10, or -15].
  Primary Skills: Either Disguise (A) IQ+2 
  [8]-14 or Stealth (A) DX+2 [8]-14. • Also spend
  20 points in the skills and techniques of a
  combat style (see Chapter 5).
  Secondary Skills: Pick four of Forced Entry (E) DX+1 [2]-13;
  Climbing (A) DX [2]-12; Camouflage or Savoir-Faire
  (Servant), both (E) IQ+1 [2]-13; Acting, Electronics
  Operation (Security), Fast-Talk, Holdout, Lockpicking,
  Shadowing, or Traps, all (A) IQ [2]-12; or Poisons (H) 
  IQ-1 [2]-11.
  Background Skills: Choose three of Area Knowledge (any) or
  Savoir-Faire (Mafia), both (E) IQ [1]-12; or Armoury
  (Melee Weapons or Missile Weapons), Explosives
  (Demolition or Fireworks), or Streetwise, all (A) IQ-1 
  [1]-11.
  * Multiplied for self-control number; see p. B120.
  Lens
  Cinematic (+100 points): Add 80 points chosen from among
  Blunt Claws [3], Combat Reflexes [15], Cultural
  Adaptability [10], Damage Resistance 1-2 (Partial,
  Hands, -40%; Tough Skin, -40%) [1-2], Enhanced Time
  Sense [45], Extra Attack 1 or 2 (Multi-Strike, +20%) [30
  or 60], Forceful Chi 1-4 [15/level], Gizmos (Only for style,
  -20%) [4/level], Heroic Archer [20], Innate Attack
  [Varies], Social Chameleon [5], Striker (Crushing) [5],
  Trained by a Master [30], or Weapon Master [20-45]. You
  must take either Trained by a Master or Weapon Master!
  • Add 20 points in your style’s cinematic skills (and pre-
  requisites); Invisibility Art, Light Walk, and Lizard Climb
  are useful for stalking victims.
  Stiletto
  
  Customization Notes
  Styles: Ninja should know Taijutsu (pp. 202-203) and at
  least one of Kenjutsu (pp. 173-175), Kusarijutsu (p. 179),
  Kyujutsu (pp. 179-180), or Shurikenjutsu (pp. 195-197);
  those in B-movies often practice Kobujutsu (p. 178). Dagger
  Fighting (p. 155) or Shortsword Fighting (p. 195) would
  serve realistic assassins well in any pre-modern setting.
  Modern government agents are typically taught a form of
  Military Hand-to-Hand (pp. 182-185). Cinematic killers
  occasionally eschew weapons for aggressive styles, such as
  Bando (pp. 151-152) and Muay Thai (pp. 185-186), or those
  with lethal pressure-point attacks, like Chin Na (p. 154),
  Hwa Rang Do (pp. 163-164), and Kalaripayit (pp. 168-169).
  Style Lenses: Traditional ninja need no lens. “Military”
  makes sense for a modern government agent, while “Street”
  suits a mob hit man or suspense-movie nutcase.
  Contender
  100 points
  You’re a full-time competitor at a combat sport such as
  boxing, fencing, or sumo. You might be a medal-seeking
  Olympian, a professional jock, or a tough guy on the no-
  holds-barred circuit. Stereotypes needn’t apply to you: not
  every Olympian is “clean,” jocks aren’t universally stupid
  and greedy, and tough guys don’t have to be bloodthirsty.
  One thing almost certainly is true, though – you’re either
  fighting or training most of the time.
  Attributes: ST 12 [20]; DX 12 [40]; IQ 10 [0]; HT 12 [20].
  Secondary Characteristics: Damage 1d-1/1d+2; BL 29 lbs.;
  HP 12 [0]; Will 10 [0]; Per 10 [0]; FP 12 [0]; Basic Speed
  6.00 [0]; Basic Move 6 [0].
  Advantages: 20 points chosen from among ST +1 or +2 [10
  or 20], DX +1 [20], HT +1 or +2 [10 or 20], HP +1 to +3
  [2/HP], Will +1 to +4 [5/level], FP +1 to +3 [3/FP],
  Ambidexterity [5], Enhanced Dodge 1 [15], Enhanced
  Parry 1 [5 or 10], Fearlessness 1-5 [2/level] or Unfazeable
  [15], Fit [5] or Very Fit [15], Hard to Subdue 1-5 [2/level],
  High Pain Threshold [10], Reputation (Titlist) [Varies],
  Striker (Crushing; Limb, Shin, -20%) [4], Style
  Familiarity (any) [1/style], Style Perks [1/perk], or Wealth
  (Comfortable) [10] or (Wealthy) [20].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -20 points chosen from among Code of
  Honor (“Fight fair”) [-5] or Secret (Cheater, fall-taker,
  steroid-user, etc.) [-5], Greed [-15*], Obsession (Win a
  title) [-5*] or (Become the best in the world) [-10*],
  Overconfidence [-5*], or Workaholic [-5]. • An addition-
  al -20 points chosen from among any of the above or
  Appearance (Unattractive) [-4] or (Ugly) [-8], Bad
  Temper [-10*], Enemy (Contender of equal skill; Rival; 6
  or less) [-2] or (9 or less) [-5], Jealousy [-10], Pacifism
  (Reluctant Killer) [-5] or (Cannot Kill) [-15], Reputation
  (see p. 54) [Varies], or Stubbornness [-5].
  Primary Skills: 30 points in the skills and techniques of a
  sport or combat style (see Chapter 5).
  Secondary Skills: Pick two of Bicycling (E) DX+1 [2]-13,
  Breath Control (H) HT-1 [2]-11, Lifting (A) HT [2]-12,
  Running (A) HT [2]-12, Sports (any) (A) DX [2]-12, or
  Swimming (E) HT+1 [2]-13.
  Background Skills: Savoir-Faire (Dojo) (E) IQ [1]-10. • Also
  spend 4 points on Current Affairs (Sports), First Aid, or
  Games (any), all IQ/E; Acting, Gambling, or Streetwise,
  all IQ/A; Intimidation, Will/A; or Autohypnosis, Will/H.
  * Multiplied for self-control number; see p. B120.
  Lenses
  Cinematic (+100 points): Add 80 points chosen from among
  Arm ST +1 or +2 [5 or 10], Damage Resistance 1-2
  (Partial, Hands, -40%; Tough Skin, -40%) [1-2],
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Forceful Chi 1-4
  [15/level], Innate Attack [Varies], Resistant to Chi
  Abilities (+3) [10], Recovery [10], Striking ST +1 or +2 [5
  or 10], Trained by a Master [30], or Weapon Master [20-
  45]. You must take either Trained by a Master or Weapon
  Master! • Add 20 points in your style’s cinematic skills
  (and prerequisites); Power Blow is excellent for “finish-
  ing moves.”
  Tough Guy (+100 points): You’re a hulking brute! You have
  no “mystical” abilities, but your gifts are just as cinemat-
  ic. Add +1 to ST [10] and 90 points chosen from among
  ST +1 to +9 [10/level], HT +1 to +9 [10/level], HP +1 to
  +10 [2/HP], Will +1 to +10 [5/level], FP +1 to +10 [3/FP],
  Arm ST +1 or +2 [5 or 10], Damage Resistance 1 or 2
  (Tough Skin, -40%) [3 or 6], Extra Attack (Multi-Strike,
  +20%) 1-3 [30/level], Lifting ST +1 or +2 [3 or 6],
  Recovery [10], Resistant to Arm Injury (+3) [1], Resistant
  to Neck Injury (+3) [1], or Striking ST +1 or +2 [5 or 10].
  Customization Notes
  Styles: Styles for historical contenders include Boxing
  (pp. 152-153), Greco-Roman Wrestling (p. 205), Pankration
  (pp. 188-189), and Sumo (pp. 198-199). The most common
  sportive styles today are Judo (p. 166), Karate (pp. 169-172),
  Kendo (p. 172), Professional Wrestling (p. 206), Sport
  Fencing (p. 160), and Tae Kwon Do (p. 200). Among those
  who compete in mixed martial arts and no-holds-barred
  events, Bando (pp. 151-152), Brazilian Jiu-jitsu (pp. 167-
  168), Muay Thai (pp. 185-186), Sambo (p. 185), and
  Submission Wrestling (p. 205) are popular.
  Style Lenses: This template is a style lens – albeit a com-
  plex one – but a contender who competes in tournaments
  hosted by the armed services might have “Military,” while
  one who fights in illegal events could justify “Street.”
  Crimefighter
  100 points
  You use martial-arts skills to uphold justice or keep the
  peace. You might be a watchman in a time or place where
  skilled fighters are common (e.g., feudal Japan), a modern
  cop who prefers to subdue crooks without the lethal finality
  of a bullet, or a vigilante who goes unarmed because
  weapons aren’t available or would attract unwelcome atten-
  tion. An interesting – if unlikely – alternative is the detective
  charged with solving martial arts-related crimes.
  Attributes: ST 10 [0]; DX 12 [40]; IQ 12 [40]; HT 10 [0].
  32
  CHARACTERS
  
  Secondary Characteristics: Damage 1d-2/1d; BL 20 lbs.; HP
  10 [0]; Will 12 [0]; Per 12 [0]; FP 10 [0]; Basic Speed 5.50
  [0]; Basic Move 5 [0].
  Advantages: 15 points chosen from among Per +1 to +3
  [5/level], Acute Senses (any) 1-5 [2/level], Combat
  Reflexes [15], Danger Sense [15], Hard to Kill 1-5
  [2/level], Intuition [15], Legal Enforcement Powers [5, 10,
  or 15] and Police Rank 0-4 [5/level]†, or Style Perks
  [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: One of Duty (Law-enforcement agency; 12
  or less) [-10]†, Secret (Vigilante) [-10], or Secret Identity
  (Caped crusader, masked avenger, etc.) [-10]. • A further -
  30 points chosen from among Charitable [-15*], Curious
  [-5*], Honesty [-10*], Intolerance (Criminals) [-5],
  Obsession (Bring down a particular crook) [-5*],
  Overconfidence [-5*], Pacifism (Cannot Harm Innocents)
  [-10] or (Cannot Kill) [-15], Sense of Duty (Law-abiding
  citizens) [-10], or Stubbornness [-5].
  Primary Skills: Area Knowledge (any) (E) IQ+1 [2]-13;
  Criminology (A) IQ+1 [4]-13; and 20 points in the skills
  and techniques of a combat style (see Chapter 5).
  Secondary Skills: Observation (A) Per [2]-12 and Streetwise
  (A) IQ [2]-12. • Also pick five of Forced Entry or Knot-
  Tying, both (E) DX+1 [2]-13; Driving (Automobile) or
  Stealth, both (A) DX [2]-12; Current Affairs (Regional) or
  Savoir-Faire (Police), both (E) IQ+1 [2]-13; Interrogation
  or Shadowing, both (A) IQ [2]-12; Intimidation (A) Will
  [2]-12; or Search or Tracking, both (A) Per [2]-12.
  Background Skills: Two of Expert Skill (Hoplology), Forensics,
  Intelligence Analysis, Law (Criminal or Police), or Tactics,
  all (H) IQ-1 [2]-11; or Detect Lies (H) Per-1 [2]-11.
  * Multiplied for self-control number; see p. B120.
  † Duty must accompany Legal Enforcement Powers.
  CHARACTERS
  33
  Del Duque is a masked Mexican wrestler and freelance
  detective. Every Del Duque adventure starts with our hero
  enjoying a meal in some exotic locale while reading the
  newspaper. There’s always an unsolved crime in the news,
  and the headline always hints at the action to come
  (“Thieves dressed as ninja steal art treasures!”).
  After a short investigation during which Del Duque
  inevitably stumbles onto clues that the police missed, he
  impresses the cops by identifying the culprits as evil mas-
  ters of an obscure fighting style. He follows the trail to the
  criminals’ lair, sneaks in, and uses a drop kick to jump the
  sentry. Within seconds, the rest of the gangsters come
  charging in and also suffer defeat. Then the boss appears
  and hits Del Duque a few times – but Del Duque soon
  catches his fist, twists his arm, and uses his trademark
  “pain grip” to force surrender. By the time the police
  arrive, Del Duque is tying up the bad guys.
  Del Duque lives in a B-movie world where everybody
  speaks Spanish, nobody thinks it’s odd that he’s constant-
  ly masked (or asks how he eats with a mask on), and a
  lone wrestler is more capable than an entire police force.
  He doesn’t seem all that fast or skilled, yet he always wins.
  He’s definitely a cinematic hero!
  Del Duque stands only 5’11” but must weigh at least
  300 lbs. He was inspired by the Crimefighter template
  (pp. 32-34), and mixes Combat Wrestling (pp. 204-205)
  with Professional Wrestling (p. 206).
  ST 16 [60]; DX 14 [80]; IQ 14 [80]; HT 14 [40].
  Damage 1d+1/2d+2; BL 51 lbs.; HP 16 [0]; Will 14 [0];
  Per 14 [0]; FP 14 [0].
  Basic Speed 6.00 [-20]; Basic Move 6 [0]; Dodge 10*;
  Parry 12*.
  Social Background
  TL: 8 [0].
  CF: Western [0].
  Languages: Spanish (Native) [0].
  Advantages
  Combat Reflexes [15]; Damage Resistance 1 (Tough
  Skin, -40%) [3]; High Pain Threshold [10]; Higher
  Purpose (Bring criminals to justice) [5]; Intuition [15];
  Serendipity 1 [15]; Trained by a Master [30].
  Perks: Honest Face (Only when masked!); Special
  Exercises (DR 1, Tough Skin); Style Familiarities
  (Combat Wrestling; Professional Wrestling). [4]
  Disadvantages
  Fat [-3]; Honesty (12) [-10]; Pacifism (Cannot Harm
  Innocents) [-10]; Secret Identity [-10]; Sense of Duty
  (Law-abiding citizens) [-10].
  Quirks: Always uses Drop Kick when making a sur-
  prise attack; Considers masks perfectly normal; Rarely
  speaks; Spends hours reading the newspapers, looking for
  high-profile crimes; Wears a cape, even though opponents
  could grab it. [-5]
  Skills
  Acrobatics (H) DX-1 [2]-13; Area Knowledge (World)
  (E) IQ [1]-14; Brawling (E) DX+2 [4]-16; Brawling Art (E)
  DX [1]-14; Criminology (A) IQ-1 [1]-13; Current Affairs
  (Headline News) (E) IQ [1]-14; Driving (Automobile) (A)
  DX-1 [1]-13; Forensics (H) IQ-2 [1]-12; Hidden Lore
  (Secret Styles) (H) IQ [2]-14; Immovable Stance (H) DX
  [4]-14; Intimidation (A) Will [2]-14; Judo (H) DX [4]-14;
  Knot-Tying (E) DX [1]-14; Law (Criminal) (H) IQ-2 [1]-12;
  Observation (A) Per [2]-14; Power Blow (H) Will [4]-14;
  Pressure Points (H) IQ [4]-14; Stealth (A) DX [2]-14;
  Streetwise (A) IQ [2]-14; Wrestling (A) DX+2 [8]-16;
  Wrestling Art (A) DX [1]-14†; Wrestling Sport (A) DX 
  [1]-14†.
  Techniques: Drop Kick (Brawling) (H) [2]-16; Hand
  Catch (Wrestling) (H) [4]-12*; Wrench Arm (H) [5]-16.
  * Includes +1 for Combat Reflexes.
  † Based on Wrestling default.
  Del Duque (350 points)
  
  Lens
  Cinematic (+100 points): Add 80 points chosen from among
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Forceful Chi 1-4
  [15/level], Gadgeteer [25], Gizmos [5/level], Heroic
  Archer [20], Higher Purpose [5], Innate Attack [Varies],
  Resistant to Chi Abilities (+3) [10], Trained by a Master
  [30], Weapon Master [20-45], or Wild Talent 1-3
  [20/level]. You must take either Trained by a Master or
  Weapon Master! • Add 20 points in your style’s cinemat-
  ic skills (and prerequisites); Hypnotic Hands, Kiai, and
  Pressure Points are handy for taking prisoners.
  Customization Notes
  Styles: Taihojutsu (p. 201) merits special mention
  because it was invented for law enforcers. Most grappling
  styles – including Aikijutsu (p. 149), Judo (p. 166), Jujutsu
  (pp. 166-168), and Wrestling (pp. 204-206) – are well-suited
  to subduing crooks. Being able to hit hard is also useful.
  Fictional 19th-century detectives might use Bartitsu (p. 167)
  or Savate (pp. 193-194); pulp heroes and practical cops pre-
  fer Boxing (pp. 152-153); modern vigilantes go for styles
  with “street cred,” such as Capoeira (pp. 153-154), Jeet Kune
  Do (p. 164-165), and Kajukenbo (p. 168); and everyone is
  familiar with the Shurikenjutsu (pp. 195-197) skills of a
  famous crime-fighting “dark knight.”
  Style Lenses: “Police” is probable for an actual law officer.
  A vigilante might have “Self-Defense” or “Street,” depending
  on how aggressive his methods are.
  Duelist
  100 points
  You’ve studied the fighting arts, typically a knightly or
  sword style, in order to win duels for profit. You champion
  moneyed folk who wish to settle affairs of honor with blood
  – just not theirs. You’re adept at remaining cool enough to
  strike not necessarily first but best. Dueling attracts hot-
  heads, may be illegal, and often leaves corpses behind, so
  you must stay on the road to avoid those who would seek
  glory, vengeance, or justice at your expense.
  Attributes: ST 11 [10]; DX 13 [60]; IQ 10 [0]; HT 11 [10].
  Secondary Characteristics: Damage 1d-1/1d+1; BL 24 lbs.;
  HP 11 [0]; Will 10 [0]; Per 10 [0]; FP 11 [0]; Basic Speed
  6.00 [0]; Basic Move 6 [0].
  Advantages: 20 points chosen from among DX +1 [20],
  Basic Speed +1 [20], Ambidexterity [5], Enhanced Block
  1 [5], Enhanced Dodge 1 [15], Enhanced Parry 1 [5 or
  10], Fearlessness 1-5 [2/level] or Unfazeable [15], Hard to
  Kill 1-5 [2/level], Luck [15], Rapid Healing [5], Style
  Familiarity (any) [1/style], Style Perks [1/perk], Wealth
  (Comfortable) [10] or (Wealthy) [20], or Weapon Bond
  [1].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -20 points chosen from among Enemy
  (Glory-seeker or rival duelist; Hunter; 6 or less) [-5] or (9
  or less) [-10], Enemy (Past victim’s vengeful relatives;
  Hunter; 6 or less) [-5] or (9 or less) [-10], Reputation -1 or
  -2 (Ruthless killer) [-5 or -10], Secret (Illegal dueling
  deaths) [-20], or Social Stigma (Criminal Record) [-5]. 
  • An additional -20 points chosen from among Bloodlust
  [-10*], Callous [-5] or Low Empathy [-20], Code of Honor
  (Professional) [-5] or (Gentleman’s) [-10], Distinctive
  Features (Dueling scars) [-1], Greed [-15*], Loner [-5*],
  or Overconfidence [-5*].
  Primary Skills: 30 points in the skills and techniques of a
  combat style (see Chapter 5). Unlike most martial artists,
  a duelist can justify putting most of these points into just
  one skill!
  Secondary Skills: Armoury (Melee Weapons) (A) IQ [2]-10;
  Current Affairs (People) (E) IQ [1]-10; First Aid (E) IQ
  [1]-10; and Savoir-Faire (High Society) (E) IQ [1]-10.
  Background Skills: 4 points chosen from among Area
  Knowledge (any) or Savoir-Faire (Dojo), both IQ/E;
  Connoisseur (Weapons) or Merchant, both IQ/A;
  Diplomacy, Expert Skill (Hoplology), or Law (Criminal),
  all IQ/H; or Intimidation, Will/A.
  * Multiplied for self-control number; see p. B120.
  Lens
  Cinematic (+100 points): Add 80 points chosen from among
  Enhanced Block 1-3 [5/level], Enhanced Dodge 1-3
  [15/level], Enhanced Parry 1-3 [5 or 10/level], Enhanced
  Time Sense [45], Extra Attack 1 or 2 (Multi-Strike, +20%)
  [30 or 60], Forceful Chi 1-4 [15/level], Innate Attack
  [Varies], Resistant to Chi Abilities (+3) [10], Trained by a
  Master [30], or Weapon Master [20-45]. You must take
  either Trained by a Master or Weapon Master! • Add 20
  points in your style’s cinematic skills (and prerequisites);
  Flying Leap is extremely useful for surprising adversaries
  and getting the first strike.
  Customization Notes
  Styles: Sword styles dominate the profession. These include
  Fencing (pp. 156-159), Kenjutsu (pp. 173-175), Longsword
  Fighting (pp. 180-182), Shortsword Fighting (p. 195), Sword-
  and-Buckler Play (p. 199), and Sword-and-Shield Fighting
  (pp. 199-200). Historical duelists might instead know Glaive
  Fighting (p. 187), Pollaxe Fighting (p. 191), or Quarterstaff
  (pp. 192-193). A duelist might supplement any of these styles
  with Combat Wrestling (pp. 204-205) and/or Dagger Fighting
  (p. 155). An alternative for the well-rounded 15th- through
  17th-century European duelist is the very complete Masters of
  Defence Weapon Training (p. 182).
  Style Lenses: Usually none, because the unmodified
  forms of most styles suitable for duelists are meant for duel-
  ing. “Trained by a Fraud” is conceivable for a wannabe
  duelist taught by an unscrupulous master, though.
  Instructor
  175 points
  You’re a martial-arts master with your own dojo, salle,
  gym, etc. While you’re an accomplished fighter, your real
  expertise lies in inspiring students to train and in figuring
  out where they most need to improve. How you do this is up
  to you. You might favor newfangled “scientific” methods
  (e.g., geometric patterns on the floor or gleaming machines)
  or old-fashioned ones. You might patiently tutor your
  charges or beat them until they get it right . . .
  Attributes: ST 12 [20]; DX 12 [40]; IQ 12 [40]; HT 12 [20].
  34
  CHARACTERS
  
  Secondary Characteristics: Damage 1d-1/1d+2; BL 29 lbs.;
  HP 12 [0]; Will 12 [0]; Per 12 [0]; FP 12 [0]; Basic Speed
  6.00 [0]; Basic Move 6 [0].
  Advantages: 25 points chosen from among DX or IQ +1
  [20], Will +1 to +5 [5/level], Basic Speed +1 [20],
  Charisma 1 or 2 [5 or 10], Combat Reflexes [15],
  Enhanced Block 1 [5], Enhanced Dodge 1 [15],
  Enhanced Parry 1 [5 or 10], Extra Attack [25],
  Fearlessness 1-5 [2/level] or Unfazeable [15], Fit [5] or
  Very Fit [15], High Pain Threshold [10], Indomitable
  [15], Language (Broken) [2], Longevity [2], Reputation
  [Varies], Status 1 or 2 [5 or 10], Style Familiarity (any)
  [1/style], Style Perks [1/perk], Wealth (Comfortable) [10]
  or (Wealthy) [20], or Weapon Bond [1].
  Perks: Style Familiarity (own style) [1] and Style Familiarity
  (one other style) [1].
  Disadvantages: Duty (School; 12 or less) [-10]. • Either
  Bully (12) [-10], for a not-so-nice master, or any two of
  Code of Honor (“Fight fair”) [-5], Pacifism (Reluctant
  Killer) [-5], Sense of Duty (Students) [-5], or Vow (Never
  refuse a request for training) [-5], for a pleasant one. • A
  further -20 points chosen from among Bad Temper 
  [-10*], Disciplines of Faith (Ritualism) [-5], Enemy
  (Members of rival school; Rival; 9 or less) [-5], Obsession
  (Perfect the ultimate style) [-10*], Odious Personal Habit
  (Inscrutable, or speaks in riddles) [-5], Overconfidence 
  [-5*], Stubbornness [-5], or Workaholic [-5].
  Primary Skills: Savoir-Faire (Dojo) (E) IQ+2 [4]-14;
  Teaching (A) IQ+2 [8]-14; and 40 points in the skills and
  techniques of any style (see Chapter 5).
  Secondary Skills: Pick one of Diplomacy (H) IQ [4]-12,
  Intimidation (A) Will+1 [4]-13, or Leadership (A) IQ+1
  [4]-13. • Also select one of Body Language (A) Per+1 
  [4]-13 or Psychology (H) IQ [4]-12.
  Background Skills: Any three of First Aid (E) IQ+1 [2]-13;
  Administration, Hidden Lore (Secret Styles), Public
  Speaking, or Writing, all (A) IQ [2]-12; Expert Skill
  (Hoplology), Philosophy (any), or Physiology, all (H) 
  IQ-1 [2]-11; Meditation (H) Will-1 [2]-11; or Esoteric
  Medicine (H) Per-1 [2]-11. • Also choose one of Breath
  Control (H) HT-1 [2]-11, Lifting (A) HT [2]-12, or
  Running (A) HT [2]-12.
  * Multiplied for self-control number; see p. B120.
  Lens
  Cinematic (+125 points): Add 85 points chosen from among
  Blunt Claws [3], Damage Resistance 1-2 (Partial, Hands,
  -40%; Tough Skin, -40%) [1-2], Enhanced Block 1-3
  [5/level], Enhanced Dodge 1-3 [15/level], Enhanced Parry
  1-3 [5 or 10/level], Enhanced Time Sense
  [45], Extra Attack 1 or 2 (Multi-Strike,
  +20%) [30 or 60], Forceful Chi 1-4
  [15/level], Heroic Archer [20], Innate
  Attack [Varies], Inner Balance 1-4
  [15/level], Resistant to Chi Abilities (+3)
  [10] or (+8) [15], Striker (Crushing) [5],
  Trained by a Master [30], Weapon Master
  [20-45], or Wild Talent (Focused, Martial
  Arts, -20%) 1-4 [16/level]. You must take
  either Trained by a Master or Weapon
  Master! • Add 40 points in your style’s cin-
  ematic skills (and prerequisites) – prefer-
  ably all of them.
  Customization Notes
  Styles: Every style has masters, 
  but teachers of certain styles are more
  likely to elicit strong reactions – usually
  respect, fear, or disapproval – from their
  community. Hoplomachia (pp. 161-162),
  Kalaripayit (pp. 168-169), and Pentjak
  Silat (pp. 189-191) all have this reputa-
  tion. Historically, Masters of Defence
  (p. 17) were outspoken and influential,
  and often enjoyed noble patronage . . . or
  censure. In modern times, the menacing
  drill sergeant who teaches Military Hand-
  to-Hand (pp. 182-185) is among the
  strongest of instructor archetypes.
  Style Lenses: An instructor normally
  practices an unmodified style – even if
  what he teaches has the “Military,”
  “Police,” or “Self-Defense” lens – but he
  could have one of these lenses himself.
  “Trained by a Fraud” is unlikely, but some
  masters are frauds; see Frauds.
  CHARACTERS
  35
  Frauds
  Instructor (p. 34-35) depicts a talented martial artist who genuinely
  teaches a fighting style – whatever his personal flaws. The world is full of
  frauds, though. Some have little skill but pretend otherwise because
  they’re dishonest or crazy. Others are skilled masters who don’t teach any-
  thing useful out of laziness, concern that student injuries might ruin their
  reputation, fear that their teachings might be turned to evil or against
  them, and so on.
  In a lighthearted game with little mortal combat, it can be fun to play
  a phony. In any Martial Arts campaign, the GM might wish to keep play-
  ers on their toes by making some instructors charlatans. To create a con-
  vincing fraud, consider the traits listed below. The students of such a pre-
  tender must buy their style with the “Trained by a Fraud” lens (p. 145). For
  rules on bogus martial arts in action, see Faking It (p. 130).
  Advantages: Charisma, Reputation, Smooth Operator, and Voice can all
  help lure students. Alternate Identity is an excellent way to avoid getting
  caught! Don’t overlook the Honest Face perk.
  Disadvantages: Greed is the motivation of most frauds. Laziness often
  accompanies it in the case of those with real skill. Compulsive Lying,
  Delusions, and Overconfidence are all common. Even true masters might
  harbor Delusions about their skills – or simple Paranoia. Being a fake can
  be a risky Secret.
  Skills: Acting, Fast-Talk, and Performance are crucial. Complete shams
  might add Stage Combat. Those trying to pass off watered-down styles as
  valuable in combat have Combat Art/Sport skills. Dishonest masters may
  truly possess the skills they purport to teach, even if they don’t share these
  with their students. In all cases, Intimidation is a great way to discourage
  prying questions.
  Techniques: Total cons don’t know any techniques! Those with combat
  skills, or at least Art/Sport versions, know their style’s usual techniques.
  Dishonest masters may know useless techniques (p. 95). Deluded ones
  likely have secret techniques (p. 86) . . . which might still be useless.
  
  Monk
  100 points
  You’ve isolated yourself from society in order to contem-
  plate existence and purify your soul. You practice martial arts
  not to defeat foes (although you can fight if you must) but to
  focus your mind. You might practice your art in a monastery
  or alone, as a hermit. You don’t actively seek adventure – but it
  might find you during a pilgrimage or a quest, or when disre-
  spectful outsiders challenge the peace of your monastery or
  hermitage.
  Attributes: ST 11 [10]; DX 11 [20]; IQ 12 [40]; HT 11 [10].
  Secondary Characteristics: Damage 1d-1/1d+1; BL 24 lbs.;
  HP 11 [0]; Will 12 [0]; Per 12 [0]; FP 11 [0]; Basic Speed
  5.50 [0]; Basic Move 5 [0].
  Advantages: 15 points chosen from among ST or HT +1 [10],
  Will +1 to +3 [5/level], Autotrance [1], Claim to Hospitality
  (Monasteries of the same order) [1], Clerical Investment
  [5], Enhanced Dodge 1 [15], Enhanced Parry 1 [5 or 10],
  Fearlessness 1-5 [2/level] or Unfazeable [15], Fit [5], High
  Pain Threshold [10], Less Sleep 1-4 [2/level], Longevity [2],
  Perfect Balance [15], Resistant to Disease (+3) [3],
  Resistant to Poison (+3) [5], Single-Minded [5], or Style
  Perks [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -25 points chosen from among Disciplines of
  Faith (Monasticism or Mysticism) [-10] or (Asceticism) 
  [-15], Fanaticism (Philosophical or religious) [-15], Low TL
  1 or 2 [-5 or -10], Pacifism (Cannot Kill or Self-Defense
  Only) [-15], Vow (Chastity, Vegetarianism, etc.) [-5], Vow
  (Silence) [-10], Vow (Always fight unarmed) [-15], or
  Wealth (Struggling) [-10], (Poor) [-15], or (Dead Broke) 
  [-25]. • A further -15 points chosen from among the above
  traits or Charitable [-15*], Loner [-5*], Oblivious [-5], Sense
  of Duty (Fellow monks) [-5], Shyness [-5 or -10], or
  Workaholic [-5].
  Primary Skills: Meditation (H) Will [4]-12 or Religious Ritual
  (H) IQ [4]-12; Philosophy or Theology, both (H) IQ [4]-12;
  and 30 points in the skills and techniques of an art or com-
  bat style (see Chapter 5).
  Secondary Skills: Pick two of Autohypnosis (H) Will-1 [2]-11,
  Breath Control (H) HT-1 [2]-10, Esoteric Medicine (H) Per-
  1 [2]-11, Hypnotism (H) IQ-1 [2]-11, Mind Block (A) Will
  [2]-12, Occultism (A) IQ [2]-12, Pharmacy (Herbal) (H) IQ-
  1 [2]-11, or Savoir-Faire (Dojo) (E) IQ+1 [2]-13.
  Background Skills: First Aid (E) IQ [1]-12, and either Cooking
  (A) IQ-1 [1]-11 or Housekeeping (E) IQ [1]-12.
  * Multiplied for self-control number; see p. B120.
  Lens
  Cinematic (+100 points): Add 80 points chosen from among
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Heroic Archer [20], Higher
  Purpose [5], Innate Attack [Varies], Inner Balance 1-4
  [15/level], Reduced Consumption 1 or 2 [2 or 4], Resistant
  to Chi Abilities (+3) [10] or (+8) [15], Social Chameleon [5],
  Trained by a Master [30], True Faith [15], Weapon Master
  [20-45], or Wild Talent 1-3 [20/level]. You must take either
  Trained by a Master or Weapon Master! • Add 20 points in
  your style’s cinematic skills (and prerequisites); Body
  Control, Mental Strength, and Zen Archery all suit a medi-
  tative monk.
  Customization Notes
  Styles: The most famous monastic style by far is Shaolin
  Kung Fu (p. 194). Other traditional kung fu styles for Chinese
  monks include Chin Na (p. 154), Hung Gar (p. 163), Pak Hok
  (p. 188), and Praying Mantis (pp. 191-192). A Japanese monk
  might know Bojutsu (p. 192) or Naginatajutsu (p. 186). A
  European monk could know Quarterstaff (pp. 192-193) – and
  a former Crusader might be adept at Knightly Mounted
  Combat (pp. 175-177) or Sword-and-Shield Fighting (pp. 199-
  200). The best surviving manual on Sword-and-Buckler Play
  (p. 199) was written by and for Christian monks.
  Style Lenses: A monk normally trains in an unmodified style.
  Movie Star
  100 points
  You’re an actor, often a contender gone soft, who special-
  izes in martial-arts roles. You might work on swashbuckling
  films featuring musketeers and pirates, or chambara and
  wuxia flicks about samurai and kung fu masters – or just bad
  action movies. Most of your moves are faked and choreo-
  graphed, but you train at the martial arts to improve your odds
  of getting a plum role. A lot of your fans think you’re the real
  deal. On a good day, so do you!
  Attributes: ST 10 [0]; DX 12 [40]; IQ 11 [20]; HT 12 [20].
  Secondary Characteristics: Damage 1d-2/1d; BL 20 lbs.; HP
  10 [0]; Will 11 [0]; Per 11 [0]; FP 12 [0]; Basic Speed 5.00 
  [-20]; Basic Move 5 [0].
  Advantages: 15 points chosen from among ST +1 [10],
  Appearance (Attractive) [4] or (Handsome) [12], Charisma
  1-3 [5/level], Fashion Sense [5], Fit [5], Languages (any)
  [2-6/language], Reputation [Varies], Shtick [1], Smooth
  Operator 1 [15], or Voice [10]. • An additional 20 points
  chosen from among the above traits or Contacts (any)
  [Varies], Daredevil [15], Luck [15], Signature Gear [Varies],
  Status 1 or 2 [5 or 10], or Wealth (Comfortable) [10] or
  (Wealthy) [20].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -15 points chosen from among Code of
  Honor (“The show must go on!”) [-5], Debt 1-20 [-1/level],
  Duty (Contract; Nonhazardous; 12 or less) [-5], Greed 
  [-15*], Impulsiveness [-10*], or Obsession (Become #1 at
  the box office) [-10*]. • A further -25 points chosen from
  among Addiction [Varies], Alcoholism [-15], Bad Temper
  [-10*], Compulsive Carousing [-5*], Delusions (see pp. 53-
  54) [-5 to -15], Jealousy [-10], Lecherousness [-15*],
  Overconfidence [-5*], Pacifism (Reluctant Killer) [-5] or
  (Cannot Kill) [-15], Reputation (see p. 54) [Varies], Selfish
  [-5*], Slow Riser [-5], or Stubbornness [-5].
  Primary Skills: Performance (A) IQ+2 [8]-13; Stage Combat
  (A) DX+1 [4]-13; and 20 points in the skills and techniques
  of an art or sport style (see Chapter 5).
  Secondary Skills: Pick four of Acrobatics (H) DX-1 [2]-11,
  Acting (A) IQ [2]-11, Dancing (A) DX [2]-12, Makeup (E)
  IQ+1 [2]-12, Professional Skill (Modeling) (A) IQ [2]-11,
  Public Speaking (A) IQ [2]-11, Singing (E) HT+1 [2]-13, or
  Skiing (H) HT-1 [2]-11.
  36
  CHARACTERS
  
  Background Skills: 4 points chosen from among Sports
  (Golf, Tennis, etc.), DX/A; Current Affairs (Popular
  Culture) or Savoir-Faire (High Society), both IQ/E;
  Connoisseur (any) or Fast-Talk, both IQ/A; Carousing,
  HT/E; or Sex Appeal, HT/A.
  * Multiplied for self-control number; see p. B120.
  Lenses
  Cinematic (+100 points): Add 80 points chosen from among
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Gizmos (Only for style, 
  -20%) [4/level], Heroic Archer [20], Innate Attack
  [Varies], Rapier Wit [5], Serendipity 1-4 [15/level],
  Trained by a Master [30], Weapon Master [20-45], or
  extreme levels of traits on the realistic template:
  Appearance (Very Handsome) [16] or (Transcendent)
  [20], Charisma 4-12 [5/level], Luck (Extraordinary) [30]
  or (Ridiculous) [60], Smooth Operator 2-4 [15/level], and
  Wealth (Very Wealthy) [30] or (Filthy Rich) [50]. You
  must take either Trained by a Master or Weapon Master!
  • Add 20 points in your style’s cinematic skills (and pre-
  requisites); Flying Leap, Light Walk, and Lizard Climb
  suit wuxia stars who do their stunts for real.
  Tough Guy (+100 points): You’re a beast of a man, typecast
  as the guy who shrugs off baseball bats and fires
  machine guns one-handed. You’re as unbelievable as any
  flashy wuxia star – but it’s all grit, not mystical mumbo-
  jumbo. See Contender (p. 32) for statistics.
  CHARACTERS
  37
  Adrian was born in 1537 to a Warwickshire man-at-
  arms and his wife. Despite being raised like any English
  girl, she was more fascinated with her father’s skills than
  her mother’s domestic duties. She eventually convinced
  several of her father’s younger comrades to train her.
  Most regarded this as a fair trade for the opportunity to
  spend time with a pretty (if eccentric) girl.
  When Adrian was 17, her father marched off to some
  nastiness in which the Duke of Suffolk was embroiled. It
  proved to be a rebellion, and her father was slain when
  forces loyal to Queen Mary defeated Suffolk. Shortly
  thereafter, her mother was killed in random reprisals
  against Protestants. Adrian escaped the same fate only by
  taking up a rusty longsword – a souvenir of her father’s –
  and fighting her way free.
  Once safe, Adrian cut her hair, dressed in men’s cloth-
  ing, and posed as one of England’s many traveling “mas-
  ters,” showing off for food and drink. She swore a vow to
  avenge her parents’ deaths by seeking news of unpopular
  deeds by the Queen’s agents in the countryside, finding
  those responsible, and killing them. She soon found her-
  self sought by bounty hunters coming to collect the price
  on her head. Several Englishmen, two Welshmen, and
  one Italian later, she still walks free.
  Adrian is a larger-than-life prodigy at 19 years of age,
  and stronger than some men – which lets her move her
  5’8”, 125-lb. frame with blinding speed. She was built
  with the Duelist template (p. 34) and has Masters of
  Defence Weapon Training (p. 182).
  ST 12 [20]; DX 14 [80]; IQ 11 [20]; HT 11 [10].
  Damage 1d-1/1d+2; BL 29 lbs.; HP 10 [-4]; Will 11 [0];
  Per 11 [0]; FP 11 [0].
  Basic Speed 7.00 [15]; Basic Move 8 [5]; Dodge 10; Parry
  13; Block 10.
  Social Background
  TL: 4 [0].
  CF: Christian European [0].
  Languages: English (Native) [0].
  Advantages
  Attractive [4]; Enhanced Parry 1 (All) [10]; Luck [15].
  Perks: Grip Mastery (Longsword); Style Familiarity
  (Glaive Fighting; Italian School; Longsword Fighting;
  Masters of Defence Weapon Training; Pollaxe Fighting;
  Quarterstaff; Sword-and-Buckler Play; Sword-and-Shield
  Fighting); Weapon Bond (Her father’s longsword). [10]
  Disadvantages
  Enemy (Many bounty hunters; Hunter; 6 or less) [-10];
  Loner (12) [-5]; Secret (Woman) [-5]; Social Stigma
  (Criminal) [-5]; Trademark (Simple; Always takes the time
  to strip the bodies of those she slays – looking for items of
  value to the needy – even when that’s unsafe) [-5]; Vow
  (Never refuse any request for aid) [-15].
  Quirks: Abstains from intimate relations; Accepts only
  things she needs, never money, from those she aids;
  Claims to be the bastard son of a local official when asked
  for identification; Fights dirty; Maneuvers to keep oppo-
  nents at maximum reach in duels. [-5]
  Skills
  Acting (Cross-Dressing) (E) IQ+1 [2]-12†; Area
  Knowledge (England) (E) IQ+1 [2]-12; Armoury (Melee
  Weapons) (A) IQ-1 [1]-10; Brawling (E) DX [1]-14;
  Broadsword (A) DX+4 [16]-18; Current Affairs (England)
  (E) IQ+1 [2]-12; Disguise (Cross-Dressing) (E) IQ+1 [2]-
  12†; Fast-Talk (A) IQ [2]-11; First Aid (E) IQ [1]-11; Hiking
  (A) HT [2]-11; Knife (E) DX [1]-14; Polearm (A) DX [2]-
  14; Shield (E) DX [1]-14; Shield (Buckler) (E) DX [1]-14;
  Shortsword (A) DX [0]-16*; Spear (A) DX [2]-14; Staff (A)
  DX [2]-14; Stealth (A) DX [2]-14; Two-Handed Sword (A)
  DX+4 [14]-18*; Wrestling (A) DX [2]-14.
  Techniques: Feint (Two-Handed Sword) (H) [3]-20;
  Sweep (Two-Handed Sword) (H) [4]-18.
  * Based on Broadsword default.
  † Optional specialties; see p. B169.
  Adrian Froste (200 points)
  
  Customization Notes
  Styles: Unarmed styles with a strong body of kicks are
  popular on the big screen. These include Hapkido (p. 161),
  Kyokushin (pp. 171-172), Muay Thai (pp. 185-186), Tae
  Kwon Do (p. 200), and Wushu (pp. 206-207). Other styles
  made famous by movie stars are Aikido (p. 149), Jeet Kune
  Do (pp. 164-165), Professional Wrestling (p. 206), and Wing
  Chun (pp. 203-204). Actors often use training in modern art
  and sport forms to simulate Shaolin Kung Fu (p. 194) and
  Taijutsu (pp. 202-203) – but in a cinematic game, their skills
  might be real. Weapons show up in film, too, led by the
  whippy swords of Sport Fencing (p. 160), the trademark
  nunchaku and sais of Kobujutsu (p. 178), and the “ninja
  stars” of Shurikenjutsu (pp. 195-197).
  Style Lenses: The watered-down styles that result from
  “Self-Defense” and “Trained by a Fraud” are suitable for a
  phony. An ex-contender would know the unmodified style.
  Spy
  100 points
  You spy for an intelligence, military, or security service.
  You aren’t an analyst or a diplomat, though – you’re a more
  “hands-on” kind of spy. Your specialties are physical infil-
  tration, gathering information, and getting out in one piece.
  You employ martial arts because they’re hard to trace,
  silent, and the ultimate concealed weapon. These features
  make them handy for taking out inconvenient sentries and
  making informants talk.
  Attributes: ST 10 [0]; DX 12 [40]; IQ 12 [40]; HT 10 [0].
  Secondary Characteristics: Damage 1d-2/1d; BL 20 lbs.;
  HP 10 [0]; Will 12 [0]; Per 12 [0]; FP 10 [0]; Basic Speed
  5.50 [0]; Basic Move 5 [0].
  Advantages: 15 points chosen from among Alternate
  Identity (Legal) [5] or (Illegal) [15], Claim to Hospitality
  (Safe-houses of allied nations) [10], Contact Group (Spy
  network; Skill-15; 9 or less; Somewhat Reliable) [10] or
  (Skill-18) [15], Rank 1-3 (Administrative or Military)
  [5/level], or Security Clearance [5, 10, or 15]. • Another
  15 points chosen from among Will +1 to +3 [5/level], Per
  +1 to +3 [5/level], Acute Senses (any) 1-5 [2/level],
  Cultural Familiarity [1/culture], Danger Sense [15],
  Eidetic Memory [5] or Photographic Memory [10],
  Flexibility [5], High Pain Threshold [10], Languages
  (any) [2-6/language], Peripheral Vision [15], Style
  Familiarity (any) [1/style], or Style Perks [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: Duty (Intelligence service; Extremely
  Hazardous; 15 or less) [-20]. • One of Enemy
  (Counterintelligence cell; Hunter; 9 or less) [-20], Enemy
  (Enemy nation; Watcher; 12 or less) [-20], or Secret (Spy)
  [-20]. • Another -10 points chosen from among Callous [-
  5], Curious [-5*], Intolerance (Enemy nation) [-5] or (All
  nations but own) [-10], Paranoia [-10], or Sense of Duty
  (Own nation) [-10].
  Primary Skills: Area Knowledge (any) (E) IQ [1]-12;
  Observation (A) Per [2]-12; Stealth (A) DX [2]-12; and 20
  points in the skills and techniques of a combat style (see
  Chapter 5).
  Secondary Skills: Pick one of these three options: Acting (A)
  IQ [2]-12 and Disguise (A) IQ [2]-12; Parachuting (E)
  DX+2 [4]-14; or Scuba (A) IQ [2]-12 and Swimming (E)
  HT+1 [2]-11. • Choose two of Forced Entry (E) DX+1 [2]-
  13; Climbing (A) DX [2]-12; or Electronics Operation
  (Security), Lockpicking, or Traps, all (A) IQ [2]-12. 
  • Select one of Filch (A) DX [2]-12; Electronics Operation
  (Surveillance), Interrogation, or Photography, all (A) IQ
  [2]-12; or Lip Reading or Search, both (A) Per [2]-12. 
  • Take one of Escape (H) DX-1 [2]-11, Holdout (A) IQ 
  [2]-12, or Smuggling (A) IQ [2]-12.
  Background Skills: Pick two of Cartography or Propaganda,
  both (A) IQ-1 [1]-11; or Cryptography, Diplomacy,
  Economics, Expert Skill (Computer Security, Military
  Science, or Political Science), Forensics, Geography
  (Political), or Intelligence Analysis, all (H) IQ-2 [1]-10.
  * Multiplied for self-control number; see p. B120.
  Lens
  Cinematic (+100 points): Add 80 points chosen from among
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Forceful Chi 1-4
  [15/level], Gizmos [5/level], Innate Attack [Varies], Inner
  Balance 1-4 [15/level], Resistant to Chi Abilities (+3) [10],
  Trained by a Master [30], Weapon Master [20-45], or
  Wild Talent 1-3 [20/level]. You must take either Trained
  by a Master or Weapon Master! • Add 20 points in your
  style’s cinematic skills (and prerequisites); Invisibility Art
  and Light Walk work wonders.
  Customization Notes
  Styles: Historical ninja were spies, and used Taijutsu
  (pp. 202-203) when undercover and unarmed. Today, guns
  relegate martial arts to the court of last resort, for use when
  the spy is disarmed and has nothing to lose. Various forms
  of Military Hand-to-Hand (pp. 182-185) are most common,
  but such training is easily traced. To avoid this, some offi-
  cers learn popular “civilian” styles: Boxing (pp. 152-153),
  Jujutsu (pp. 166-168), Karate (pp. 169-172), Wrestling
  (pp. 204-205), etc. Any style works in a cinematic game, but
  Western super-spies from the 1960s generally know Judo
  (p. 166) and Karate, while Russian and Chinese secret
  agents seem to prefer Sambo (p. 185) and Wushu (pp. 206-
  207), respectively.
  Style Lenses: For a ninja, none. For a modern spy, the
  “Military” or “Police” lens, depending on the agency. A good
  spy avoids fights and could get by with “Self-Defense.” A
  wartime spy can’t always circumvent violence and might
  end up with a skill set that looks a lot like the “Street” lens.
  Student
  75 points
  You’re a martial-arts neophyte – but a talented, driven
  one. You make up in youthful energy what you lack in expe-
  rience. In time, you could become a model example of any
  of the archetypes portrayed by the other templates. For now,
  you train, making whatever sacrifices this requires of you.
  You might spend all of your spare time at the gym – or, if
  you’re a traditional student, live with your master and work
  as his servant.
  Attributes: ST 10 [0]; DX 12 [40]; IQ 10 [0]; HT 12 [20].
  38
  CHARACTERS
  
  Secondary Characteristics: Damage 1d-2/1d; BL 20 lbs.;
  HP 10 [0]; Will 10 [0]; Per 10 [0]; FP 12 [0]; Basic Speed
  6.00 [0]; Basic Move 6 [0].
  Advantages: 15 points chosen from among ST +1 [10], HT
  +1 [10], HP +1 to +3 [2/HP], Will +1 to +3 [5/level], FP +1
  to +3 [3/FP], Ambidexterity [5], Fit [5] or Very Fit [15],
  High Pain Threshold [10], Language (Broken) [2], Patron
  (Martial-arts master; 6 or less) [8] or (9 or less) [15],
  Pitiable [5], Single-Minded [5], or Style Perks [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -15 points chosen from among Duty
  (Master; Nonhazardous; 12 or less) [-5] or (15 or less) 
  [-10], Fanaticism (Master, school, or style) [-15],
  Obsession (Reach a specific grade) [-5*], Overconfidence
  [-5*]†, or Workaholic [-5]. • Another -15 points chosen
  from among Chummy [-5] or Gregarious [-10], Delusions
  (see pp. 53-54) [-5 to -15], Easy to Read [-10], Gullibility 
  [-10*], Impulsiveness [-10*], Low Self-Image [-10]†,
  Pacifism (Reluctant Killer) [-5], Post-Combat Shakes 
  [-5*], Sense of Duty (Master) [-2] or (Fellow students) 
  [-5], Social Stigma (Minor) [-5], or Wealth (Struggling) 
  [-10] or (Poor) [-15].
  Primary Skills: Savoir-Faire (Dojo) (E) IQ+2 [4]-12 and 15
  points in the skills and techniques of a martial-arts style
  (see Chapter 5).
  Secondary Skills: Lifting (A) HT [2]-12 and Running (A) HT
  [2]-12.
  CHARACTERS
  39
  Kai Lian is a secret agent of the Shining Temple of the
  Autumn Wind, the location of which is known to no one
  – travelers to and from the monastery must go blindfold-
  ed, in the company of a blind master. She is trained in the
  way of Shaolin, as well as in two of the Temple’s secret
  styles. Her trademark attacks are a lethal strike with her
  long fingernails (Delicate Hand Dragon Claw), a leaping
  kick (Graceful Floating Axe), and a chi-blast that can
  hammer foes at 30 feet (Autumn Wind Sky Fist).
  Kai Lian’s present assignment is in frontier America,
  land of the six-shooter, telegraph, and locomotive. Her job
  is a tough one: retrieve the Five Tigers Jade Buddha stat-
  ue, which was stolen from its guardian monks by
  American crooks. To them, it was merely a valuable
  antique. To those who know better, it’s a powerful relic,
  capable of binding evil spirits.
  The Temple chose Kai Lian for her stealth and fighting
  abilities, and the fact that she learned broken English
  from her master. None of this has helped her much when
  it comes to dealing with American culture and technolo-
  gy. “Frisco” was nothing like China, and it took all of her
  acrobatic skills to dodge the bullets of those thugs at the
  docks. They fought like men possessed, and Kai Lian is
  beginning to suspect that there’s more to this mystery
  than meets the eye.
  Kai Lian is a petite woman (4’10” and 90 lbs) in her
  mid-30s, with unusually long fingernails, clad in simple
  but immaculate clothing. She was inspired by the cine-
  matic Monk template (p. 36). Her style is Shaolin Kung
  Fu (p. 194).
  ST 9 [-10]; DX 14 [80]; IQ 13 [60]; HT 11 [10].
  Damage 1d-2/1d-1; BL 16 lbs.; HP 9 [0]; Will 14 [5]; Per
  13 [0]; FP 14 [9].
  Basic Speed 6.00 [-5]; Basic Move 6 [0]; Dodge 12; Parry
  12.
  Social Background
  TL: 3 [-10].
  CF: Chinese [0].
  Languages: English (Broken) [2]; Mandarin (Native)
  [0].
  Advantages
  Blunt Claws [3]; DR 1
  (Partial, 
  Hands, 
  -40%;
  Tough Skin, -40%) [1];
  Enhanced Dodge 3 [45];
  Flying Fists (p. 45) [5];
  Perfect 
  Balance 
  [15];
  Trained by a Master [30].
  Perks: Shtick (Clothes
  never get torn or dirty);
  Style Familiarity (Shaolin
  Kung Fu; two secret styles
  for use with Shout It Out!,
  p. 132). [4]
  Disadvantages
  Duty (Shining Temple of the Autumn Wind; 15 or less;
  Extremely Hazardous) [-20]; Shyness (Mild) [-5]; Social
  Stigma (Second-Class Citizen) [-5]; Vow (Fight without
  weapons) [-15]; Wealth (Poor) [-15].
  Quirks: Believes that users of TL4+ gadgetry are weak;
  Finds big moustaches exceptionally silly; Humble;
  Incompetence (Riding); Shouts out the name of each
  technique before attacking (much to the puzzlement of
  American foes). [-5]
  Skills
  Acrobatics (H) DX+1 [4]-15*; Climbing (A) DX [1]-14*;
  Esoteric Medicine (H) Per-1 [2]-12; Flying Leap (H) IQ+1
  [8]-14; Judo (H) DX-2 [1]-12; Jumping (E) DX [1]-14;
  Karate (H) DX+4 [20]-18; Light Walk (H) DX [4]-14;
  Lizard Climb (H) DX [4]-14; Meditation (H) Will-2 [1]-12;
  Observation (A) Per-1 [1]-12; Pharmacy (Herbal) (H) IQ-1
  [2]-12; Philosophy (Buddhism) (H) IQ-1 [2]-12; Power
  Blow (H) Will [4]-14; Shadowing (A) IQ-1 [1]-12; Staff (A)
  DX-1 [1]-13; Stealth (A) DX [2]-14; Tracking (A) Per-1 
  [1]-12.
  Techniques: Lethal Strike (Karate) (H) [3]-18; Flying
  Jump Kick (Karate) (H) [8]-18.
  * Includes +1 for Perfect Balance.
  Kai Lian (250 points)
  
  Background Skills: 6 points chosen from among Hobby
  (any), DX/E or IQ/E; Sports (any), DX/A; First Aid, Games
  (any), Housekeeping, or Savoir-Faire (Servant), all IQ/E;
  Cooking, IQ/A; or Carousing, HT/E.
  * Multiplied for self-control number; see p. B120.
  † Low Self-Image and Overconfidence are incompatible.
  Lens
  Cinematic (+75 points): Add 60 points chosen from among
  Destiny [5, 10, or 15], Enhanced Block 1-3 [5/level],
  Enhanced Dodge 1-2 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Extra Attack 1 (Multi-Strike, +20%) [30],
  Forceful Chi 1-2 [15/level], Heroic Archer [20], Innate
  Attack [Varies], Inner Balance 1-2 [15/level], Resistant to
  Chi Abilities (+3) [10], Trained by a Master [30], Weapon
  Master [20-45], or Wild Talent 1-2 [20/level]. You must
  take either Trained by a Master or Weapon Master! • Add
  15 points in your style’s cinematic skills (and prerequi-
  sites); students often drill at Breaking Blow and
  Sensitivity.
  Customization Notes
  Styles: It’s possible to be a student of any style. If an ordi-
  nary man on the street has martial-arts training in a modern-
  day game, he’ll most likely know Greco-Roman Wrestling
  (p. 205), Judo (p. 166), Karate (pp. 169-172), Kendo (p. 175),
  Tae Kwon Do (p. 200), T’ai Chi (the meditative version on
  p. 201, not T’ai Chi Chuan), Wing Chun (pp. 203-204), or
  Wushu (pp. 206-207), depending on his culture. Aikido
  (p. 149) and Hapkido (p. 161) are growing in popularity in
  the West, as are such actively promoted arts as Hwa Rang Do
  (pp. 163-164) and Kempo (pp. 172-173).
  Style Lenses: See the lenses suggested for the kind of mar-
  tial artist that the student aspires to become. Lessons at the
  typical modern-day gym lead to “Self-Defense.” “Trained by
  a Fraud” is unfortunately common.
  Stuntman
  100 points
  You stand in for movie stars (although probably not the
  skilled ones described under Movie Star, pp. 36-38) and play
  nameless bad guys in martial-arts movies. A stuntman might
  work as an aerialist, cowboy, driver, marksman, and many
  other things, all in the same feature. You’re good at some of
  these things, but you’re great at fighting. Most of your
  martial-arts skills are slanted toward what looks good, but
  the real thing looks best, and you know enough about it to be
  convincing.
  Attributes: ST 11 [10]; DX 12 [40]; IQ 10 [0]; HT 12 [20].
  Secondary Characteristics: Damage 1d-1/1d+1; BL 24 lbs.;
  HP 11 [0]; Will 10 [0]; Per 10 [0]; FP 10 [-6]; Basic Speed
  6.00 [0]; Basic Move 6 [0].
  Advantages: 20 points chosen from among ST +1 or +2 [10
  or 20], DX +1 [20], HT +1 or +2 [10 or 20], HP +1 to +3
  [2/HP], Basic Speed +1 [20], Basic Move +1 to +3 [5/level],
  Daredevil [15], Enhanced Dodge 1 [15], Fearlessness 1-5
  [2/level] or Unfazeable [15], Flexibility [5], Hard to Kill 1-
  5 [2/level], High Pain Threshold [10], Perfect Balance
  [15], Rapid Healing [5] or Very Rapid Healing [15], Style
  Familiarity (any) [1/style], or Style Perks [1/perk].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -20 points chosen from among Compulsive
  Behavior (Thrill-Seeking) [-5*], Duty (Agent, producer, or
  studio; 9 or less) [-5] or (12 or less) [-10], Greed [-15*],
  Impulsiveness [-10*], On the Edge [-15*], or
  Overconfidence [-5*]. • Another -20 points chosen from
  among the above traits or Compulsive Carousing [-5*],
  Delusions (see pp. 53-54) [-5 to -15], Gigantism [0],
  Minor Addiction (Ordinary painkillers) [-1], Minor
  Handicap (Old injury) [-1], Overweight [-1] or Fat [-3],
  Pacifism (Reluctant Killer) [-5] or (Cannot Kill) [-15],
  Reputation (see p. 54) [Varies], Stubbornness [-5], or
  Trickster [-15*].
  Primary Skills: Acrobatics (H) DX+2 [12]-14; Jumping (E)
  DX+1 [2]-13; Stage Combat (A) DX+1 [4]-13; and 20
  points in the skills and techniques of almost any style
  (see Chapter 5).
  Secondary Skills: Performance (A) IQ+1 [4]-11. • Also
  select two of Parachuting (E) DX+2 [4]-14; Climbing,
  Driving (any), Fire Eating, Riding (any), or Sports (any),
  all (A) DX+1 [4]-13; Escape (H) DX [4]-12; Acting or
  Scuba, both (A) IQ+1 [4]-11; Swimming (E) HT+2 [4]-14;
  or Skating or Skiing, both (H) HT [4]-12.
  Background Skills: 5 points chosen from among Guns
  (any), DX/E; First Aid or Makeup, both IQ/E; Armoury
  (Melee Weapons) or Explosives (Fireworks), both IQ/A;
  or Artist (Scene Design), IQ/H.
  * Multiplied for self-control number; see p. B120.
  Lenses
  Cinematic (+100 points): Add 80 points chosen from among
  Damage Resistance (Tough Skin, -40%) 1 or 2 [3 or 6],
  Enhanced Dodge 1-3 [15/level], Enhanced Parry 1-3 [5 or
  10/level], Enhanced Time Sense [45], Extra Attack 1 or 2
  (Multi-Strike, +20%) [30 or 60], Forceful Chi 1-4
  [15/level], Gizmos (Only for style, -20%) [4/level], Heroic
  Archer [20], Innate Attack [Varies], Resistant to Chi
  Abilities (+3) [10], Recovery [10], Trained by a Master
  [30], or Weapon Master [20-45]. You must take either
  Trained by a Master or Weapon Master! • Add 20 points
  in your style’s cinematic skills (and prerequisites); 
  the GM may let you use Breaking Blow when slamming
  bodily into doors and windows.
  Tough Guy (+100 points): Like the cinematic stuntman
  above, you perform “impossible” stunts. The difference is
  that instead of being impossibly agile, you’re tough
  enough to take those falls for real! See Contender (p. 32)
  for statistics.
  Customization Notes
  Styles: Stuntmen are often former athletes who competed
  at Boxing (pp. 152-153), Judo (p. 166), Karate (pp. 169-172),
  or Tae Kwon Do (p. 200). Many tough guys come from the
  world of Greco-Roman Wrestling (p. 205), Professional
  Wrestling (p. 206), or Sumo (pp. 198-199), or are ex-soldiers
  with a Military Hand-to-Hand (pp. 182-185) background.
  Most of the notes under Movie Star (pp. 36-38) are also
  applicable.
  Style Lenses: Cops or soldiers who’ve moved into showbiz
  should have “Military” or “Police,” as appropriate. “Street”
  suits many tough guys; quite a few real-life stuntmen are the
  genuine article.
  40
  CHARACTERS
  
  Warrior
  100 points
  You’re a full-time man-at-arms. You might be a knight,
  mercenary, or volunteer – or perhaps you’re a conscript,
  draftee, or levy who never got sent home. Whatever your 
  situation, you’re in it for the long haul and you’ve gravitated
  to the martial arts as a set of tools that can help you survive
  on (and off) the battlefield. Unlike most martial artists, you
  have a good excuse to be skilled with heavy, military weapons.
  Attributes: ST 11 [10]; DX 12 [40]; IQ 10 [0]; HT 11 [10].
  Secondary Characteristics: Damage 1d-1/1d+1; BL 24 lbs.;
  HP 11 [0]; Will 10 [0]; Per 10 [0]; FP 11 [0]; Basic Speed
  6.00 [5]; Basic Move 6 [0].
  Advantages: 20 points chosen from among ST +1 or +2 [10
  or 20], DX or IQ +1 [20], HT +1 or +2 [10 or 20], HP +1 to
  +3 [2/HP], Per +1 to +4 [5/level], FP +1 to +3 [3/FP],
  Combat Reflexes [15], Danger Sense [15], Enhanced
  Block 1 [5], Enhanced Dodge 1 [15], Enhanced Parry 1 [5
  or 10], Fearlessness 1-5 [2/level] or Unfazeable [15], Fit [5]
  or Very Fit [15], Hard to Kill 1-5 [2/level], High Pain
  Threshold [10], Military Rank 1-4 [5/level]†, Penetrating
  Voice [1], Rapid Healing [5] or Very Rapid Healing [15],
  Style Familiarity (any) [1/style], Style Perks [1/perk], or
  Weapon Bond [1].
  Perks: Style Familiarity (own style) [1].
  Disadvantages: -25 points chosen from among Code of Honor
  (“Stay bought”) [-5], (Soldier’s) [-10], or (Bushido or
  Chivalry) [-15], Duty (Unit or force; 12 or less) [-10] or (15
  or less) [-15]†, Fanaticism (Unit, force, nation, etc.) 
  [-15], Greed [-15*], Intolerance (Enemy nation) [-5] or (All
  nations but own) [-10], or Sense of Duty (Unit) [-5] or (Own
  nation) [-10]. • A further -15 points chosen from among the
  above traits or Berserk [-10*], Bloodlust [-10*], Callous [-5],
  Chummy [-5] or Gregarious [-10], Overconfidence [-5*],
  Stubbornness [-5], or Workaholic [-5].
  Primary Skills: Soldier (A) IQ+2 [8]-12, plus 20 points in the
  skills and techniques of a combat style (see Chapter 5). •
  Spend a further 10 points on your style or on military
  weapon skills typical for your TL:
  TL0-3: Crossbow, Shield, or Thrown Weapon (Spear), all
  DX/E; 
  Axe/Mace, 
  Bow, 
  Broadsword, 
  Polearm,
  Shortsword, or Spear, all DX/A; or Sling, DX/H.
  TL4-5: Gunner (Cannon) or Guns (Musket, Pistol, or Rifle),
  both DX/E; or Broadsword, Polearm, Rapier, Shortsword,
  Spear, or Throwing, all DX/A.
  TL6-8: Gunner (MG), Guns (GL, LAW, LMG, Rifle, or SMG),
  or Liquid Projector (Flamethrower), all DX/E; or Spear or
  Throwing, both DX/A.
  TL9+: Beam Weapons (Projector or Rifle), Gunner (Cannon
  or Beams), or Guns (GL, Gyroc, LAW, or Rifle), all DX/E;
  or Force Sword or Throwing, both DX/A.
  Secondary Skills: Hiking (A) HT+1 [4]-12 or Riding (any) 
  (A) DX+1 [4]-13. • Also choose two of Stealth (A) DX+1
  [4]-13; Camouflage or First Aid, both (E) IQ+2 [4]-12;
  Armoury (any), Forward Observer, Leadership, or
  Navigation (Land), all (A) IQ+1 [4]-11; or Observation or
  Survival (any), both (A) Per+1 [4]-11.
  Background Skills: 4 points chosen from among Gesture or
  Savoir-Faire (Military), both IQ/E; Connoisseur (Weapons),
  Gambling, or Heraldry, all IQ/A; Expert Skill (Hoplology or
  Military Science), Strategy, or Tactics, all IQ/H; Carousing,
  HT/E; or Intimidation, Will/A.
  * Multiplied for self-control number; see p. B120.
  † Duty must accompany Military Rank.
  Lenses (Realistic)
  Hand-to-Hand Combat Instructor (+25 points): Add Fit [5];
  Teaching (A) IQ+2 [8]-12; and an extra 12 points of style
  skills and techniques. Add the NCO template to get a drill
  sergeant.
  Knight or Samurai (+25 points): Add Status 2 [5] and Wealth
  (Wealthy) [20]; Status includes +1 from Wealth. • Replace
  Soldier with Leadership (A) IQ+2 [8]-12. • Add Lance and
  Two-Handed Sword, both DX/A, to primary weapon skill
  lists. • Riding is mandatory. • Add Savoir-Faire (High
  Society), IQ/E, to background options.
  NCO (+35 points): Add IQ +1 [20]; Military Rank 1 [5];
  Leadership (A) IQ+1 [4]-12; Tactics (H) IQ-1 [2]-10; and an
  extra 4 points in primary, secondary, or background skills.
  Maximum Military Rank is 4.
  Officer (+50 points): Add IQ +1 [20]; Military Rank 3 [15];
  Leadership (A) IQ+1 [4]-12; Savoir-Faire (Military) (E)
  IQ+1 [2]-12; Tactics (H) IQ [4]-11; and 5 more points in pri-
  mary, secondary, or background skills. This is a veteran,
  not a green lieutenant!
  Lenses (Cinematic)
  Cinematic (+100 points): Add 80 points chosen from among
  Blunt Claws [3], Damage Resistance 1-2 (Partial, Hands, 
  -40%; Tough Skin, -40%) [1-2], Enhanced Block 1-3
  [5/level], Enhanced Dodge 1-3 [15/level], Enhanced Parry
  1-3 [5 or 10/level], Enhanced Time Sense [45], Extra
  Attack 1 or 2 (Multi-Strike, +20%) [30 or 60], Forceful Chi
  1-4 [15/level], Heroic Archer [20], Innate Attack [Varies],
  Resistant to Chi Abilities (+3) [10], Striker (Crushing) [5],
  Trained by a Master [30], or Weapon Master [20-45]. 
  You must take either Trained by a Master or Weapon
  Master! • Add 20 points in your style’s cinematic skills
  (and prerequisites).
  Tough Guy (+100 points): You’re the soldier from the movies,
  shrugging off arrows or bullets as you wade into the enemy
  with a massive two-handed weapon . . . or a hefty machine
  gun. See Contender (p. 32) for statistics.
  Customization Notes
  Styles: An historical warrior could have any style known in
  his time and place. Armed styles meant for battlefield use –
  Armatura (p. 150), Hoplomachia (pp. 161-162), Kenjutsu
  (pp. 173-175), Kyujutsu (p. 179-180), Naginatajutsu (p. 186),
  Sojutsu (pp. 197-198), Spear Fighting (pp. 196-197), Sword-
  and-Shield Fighting (pp. 199-200), etc. – make the most sense.
  For a mounted warrior, add Bajutsu (p. 151), Furusiyya
  (pp. 159-161), and Knightly Mounted Combat (p. 175-177) to
  this list. A smart soldier will supplement his training with an
  unarmed style – perhaps Aikijutsu (p. 149) or Combat
  Wrestling (pp. 204-205). Modern troops learn Military Hand-
  to-Hand (pp. 182-185).
  Style Lenses: A genuine battlefield style requires no lens.
  Other styles should have “Military” if taught formally, “Street”
  if picked up in pubs and ports.
  CHARACTERS
  41
  
  ADVANTAGES, DISADVANTAGES,
  AND SKILLS
  42
  CHARACTERS
  The martial arts are ultimately about personal capability.
  Dedicated fighters train hard, and the most successful tend
  to be fit, talented people to begin with. These realities make
  the PCs’ advantages, disadvantages, and skills remarkably
  important in a Martial Arts campaign – worthy of the same
  attention as exotic powers in a superhero game or magic in
  a fantasy setting.
  Even if the martial arts are “background color” in anoth-
  er type of campaign – fantasy, historical, military, etc. – the
  GM should realize that martial artists are popular as
  PCs. To those who like to play them, their aptitudes
  and training are as vital as their weapons and back-
  ground. If the GM wants such heroes to be viable and
  fun, he should lend some thought to how he plans to
  handle their capabilities. It’s crucial to let the players
  know in advance which traits are allowed, which are
  off limits, and which work differently.
  ADVANTAGES
  The advantages discussed below either work dif-
  ferently in a Martial Arts game or require additional
  interpretation for martial artists. Consult with the
  GM before taking any trait described as “cinematic.”
  Such abilities may have additional prerequisites (typical-
  ly Trained by a Master or Weapon Master) and are likely
  off-limits in a realistic campaign.
  Altered Time Rate
  see p. B38
  This advantage has no place in a realistic game. Real-
  world martial artists who can land multiple techniques in
  the space of a second are using All-Out Attack (Double)
  (p. B365), Rapid Strike (p. B370), Combinations (p. 80), and
  so forth. They aren’t warping time!
  Altered Time Rate is also unsuitable for “traditional” cin-
  ematic settings. To stay true to martial-arts myth, those
  whose blinding speed results from schooling in secret fight-
  ing arts should use Trained by a Master or Weapon Master
  to halve the Rapid Strike penalty, while those with excep-
  tional coordination should look at Extra Attack (p. B53).
  Fighters with both can make many attacks but are still lim-
  ited to one maneuver per turn.
  However, some comic books and movies depict impossi-
  bly fast martial artists who can engage several widely spaced
  opponents before any of them can retaliate. This requires
  multiple maneuvers per turn, implying Altered Time Rate.
  In campaigns inspired by such fiction, the GM may allow
  one or more levels of this advantage to those with
  Gunslinger, Heroic Archer, Trained by a Master, or Weapon
  Master.
  For more on speedy heroes, see Multiple Attacks
  (pp. 126-128).
  Claws
  see p. B42
  Many martial artists toughen their hands by punching a
  heavy bag, wooden post, etc. The usual goal is to condition
  the hands so that hitting hard surfaces is less risky (treat
  this as DR; see Damage Resistance, p. 43), but some
  unorthodox exercises are intended to harden the hands into
  deadly weapons. These include striking iron or steel, driv-
  ing extended fingers into
  hot sand, and applying
  rank-smelling 
  unguents.
  The results often have a
  colorful name, such as
  “iron hand” or “eagle claw.”
  Represent this using Blunt
  Claws [3] – and perhaps
  other traits.
  Realistically, any tough-
  ening extensive enough to
  improve punching damage
  would irreversibly damage
  the hand. The GM should
  only let realistic fighters
  buy Blunt Claws if they also
  take Bad Grip 1 [-5]. The
  package is a net disadvan-
  tage (-2 points). Since Bad Grip 1 gives -2 to grapple or use
  melee weapons, this severely curtails the martial artist’s
  other combat options.
  In a cinematic campaign, the GM may relax this restric-
  tion and allow esoteric, non-destructive exercises or amaz-
  ing ointments. If so, individuals with Trained by a Master
  should have access to such methods and be able to buy
  Blunt Claws without Bad Grip. If those without Trained by
  a Master want this advantage, they can either get it the hard
  way (with Bad Grip) or pay 10 points for Unusual
  Background (Access to secret hand-toughening exercises).
  It’s possible to modify just one hand. This doesn’t reduce
  the point cost of Claws or Unusual Background, but Bad
  Grip must have the -80% limitation “One hand only.” This
  reduces its value to -1 point and means that its -2 penalty
  applies to one-handed tasks with the modified hand. For
  two-handed tasks, the penalty is only -1.
  Those who wish to do this in play should see Learnable
  Advantages (p. B294). Base the time required on the cost of
  Blunt Claws (3 points). Where applicable, any Unusual
  Background must be bought before training begins, while
  Bad Grip appears at the end of this time.
  For another option, see the Limb limitation under
  Striker (p. 47).
  Chakram
  
  Damage Resistance
  see p. B46
  Suitably limited Damage Resistance
  fits many kinds of cinematic campaigns.
  A few ideas:
  Ablative: Some action heroes can
  absorb a lot of damage before their luck
  runs out. They suffer kicks, punches, falls,
  etc., throughout the story, but only get
  hurt in the finale. To simulate this, the
  GM may allow DR (Ablative, -80%)
  [1/level]. Each point of damage rolled
  blows away a point of DR. This DR does-
  n’t protect against poison – but while it
  lasts, it does keep poisoned weapons from
  delivering their deadly dose! Such DR
  works much like HP, but the two aren’t
  the same. Compare lost HP to the victim’s
  basic HP score to determine crippling,
  major wounds, and death.
  Limited: Other fictional heroes are
  resistant to bludgeoning but affected nor-
  mally by blades, bullets, and beams. To
  represent this, the GM may permit DR
  (Limited, Crushing, -40%) [3/level].
  Limited, Unarmed is also -40%, and
  affects cutting and impaling Claws,
  Strikers, and Teeth.
  Partial: Martial artists often toughen
  extremities or limbs into “iron body
  parts.” Those with Trained by a Master
  may buy DR with Partial (-80% for one
  hand or one foot; -40% for two hands, two
  feet, one leg, or one arm; or -20% for two
  legs or two arms) and Tough Skin (-40%).
  This traditionally accompanies Claws
  (p. 42), or requires or is an Iron Body Parts
  perk (p. 50).
  Tough Skin: The GM may let really tough guys buy DR
  (Limited, Crushing, -40%; Tough Skin, -40%) [1/level] for
  their whole body. Attacks that don’t break the skin or carry
  a contact poison or chi-based touch attack simply hurt less.
  Some warriors have DR (Tough Skin, -40%) [3/level] and are
  harder to hurt with all attacks! Martial artists who simulate
  tough body parts using Partial must also take Tough Skin.
  The GM decides how much DR to allow and of what
  type, and should base the time needed to acquire it through
  training on its final point cost (see Learnable Advantages,
  p. B294). Outside of superhero games, DR 1-2 is probably
  enough unless it’s Ablative. Ablative DR could go up to HP
  in any cinematic game, and up to 5¥HP for heroes who sur-
  vive 10-story falls and 60-mph car wrecks. Anything is pos-
  sible, though. Damage Resistance might have nearly any
  modifier when part of a chi power (see Chi Powers for
  Martial Artists, p. 46). The GM should design powerful
  defensive abilities himself and present them in a manner
  similar to the offensive ones under Innate Attack (pp. 45-47).
  For instance:
  Ghost Shirt (-70%): DR 20 (Limited, Bullets, -60%; Pact,
  -10%) [30]. Notes: Your chi lets you resist bullets – if you
  don’t use modern weapons yourself! The special Pact limi-
  tation means you must take and observe Vow (Use only
  muscle-powered attacks) [-10]. If you use guns, explosives,
  etc., for any reason, you immediately lose the DR until 
  1d days have passed (the GM rolls in secret). Treat the
  combination of DR and Vow as a meta-trait: Ghost Shirt
  [20]. 20 points.
  Enhanced Defenses
  see p. B51
  The GM decides how many levels of these traits are avail-
  able. Enhanced Defenses are cinematic and not especially
  suitable for a purely realistic game . . . but in a campaign
  that adds subtle cinematic elements to a largely realistic set-
  ting (see Hybrid Campaigns, pp. 239-241), a single level
  won’t upset things. The typical “action movie” game can
  take two levels in stride. Campaigns that feature extreme
  comic-book and wuxia action might go up to three levels,
  but probably not beyond that – not unless the GM likes
  untouchable fighters!
  CHARACTERS
  43
  Desirable Advantages
  Below are lists of advantages particularly valuable to martial artists,
  split into categories that reflect common fictional archetypes. Anybody
  can have the mundane traits, but only cinematic or super-powered char-
  acters are likely to have the exotic or supernatural ones.
  •Agility and coordination. Fighters who put precision before power and
  feel that evading blows is more useful than being able to take lumps often
  have some of these traits, plus good DX, Basic Speed, and/or Basic Move.
  Mundane: Ambidexterity (p. B39); Combat Reflexes (p. B43); Enhanced
  Defenses (p. B51); Extra Attack (p. B53); Flexibility (p. B56); and Perfect
  Balance (p. B74). Exotic & Supernatural: Altered Time Rate (p. B38); Arm
  DX (p. B40); Enhanced Move (p. B52); Enhanced Time Sense (p. B52);
  Slippery (p. B85); and Super Jump (p. B89).
  • Endurance and toughness. Some martial artists pride themselves on
  being able to take a few hits. This calls for high HT, FP, Will, and/or HP,
  along with an advantage or two from this list. Mundane: Fit (p. B55); Hard
  to Kill (p. B58); Hard to Subdue (p. B59); High Pain Threshold (p. B59);
  Rapid Healing (p. B79); and Resistant (p. B81). Exotic & Supernatural:
  Damage Resistance (p. B46); Injury Tolerance (p. B60); Recovery (p. B80);
  Regeneration (p. B80); Regrowth (p. B80); Supernatural Durability
  (p. B89); and Unkillable (p. B95).
  • Power and strength. Heavy hitters require ST – as much as they can
  afford. In some campaigns, advantages that improve damage are available.
  Exotic & Supernatural: Arm ST (p. B40); Claws (p. B42); Striker (p. B88);
  Striking ST (p. B88); and Teeth (p. B91).
  • Situational awareness. Tactical and streetwise warriors try to pick
  their fights carefully and avoid danger. These traits help, and work best
  with decent IQ and Per. Mundane: Acute Senses (p. B35); Danger Sense
  (p. B47); Fearlessness (p. B55); Peripheral Vision (p. B74); and Unfazeable
  (p. B95). Exotic & Supernatural: 360° Vision (p. B34) and Vibration Sense
  (p. B96) – although any superhuman sense could come in handy.
  Finally, anyone who routinely goes on dangerous adventures would
  benefit from Daredevil (p. B47) and Luck (p. B66)!
  
  Most martial artists can only take Enhanced Defenses
  listed under “Optional Traits” for their styles; see Chapter 5.
  Those with Trained by a Master or Weapon Master have
  access to all Enhanced Defenses. Weapon Masters who have
  Enhanced Parry may add their bonus to parries made using
  the Parry Missile Weapons skill (p. B212) as well as with reg-
  ular Melee Weapon skills, when armed with suitable
  weapons.
  To mute the deadliness of ranged weapons so that most
  fights end up at melee range, the GM may let heroes buy
  Enhanced Parry (All parries against ranged weapons) for 5
  points/level – possibly at higher levels than other types of
  Enhanced Parry. This gives a bonus to regular parries against
  thrown weapons (see Parrying, p. B376) and to parries with
  the Parry Missile Weapons skill. Its bonus “stacks” with those
  for weapon-specific Enhanced Parry advantages.
  Enhanced Time Sense
  see p. B52
  A fighter with Enhanced Time Sense (ETS) always acts
  before one who lacks it – both in the “turn sequence”
  (p. B363) and in a Wait situation (see Cascading Waits,
  p. 108). This is especially useful to a martial artist who must
  face firearms. It lets him spring across a room and take out
  a gunman who has him dead to rights! It also lets him parry
  bullets, if he knows the Parry Missile Weapons skill (see
  p. 58). He can even try to dodge a sniper’s bullet (normally,
  no active defense is possible). The GM may extend these ben-
  efits to encompass blaster bolts and other slower-than-light
  ranged attacks.
  All of this makes ETS perfect for campaigns based on
  action movies. In the movies, Stars always get the drop on
  Extras, even alerted Extras with machine guns, and snipers
  shooting at Stars always miss with their first shot. Naturally,
  PCs are Stars, as are bosses, top henchmen, and other impor-
  tant NPCs. Stars are likely to have ETS; the GM can even
  make it a “campaign advantage” that all PCs must have.
  Everyone else is an Extra, and Extras never have ETS. This
  approach converts ETS from an exotic advantage to an
  Unusual Background that extends “plot immunity” to Stars
  – an extremely common feature of martial-arts cinema. In
  some films, ETS only applies during action sequences; see
  the special limitation below.
  Finally, in campaigns that use Bullet Time (p. 133), the
  GM might wish to reserve that rule for heroes who have ETS.
  New Special Limitation
  Combat Sense: Your ability only works when you’re fight-
  ing. While the game is in “slow” time for combat (see Time
  During Adventures, p. B497), you enjoy all the usual benefits
  of ETS. The rest of the time, your advantage does nothing! It
  won’t help you avoid penalties for being rushed on non-
  combat tasks and it’s worthless against traps, snipers, and
  environmental hazards encountered out of combat. -20%.
  Extra Attack
  see p. B53
  A realistic martial artist may take one level of Extra Attack
  to represent excellent coordination. This lets him attack with
  any combination of two different weapons, hands, or feet,
  with no restrictions on the skills involved. To attack multiple
  times with the same weapon or body part requires the Multi-
  Strike enhancement. If both attacks must use the same com-
  bat skill, take the Single Skill limitation. Both modifiers
  appear below.
  The GM decides how many levels of Extra Attack are pos-
  sible in a cinematic game. Multi-Strike should be mandatory
  for humans with more than one level, as with three or more
  attacks and only two hands, one hand will be striking twice.
  The GM may relax this requirement if the martial artist takes
  Single Skill for skill that covers kicking. A warrior with Extra
  Attack 3 (Single Skill, Karate) could make two punches and
  two kicks at once – at least in a chambara or wuxia game
  where fighters rarely seem to touch the ground!
  The GM decides whether Extra Attack is learnable. If so,
  consider using Single Skill to represent practice with a par-
  ticular combat skill. Fighters who use paired weapons are
  more likely to buy Off-Hand Weapon Training (p. 50) and
  Dual-Weapon Attack (p. 83), however.
  See Multiple Attacks (pp. 126-128) for other important
  details.
  New Special Enhancement
  Multi-Strike: You can strike more than once with the same
  weapon or body part. This lets you launch more attacks than
  you have limbs, natural weapons, and attack abilities. You
  can use your best attack multiple times. +20%.
  New Special Limitation
  Single Skill: Your Extra Attacks apply only to a particular
  combat skill. For instance, Extra Attack 2 (Single Skill,
  Karate) lets you attack three times – but at least two of the
  attacks must be with the Karate skill. To attack more than
  once using a weapon skill, you need either one weapon per
  attack or the Multi-Strike enhancement. -20%.
  Fearlessness
  see p. B55
  Mastering a fighting style is a great way to build confi-
  dence. The GM may wish to allow martial artists to buy a
  level of Fearlessness in play for every two levels by which
  their best combat skill exceeds DX. For instance, a fighter
  with Karate at DX+6 could “learn” Fearlessness 3. This
  option particularly suits military martial arts.
  Flexibility
  see p. B56
  The +3 for Flexibility and +5 for Double-Jointed apply to
  all rolls to break free (p. B371) – including attempts to escape
  the locks and holds in Chapter 3.
  44
  CHARACTERS
  I kick arse for the Lord!
  – Father McGruder,
  Braindead
  
  Gizmos
  see p. B57
  Stealthy assassins and warriors in martial-arts fiction,
  especially ninja, always seem to have exactly the hardware
  they need – blowpipes, flash grenades, garrotes, knives,
  smoke bombs, throwing stars, vials of poison, etc. – without
  carrying a concealed armory that slows them with its weight
  or draws suspicion with its bulk. To simulate this, the GM
  may permit those with Weapon Master to buy Gizmos with
  an Accessibility limitation: Only for style, -20%. This limits
  the Gizmos to things typically used by the martial artist’s
  style (GM’s opinion) and that weigh no more than 1 lb. apiece
  . . . but they’re undetectable and don’t count as encumbrance
  until revealed.
  Gunslinger
  see p. B58
  As the Basic Set suggests, the GM may allow low-tech
  versions of this advantage that cover muscle-powered
  weapons. Here’s an example suitable for mythic samurai,
  fantasy Elves, and green-clad English bandits.
  Heroic Archer
  20 points
  You can perform amazing feats with any weapon that
  uses the Bow skill. When you Attack or All-Out Attack with
  a bow, you may add its Accuracy bonus to skill without tak-
  ing an Aim maneuver. If you do Aim, you get +1 after one
  second or +2 after two or more seconds, in addition to Acc.
  When you Move and Attack, you don’t get your bow’s Acc
  bonus but may ignore its Bulk penalty. Ignore the extra -1 or
  -2 to skill for a Flying Attack (p. 107) or an Acrobatic Attack
  (p. 107), too. This lets you shoot at full skill even while run-
  ning, jumping, sliding down banisters, etc.
  You can also disregard Bulk in close combat (see
  Weapons for Close Combat, p. B391). You never get an Acc
  bonus there but you do shoot at full skill. This makes the
  Close Combat technique (p. 69) redundant for you.
  You can use Quick-Shooting Bows (pp. 119-120) to
  improve your rate of fire when you Move and Attack as well
  as when you Attack or All-Out Attack. Regardless of your
  maneuver, halve the -6 to skill for this stunt. On an Attack or
  All-Out Attack, add Acc to your attack roll but not to the skill
  roll to ready your bow hastily. Similarly, halve the penalty to
  shoot two arrows at once using Dual-Weapon Attack (p. 83);
  DWA (Bow) defaults to Bow-2 for you, not Bow-4.
  Finally, when you use Fast-Draw (Arrow), total all appli-
  cable penalties from Multiple Fast-Draw (p. 103), Fast-Draw
  from Odd Positions (pp. 103-104), and Move and Attack
  (p. 107), halve the sum, and round in your favor.
  You can combine Heroic Archer with any Weapon
  Master specialty that covers bows. This gives you the dam-
  age bonus for Weapon Master and all of the above benefits
  – and makes the quick-shooting penalty a mere -1!
  Injury Tolerance
  see p. B60
  A new form of Injury Tolerance suits some cinematic
  action heroes:
  Damage Reduction: You divide the injury you suffer by 2,
  3, or 4 after subtracting DR from damage and applying
  wounding modifiers. This normally reduces all injury, but
  the GM should require the Limited modifier (see Limited
  Defenses, p. B46) in a Martial Arts game. “Physical Attacks”
  gives -20%, while “Crushing” or “Unarmed” gives -40%. 50
  points for a divisor of 2, 75 points for 3, 100 points for 4.
  Innate Attack
  see p. B61
  Use Innate Attack to create the “chi blasts” wielded by
  martial artists in video games and comic books. These take
  many forms: flaming breath, devastating kiais, “weapons” of
  pure chi, and so on. Some of the more improbable claims
  made for legendary masters in the real world would also be
  Innate Attacks, such as blows delivered from a distance,
  direct psychic attacks, and the sinister “hand of death.”
  If the GM allows such abilities, he should limit damage
  to keep Innate Attack from eclipsing the fists, swords, bows,
  and so forth that martial artists usually use, even in video
  games. Martial-arts tradition provides convenient guide-
  lines: these abilities draw their strength from the same well
  as the martial artist’s unarmed attacks – his chi – and should
  inflict comparable damage. Since most of these exotic
  attacks violently expend the user’s chi, they should cost FP.
  This provides a convenient hedge against overuse.
  Such an attack should still be a useful alternative to an
  ordinary punch, though. Otherwise, who’d waste time devel-
  oping it? Fitting capabilities include non-crushing damage,
  ongoing injury (like poison), the capacity to partially or
  wholly bypass DR, and range.
  Below are worked examples of suitable abilities. Damage
  is 1d, equivalent to a strong man’s punch. In each case, the
  sum of the modifiers used appears in parentheses after the
  attack’s name. To alter damage, apply this total modifier to
  the cost of an Innate Attack of the desired size.
  Breath of Dragon (-25%): Burning Attack 1d (Costs
  Fatigue, 1 FP, -5%; Melee Attack, Reach 1-4, Cannot Parry, 
  -20%) [4]. Notes: A narrow flame jet – spewed from the
  mouth – that can scorch a target up to four yards away. This
  counts as a melee attack. Take an Attack maneuver and roll
  against Innate Attack (Breath) to hit. 4 points.
  Flying Fists (+0%): Crushing Attack 1d (Blockable, -10%;
  Costs Fatigue, 1 FP, -5%; Low Signature, +10%; Variable,
  +5%) [5]. Notes: By punching or kicking at air, you can smite
  a distant target. If the victim has never witnessed this abili-
  ty, he must make a Sense roll at -4 to know he’s being
  attacked! (He may defend normally against later uses.) It’s
  otherwise a standard ranged attack with Acc 3, 1/2D 10, Max
  100, and RoF 1. To use it, take an Attack maneuver. Roll
  against Karate to hit. 5 points.
  Ghost Knife (-40%): Impaling Attack 1d (Blockable, 
  -10%; Costs Fatigue, 1 FP, -5%; Inaccurate 3, -15%;
  Increased 1/2D, ¥5, +10%; Reduced Range, ¥1/5, -20%) [5].
  Notes: A hurled blade of pure chi, this is a standard ranged
  attack with Acc 0, 1/2D 10, Max 20, and RoF 1. To use it,
  take an Attack maneuver and roll against Thrown Weapon
  (Knife) to hit. 5 points.
  CHARACTERS
  45
  
  Hand of Death (+205%): Toxic Attack 1d (Contact Agent, 
  -30%; Cosmic, Lingering special effect, +100%; Costs
  Fatigue, 2 FP, -10%; Cyclic, 10 sec., 6 cycles, Resistible,
  +125%; Delay, Triggered, +50%; Low Signature, +10%;
  Melee Attack, Reach C, -30%; Resistible, HT-4, -10%) [13].
  Notes: To deliver the Hand of Death, you must touch bare
  skin. This requires a Karate roll in combat, an ordinary
  touch otherwise. Only witnesses with the Esoteric Medicine
  skill will recognize the Hand. Success means you can – at an
  unspecified future date, from any distance – trigger the
  Hand. The victim must then roll HT-4 every 10 seconds for
  a minute. Each failure means 1d injury, as if from poison.
  There’s no way to remove an untriggered Hand or interrupt
  its toxic effects. Survivors heal normally. 13 points.
  Mega-Kiai (+75%): Crushing Attack 1d (Accessibility, Not
  in vacuum, -10%; Based on HT, +20%; Costs Fatigue, 1 FP, 
  -5%; Malediction 1, +100%; No Blunt Trauma, -20%; No
  Knockback, -10%) [9]. Notes: Similar to the Kiai skill
  (p. B203), this mighty shout injures the target! To affect the
  victim, take a Concentrate maneuver and win a Quick
  Contest of Will vs. his HT. Your roll is at -1 per yard of dis-
  tance between you. 9 points.
  Soul Blast (+170%): Fatigue Attack 1d (Malediction 2,
  +150%; No Signature, +20%) [27]. Notes: This invisible psy-
  chic attack disrupts the victim’s chi. To affect him, take a
  Concentrate maneuver and win a Quick Contest of Will.
  Range penalties from the Size and Speed/Range Table
  (p. B550) apply to your roll. This chi attack doesn’t cost FP
  like the others . . . it’s slow and subtle, not violent. 27 points.
  46
  CHARACTERS
  Martial Arts mostly treats passive chi abilities as
  advantages (e.g., Resistant to Chi Abilities) while modeling
  active ones as cinematic skills – Lizard Climb, Power
  Blow, etc. – in order to make them easier to tie into the
  styles in Chapter 5. Comic books and video games, how-
  ever, often depict all such capabilities as something akin to
  psi powers or super-powers. They might be evident at
  birth, awakened by initiation or ordeal, or even learned
  (see Learnable Advantages, p. B294).
  Like a psi power, a chi power consists of a set of advan-
  tages that must be bought with a power modifier (see
  Power Modifier, p. B254). Adept users may purchase levels
  of a Talent that aids die rolls to use those abilities, compa-
  rable to a psionic Talent (see Psionic Talents, p. B255).
  Below are two examples.
  Body Control
  The Body Control power lets you channel your chi
  internally in order to heal injury, perform amazing athlet-
  ic feats, purge your body of poison, and so on.
  Body Control Talent: You get +1 per level to use any
  Body Control ability, and can use earned points to acquire
  new abilities. In some worlds, Inner Balance (p. 47)
  replaces Body Control Talent and benefits both Body
  Control abilities and the skills listed for Inner Balance. 5
  points/level (15 points/level for Inner Balance).
  Body Control Abilities: Breath Holding; Catfall; Damage
  Resistance, with Tough Skin; Enhanced Defenses (any);
  Enhanced Move (Ground); Extra Attack, with Multi-
  Strike; Lifting ST; Metabolism Control; Perfect Balance;
  Protected Sense (any); Radiation Tolerance; Reduced
  Consumption; Regeneration; Resistant, to any physical
  threat; Sensitive Touch; Silence; Striking ST; Super
  Climbing; Super Jump; Temperature Tolerance; and
  Universal Digestion.
  Power Modifier: Body Control. The advantage is a chi
  ability within the Body Control power. To maintain it, you
  must spend a few hours a day exercising and meditating.
  Take a -10-point Disciplines of Faith or Vow disadvantage
  to cover this. If you fail to roleplay your disadvantage, your
  entire power fails the first time you call upon any of its abil-
  ities. Once it does, none of your abilities will work and
  you’ll feel ill, suffering an affliction chosen by the GM from
  those under Irritating Conditions (p. B428); e.g., cough-
  ing/sneezing, drowsy, nauseated, or pain. The only cure is
  to take 1d days out from other activities to rebalance your
  chi. -10%.
  Chi Projection
  The Chi Projection power lets you direct your chi exter-
  nally in order to blast enemies, project force fields, fly, and
  so forth.
  Chi Projection Talent: You get +1 per level to use any Chi
  Projection ability, and can use earned points to acquire
  new abilities. In some worlds, Forceful Chi (p. 47) replaces
  Chi Projection Talent and benefits both Chi Projection
  abilities and the skills listed for Forceful Chi. 5 points/level
  (15 points/level for Forceful Chi).
  Chi Projection Abilities: Damage Resistance, with Force
  Field; Flight; Healing; Obscure (any); Rapier Wit, with
  Based on HT; Scanning Sense (Para-Radar); Terror, with
  Based on HT; and Vibration Sense. Chi Projection can jus-
  tify nearly any Affliction or Innate Attack – and sometimes
  Telekinesis. The GM will usually restrict you to one or two
  “signature” attacks and set an upper limit on damage. Be
  sure to come up with elaborate names and special effects
  for your attacks! See Innate Attack (pp. 45-47) for examples.
  Power Modifier: Chi Projection. The advantage is a chi
  ability within the Chi Projection power. Otherwise, this is
  identical to the Body Control limitation. -10%.
  Other Powers
  The GM who wants to create additional chi powers will
  get a lot of use out of GURPS Powers. Body Control and
  Chi Projection (as “Bioenergy”) are both there, and the
  Body Control power modifier appears as a generic -10%
  modifier – “Chi” – for use with many powers. For instance,
  Chi can replace the modifiers given for the Antipsi, ESP,
  Psychic Healing, and Psychokinesis powers on pp. B255-
  257, converting them from psi powers to chi powers.
  Chi Powers for Martial Artists
  
  Some of these abilities resemble weapons or unarmed
  attacks, and allow attack rolls against normal combat skills
  instead of the Innate Attack skill. This is a “special effect”
  aimed at preserving the martial-arts flavor. It doesn’t affect
  point cost.
  Normally, the only legal defense against a ranged Innate
  Attack is a dodge. However, a few of these attacks have the
  Blockable limitation or Melee Attack limitation, which lets
  the target attempt a block or parry. Others are Maledictions,
  which can be resisted but not avoided.
  Innate Attacks are unrealistic and strictly for over-the-top
  cinematic games – and even then, they have Trained by a
  Master or Weapon Master as a prerequisite.
  Regeneration
  see p. B80
  Regeneration offers an alternative to Flesh Wounds
  (p. B417) for the GM who wants cinematic PCs back in the
  game soon after being knocked out or left for dead, but who
  prefers up-front point costs. The GM chooses the permitted
  levels. Accessibility limitations are prudent on speedier ver-
  sions. “Not in combat” (-20%) limits healing to between
  fights. “Only when unconscious” (-30%) means the hero
  heals after he passes out, until he awakens at 1 HP. Limited,
  Crushing (-40%) or Unarmed (-40%) allow quick comebacks
  from beatings – but be aware that they also create the need to
  record what caused each wound.
  Resistant
  see p. B80
  Martial artists in cinematic games can be Resistant to
  Hypnotic Hands (p. 61), Invisibility Art (p. B202), Kiai
  (p. B203), Pressure Points (p. B215), or “Hand of Death”
  attacks (see Innate Attack, pp. 45-47). Neck-toughening exer-
  cises (an “iron neck”) allow Resistant to Neck Injury, which
  gives a bonus in Quick Contests to avoid injury from chokes
  (p. B370) and Neck Snap (p. B404). Arm exercises might give
  a similar bonus to resist injury from Arm Lock (p. B403) and
  Wrench Limb (p. B404). Individually, the above items are
  “Rare.” Resistant (+3) to any one of them costs 1 point and
  makes an excellent Style Perk.
  The blanket category “Chi Abilities” is comparable in
  importance to “Psionics” and therefore “Very Common.”
  Anyone might enjoy Resistant to Chi Abilities (+3) [10]; this
  represents unusually strong chi. Individuals with Trained by
  a Master can go as high as Resistant to Chi Abilities (+8) [15].
  Immunity to Chi Abilities [30] only suits unnatural beings.
  These traits protect against all noxious effects caused by cin-
  ematic skills or chi powers (see Chi Powers for Martial Artists,
  p. 46).
  Striker
  see p. B88
  In a cinematic game, the GM may permit fighters to buy
  any body part that isn’t a limb or an extremity as a Striker.
  Real-world martial artists have claimed to have “iron” 
  foreheads and buttocks, among other things. Such Strikers
  must be crushing, can’t have the Long enhancement, and
  frequently suffer from Cannot Parry, Clumsy, and/or
  Limited Arc.
  Video game-inspired Strikers – such as a heavy spiked
  ball at the end of a long braid – have no such restrictions.
  They can have almost any reach and damage type. It’s up to
  the GM whether things like that spiked ball are Strikers or
  just equipment. As a rule, if it gets damage bonuses from
  unarmed combat skills and you’re gaming in an unrealistic
  genre where searches for weapons always conveniently over-
  look it, it’s a Striker.
  All Strikers inflict thrust damage at +1 per die – more
  than most punches and kicks.
  New Special Limitation
  Limb: Your crushing Striker isn’t a new body part but a
  limb. The limb has its normal reach and can strike with
  Brawling or Karate. Find punching or kicking damage as
  usual, including skill bonuses, and add +1 per die for the
  Striker. This isn’t cumulative with the effects of Claws. Limb,
  Arm is cinematic, and also lets you parry with the arm as if
  it were a weapon; Unusual Background and training time are
  as per Claws (p. 42). Limb, Shin is a realistic part of some
  styles’ training, and enhances shin kicks (p. 112). -20%.
  Talent
  see p. B89
  For general rules governing Talents, see the Basic Set.
  Two new Talents are germane to Martial Arts:
  Forceful Chi: Breaking Blow, Erotic Art, Flying Leap,
  Hypnotic Hands, Hypnotism, Invisibility Art, Kiai, Power
  Blow, Precognitive Parry, Pressure Points, Pressure Secrets,
  Push, Throwing Art, and Zen Archery. Reaction bonus: hon-
  orable opponents, those who practice “hard” or “external”
  styles (including potential students and masters), and lovers
  (past or present). 15 points/level.
  Inner Balance: Autohypnosis, Blind Fighting, Body
  Control, Body Language, Body Sense, Breath Control,
  Dreaming, Immovable Stance, Light Walk, Lizard Climb,
  Meditation, Mental Strength, Mind Block, and Sensitivity.
  Reaction bonus: pacifists, ascetics, and those who practice
  “soft” or “internal” martial-arts styles. 15 points/level.
  Someone with Forceful Chi is gifted at projecting his chi
  – both subtly and violently – to affect objects and people. He
  can even influence missiles in flight, helping him aim his
  own ranged weapons and evade his enemies’. His tangible
  aura of fitness impresses those who face him on the battle-
  field, at the dojo, or in the bedroom.
  A hero with Inner Balance has superior control over his
  body and mind. This inner peace strengthens his will, sharp-
  ens his senses, and enables him to perform impossible feats
  of endurance and balance. He’s visibly at peace, and those
  who appreciate order and focus find him pleasant to be
  around.
  Forceful Chi and Inner Balance are in many ways oppo-
  sites. The GM could even make them mutually exclusive.
  However, the greatest masters of the Chinese martial arts –
  whose yang and yin are in perfect balance – might have high
  levels of both talents.
  CHARACTERS
  47
  
  These Talents don’t guarantee access to cinematic skills.
  If a skill lists Trained by a Master or Weapon Master as a
  prerequisite, you must possess the relevant advantage to
  learn it.
  Trained by a Master
  see p. B93
  This advantage represents schooling in the esoteric
  secrets of one or more fighting styles. These martial arts
  might be armed or unarmed, and of any provenance. One of
  the primary purposes of Trained by a Master is to give
  access to cinematic abilities, which might include:
  • The cinematic skills Blind Fighting, Body Control,
  Breaking Blow, Flying Leap, Hypnotic Hands, Immovable
  Stance, Invisibility Art, Kiai, Light Walk, Lizard Climb,
  Mental Strength, Power Blow, Precognitive Parry, Pressure
  Points, Pressure Secrets, Push, Sensitivity, Throwing Art,
  and Zen Archery – but only if they’re part of one of the mar-
  tial artist’s styles!
  • Any technique or perk marked with an asterisk (*) to
  indicate that it’s cinematic, provided it belongs to one of the
  martial artist’s styles.
  • Exotic and supernatural advantages that are normally
  off-limits to ordinary humans, such as Altered Time Rate
  (p. 42), suitably modified Damage Resistance (p. 43), certain
  Innate Attacks (p. 45-47), and chi powers (see Chi Powers for
  Martial Artists, p. 46).
  • Fewer restrictions on advantages that are available to
  everyone, such as being able to take Claws (p. 42) without
  Bad Grip, buy all Enhanced Defenses (pp. 43-44), possess
  more than one level of Extra Attack (p. 44), have Resistant
  (p. 47) at up to +8 vs. chi abilities, and wield Strikers (p. 47)
  with Karate.
  Another significant benefit of this advantage is to expand
  the martial artist’s combat options. In campaigns that use
  the optional rules in Chapter 4, Trained by a Master (or
  Weapon Master) is required for Chambara Fighting (pp. 128-
  130) and Bullet Time (p. 133). The GM may also make it a
  prerequisite for attacking more than twice with Rapid
  Strike (see Rapid Strike, p. 127) or employing extra effort in
  a fight (see Extra Effort in Combat, p. 131). Those with
  Trained by a Master are never subject to Harsh Realism for
  Unarmed Fighters (p. 124). Finally, Trained by a Master
  halves the penalties for Rapid Strike (p. B370) and multiple
  parries (p. B376) – although this isn’t cumulative with the
  similar halving for Weapon Master.
  Weapon Master
  see p. B99
  In a Martial Arts campaign, this advantage represents
  natural talent with low-tech weapons, or training in the eso-
  teric secrets of an armed fighting style. Its main benefit is
  the damage bonus noted in the Basic Set, but it also grants
  access to cinematic abilities, which might include:
  • The cinematic skills Blind Fighting, Flying Leap, Kiai,
  Mental Strength, Power Blow, Precognitive Parry, Pressure
  Points, Sensitivity, Throwing Art, and Zen Archery, as long
  as they belong to one of the martial artist’s armed combat
  styles.
  •Weapon techniques and perks marked as cinematic (*),
  provided they’re found among the martial artist’s armed
  styles.
  • Several advantages that are usually forbidden to nor-
  mal characters, such as Altered Time Rate (p. 42), Gizmos
  (p. 45), certain Innate Attacks (pp. 45-47), and chi powers
  (see Chi Powers for Martial Artists, p. 46).
  • Exemption from the usual restrictions on Enhanced
  Defenses (pp. 43-44) and Extra Attack (p. 44).
  Those with Weapon Master also have wider options in
  combat. When using weapons covered by their advantage,
  they receive half the usual penalties for Multiple Fast-Draw
  (p. 103), Quick-Shooting Bows (pp. 119-120), Rapid Strike
  with Thrown Weapons (pp. 120-121), and Multiple Blocks
  (p. 123). At the GM’s option, they can use Chambara Fighting
  (pp. 128-130) and Bullet Time (p. 133), too. They can gener-
  ally attack more than twice using a Rapid Strike (see Rapid
  Strike, p. 127) and employ extra effort in battle (see Extra
  Effort in Combat, p. 131) – even if ordinary fighters cannot.
  As the Basic Set indicates, if you have Weapon Master,
  you may halve the penalties for Rapid Strike (p. B370) and
  multiple parries (p. B376). Those who also have Trained by
  a Master do this once – they don’t divide by 4. However, the
  halving of penalties for quick-shooting bows does “stack”
  with the effects of Heroic Archer (p. 45), for Weapon Master
  specialties covering bows.
  48
  CHARACTERS
  Inigo: You’re using Bonetti’s defense against me, ah?
  Man in Black: I thought it fitting, considering the rocky terrain.
  Inigo: Naturally, you must expect me to attack with Capo Ferro . . .
  Man in Black: . . . naturally – but I find Thibault cancels out Capo Ferro,
  don’t you?
  Inigo: Unless the enemy has studied his Agrippa – which I have.
  – The Princess Bride
  
  These benefits apply when using any weapon covered by
  your advantage – whether in melee or ranged combat, and
  whether defending against melee attacks or using the Parry
  Missile Weapons skill (p. B212) against missiles – as long it’s
  capable of what you wish to attempt.
  Wild Talent
  see p. B99
  This ability is especially suitable for individuals who’ve
  achieved “harmony with the Tao” – the putative goal of
  many Chinese martial arts. A warrior can use this advantage
  to attempt unmastered techniques at full skill instead of at a
  default penalty, if he knows the underlying skill. A martial
  artist who also has Trained by a Master or Weapon Master
  can even attempt unknown cinematic skills. If your Wild
  Talent only works for these two purposes, add the -20% lim-
  itation “Focused, Martial Arts.”
  PERKS
  Three new types of perks are important in Martial Arts
  games. All can be gained in play. Each perk costs a point.
  For more on perks, see pp. B100-101.
  Style Familiarity
  Style Familiarity means you’ve studied and/or practiced
  a martial-arts style. You must pay a point for familiarity
  with any style you know. (Exception: The “Self-Defense”
  lens, p. 145, lets you ignore this requirement . . . but you
  won’t enjoy the allowances below.) Its effects are as follows:
  • You can acquire the style’s Style Perks, learn its cine-
  matic skills (provided you have Trained by a Master or
  Weapon Master), improve its techniques whenever you
  have the points, and buy abilities listed among its
  “Optional Traits” – even ones that are generally off-limits to
  PCs, if the GM agrees. Style Familiarity acts as an Unusual
  Background that gives you access to these things. See
  Components of a Style (pp. 141-143).
  •You’re familiar with the style’s culture and don’t suffer
  the -3 for lack of Cultural Familiarity when using such
  skills as Connoisseur (Weapons), Games, Savoir-Faire
  (Dojo), or Teaching to interact with co-stylists.
  • In most settings, you have the equivalent of a 1-point
  Claim to Hospitality (p. B41) with a school or instructor.
  • If your opponent has studied one or more styles and
  you have Style Familiarity with them all, you may reduce
  the defense penalty from his feints and Deceptive Attacks
  by -1. You’re aware of his styles’ tricks and tactics! If the
  technique he uses with Deceptive Attack or to follow a feint
  isn’t an orthodox part of any of his styles, ignore this effect.
  In some campaigns, the GM may let you learn Style
  Familiarity for styles so secret that they lack style descrip-
  tions. For these, ignore the rules above and use Shout It
  Out! (p. 132).
  Style Perks
  Style Perks are minor advantages or rules exemptions
  for veteran warriors. The best way to learn them is to study
  a martial art, as most styles offer them as advanced train-
  ing. Anyone may buy one Style Perk per 20 points in com-
  bat skills. A martial artist who has Style Familiarity may
  further buy one of that style’s perks per 10 points he has in
  its techniques and required skills; see Components of a
  Style (pp. 141-143). For example, 40 points in style abilities
  would allow two general perks plus four style-specific ones.
  Those with Style Familiarity for multiple styles and the
  minimum investment in each style (see Combining Styles,
  pp. 147-148) may count points in skills and techniques as
  part of each style that shares them.
  Below, an asterisk (*) indicates a cinematic perk that
  requires Trained by a Master or Weapon Master. Perks with
  a † require specialization by skill, technique, weapon, etc.,
  as noted. A style may offer a more restricted perk, but it
  still costs a point. The Style Perks for specific styles appear
  in Chapter 5 – and if they aren’t listed here, they aren’t
  available to non-stylists.
  Armor Familiarity†
  You’re accustomed to fighting in armor. You may ignore
  -1 in encumbrance penalties to attack or parry with Judo,
  Karate, or a fencing skill. You have no penalty at Light
  encumbrance, -1 at Medium, and so on. You must special-
  ize by skill: Armor Familiarity (Judo), Armor Familiarity
  (Rapier), etc. The GM may permit multiple levels to negate
  greater encumbrance. Each level is an additional Style
  Perk.
  Biting Mastery
  You’ve learned a highly developed body of effective bites
  for use in close quarters. You may use Karate skill to attack
  with a bite and add the Karate damage bonus to biting
  damage. Styles for fanged nonhumans often have this
  perk!
  CHARACTERS
  49
  Extra Hit Points
  The GM may let martial artists with appropriate
  Style Perks increase Hit Points by up to 100% instead
  of the usual 30%. Hulking TV wrestlers, heavyweight
  boxers, and massive sumotori traditionally enjoy this
  benefit. Such giants should use the Build Table
  (p. B18) to find weight from HP instead of ST. Use the
  “Overweight” column for HP up to 130% of ST, the
  “Fat” column for HP up to 150% of ST, and the “Very
  Fat” column for HP up to 200% of ST.
  Extra HP can also represent an unrealistic
  damage-taking capacity for ordinary-sized people; see
  Cinematic Injury (p. 139). In that case, anyone might
  be able to buy lots of HP. Hit points in excess of ST
  don’t affect the weight of such characters, or increase
  the damage they take or inflict in falls and slams.
  Remember that major wounds, crippling, and
  death all depend on thresholds calculated from HP.
  Those with 20+ HP also benefit from High HP and
  Shock (p. B419) and High HP and Healing (p. B424).
  
  Chi Resistance*†
  You can rally your chi against a particular chi-based
  attack form, giving you +3 to resist. Examples include Chi
  Resistance (Hypnotic Hands) and Chi Resistance (Pressure
  Points). For details and more examples, see Resistant
  (p. 47).
  Cotton Stomach*
  You’ve learned to catch attackers’ hands and feet using
  your abdominal muscles (or rolls of fat!). Once per turn, you
  can attempt a standard unarmed parry against a punch or
  kick to your torso, but using your body instead of a limb.
  Success lets you use any follow-up technique capable of
  trapping an attacker – e.g., Arm Lock or Leg Grapple –
  “hands free.”
  Drunken Fighting*
  You’ve mastered the mythical art of fighting while intox-
  icated (see pp. B439-440). When you’re tipsy or drunk
  (p. B428), treat the -1 or -2 to DX as a +1 or +2 bonus in a
  fight. Penalties to IQ and self-control rolls apply normally!
  Exotic Weapon Training†
  Certain weapons have a built-in skill penalty due to their
  unusual balance relative to other weapons used with the
  same weapon skill. These include the chigoridani, three-part
  staff, and trident (see Chapter 6). You’ve trained enough
  with such a weapon that you no longer suffer this penalty.
  You must specialize by weapon.
  Form Mastery†
  When using a weapon that works with multiple skills,
  you must normally specify the skill you’re using at the start
  of your turn (see Switching Weapon Skills, p. 104). You’ve
  practiced fluid shifts between forms and can change skills
  freely during your turn. For instance, you could start your
  turn using a spear with the Staff skill, switch to the Spear
  skill to attack, and then return to Staff for parrying. You
  must specialize in a weapon: Form Mastery (Naginata),
  Form Mastery (Spear), etc.
  Grip Mastery†
  Switching between one- and two-handed grips, or a reg-
  ular grip and a Defensive Grip (p. 109-111), usually takes a
  Ready maneuver – but you’ve practiced until this has
  become second nature. You can do either grip change (or
  both) as a free action once on your turn, before or after your
  maneuver. For instance, you could make a one-handed
  katana cut and end your turn in a two-handed Defensive
  Grip. Next turn, you could shift to a regular two-handed grip
  and attack. You must specialize by weapon; Grip Mastery
  (Katana) is the most common version.
  Ground Guard
  You know a body of tactics for use when you and your
  opponent are both on the ground. In that situation only, you
  get +1 in all Regular or Quick Contests to do with grappling
  – pins, chokes, attempts to break free, etc. If your foe knows
  Ground Guard, too, your bonuses cancel out. This perk is
  named for a fighting position used when lying face-up, com-
  monly called the “guard,” but encompasses many related
  positions and also works when crawling or lying face-down.
  Improvised Weapons†
  You’ve practiced fighting with everyday items. These
  weapons might be improvised for others but they’re familiar
  to you. Ignore skill penalties (only) when wielding them; see
  Improvised Weapons (p. 224). You must specialize by com-
  bat skill. You can learn Improvised Weapons (Brawling) or
  Improvised Weapons (Karate) to use improvised fist loads
  effectively.
  Iron Body Parts *†
  You’ve toughened a body part through exotic exercises.
  This provides resistance to injury – either a bonus to resist
  harm from breaks and locks (see Resistant, p. 47) or DR
  against strikes (see Damage Resistance, p. 43) – and the right
  to buy optional abilities. Details depend on the body part,
  each of which is its own specialty:
  Iron Arms: You have +3 to ST and HT rolls to resist injury
  from Arm Lock, Wrench Arm, and the like. You may opt to
  purchase DR 1 or 2 (Partial, Arms, -20%; Tough Skin, -40%)
  [2 or 4] or Striker (Crushing; Limb, Arm, -20%) [4].
  Iron Hands: This is simply DR 1 (Partial, Hands, -40%;
  Tough Skin, -40%) [1]. Once you’ve acquired this perk, you
  may elect to buy a second level of DR [1] and/or Blunt Claws
  [3]. See Claws (p. 42) for possible drawbacks to the latter
  option.
  Iron Legs: You have +3 to ST and HT rolls to resist injury
  from Leg Lock, Wrench Leg, and similar techniques, and
  may optionally acquire DR 1 or 2 (Partial, Legs, -20%;
  Tough Skin, -40%) [2 or 4].
  Iron Neck: You have +3 to ST and HT rolls to resist injury
  from chokes, strangles, and Neck Snaps, and may buy DR 1
  or 2 (Partial, Neck, -50%; Tough Skin, -40%) [1 or 2], if you
  wish.
  Naval Training
  You’ve trained at fighting on a rocking ship or boat. You
  may ignore the -2 to attack and -1 to defend for bad footing
  under those circumstances.
  Neck Control†
  You’re adept at striking from the clinch. You must spe-
  cialize in one unarmed striking skill. Whenever you’ve grap-
  pled a standing opponent’s head, neck, or torso (only), you
  get +1 to hit when you strike that foe with your skill.
  Off-Hand Weapon Training†
  You’ve practiced a particular skill enough with your “off”
  hand that you can ignore the -4 for using that hand (see
  Handedness, p. B14). This extends to all active defenses and
  techniques based on that skill. You must specialize by skill;
  any one-handed Melee Weapon, ranged weapon, or Fast-
  Draw skill qualifies.
  This perk completely replaces the Off-Hand Weapon
  Training (OHWT) technique on p. B232. This is because the
  cost to buy off -4 as a Hard technique for even one skill is 5
  points – the same as Ambidexterity, which eliminates the
  penalty for all skills – and in a Martial Arts campaign, fight-
  ers may need several versions of OHWT to be proficient in
  their style. As a perk, OHWT is cheaper than Ambidexterity
  for those with fewer than five specialties . . . and if someone
  is that dedicated, the GM should let him replace his five
  perks with Ambidexterity for the same points!
  50
  CHARACTERS
  
  Power Grappling
  You’re adept at applying force precisely when wrestling.
  Except when rolling to hit or for an active defense, you may
  opt to base normally DX-based grappling rolls on ST.
  Moreover, whenever you make a ST roll that usually enjoys a
  ST bonus from Sumo Wrestling or Wrestling – e.g., the roll to
  break free – you may waive your bonus and attempt a ST-
  based Judo, Sumo Wrestling, or Wrestling roll instead.
  Quick-Sheathe†
  You’ve practiced sheathing your weapon quickly. After
  switching to a Reversed Grip (pp. 111-112) using a Ready
  maneuver, you can try a Fast-Draw roll to scabbard your
  weapon on the same turn. You can even attempt rolls against
  both the Reverse Grip technique (p. 78) and Fast-Draw to
  sheathe the weapon as a free
  action; see Quick Sheathing
  (p. 102). Specialties match
  those for Fast-Draw (pp. 56-
  57): Quick-Sheathe (Sword),
  Quick-Sheathe (Tonfa), etc.
  Quick-Swap†
  You’ve perfected the art of
  juggling 
  a 
  one-handed
  weapon 
  between 
  hands.
  Once per turn, on your turn,
  you can switch hands as a
  free action. The receiving
  hand must be empty. You must specialize by weapon skill:
  Quick-Swap (Knife), Quick-Swap (Rapier), etc.
  Rapid Retraction†
  You punch or kick so quickly that it’s difficult for your
  opponent to trap your limb. You get +1 on all rolls to avoid
  such techniques as Arm Lock and Leg Grapple when they fol-
  low an enemy parry. You must specialize in Rapid Retraction
  (Punches) or Rapid Retraction (Kicks). The GM may allow
  Rapid Retraction (Bites) for nonhumans.
  Shield-Wall Training
  You’ve drilled extensively at fighting from behind a shield
  wall. You can sacrifice your block defense to block an attack
  on an ally standing beside you. Furthermore, you may ignore
  the -2 to attack when holding a large shield (see p. B547).
  Shtick†
  As noted under Shtick (p. B101), a “cool move” that pro-
  vides no combat bonuses is a valid perk if it might occasion-
  ally be useful. Styles with Combat Art skills often teach such
  flourishes. An example is chiburi: flicking blood off a sword
  blade. Such Shticks require a combat skill roll to perform.
  Most either allow an Intimidation attempt as a free action
  (chiburi works this way) or give the maximum +4 for “dis-
  plays of strength” listed for Intimidation (p. B202) if you use
  your entire next turn to make a deliberate attempt.
  Skill Adaptation†
  A style’s skills represent its basic “subsystems.” The tech-
  niques that normally default to each skill are that subsystem’s
  core moves – but you know some less-orthodox tactics. You
  can learn techniques that don’t default to a skill as if they did,
  at the usual default penalties. If a technique notes several
  penalties, use the easiest; e.g., Drop Kick defaults to Brawling-
  1, Sumo Wrestling-1, or Wrestling-2, so adapting it to Karate
  makes your default Karate-1. The GM sets the scope of each
  specialty. It may be as sweeping as Skill Adaptation (Brawling
  techniques default to Karate) or as narrow as Skill Adaptation
  (Breakfall defaults to Karate). A few examples important
  enough to get special names:
  Acrobatic Feints: You’ve practiced using gymnastics to
  catch enemies off-guard. You may use the Acrobatics skill to
  feint and may improve the Feint (Acrobatics) technique.
  Similar perks might exist for other skills (e.g., “Dancing
  Feints” for the Dancing skill); see Feints Using Non-Combat
  Skills (p. 101).
  Acrobatic Kicks: You’ve learned to kick as a natural exten-
  sion of flips, jumps, and spins. You
  can default kicking techniques to
  Acrobatics instead of to Brawling or
  Karate. Acrobatic kicks never receive
  Brawling or Karate damage bonuses.
  Clinch: You’ve integrated limited
  grappling moves into your Boxing,
  Brawling, or Karate skill – choose one.
  Whenever you grapple a standing
  opponent’s head, neck, or torso (only),
  use your striking skill for the attack
  roll. This is rarely worth the point if
  you already know a grappling skill!
  Special Exercises†
  You pursue an exercise regimen that grants access to a
  capability that’s normally cinematic or off-limits for your
  race. This is a perk-level Unusual Background – the ability
  itself has its own cost. Each trait requires its own perk:
  Special Exercises (DR 1 with Tough Skin), Special Exercises
  (Striking ST +1), Special Exercises (Arm ST +1), Special
  Exercises (HP can exceed ST by 100%), and so on.
  Special Setup†
  Certain techniques require a specific “setup” before you
  can execute them. You’ve learned an alternative setup. Your
  specialty must name one technique and spell out the change.
  For instance, if you can use Arm Lock after a Karate parry
  instead of after a Judo parry, you have Special Setup (Karate
  Parry > Arm Lock).
  Strongbow
  You’ve learned how best to draw a heavy bow. If you know
  Bow at DX+1, you can shoot a bow of your ST+1 instead of
  your ST. Bow at DX+2 or better lets you use a bow of your
  ST+2. You need a strong bow to see range and damage
  improvements; there’s no effect when shooting a bow of your
  ST or less.
  Style Adaptation†
  You’ve adapted other styles’ techniques for use with your
  style. Merge the techniques lists of all the styles involved,
  including yours. You may improve any technique on the com-
  bined list, provided it defaults to one of your style’s skills. The
  GM specifies the styles adapted, which might be one or many;
  the number doesn’t affect point cost. Style Adaptation (All) is
  legitimate for modern mixed styles.
  CHARACTERS
  51
  
  Suit Familiarity†
  You’ve learned special moves that offset the limitations
  of a bulky environment suit. You may ignore the DX penal-
  ties for such a suit. The Environment Suit skill (p. B192) still
  sets an upper limit on effective combat skill – you just don’t
  suffer any extra DX penalties. You must specialize by
  Environment Suit skill: Suit Familiarity (Diving
  Suit), Suit Familiarity (Vacc Suit), etc.
  Sure-Footed†
  You’ve studied low, stable stances for fighting
  on shaky ground. This lets you ignore the -2 to
  attack and -1 to defend for a specific type of bad
  footing. You must specialize. Sure-Footed
  (Slippery) covers mud, oil, and blood, but not
  grappling an opponent with the Slippery advan-
  tage or an oily coating. Sure-Footed (Uneven)
  covers hills, piles of corpses, etc. The GM may
  allow other versions, such as Naval Training
  (p. 50).
  Teamwork†
  You’ve practiced fighting in a team. To use this
  perk, everyone in the squad must take a Ready
  maneuver to “form up.” After that, the entire group acts at
  the same point in the combat sequence as its slowest mem-
  ber. On the team’s collective turn, each member may select
  any maneuver he likes. The only requirement is that after
  everyone in the original formation has taken his turn,
  they’re all still adjacent to one another (in adjoining hexes).
  If anyone gets separated, the team must form up again –
  with or without the straggler. A fighter who’s formed-up
  may:
  • Brace a teammate in front of him and within a yard,
  adding 1/5 (round down) of his ST or HP, as applicable, to
  his ally’s score when his friend resists a slam (p. B371), exe-
  cutes a shove (p. B372), or suffers knockback (p. B378). This
  is a free action.
  • Feint or make a Ruse and transfer the benefits to
  another teammate who can reach the same foe.
  • Ignore the -2 to attack enemies in close combat with
  teammates (p. B392).
  •Sacrifice a parry or block to defend a teammate behind
  him from a long weapon or missile that passes within a yard
  (through his hex).
  You must specialize by style or in working with a partic-
  ular small group (such as an adventuring party). Only those
  with the same perk can form up and enjoy these benefits.
  Technique Adaptation†
  You’ve internalized your style’s methodology so com-
  pletely that you can adapt one of its techniques to skills it
  doesn’t teach. You must specialize by technique: Technique
  Adaptation (Feint), Technique Adaptation (Ground
  Fighting), and so on. Once you’ve spent at least a point to
  improve that technique for a skill that’s part of your style,
  you can buy that technique for other combat skills you
  know, provided it normally defaults to them. For instance, if
  you’ve learned Technique Adaptation (Feint) and bought up
  Feint (Karate) as part of your style, and studied Shortsword
  on your own, you could raise Feint (Shortsword).
  Technique Mastery†
  You’ve trained so intensively at a technique that you
  enjoy a higher maximum level. You must specialize in a
  technique – commonly a kick or a throw – that’s part of your
  style and that appears in Chapter 3 (the GM may make
  exceptions). It must have a normal maximum of full skill or
  better, which disqualifies
  techniques based on active
  defenses and those that
  “cannot exceed prerequi-
  site skill-x.” A skill’s core
  uses aren’t eligible; e.g.,
  Technique Mastery (Judo
  Throw) and Technique
  Mastery (Kicking) are fine,
  but Technique Mastery
  (Judo Grapple) and Tech-
  nique Mastery (Karate
  Punch) aren’t. If the stan-
  dard maximum is skill,
  yours is skill+4. If the limit
  is ordinarily greater than
  skill, your maximum is
  two levels higher than usual (e.g., skill+6 with Arm Lock).
  Unique Technique†
  You can use and improve a technique that’s otherwise
  forbidden by Creating New Techniques (pp. 89-95). All such
  techniques are Hard. Each exemption requires its own perk.
  This is a perk-level Unusual Background.
  Unusual Training†
  With sufficient training, certain cinematic skills and
  techniques might work in reality. You’ve studied one of
  these. Unusual Training is an Unusual Background that lets
  you buy a cinematic capability without Trained by a Master
  or Weapon Master. Since what’s “cinematic” is often not the
  feat but the ability to perform it unrestricted, the perk might
  specify a set of “believable” circumstances that must be true
  to use the skill or technique. For instance, Unusual Training
  (Dual-Weapon Attack, Both attacks must target the same
  foe) permits a fighter to improve Dual-Weapon Attack for
  use on one opponent; he still has the full -4 if he attacks adja-
  cent adversaries simultaneously, because he lacks Trained
  by a Master and Weapon Master. Tameshiwari – realistic
  breaking techniques – is Unusual Training (Breaking Blow,
  Only vs. well-braced objects out of combat).
  Weapon Adaptation†
  You’ve adapted the moves used with one group of melee
  weapons to another class of weapons. This lets you wield the
  weapons covered by one weapon skill using a different skill
  and its techniques, with all of the benefits and drawbacks of
  that skill, provided the replacement skill defaults to the
  usual one at no worse than -4 and uses the same number of
  hands. Each adaptation is a separate perk; e.g., Weapon
  Adaptation (Shortsword to Smallsword) lets you use the
  Smallsword skill to fight when equipped with a Shortsword
  weapon – complete with fencing parries, superior retreats,
  and encumbrance penalties. The GM may permit silly adap-
  tations, such as Knife to Halberd, as cinematic perks.
  52
  CHARACTERS
  Hungamungas
  
  Weapon Bond
  You own a weapon that’s uniquely suited to you. Its qual-
  ity might be no better than normal, but when you use it,
  you’re at +1 to effective skill. This isn’t a mystical attune-
  ment but a physical matter of balance, fit to your hand, and
  the like. If the weapon is lost or destroyed, the bond doesn’t
  transfer to a new weapon, but you can acquire a new
  Weapon Bond in play.
  You can have a bond to a weapon of any quality. The
  price paid for the weapon reflects the quality but not your
  special bond with it.
  DISADVANTAGES
  Martial artists will find physical disadvantages unusual-
  ly crippling – especially such things as Bad Back, Blindness,
  Lame, Neurological Disorder, One Arm, One Eye, One
  Hand, Quadriplegic, and Wounded. These problems do suit
  veterans who’ve suffered injuries, but they’re best avoided
  when creating warriors as new PCs. Other traits that can
  make life difficult for fighters are Cannot Learn, Combat
  Paralysis, Hemophilia, Low Pain Threshold, Pacifism (Total
  Nonviolence), and Post-Combat Shakes.
  The availability of cinematic abilities can alter what’s
  truly “crippling,” however. For instance, Blind Fighting
  (p. B180) can mitigate Blindness, while those with Flight
  thanks to the Chi Projection power (p. 46) won’t be tied
  down by Lame. Only Cannot Learn and Quadriplegic
  make it genuinely impossible to be a martial artist.
  Below are new forms of existing disadvantages that
  won’t cripple martial artists but that can influence com-
  bat in interesting ways. They’re ideal for Martial Arts
  campaigns.
  Code of Honor
  see p. B127
  Three Codes from the Basic Set – Gentleman’s,
  Soldier’s, and Chivalry – suit martial artists well. Two
  additional Codes are important for historical
  campaigns:
  Code of Honor (Bushido): The Japanese warrior code
  (see The Samurai, pp. 12-13). You must be absolutely
  loyal to your master and single-minded in the execution
  of his orders or those dictated by your station. You’re
  expected to die rather than to fail in your task, and to
  commit ritual suicide without hesitation if so ordered.
  You must answer any challenge or insult to your lord.
  You must face pain, discomfort, and even death stoical-
  ly. You must always be polite to your equals and superi-
  ors, and never overlook disrespect from social inferiors;
  such disrespect is usually punished by death. -15 points.
  Code of Honor (Xia): The way of the Chinese knights-
  errant (see Xia, p. 8). You must be skilled at arms. You
  must keep your word, honor your pledges, be humble,
  and uphold justice for those in need. You must be brave
  and not spare yourself harm to help others. You must be
  willing to use force but also to show restraint when
  force isn’t needed. You must respect and honor your
  teacher. -10 points.
  Delusions
  see p. B130
  Martial artists occasionally harbor Delusions about their
  own or others’ skills. Except when such problems lead one
  fighter to insult another, though, it’s unrealistic for them to
  cause reaction penalties. Non-fighters tend to ignore war-
  riors’ braggadocio unless they’re being threatened – they’re
  likely to assume that’s simply how fighters behave! Such
  Delusions have other effects instead.
  On any turn in combat when such a Delusion would
  apply (GM’s decision), you must attempt a self-control roll;
  see Self-Control Rolls (p. B121). Delusions don’t usually have
  a self-control number, so use the “default” value of 12. The
  GM may permit other self-control numbers for combat-
  related Delusions, with the usual effect on point value.
  Success lets you take your turn normally. Failure means
  you must do something risky – much as if you were suffer-
  ing from On the Edge (p. B146). You might All-Out Attack,
  try an elaborate move that reduces effective skill to 3 (mak-
  ing any roll of 13+ a critical failure), or turn your side or
  back to an enemy in order to fight a more worthy foe. On a
  critical failure, you must do something that will affect the
  rest of the combat; e.g., discard a perfectly good weapon or
  piece of armor to show derision, or cut yourself for at least
  1 HP of injury to demonstrate your toughness.
  CHARACTERS
  53
  Common
  Disadvantages
  Many martial artists are honorable warriors, dedicated
  athletes, or respectful traditionalists. These individuals fre-
  quently have such disadvantages as Code of Honor
  (p. B127); Disciplines of Faith (p. B132), typically
  Asceticism in historical settings; Pacifism (p. B148), most
  likely Reluctant Killer or Self-Defense Only; Sense of Duty
  (p. B153), to fellow students or a master; and Vow
  (p. B160).
  The martial arts also attract more than their share of
  intemperate, obsessed, vengeful, and violent people who
  want to learn to maim or kill – or who believe in victory at
  any cost. These individuals often have some combination
  of Bad Temper (p. B124); Berserk (p. B124); Bloodlust
  (p. B125); Bully (p. B125); Callous (p. B125); Fanaticism
  (p. B136); Intolerance (p. B140); Obsession (p. B146); and
  Sadism (p. B152).
  Either kind of fighter might find his confidence in his
  training blossoming into Overconfidence (p. B148). From
  an outsider’s perspective, the dedication of a career martial
  artist looks like Workaholic (p. B162). Both disadvantages
  are almost universal among movie action heroes!
  Finally, a few disadvantages are actually desirable for
  certain martial artists. Overweight, Fat, and Very Fat
  (p. B19) benefit those who practice Sumo (pp. 198-199), by
  reducing knockback from shoves and slams. Gigantism
  (p. B20), by granting +1 SM, gives a discount on the point
  cost of ST and a bonus to pin attempts (p. B370), making it
  valuable to grapplers.
  
  Minor Delusions affect combat against a rare category of
  foes, apply just once per battle, or only come up under
  uncommon circumstances. Examples: “Western boxers are
  pansies, and no match for my karate.” “If I start the bout
  with my secret technique, I’ll almost certainly win.” “I’m
  invincible if I fight in a temple.” -5 points.
  Major Delusions affect combat against a large category of
  foes or concern situations that might arise in almost any
  fight. Examples: “My skill at Asian martial arts makes me
  more effective than any Westerner.” “Fighters who kick are
  weaklings and cowards.” “Wounding me only makes me
  more dangerous.” -10 points.
  Severe Delusions affect almost all combat, all of the time.
  Examples: “I’m the best brawler in the world.” “Being of
  good breeding, I can defeat any lower-class foe.” “My style is
  the ultimate martial art.” -15 points.
  Reputation
  see p. B26
  You can have a Reputation for always targeting a certain
  hit location, overusing a combat option or technique, play-
  ing dirty tricks, and so forth. Price this as you would a bad
  Reputation – but the effect is to make you predictable rather
  than to cause others to react poorly. “Foes in combat” is a
  small class of people; multiply point value by 1/3. Frequency
  of recognition further modifies cost, as usual.
  An opponent who recognizes you is ready for your “sig-
  nature move,” making it less likely to work. If this move
  requires a Quick Contest (like a feint, or the Quick Contest
  of IQ discussed under Dirty Tricks, p. B405), apply your
  Reputation level to your roll as a penalty. If it involves an
  uncontested attack roll, add your level to your rival’s defense
  roll as a bonus instead. This is cumulative with the benefits
  your enemy gets from Style Familiarity (p. 49) and Evaluate
  (see Countering Feints and Deceptive Attacks, p. 100) against
  your feints and Deceptive Attacks, and with the +1 he has to
  defend against repeated uses of Targeted Attack (p. 68).
  Example: Louis Lafouine is notorious for stabbing at the
  eyes – so much so that what would be a surprising tactic
  from anyone else is expected from him. He buys four levels
  of Reputation for this. He gets ¥1/3 for “foes in combat” and
  he’s recognized on a 10 or less – about half the time – for a
  further ¥1/2. His Reputation is worth -3 points. Those who
  recognize Louis get +4 to defend against blows to the eyes.
  If you don’t attempt your “signature move” in every fight,
  the GM is within his rights to require you to buy off your
  Reputation with earned points. If you always do the same
  thing in combat (and leave witnesses), the GM might assign
  you this kind of Reputation!
  SKILLS
  Obviously, the most important skills for martial artists
  are combat skills (see Combat Skills, p. 55). The skills dis-
  cussed here are mainly non-combat skills that merit addi-
  tional notes for Martial Arts games. For combat techniques,
  see Chapter 3. To learn which skills are associated with a
  particular fighting style, see Chapter 5.
  Skills marked with an asterisk (*) are cinematic, and
  unavailable in most realistic settings. In worlds where they
  exist, you need Trained by a Master or Weapon Master to
  learn them. Skills with a † require you to select a specialty.
  Acrobatics
  see p. B174
  Acrobatics is as important as any combat skill for
  capoeiristas, action heroes, and other flashy fighters. It’s
  required to use combat rules such as Acrobatic Attack
  (p. 107), Acrobatic Dodge (p. B375), Acrobatic Movement
  (pp. 105-107), and Acrobatic Stand (p. 98), which are at least
  semi-realistic, and Chambara Fighting (pp. 128-130), which
  is cinematic. Some fighting styles allow an “Acrobatic
  Feint,” too; see Feints Using Non-Combat Skills (p. 101).
  Autohypnosis
  see p. B179
  This skill is valuable to martial artists who wish to “fight
  through” pain and fatigue. In a cinematic campaign, the
  GM may want to replace the mandatory (20 - skill) seconds
  of concentration with a variable concentration time and
  apply the time-based modifiers used for Breaking Blow and
  Power Blow: -10 if used instantly, dropping to -5 after a turn
  of concentration, -4 after two turns, -3 after four turns, -2
  after eight turns, -1 after 16 turns, and no penalty after 32
  turns.
  Blind Fighting*
  see p. B180
  Those who have Inner Balance (p. 47) and ESP Talent
  (p. B256) or Telepathy Talent (p. B257) may add only the
  highest of the three Talents to their roll. These bonuses don’t
  “stack.”
  Body Control*
  see p. B181
  Body Control can replace HT when resisting Pressure
  Points (p. B215), Hand of Death (see Innate Attack, pp. 45-
  47), or chi powers (see Chi Projection, p. 46). Because it’s
  also effective against the Affliction advantage and poisons,
  as stated in the Basic Set, and can resist chi-based afflic-
  tions, the GM might find it simpler to let it replace HT for
  all rolls to resist the afflictions on pp. B428-429, regardless
  of origin. Use the rules for flushing poisons to end enduring
  effects. The skill for identifying chi-based ailments is
  Esoteric Medicine (p. B192).
  In fiction, Body Control is often used to manage injury.
  It can replace First Aid and Physician when you treat your-
  self (only) under the rules on pp. B423-425. Effective TL is
  that of Esoteric Medicine in the campaign – TL3, unless
  specified otherwise. Body Control serves as First Aid for
  bandaging and treating shock. If your level is HT+2 or bet-
  ter, you’re considered to be in a physician’s care when figur-
  ing long-term recovery. If you also receive external medical
  care, you must choose between it and this skill’s benefits; the
  two don’t “stack.”
  54
  CHARACTERS
  
  Boxing
  see p. B182
  This skill isn’t specifically associated with the Boxing
  style (pp. 152-153). Any fighting style that teaches a 
  “scientific” approach to punching – but not other unarmed
  strikes – might include it.
  There’s rarely a reason to learn Boxing if you know
  Karate. However, encumbrance penalizes attacks and par-
  ries with Karate but not with Boxing. Karate-users who
  believe that they could end up fighting unarmed while clad
  in heavy armor might therefore wish to invest in Boxing as
  well (but see Armor Familiarity, p. 49).
  The damage bonus for Boxing only applies when attack-
  ing with that skill. It doesn’t “stack” with Brawling or Karate
  bonuses.
  Brawling
  see p. B182
  The Brawling skill has a more modest damage bonus than
  Boxing and Karate, doesn’t grant the improved retreating
  bonus that those skills provide when parrying, and (unlike
  Karate) is at -3 to parry weapons. It also gives no defaults to
  “fancy” techniques such as high kicks, exotic hand strikes, and
  lethal cinematic attacks. Point for point, though, it can be just
  as deadly as Boxing or Karate . . . under the right
  circumstances.
  First, Brawling is Easy, which means that the same invest-
  ment in points buys +1 or +2 to hit relative to Boxing (Average)
  or Karate (Hard). This lets the brawler more easily target vul-
  nerable body parts. Second, Brawling includes the ability to
  use a blackjack or sap, which largely equalizes damage. Third,
  Brawling is one of the few ways to improve one’s skill and
  damage with biting, which can be a potent attack in close
  combat (see Teeth, p. 115), and can replace DX in a slam or
  when smashing foes into walls (see Grab and Smash!, p. 118).
  Finally, Brawling gives defaults to several vicious techniques
  that Boxing and Karate don’t cover, including Drop Kick
  (p. 70), Elbow Drop (pp. 70-71), Eye-Gouging (p. 71), Knee
  Drop (p. 76), and Two-Handed Punch (p. 81). The last two
  points in particular mean that fighters with Boxing or Karate
  might want to invest in Brawling to expand their close-combat
  options.
  The damage bonus from Brawling only applies when using
  that skill to attack. It doesn’t “stack” with Boxing or Karate
  bonuses.
  Breaking Blow*
  see p. B182
  Breaking Blow normally only affects unarmed attacks.
  However, legendary warriors routinely use massive axes,
  mauls, and swords to lay waste to castles and splinter mighty
  trees. In a high-powered cinematic game, the GM may permit
  those who know Breaking Blow and Forced Entry (p. B196) to
  use this skill when attacking inanimate objects with melee
  weapons (and even battering rams!).
  Combat Art or Sport†
  see p. B184
  In a real fight, martial artists with Combat Art or Sport
  skills function as if their skill were three levels lower. This is
  because of the -3 default penalty between Art/Sport skills and
  combat skills. If a combat skill enjoys special benefits – such
  as the +3 for a retreat when parrying with Boxing, Judo,
  Karate, or a fencing skill – these do apply to its Art and Sport
  forms. When these benefits depend on skill level, though, use
  the level after the -3 default penalty. For instance, to claim +1
  damage for knowing Karate at DX level, a karateka with
  Karate Sport would need DX+3 level.
  The reason why Combat Art skills aren’t as effective as
  combat skills in a real fight isn’t always that they “emphasize
  graceful movements and perfect stances,” however. Just as
  often, these skills teach techniques that look impressive in a
  staged fight without regard for combat effectiveness or tradi-
  tional aesthetics! Stunt fighters learn such Combat Art skills to
  put on an entertaining show for the camera or a live audience.
  CHARACTERS
  55
  Combat Skills
  Where rules in Martial Arts refer to “combat
  skills,” they mean skills that let you attack or defend
  in melee combat (but not necessarily both – Garrote
  and Lance can only attack, and Parry Missile
  Weapons can only defend), or strike from afar using
  an innate or muscle-powered ranged weapon. The
  complete list appears below, sorted into subcate-
  gories commonly used by the rules. Combat Art and
  Sport skills (p. B184) aren’t combat skills.
  Melee Combat Skills
  Axe/Mace (p. B208), Broadsword (p. B208), Cloak
  (p. B184), Flail (p. B208), Force Sword (p. B208),
  Force Whip (p. B209), Garrote (p. B197), Jitte/Sai
  (p. B208), Knife (p. B208), Kusari (p. B209), Lance
  (p. B204), Main-Gauche (p. B208), Monowire Whip
  (p. B209), Net (p. B211), Parry Missile Weapons
  (p. B212), Polearm (p. B208), Rapier (p. B208), Saber
  (p. B208), Shield (p. B220), Shortsword (p. B209),
  Smallsword (p. B208), Spear (p. B208), Staff
  (p. B208), Tonfa (p. B209), Two-Handed Axe/Mace
  (p. B208), Two-Handed Flail (p. B208), Two-Handed
  Sword (p. B209), Whip (p. B209), and all unarmed
  combat skills.
  Unarmed Combat Skills:
  •Grappling Skills: Judo (p. B203), Sumo Wrestling
  (p. B223), and Wrestling (p. B228).
  • Striking Skills: Boxing (p. B182), Brawling
  (p. B182), and Karate (p. B203).
  Ranged Combat Skills
  Thrown Weapon Skills: Bolas (p. B181), Dropping
  (p. B189), Lasso (p. B204), Net (p. B211), Spear
  Thrower (p. B222), Throwing (p. B226), and Thrown
  Weapon (p. B226).
  Missile Weapon Skills: Blowpipe (p. B180), Bow
  (p. B182), Crossbow (p. B186), Innate Attack
  (p. B201), and Sling (p. B221).
  
  Even so, stunt fighters are still fighters. They may use
  combat and Combat Sport skills at the usual penalty (-3). To
  create an actor who knows nothing about fighting but who
  can simulate a fight by following directions, take Stage
  Combat (p. B222). This gives no default to combat skills. For
  more on simulated combat, see
  Faking It (p. 130).
  The distinction between
  combat, Combat Art, and
  Combat Sport skills is a real-
  istic one. It doesn’t always
  suit fantastic and cinematic
  settings. The GM is free to
  waive the -3 default penalty
  between these skills and
  allow martial artists who
  know one skill to use the
  other two at the same level.
  This is suitable for action
  heroes, who use the same
  moves to pose and show off
  (Combat Art), compete in
  tournaments 
  (Combat
  Sport), and wipe the floor with the bad guys (combat skills).
  See Techniques and Combat Art/Sport Skills (p. 64) and
  Untrained Fighters (p. 113) for other important rules 
  pertaining to Art/Sport skills.
  Connoisseur†
  see p. B185
  A specialty of importance in Martial Arts games is
  Weapons. This skill defaults to any Armoury or armed-
  combat skill at -3. A successful roll lets you estimate a
  weapon’s quality and value, identify a legendary weapon, or
  impress martial artists (may give +1 on Savoir-Faire (Dojo)
  or reaction rolls, at the GM’s option). Craftsmen and fight-
  ers generally rely on their defaults unless they’re also
  collectors.
  Esoteric Medicine
  see p. B192
  In a realistic setting, the chi-based attacks of martial-arts
  myth are so much mumbo-jumbo. They’re normal strikes
  and grapples, and the injury they inflict is treatable with
  mundane medical skills. A Psychology roll might be needed
  to convince the patient that he’s suffering from a bruised
  kidney and not the dreaded dim mak, of course!
  In a cinematic setting where such abilities as chi powers
  (see Chi Projection, p. 46) and the Pressure Points and
  Pressure Secrets skills (p. B215) exist, though, only Esoteric
  Medicine can recognize these things and treat their effects.
  Mundane medicine can heal lost HP, but it can’t halt further
  injury from an ongoing effect or alleviate its symptoms. At
  the GM’s option, Esoteric Medicine might rival mundane
  medicine when it comes to treating ordinary illness and
  injury, too. If so, it can do everything that Physician can do,
  and any skill with a Physician default (e.g., Diagnosis, First
  Aid, Pharmacy, Physiology, Poisons, and Surgery) defaults
  to Esoteric Medicine at the same penalty.
  Expert Skill†
  see p. B193
  For general rules governing Expert Skills, see the Basic
  Set. A new Expert Skill is important in Martial Arts games:
  Hoplology: This is the study of how people
  fight, invented by explorer Sir Richard F.
  Burton in the 19th century and championed
  by martial artist Donn F. Draeger in the 20th.
  Its goals are to classify weapons and fighting
  styles by their origins and capabilities, and
  understand why they evolved. Hoplology can
  stand in for Anthropology, Psychology, or
  Sociology to identify known types of ritual
  combat or combative behavior; Archaeology,
  Geography, or History to answer questions
  about who used a weapon or style, where,
  and when; and Armoury or Connoisseur
  (Weapons) to identify a weapon. A successful
  roll while watching a fight will identify the
  combatants’ styles (but to identify secret styles,
  you’ll need Hidden Lore, p. 57) and give an
  idea of what techniques to expect.
  Fast-Draw†
  see p. B194
  In combat-heavy campaigns – like Martial Arts games –
  it’s crucial to know exactly what weapons each Fast-Draw
  specialty covers. This list isn’t exhaustive, but it’s a start:
  Force Sword: Any ultra-tech weapon that retracts into its
  hilt and requires the user to toggle a power switch to ready
  it. Includes all Force Sword, Force Whip, and Monowire
  Whip weapons.
  Knife: All Knife and Main-Gauche weapons, and any
  weapon hurled using Thrown Weapon (Dart) or Thrown
  Weapon (Knife).
  Sword: Weapons that call for Broadsword, Jitte/Sai,
  Rapier, Saber, Shortsword, or Smallsword skill – including
  sticks covered by those skills. The GM may extend this to
  such sticks as boomerangs and spear throwers, which use
  Thrown Weapon (Stick) and Spear Thrower, respectively.
  Two-Handed Sword: All Two-Handed Sword weapons,
  plus any 1- or 2-yard Spear or Polearm weapon carried tip-
  down in a back sheath, like a naginata.
  The GM may allow these new specialties for exotic
  weapons:
  Balisong: Used to open or close a balisong (p. 213) that’s
  already in hand. Roll against skill to do either. Critical fail-
  ure causes a point of cutting damage to the hand; critical
  success gives +1 to Intimidation. Use Fast-Draw (Knife) to
  draw a balisong. If you use Fast-Draw (Balisong) on the
  same turn, it’s at -2; see Multiple Fast-Draw (p. 103).
  Flexible: Any chain, rope, or thong used as a weapon,
  including all Kusari and Whip weapons, and slings (use
  Sling skill). In cinematic campaigns, add nunchaku (use
  Flail skill) to the list.
  Shuriken: Any weapon hurled using Thrown Weapon
  (Shuriken).
  56
  CHARACTERS
  Qian Kun Ri Yue Dao
  
  Stone: Sling ammo and throwing stones, when carried in
  a container. Works like Fast-Draw (Arrow).
  Tonfa: Any baton with a protruding side handle, for use
  with Tonfa skill.
  For special Fast-Draw rules, see Multiple Fast-Draw
  (p. 103), Fast-Draw from Odd Positions (pp. 103-104), Who
  Draws First? (p. 103), and Quick-Readying Nearby Weapons
  (p. 104).
  Flying Leap*
  see p. B196
  Flying Leap is vital for chambara or wuxia fighters! See
  Special Feats for Cinematic Skills (p. 129) for optional rules
  that greatly enhance this skill in highly cinematic games.
  Games†
  see p. B197
  Judges of competitive martial-arts events must know
  Games, unless the standards are very low. Most contenders
  get by with IQ-based rolls against Combat Sport (p. B184).
  Any style with a sport version in Chapter 5 has its own
  Games specialty – or several, if there are multiple competi-
  tion types in the setting.
  All-in fighting championships are a special case. Some
  have a Games specialty that’s unassociated with a style.
  Others have no rules . . . and no Games skill.
  Group Performance†
  see p. B198
  See Faking It (p. 130) for rules for using the Fight
  Choreography specialty with Stage Combat. This skill also
  lets you coordinate demo bouts between fighters using
  Combat Art or Sport skills.
  Hidden Lore†
  see p. B199
  A new specialty is available in Martial Arts games:
  Secret Styles: You know about styles not widely taught in
  your world – their legends, living masters (and where to 
  find them), techniques, and cinematic abilities, if any. This
  doesn’t mean you know how to use them.
  Hobby Skill†
  see p. B200
  The following skill is DX/Easy and often learned by mar-
  tial artists in settings where they moonlight as fakirs and
  strongmen:
  Feats of Strength: You collect tricks that show off your
  physical grit. Base the skill roll on the score that suits the
  feat (see p. B172): ST to tear a phone book in half or lift in
  a showy way (e.g., using teeth or a body piercing), DX to
  “punch out” a candle flame, Will to walk on hot coals or rest
  on a bed of nails, and so on. A -4 for lack of familiarity
  applies to tricks you haven’t practiced. This skill doesn’t
  improve your capabilities. You can only lift what your ST
  allows – and while a roll might mean you don’t flinch when
  punched, you’re still hurt. Also, while you know the secrets
  of hot coals and beds of nails, you suffer injury if you fail. In
  a cinematic game, Body Control, Power Blow, etc., replace
  this skill and do add new capabilities.
  Judo
  see p. B203
  Judo is the generic skill of “advanced” unarmed grap-
  pling. It’s part of any style that incorporates a systematic
  body of grabs, grapples, sweeps, and throws, regardless of
  the style’s provenance. It isn’t uniquely associated with the
  Judo style (p. 166); in fact, that art teaches the Judo Sport
  skill, not Judo!
  Sumo Wrestling and Wrestling don’t lend their ST bonus-
  es to Judo techniques – even techniques that also default to
  those skills. Unless a rule explicitly states otherwise, you
  only receive these bonuses when using Sumo Wrestling or
  Wrestling, or their techniques.
  Jumping
  see p. B203
  Jumping is necessary to get the most out of several
  optional combat rules, including Acrobatic Movement
  (pp. 105-107) and Flying Attack (p. 107) in any campaign,
  and Chambara Fighting (pp. 128-130) in cinematic games.
  Karate
  see p. B203
  Despite its name, the Karate skill isn’t exclusively associ-
  ated with Karate styles (pp. 169-172). It’s the generic skill of
  “advanced” unarmed striking. It constitutes part of any art
  that teaches a complete system of strikes with hands,
  elbows, knees, and feet – whether that style comes from
  Okinawa, ancient Greece, or Alpha Centauri.
  The damage bonus from Karate only applies when
  attacking with the Karate skill or one of its techniques. It
  never “stacks” with damage bonuses from Boxing or
  Brawling. At the GM’s option, though, martial artists who
  gain Claws or Strikers as part of their training – or who
  belong to races with natural Claws or Strikers – may wield
  them with Karate to further enhance damage. To be able to
  apply Karate bonuses to biting damage, take the Biting
  Mastery perk (p. 49).
  CHARACTERS
  57
  Though we cannot make it 
  possible to fly to the heavens like
  Superman or to make your body
  transparent like the Invisible Man,
  we can make things that are impos-
  sible for ordinary people possible, if
  you practice diligently.
  – Mas Oyama, This Is Karate
  
  Kiai*
  see p. B203
  This skill has a Japanese name but isn’t restricted to
  practitioners of Japanese styles. It can represent any kind of
  war cry, and suits cinematic warriors of all stripes. The GM
  may want to waive the Trained by a Master or Weapon
  Master prerequisite. He might even allow those with
  Musical Instrument skills to gain the Intimidation bonus
  (but not stun enemies) at fairly long distances by playing
  instruments such as bagpipes.
  Knot-Tying
  see p. B203
  Use Knot-Tying to tie up a foe after entangling him with
  a whip (p. B406) or a lariat (p. B411). You must enter close
  combat with him and roll a Regular Contest of Knot-Tying
  vs. his DX or best grappling skill each turn. This counts as
  an Attack. If you win, you bind his arms to his sides. If you
  lose, he’s free of your weapon.
  See Binding (pp. 82-83) for a more cinematic way to tie
  someone up with this skill.
  Light Walk*
  see p. B205
  This skill offers additional combat options in highly cin-
  ematic chambara- or wuxia-style campaigns. See Special
  Feats for Cinematic Skills (p. 129).
  Main-Gauche
  see p. B208
  It’s permissible to use Main-Gauche with your master
  hand to receive the benefits of a fencing parry while wield-
  ing a knife. Armed this way, you can also attack at your full
  Main-Gauche level. If you just want to attack with a knife,
  you can save a few points by learning Knife (DX/Easy)
  instead of Main-Gauche (DX/Average).
  Mental Strength*
  see p. B209
  In addition to helping resist the abilities mentioned in
  the Basic Set, Mental Strength can replace Will when
  resisting chi powers (see Chi Projection, p. 46) or the
  Hypnotic Hands skill (p. 61). It’s also good against mental
  effects contested by a score other than Will, such as Mind
  Control spells and truth drugs that target HT – make a 
  DX-, IQ-, HT-, or Per-based Mental Strength roll to resist,
  as appropriate. Finally, Mental Strength can substitute for
  Will to “stare down” a foe or resist the same; see The
  Contest of Wills (p. 130).
  Parry Missile Weapons
  see p. B212
  Parry Missile Weapons isn’t a cinematic skill, but it’s far
  more effective in the hands of martial artists who enjoy cin-
  ematic abilities. For one thing, since fighters with DR 2+ on
  the hands can use this skill to parry with their hands, those
  who have DR 2 or more from “iron hands” (see Damage
  Resistance, p. 43) don’t need weapons or armor to parry pro-
  jectiles. Other “iron body parts” may parry, too, at the GM’s
  discretion.
  Warriors with both Enhanced Parry and Weapon Master
  for a weapon gain their Enhanced Parry bonus when using
  Parry Missile Weapons with that weapon. Those with
  Trained by a Master and “iron hands” likewise get a bonus
  for any Enhanced Parry that includes bare hands. The GM
  may also permit an Enhanced Parry variant that benefits
  attempts to parry ranged weapons by any means; see
  Enhanced Defenses (pp. 43-44).
  Those with Enhanced Time Sense (ETS) can actually
  parry bullets, blaster bolts, and other slower-than-light
  firearms attacks; see Enhanced Time Sense (p. 44). Such par-
  ries are at -5. ETS doesn’t normally allow parries against
  light-speed weapons such as lasers . . . but the GM may
  allow this, still at -5, if the defender also has Precognition
  (p. B77). For another option, see Precognitive Parry (p. 62).
  The penalties for multiple parries in a turn are halved as
  usual for those with Trained by a Master or Weapon Master;
  see Parrying (p. B376). Don’t roll separately to parry each hit
  from a rapid-fire attack, though. Roll just once. Success
  means you deflect one hit plus additional hits equal to your
  margin of success. Critical success parries all the hits!
  Power Blow*
  see p. B215
  At the GM’s option, those who know Power Blow at
  Will+1 or better may use it in lieu of Will when attempting
  extra effort with physical feats or chi powers. Use Extra
  Effort (p. B356), not the usual Power Blow rules. The only
  change is that Power Blow replaces Will.
  Pressure Points*
  see p. B215
  The GM might want to let martial artists who know this
  skill attack pressure points that produce some of the effects
  under Realistic Injury (pp. 136-139), even in a cinematic
  game that doesn’t otherwise use those rules. All of these
  attacks work as usual for Pressure Points: the attacker must
  strike the target hit location at an extra -2, inflict at least a
  point of injury, and win a Quick Contest of Pressure Points
  against the victim’s HT.
  •Arm or Leg: You can stop short of fully crippling a limb,
  inflicting any of the three levels of lesser effects under Partial
  Injuries (p. 136) – the most severe of which counts as torture
  for the purpose of Interrogation (p. B202). Duration is still
  5d seconds. You can also target joints, as explained under
  New Hit Locations (p. 137). This gives the victim -2 on his
  HT roll to resist but otherwise produces the usual effects of
  a limb hit.
  • Neck, Skull, or Vitals: You can temporarily induce any
  of the unpleasant effects on the table give for the targeted hit
  location under Lasting and Permanent Injuries (pp. 138-
  139). (Exception: You can’t inflict Wounded.) Duration is 2d
  seconds, making attribute and Basic Speed penalties the
  most useful effects.
  58
  CHARACTERS
  
  •Other Hit Locations: You may target a few of the other
  body parts discussed in New Hit Locations. Striking the
  ear causes Deafness (p. B129); the jaw, Mute (p. B125);
  and the nose, No Sense of Smell/Taste (p. B146).
  Disadvantage effects last 2d seconds. A successful attack
  on the spine causes immediate knockdown and stunning,
  regardless of injury. The victim gets the usual HT roll each
  turn to recover.
  Pressure Secrets*
  see p. B215
  In a cinematic game that generally ignores Realistic
  Injury (pp. 136-139), the GM may opt to apply those rules
  selectively to Pressure Secrets attacks. For instance,
  Pressure Secrets might be able to target the hit locations
  defined under New Hit Locations (p. 137) and count as an
  impaling weapon where favorable – notably, when attack-
  ing veins and arteries. The GM might even rule that if a
  Pressure Secrets attack inflicts twice the injury needed to
  cripple an ear or a nose, it plucks off the body part, much
  as a cutting attack would. To make Pressure Secrets truly
  frightening, the GM could ignore Lasting and Permanent
  Injuries (pp. 138-139) for most attacks, even deadly high-
  tech weapons, but enforce those rules when Pressure
  Secrets inflicts a major wound on the neck, skull, veins
  and arteries, or vitals.
  Push*
  see p. B216
  You may opt to substitute Push for ST (not skill) when-
  ever you attempt an unarmed technique intended to
  knock an opponent down or back without grappling or
  injuring him. For shove-like techniques, use Push’s special
  knockback-only “damage” instead of the usual roll. These
  benefits affect Push Kick (p. 78), Sweep (p. 81), Trip
  (p. 81), and any shove- or sweep-based technique (see
  Basic Attacks, p. 59).
  Savoir-Faire†
  see p. B218
  Most formally trained martial artists know Savoir-Faire
  (Dojo). The effectiveness of this skill depends greatly on
  Style Familiarity (p. 49) and Cultural Familiarity (p. B23).
  A martial artist who has Style Familiarity with a style 
  has no penalty to use Savoir-Faire (Dojo) to show proper
  respect, issue challenges, or otherwise interact with 
  the style’s practitioners as martial artists – even if he’s 
  unfamiliar with their culture. If he lacks Style Familiarity,
  he rolls at -1. If the unfamiliar style is from an unfamiliar
  culture, he suffers an additional -3.
  Sports†
  see p. B222
  Competitive martial arts use Combat Sport skills
  (p. B184), not Sports. A lot of sports are essentially
  “bloodless” gladiatorial contests, though. Team sports in
  particular often involve violent contact. Sometimes, it’s
  even legal.
  Optionally, the GM may permit Sports rolls in combat;
  e.g., Sports (Rugby) to connect with a slam or Sports
  (Hockey) to attack with a two-handed stick. He might
  even allow techniques to default to Sports, where logical:
  Evade (p. 71) might default to Sports (Rugby), Hook
  (p. 74) might default to Sports (Hockey), and so on. Sports
  and techniques based on them are at -3 in a real fight –
  just as Combat Sport skills default to combat skills at -3.
  For a related topic, see Techniques and Combat Art/Sport
  Skills (p. 64).
  Stage Combat
  see p. B222
  This skill has nothing to do with knowing how to fight
  – for real or for show. It’s the ability to fake a fight by per-
  forming specific, rehearsed moves according to a script.
  To be a stunt fighter, learn Combat Art skills. For more on
  simulated combat, see Faking It (p. 130).
  Sumo Wrestling
  see p. B223
  This skill is named after a traditional Japanese form of
  ritual combat (see Sumo, pp. 198-199) but could be part
  of any style that alternates shoves, slams, and sweeps to
  unbalance the enemy. In the real world, this combination
  is uncommon but not unknown – see T’ai Chi Chuan
  (pp. 200-201). Sumo Wrestling also suits practitioners of
  synthetic “strong man” styles (sumotori have competed at
  no-holds-barred fighting, and other contenders have no
  doubt adopted their best techniques), rugby players-
  turned-action heroes, and super-strong comic-book
  characters.
  The ST and damage bonuses from Sumo Wrestling
  only apply when using the skill. They don’t “stack” with
  Brawling or Wrestling bonuses in situations where more
  than one skill could apply.
  CHARACTERS
  59
  Forget about winning and 
  losing, forget about pride and
  pain: let your opponent graze 
  your skin and you smash into his
  flesh; let him smash into your
  flesh and you fracture his bones;
  let him fracture your bones 
  and you take his life! Do not be
  concerned with your escaping
  safely – lay down your life before
  him!
  – Bruce Lee
  
  Tactics
  see p. B224
  Tactics is a martial-arts skill, but it works
  before the action starts. Below are two options
  for the GM to use in place of the rules on 
  p. B224.
  Abstract: If not using a map, roll a Quick
  Contest of Tactics between the leaders of the two
  sides before the battle. The winner receives
  “rerolls” equal to his margin of victory. If his side
  has 10+ fighters, multiply this by 10% of the size
  of his force and round down; e.g., for 15 war-
  riors, victory by four gives six rerolls.
  In battle, a leader may grant his rerolls to any
  ally who has just attempted a combat-related die
  roll. The recipient rolls twice more and selects
  the best result. The leader’s player must describe
  how such tactical factors as cover and formation
  altered the outcome. If the GM disagrees, the
  reroll is wasted. Unused rerolls disappear at the
  end of the fight.
  Mapped: This method is intended for tactical
  combat (pp. B384-392) in which the plot doesn’t
  dictate force placement. The GM must first des-
  ignate what part of the battlefield each side con-
  trols when hostilities begin. It’s fairest to bisect
  the map – north/south, left/right, etc. – unless
  the story demands otherwise. In player vs. play-
  er conflict, any division that both sides agree on
  is acceptable.
  Next, roll a Quick Contest of Tactics between
  the leaders, recording the margin of victory. The
  winner chooses whether he or his rival puts war-
  riors on the map first. In a tie, flip a coin or roll
  a die. The leaders then take turns placing one
  man – or 10% of their forces, if larger – on their
  side of the map.
  Once everyone is on the map, the winner may
  move one ally (or 10% of his men, if larger) to a
  more favorable position on the “friendly” side of
  the map or one opponent (or 10% of the enemy,
  if larger) into adverse circumstances on the “hos-
  tile” side per point of victory. He may move fighters toward
  or away from bad footing, cover, concealment, support, etc.
  He may not move his warriors behind the foe or turn ene-
  mies to face the wrong way.
  Throwing Art*
  see p. B226
  The damage bonus for Throwing Art only applies to
  purpose-built throwing weapons and doesn’t “stack” with
  the damage bonus for Weapon Master. Neither bonus
  improves the damage listed for improvised weapons in the
  Basic Set. Martial artists with Throwing Art may find this
  expanded list of improvised weapons helpful:
  Thrust-4 – Crushing: BB*, bottle cap, button, matchstick*,
  or wadded cigarette foil*. Cutting: Business card, creased
  cigarette foil, or folded dollar bill. Impaling: Paper dart
  (“airplane”), sewing needle*, straightened paperclip*, or
  1” finishing nail*.
  Thrust-3 – Crushing: Egg, ice cube*, pebble, small die, or 1”
  bolt. Cutting: Credit card, playing card, poker chip, or
  small coin (penny). Impaling: Blowgun dart*, chopstick,
  hairpin, hypodermic syringe, knitting needle, lockpick,
  pencil, or 2”-3” nail*.
  Thrust-2 – Crushing: Large die, pistol cartridge, small tree
  nut, wristwatch, or 2”-3” bolt. Cutting: Large coin (silver
  dollar), pizza cutter, potsherd, or razor blade. Impaling:
  Dart (from the pub, not a war dart), fork, penknife,
  scalpel, or 4”-5” spike.
  Thrust-1 – Crushing: Handball, pocket watch with chain,
  large tree nut, rifle cartridge, or 4”-5” bolt. Cutting: Metal
  ruler, paint scraper, or spatula. Impaling: Crossbow bolt,
  fondue fork, kebab skewer, screwdriver, table knife, or 6”
  spike.
  60
  CHARACTERS
  Wildcard Skills 
  for Styles
  In a silly or highly cinematic game, the GM may want to intro-
  duce wildcard skills (see p. B175) that encompass entire fighting
  styles. A “Style!” skill replaces all the skills of a single style – includ-
  ing optional skills that the GM believes every student should know.
  If the martial artist has Trained by a Master or Weapon Master, this
  includes the style’s cinematic skills. Style! skills are DX-based, but
  allow IQ-, HT-, Per-, and Will-based rolls for skills controlled by
  those scores.
  A Style! skill removes the need to learn individual techniques.
  The stylist may roll against the maximum level allowed for any
  technique his style offers, using his Style! skill as the underlying
  skill. If the technique has no maximum, use skill+3. Techniques
  that aren’t part of the style but that default to the style’s core skills
  default to Style! at the usual penalties. To improve such techniques
  above default, learn a new Style! skill that covers them.
  Even DX-3 level in a Style! skill grants Style Familiarity with
  that style. Don’t buy it separately. The stylist may purchase his
  style’s Style Perks for a point apiece without regard for total points
  in the style. If a perk requires specialization by skill, the Style! skill
  is a valid specialty and the perk works with all applicable skills of
  the style.
  Example: Escrima (pp. 155-156) requires students to learn
  Karate, Main-Gauche, and Smallsword. It has many optional skills
  – the GM might rule that all but Bow, Shield, and Tactics suit
  modern-day fighters. Escrima! would replace all of these skills.
  With Trained by a Master or Weapon Master, it would replace
  Mental Strength, Power Blow, and Pressure Points, too. A stylist
  with Escrima! could use any of his style’s techniques at its maxi-
  mum level; for instance, he could try Dual-Weapon Attack at
  Escrima! or Feint at Escrima!+4 when using Escrima weapons.
  A martial artist with Escrima! gains the benefits of Style
  Familiarity (Escrima) without having to buy it. He may ignore lim-
  its on points in style when he takes Style Perks, buying as many as
  he wants for a point apiece. If he selects the Off-Hand Weapon
  Training perk, it’s for Escrima! and lets him ignore the off-hand
  penalty whenever he uses that skill.
  
  Thrust – Crushing: Baseball, flashlight battery, machine gun
  cartridge (.50 or larger), or roll of coins. Cutting: Broken
  bottle, hand spade, hubcap, or metal plate. Impaling:
  Arrow, barbecue fork, marlinspike, piton, or railroad
  spike.
  Thrust+1 – Crushing: Beer can or bottle (full), coconut,
  flashlight, horseshoe, purse of coins, rolling pin, tele-
  phone, or whetstone. Cutting: Cleaver, metal serving tray,
  or rotary saw blade. Impaling: Hedge trimmer, lawn dart,
  or pool cue (javelin-style).
  Swing+1 – Crushing: Baseball bat, golf club, ham (whole),
  pistol, pool cue (end over end), small household appli-
  ance (swung by power cord), or tire iron.
  * At the GM’s option, these items can also be blown from
  the mouth at full skill.
  Tonfa
  see p. B209
  Learn this skill only if you want to be able to switch
  quickly between a regular grip (to swing a tonfa like a club)
  and a Reversed Grip (to strike and parry with a tonfa in
  close combat), or if you plan to buy an Arm Lock technique
  (p. 65) for use with a tonfa. If you carry a tonfa merely to
  enhance “unarmed” strikes and parries, Brawling or Karate
  will suffice. For more information, see Reversed Grip
  (pp. 111-112).
  Wrestling
  see p. B228
  This skill is part of any style that teaches grapples, pins,
  and takedowns – many of which don’t have “wrestling” in
  their name (see Wrestling, pp. 204-206). It represents a com-
  bat skill, not a sport, and offers defaults to many damaging
  techniques for knocking down or crippling foes:
  Backbreaker (p. 82), Drop Kick (p. 70), Elbow Drop (pp. 70-
  71), Knee Drop (p. 76), Piledriver (p. 85-87), and Wrench
  Spine (p. 82). These feats of strength nicely complement the
  sweeps and throws of Judo. Fighters who know one skill
  would certainly benefit from the other.
  Wrestling and Sumo Wrestling differ, too. Wrestling can’t
  substitute for DX in a shove or a slam – and doesn’t include
  sweeps – but makes up for this by giving a ST bonus that
  extends to chokes, locks, neck snaps, pins, and wrenches
  (unlike that of Sumo Wrestling). A fighter with both skills
  could slam or sweep a foe to the ground and follow up with
  a pin . . . or an elbow drop!
  Like the bonus for Sumo Wrestling, Wrestling’s ST bonus
  becomes a damage bonus when making an attack that
  inflicts damage: +1 per die at DX+1, increasing to +2 at
  DX+2 or better. The ST and damage bonuses for these skills
  never “stack.” You only receive the bonus of the skill you’re
  using.
  Zen Archery*
  see p. B228
  Those who have the Heroic Archer advantage (p. 45) and
  Bow at 18+ may learn this skill without having Trained by a
  Master, Weapon Master, or the Meditation skill.
  NEW SKILLS
  Some additional cinematic skills may be available to
  those with Trained by a Master or Weapon Master in
  Martial Arts games.
  Hypnotic Hands*
  IQ/Hard
  Defaults: None.
  Prerequisites: Trained by a Master and Hypnotism at 14+.
  You can induce a trancelike state in others through hyp-
  notic hand motions. You can only affect a single victim, who
  must see your hands. Hypnotic Hands doesn’t work on those
  who are blind, facing away, etc., and is
  affected by any defense effective
  against hypnotism or chi-based mind
  control.
  To 
  use 
  your 
  skill, 
  take 
  a
  Concentrate maneuver. At the end of
  your turn, you can either roll to influ-
  ence your target or opt to continue the
  motions. If you continue, take another
  Concentrate maneuver . . . and so on,
  until you decide to attempt your skill
  roll. The total focus and complex
  motions required by this skill give you
  -2 to all active defenses while
  concentrating.
  Once you decide to project your chi
  to influence your victim, spend 1 FP
  and roll a Quick Contest of Hypnotic
  Hands against his Will.
  Modifiers: -1 per two full yards of distance between you;
  any visibility penalties (for darkness, smoke, etc.); +1 after
  two turns of concentration, +2 after four turns, +3 after
  eight turns, +4 after 16 turns, and a further +1 per doubling
  of time, with no upper limit.
  If you win, your opponent is mentally stunned (see
  p. B420) for seconds equal to your margin of victory. After
  that, he may roll against IQ each turn to recover. Until he
  does, you can use your Hypnotism skill on him – even in
  combat! This takes the usual five seconds, but your subject
  resists at Will instead of at Will+5. See Hypnotism (p. B201)
  for effects. If you know Invisibility Art (p. B202) and choose
  to use it, your victim is at -5 in the Quick Contest to notice
  you.
  Lizard Climb*
  DX/Hard
  Defaults: None.
  Prerequisites: Trained by a Master, and both Acrobatics
  and Climbing at 14+.
  This skill lets you scale vertical or near-vertical surfaces –
  walls, steep hills, large tree trunks, etc. – like a gecko. You
  must climb facing the surface, using (empty) hands and
  feet, or with your back to it, using elbows and heels. Roll
  once per second of climbing.
  CHARACTERS
  61
  Tetsubo
  
  Modifiers: A penalty equal to encumbrance level (e.g., -1
  for Light). The type of surface matters: +2 for rough natural
  materials (bark or a rock face), +0 for most walls (wood,
  brick, or stone), or -2 for smooth surfaces (glass or steel); +2
  if sloped rather than vertical. Add -1 if wet, -3 if icy or slimy,
  or -5 if greased. Freeing a hand or foot gives -2 per extremi-
  ty less than four (minimum one) in contact with the surface.
  Claws (p. B42) or artificial claws (neko-de) give +2 when
  climbing any surface but a smooth one – but only when fac-
  ing it.
  Success lets you travel half your Move up, down, or
  across the surface, or simply cling to it without moving. For
  instance, with Move 7, you could climb 3.5
  yards – about one story – up a sheer wall in
  a second! Lizard Climb isn’t Clinging
  (p. B43), though. In particular, you can’t
  move along ceilings.
  Failure means you fall, but you can try
  to catch yourself (see below). On a critical
  failure, you fall away from the surface and
  can’t reach it in order to stop your fall.
  If falling past a surface close enough
  that you can reach it, you can try to break
  your fall. Make a DX roll to touch the sur-
  face, and then a Lizard Climb roll at -1 per
  5 yards already fallen, plus the above mod-
  ifiers. Success stops your fall. Failure
  means you continue to fall; you can’t make
  a repeated attempt.
  You can dodge normally while climbing and retreat by
  skittering up the wall. If you make a skill roll at a suitable
  penalty to free a limb, you can even attack and parry at no
  penalty. However, any combat result that causes a fall –
  knockback, knockdown, critical miss, etc. – knocks you off
  the wall. You can try to stop yourself if you’re not stunned,
  but shock penalties (if any) apply.
  When climbing something other than a flat surface (e.g.,
  a rope), a successful Lizard Climb roll gives a bonus to
  Climbing. This equals half your margin of success, rounded
  down. Minimum bonus is +1. In a chambara- or wuxia-style
  campaign, other stunts are possible – see Special Feats for
  Cinematic Skills (pp. 129-130).
  Precognitive Parry*
  IQ/Hard
  Defaults: None.
  Prerequisites: Trained by a Master or Weapon Master;
  Danger Sense or Precognition; and one melee combat skill
  at 18+.
  This skill allows you to parry attacks that normally come
  in too fast to parry – bullets, beams, etc. – without having
  Enhanced Time Sense. You must be aware of your attacker
  for Precognitive Parry to work; it’s worthless against true
  surprise attacks. Whenever an attack that satisfies these cri-
  teria would hit you, make a Precognitive Parry roll.
  Modifiers: Add the higher of your ESP Talent (p. B256) or
  Forceful Chi (p. 47).
  On a failure, you can’t parry. You may still dodge, if the
  attack is one that permits a Dodge roll. On a critical failure,
  though, you believe that the attack will miss and don’t even
  bother to dodge!
  On a success, you’re alerted to the attack far enough in
  advance that you can move a weapon or limb to intercept it.
  You may attempt to parry just as if you were defending
  against a melee attack. Combat Reflexes and Enhanced
  Parry give their usual bonuses.
  Failure on the parry means you’re hit. Success means
  you interpose your weapon or limb in time. The attack
  inflicts its damage on whatever you’re using to parry. If
  using a weapon, it’s destroyed if reduced to -5¥HP
  after DR (see Damage to Objects, p. B483) –
  but only damage in excess of this affects
  you, and your DR protects normally. If
  using a limb, you’re simply hit in the limb
  instead of in the attack’s original hit loca-
  tion. Success by five or more on the parry,
  or critical success, deflects the attack with-
  out harm to your weapon or limb.
  A force sword or force whip doesn’t have
  DR or HP – it’s made of energy. A success-
  ful parry with such a weapon deflects an
  energy attack harmlessly and burns up a
  projectile. Against a really big projectile, the
  GM may want to roll damage for the force
  weapon and compare it to the projectile’s
  DR and HP.
  Knowing when and where a melee attack, thrown
  weapon, or slower missile will hit is also useful. You may opt
  to try a Precognitive Parry roll before an active defense
  against such an attack. Success gives +1 to your defense.
  Failure means you misjudge, giving -2. As usual, critical fail-
  ure means you believe the attack will miss and don’t even
  bother to defend.
  Sensitivity*
  Per/Very Hard
  Defaults: None.
  Prerequisites: Trained by a Master or Weapon Master.
  Sensitivity represents skill at being hyperaware of a near-
  by enemy’s stance and intent. Choose one opponent – who
  must be in close combat with you and either touching you,
  visible, or detected with Blind Fighting – and roll against
  Sensitivity. This is a free action on your turn.
  Modifiers: +2 for Sensitive Touch; +2 for Vibration Sense;
  the higher of Telepathy Talent (p. B257) or Inner Balance
  (p. 47); -1 per failed attempt against the subject this combat.
  Success gives +1 to all close-combat attacks and defens-
  es against that opponent, and to Blind Fighting, Immovable
  Stance, Precognitive Parry, and Push rolls made to combat
  him. Success by 3 or more, or critical success, gives +2.
  These benefits last for as long as you and your rival stay in
  close combat. If you leave and return, roll again. You may
  opt to reroll each turn. You must reroll if you change
  subjects.
  62
  CHARACTERS
  Katar
  
  The big American lunged, but his attack was off-target
  thanks to Kai’s jab. Kai saw where the punch was going and
  sideslipped. It was suddenly clear to Kai why Americans had
  invented the telegraph: they insisted on advertising everything
  – even a punch.
  The thug yelled, “My name is Boris Howard Fine. I’m the
  bare-knuckles champ ’round here. No GIRL is gonna get the
  better of me!” He emphasized his point by launching another
  all-out punch.
  Kai deflected it with her hand and followed through with a
  lightning-fast riposte. “Whipping Branch Strikes Ape!”
  “Who you callin’ an ape?” Boris took the hit and swung
  again.
  Kai evaded by tumbling acrobatically between Boris’ legs,
  striking as she went. “Cunning Rat Picks Grapes!”
  “Gah!” Boris looked startled and then fell over.
  Kai turned to the growing crowd with a slight bow.
  “Excuse me, which way to San Francisco?”
  A technique is any feat of skill that one can improve inde-
  pendently of the governing skill. The techniques in this sec-
  tion, being intended for martial artists, depend mainly on
  combat skills. They represent attacks, defenses, weapon-
  handling routines (grip changes, weapon retention, etc.),
  and strategies for coping with less-than-ideal circumstances
  (for instance, fighting from the back of a galloping mount).
  Martial-arts techniques obey all of the rules under
  Techniques, pp. B229-230. Their properties in brief:
  Specialties: The buyer of a technique must
  specify the combat skill he’s learning it for.
  (Exception: This isn’t necessary for a tech-
  nique associated only with Dodge or an
  attribute.) This is the technique’s special-
  ty. Most techniques offer a limited selec-
  tion of specialties – perhaps one of the
  subcategories under Combat Skills
  (p. 55), often an even shorter list. A war-
  rior can learn a given technique for sever-
  al different skills, but he must study and
  pay for each specialty separately.
  Defaults: A technique defaults – typi-
  cally at a penalty – either to the skill cho-
  sen as its specialty or to an active defense
  or another technique based on that skill.
  (Exception: A technique associated with
  Dodge or an attribute defaults to that
  score.) The penalty occasionally differs
  from specialty to specialty. A warrior who
  hasn’t spent points to improve a technique
  can still attempt it at default.
  Prerequisites: To improve a technique
  above default, the buyer must have at least
  one point in any skill listed as a prerequisite.
  This always includes the chosen specialty
  skill and may include others.
  Difficulty: Techniques come in two diffi-
  culties: Average and Hard. This affects only
  the point cost to improve the technique; see
  the Technique Cost Table (p. B230).
  Maximum: Nearly every technique has an
  upper limit relative to the parent skill. Once
  the martial artist reaches this level, he must
  raise the underlying skill to improve further.
  TECHNIQUES
  63
  CHAPTER THREE
  TECHNIQUES
  
  Description: Some techniques raise or lower the attack-
  er’s defenses, or those of his target. Others affect damage.
  Many require a skill roll and/or specific action for setup or
  recovery. Several are new versions of such maneuvers as All-
  Out Attack and Move and Attack, and replace the usual rules
  for those maneuvers. A few have unique effects. Read the
  entire entry to learn the technique’s strengths, weaknesses,
  and peculiarities.
  Techniques and 
  Combat Art/Sport Skills
  A technique that defaults to a combat skill also defaults
  to the related Combat Art and Combat Sport skills at the
  same penalty. The Art version is for exhibition, the Sport
  version is for competition. If you improve the technique,
  however, you need only buy it once. Your level relative to the
  controlling skill – default, default+1, etc. – applies when
  using the technique with any of these skills. On your char-
  acter sheet, you can note the specialty and associated skill
  level for any of the three skills.
  Example: Kanjo Tosho knows Karate Art at 16 and learns
  Jump Kick (p. 75). Jump Kick defaults to Karate-
  4, so it also defaults to Karate Art-4. His default
  is 12. He improves this to default+3, giving
  him Jump Kick (Karate Art) at 15. This is
  mainly for show – it looks great! However,
  Tosho also has Karate at 15, so default+3
  means he could use Jump Kick (Karate) at 14
  in a real fight. And with Karate Sport at 14, he
  could even try Jump Kick (Karate Sport) at 13
  in competition. Tosho’s player decides which
  one of the three appears on his character
  sheet, but he only pays points to improve one
  technique.
  This is a special case! Normally, when Skill
  A defaults to Skill B, Skill A’s techniques don’t
  default to Skill B’s techniques. For instance,
  Shortsword defaults to Broadsword-2, so a
  fighter with Broadsword at 20 has Shortsword
  at 18 by default. Back Strike (p. 67) defaults to
  skill-2; therefore, if he improves Back Strike to
  default+2 for Broadsword, he gets Back Strike
  (Broadsword) at 20. But this doesn’t give him
  Back Strike (Shortsword) at default+2, or 18.
  He only gets his usual default, or 16.
  Using Techniques Together
  Some techniques can be used together in a way that
  combines all of their effects in a single success roll. For
  instance, you could use Ground Fighting (p. 73) with
  Kicking (pp. 75-76) to kick from the ground, rolling only
  once to attack. In such situations, determine the relative level
  of each technique by taking the difference between its level
  and that of its parent skill. Like relative skill level (p. B171),
  this is helpful information to note on your character sheet.
  To calculate your level with the combined technique, sum
  the relative levels of all the techniques involved and add the
  total to the underlying skill.
  Example: With Karate at 14, Kicking at 13, and Ground
  Fighting (Karate) at 12, your relative level with Kicking is 13
  - 14 = -1. Your relative level with Ground Fighting is 12 - 14
  = -2. When kicking from the ground, add relative levels and
  roll at Karate-3, or 11.
  LEARNING TECHNIQUES
  Each style in Chapter 5 emphasizes specific techniques
  that those who know it (see Components of a Style, pp. 141-
  143, and Buying a Style, pp. 146-148) may elect to study and
  improve. A fighter can attempt any technique that defaults
  to any of his skills, regardless of what style he practices or
  whether he even studies a style. Instruction in a martial art
  is simply a justification for buying the art’s techniques above
  default, if the martial artist wishes.
  It’s fairest if individuals who receive systematic training
  learn fastest, although the GM may make exceptions. If
  using the rules on p. B292, dedicated training at a style
  counts as Intensive Training. Martial artists who receive
  instruction outside their style (e.g., from friends or visiting
  masters) advance according to Education, or half as fast.
  Those who learn from books, videos, etc.,
  improve as per Self-Teaching, or 1/4 as fast.
  Studying opponents’ techniques in bouts
  is Learning on the Job and 1/8 as fast – but
  the entire duration of the tournament
  counts, not just time spent competing.
  The GM decides whether adventurers
  can use earned points to improve tech-
  niques outside their style. This is proba-
  bly fair if a warrior routinely attempts a
  technique at default in mortal combat.
  See Quick Learning Under Pressure
  (p. B292) for rules.
  Whatever the justification for improv-
  ing a technique, find the point cost using
  the Technique Cost Table (p. B230). It’s
  sometimes tempting to invest in many
  techniques, but it’s rarely cost-effective to
  spend points on more than a few – per-
  haps only a single Hard one – per skill.
  Players on a budget should check
  whether improving the underlying skill
  would be better, particularly at low skill
  levels where 1 or 2 points could buy up
  the entire skill. It’s most efficient to work
  on the skill until it costs 4 points/level,
  then pick one or two techniques as “signature moves” and
  raise them until they’re at or near the maximum. A fighter
  can end up with a sizeable list of techniques if he does this
  for several skills.
  Example: Bridget has DX 13 and Karate-15 [12]. She gets
  Feint-15 and Kicking-13 by default. Buying Feint-16 [2] and
  Kicking-14 [2] would cost 4 points, but it would be more
  effective to invest those points in Karate. Karate-16 [16]
  would give Feint-16 and Kicking-14 by default, and improve
  every other use of Karate, too. Of course, Feint-18 [4] would
  give the highest Feint for 4 points and be the best choice if
  Bridget wanted Feint as a signature move!
  64
  TECHNIQUES
  Sodegarami
  
  REALISTIC TECHNIQUES
  TECHNIQUES
  65
  Many of these techniques are difficult – and some are
  dangerous to the user – but all are realistic. The GM could
  allow even the flashiest of them in a high-realism
  campaign.
  Acrobatic Stand
  Average
  Default: Acrobatics-6.
  Prerequisite: Acrobatics; cannot exceed Acrobatics skill.
  This represents training at quickly regaining your feet
  in a fight; see Acrobatic Stand (p. 98) for details. A suc-
  cessful roll lets you go from lying down to standing as a
  single Change Posture maneuver; on a critical success, you
  do so as a “step.” Failure means you go to a sitting posture.
  Critical failure leaves you lying down, wasting your turn.
  You can also use Acrobatic Stand to go from crawling
  or sitting to standing as a step. In this case, failure means
  you stand as a Change Posture maneuver, not as a step.
  Critical failure means you fall down!
  Modifiers: A penalty equal to your encumbrance level.
  Aggressive Parry
  Hard
  Default: prerequisite skill Parry-1.
  Prerequisite: Boxing, Brawling, or Karate; cannot
  exceed prerequisite Parry.
  Only a few “hard” styles teach this tactic. Instead of
  merely deflecting a blow, you attempt to injure your attack-
  er with an especially forceful parry. This is incompatible
  with Cross Parry (p. 121).
  Roll against Aggressive Parry to defend, at the usual -2
  for Boxing vs. a kick, or -3 for Boxing or Brawling vs. a
  swung weapon. You cannot retreat. Failure means you’re
  hit; your attacker may choose to hit his original target,
  your parrying arm, or your parrying hand. Success means
  you parry and may roll against the underlying skill to
  strike the attacking body part or weapon, modified as
  follows.
  Modifiers: Against unarmed, -2 to hit an arm or leg, -4
  to hit a hand or foot; -2 for Boxing vs. a leg or foot; -1 if
  your foe knows Rapid Retraction (p. 51). Against armed, a
  basic -3; another -3 to -5 for weapon size (see p. B400); a
  further -3 for Boxing or Brawling vs. a swung weapon.
  Success on this skill roll inflicts thrust-4 crushing dam-
  age or thrust-2 at -1 per die, whichever is worse, on the tar-
  geted weapon or body part. Skill bonuses apply normally.
  Failure means you didn’t parry forcefully enough to inflict
  damage.
  Weapon parries against unarmed attacks are essential-
  ly aggressive “for free”; see Parrying Unarmed Attacks
  (p. B376).
  Arm or Wrist Lock
  Average
  Default: prerequisite skill.
  Prerequisite: Judo, Wrestling, or appropriate Melee
  Weapon skill; cannot exceed prerequisite skill+4.
  An arm (or wrist) lock is an attempt to restrain or crip-
  ple an opponent by twisting his arm. It normally uses Judo
  or Wrestling skill. This technique lets you improve effective
  skill for this purpose only.
  To use Arm Lock, you must have two hands free and
  make a successful barehanded parry with Judo or Wrestling
  against your opponent’s melee attack. On your first turn fol-
  lowing the parry, you may attempt to capture your attacker’s
  arm if he’s still within one yard. This is an attack: step into
  close combat and roll against Arm Lock to hit. Your foe may
  use any active defense – he can parry your hand with a
  weapon! If his defense fails, you trap his arm.
  Your foe may attempt to break free (p. B371) on his next
  turn, but you’re at +4 in the Quick Contest. If he loses, he
  has a cumulative -1 on future attempts to break free.
  On your next turn – and each turn thereafter, until your
  foe breaks free – you may try to damage the trapped arm.
  Roll a Quick Contest: the higher of your ST (including your
  Wrestling bonus) or Arm Lock vs. the higher of your victim’s
  ST or HT. If you win, you inflict crushing damage equal to
  your margin of victory. The target’s rigid DR protects nor-
  mally. Flexible armor, including natural DR with the
  Flexible or Tough Skin limitation, has no effect.
  If you cripple your victim’s arm, he drops anything in
  that hand. You can inflict no further damage on a crippled
  limb but you can continue to roll the Contest each turn. If
  you win, your target suffers shock and stunning just as if
  you had inflicted damage.
  Rolls to inflict damage are completely passive and don’t
  count as attacks. You can simultaneously make close-
  combat attacks on your opponent, who defends at -4 in
  addition to any penalties due to injury caused by the lock
  itself. If you decide to throw him using the lock, this does
  count as an attack; see Throws from Locks (pp. 118-119).
  You can use this ability offensively as well. Instead of
  waiting to parry an attack, grapple your foe normally with
  Judo or Wrestling. If he fails to break free on his next turn,
  you may try Arm Lock on your next turn, just as if you had
  parried his attack.
  You can also apply this lock with a weapon. Default and
  prerequisite skills become a weapon skill. To initiate the
  lock requires a weapon parry or an Armed Grapple (p. 67).
  A reach C weapon gets +1 in the Quick Contest to cause
  damage; anything longer gets +2. Edged weapons can inflict
  crushing or cutting damage, but you must make a DX roll
  when you roll to inflict injury. Failure does thrust cutting
  damage to your off hand (DR protects normally). Otherwise,
  use the rules above.
  Arm Lock uses precision and skill to cripple a foe’s limb.
  For a brute-force technique, see Wrench (Limb) (p. 82).
  
  66
  TECHNIQUES
  Martial artists practice dozens of distinct attacks and
  defenses that they call “techniques.” The majority of these
  aren’t techniques in the sense of pp. B229-233. GURPS lets
  fighters use their combat skills to try hundreds of permuta-
  tions of maneuvers, movement, and combat options; e.g., a
  swordsman can use Attack to turn in place and stab to the
  face, which is nothing like using All-Out Attack to dart for-
  ward and hack at a foot. Most “techniques” that martial
  artists study are simply variations of this kind. To underline
  this, the GM may opt to deny certain actions to the 
  relatively untrained (see Limited Maneuver Selection, p. 113).
  Below are examples of “non-techniques.” Warriors gen-
  erally can’t improve these independently of skill – although
  highly optional Targeted Attacks (p. 68) and Combinations
  (p. 80) can remove hit location and Rapid Strike penalties.
  Stances
  Every martial art has specialized stances, many of which
  bear interesting names: “cat stance” (from Karate), “boar’s
  tooth” (from Longsword Fighting), and so on. Defensive
  stances allow the Defensive Attack (p. 100) and All-Out
  Defense maneuvers. Forward-leaning, aggressive stances
  justify All-Out Attack (Long) (pp. 97-98). Low, broad stances
  are less vulnerable to takedowns, and explain why high grap-
  pling skills help resist such attacks. Knowledge of effective
  fighting stances isn’t an independent technique – it’s one of
  the most basic elements covered by any combat skill.
  Punches
  Any straight or crossing blow with a closed fist is a basic
  punch at Boxing, Brawling, or Karate skill. The name for
  such a strike depends on the style and the combat maneuver.
  Crosses, hooks, and reverse punches are typical Attacks; a
  jab is the archetypal Defensive Attack; and a lunge punch,
  roundhouse, or haymaker is a Committed Attack (pp. 99-
  100) or All-Out Attack.
  Many famous punches from sports and cinema are noth-
  ing more exotic than punches that use specific combat
  options. For instance, a “rabbit punch” is a punch to the
  back of the head or neck; the opening strike of Bruce Lee’s
  “straight blast” is a Deceptive Attack that relies on sheer
  speed (see Jeet Kune Do, pp. 164-165); and the classic two-
  jab combination favored by boxers is a Rapid Strike.
  Only punches that use unorthodox striking surfaces – the
  side of the hand, an open hand, an extended finger, two
  clasped hands, etc. – or that deliver extra damage without
  going “all-out” merit distinct techniques. These strikes are
  tricky without extra training. Examples include Exotic Hand
  Strike, Hammer Fist, Two-Handed Punch, and Uppercut.
  Kicks
  Almost every standing kick to a frontal target – including
  crescent, rising, side, and snap kicks – is a straight kicking
  attack at Karate-2 or Brawling-2. Short, jabbing kicks are
  Defensive Attacks. Hard-hitting hook and roundhouse kicks
  are Committed Attacks or All-Out Attacks. Combat options
  often enter the equation, too. For instance, the “double side
  kick” of Tae Kwon Do is a Rapid Strike – and also a
  Telegraphic Attack (p. 113).
  To improve all of these kicks, raise Kicking (pp. 75-76) –
  or increase Karate or Brawling. Only kicks from unusual
  positions (Back Kick), those with limited target selection
  (e.g., Axe Kick and Stamp Kick), and those that require the
  attacker to hop, spin, or jump (such as Jump Kick, Spinning
  Kick, and Drop Kick) can justify distinct techniques. The
  additional training is needed to work around the risk or
  awkward angles involved.
  Weapon Strikes
  Armed stylists – especially swordsmen – often name or
  number their art’s basic guard positions, thrusts, and
  swings. These are by definition standard attacks and parries,
  not explicit techniques. Most “advanced” methods add in
  maneuvers other than Attack. Draw cuts, flicking blows
  from the wrist, and so on are Defensive Attacks. Aggressive
  tactics – flèche, lunge, pass, stab-and-twist, etc. – are
  Committed Attacks or All-Out Attacks. The “floor lunge” is
  an All-Out Attack (Long).
  Even some unusual modes of attack are normal blows
  combined with combat options. A dramatic, circular sword
  cut (called a moulinet by saber fighters) is a Telegraphic
  Attack. Sliding a weapon along the enemy’s to bypass his
  guard (a “glide” or coulé) is a Deceptive Attack. Using the tip
  of a blade to cut is a Tip Slash (p. 113). Striking a two-
  handed blow using a one-handed weapon is an application
  of Defensive Grip (pp. 109-111). Attacking with an inverted
  blade is an example of Reversed Grip (pp. 111-112).
  Weapon techniques are mainly for difficult combat con-
  ditions (horseback, close combat, etc.) or non-striking
  attacks (especially sweeping and grappling).
  Grappling
  Grapples, takedowns, and pins – and many follow-ups,
  such as strangling and the options in Grab and Smash!
  (p. 118) – are possible even for average, untrained people.
  The Judo, Sumo Wrestling, and Wrestling skills teach moves
  that make such actions more effective, but these are left
  abstract, not bought as techniques. Grappling the arms
  from behind is called a “full nelson” and a takedown made
  by hooking your leg around your opponent’s, a “reap” . . . but
  Full Nelson and Reap aren’t techniques. The same applies to
  so-called “sticking hands”: situational awareness is simply
  part of basic skill, and explains why more skilled fighters
  have a higher Parry and better odds in Quick Contests.
  Grappling techniques are reserved for locks, breaks, and
  throws that require precise body positioning to be effective.
  Anyone can grab a foe, but it takes training to apply an arm
  bar. Examples include Arm Lock, Neck Snap, and Piledriver.
  Setup Tactics
  Attacking into an adversary’s attack is a Stop Hit
  (p. 108), and a standard option for anybody who takes a
  Wait maneuver. Converting a parry into an attack is a
  Riposte (pp. 124-125), and possible for any fighter who can
  parry. To be successful at either, one must be good at
  attacks and parries in general. It makes little sense to train
  at these things exclusively!
  Techniques That Aren’t
  
  Armed Grapple
  Hard
  Defaults: Cloak, or other prerequisite skill-2.
  Prerequisite: Cloak or appropriate Melee Weapon skill;
  cannot exceed prerequisite skill.
  Many armed styles teach how to step close to a foe,
  maneuver a weapon past him, and then pull it in tightly to
  restrain him. This results in an actual grapple of his body in
  close combat. To snag an opponent at full reach, use
  Entangle (p. 71) for a flexible weapon or Hook (p. 74) for
  one with a hook or other projection. To lock blades with
  him, use Bind Weapon (see below).
  To initiate an armed grapple, roll against weapon skill at
  -2 – this is an awkward and unconventional attack for most
  weapons. It’s a standard move with a cloak, however, and
  uses your unpenalized Cloak skill (see p. B404). Use the hit
  location penalties for grappling, not those for striking.
  Your opponent may use any normal defense. If he fails to
  defend, you’ve successfully grappled him with your weapon.
  While using your weapon to grapple, you can neither attack
  nor defend with it. On your turn, you can follow up with a
  takedown, pin, choke, or Arm Lock (options depend on the
  body part grappled). Releasing the grapple is a free action.
  A one-handed weapon other than a cloak can only grap-
  ple if you grip it in two hands first. This requires a Ready
  maneuver.
  Attack from Above
  Average
  Default: prerequisite skill-2.
  Prerequisite: Any unarmed or Melee Weapon skill; cannot
  exceed prerequisite skill.
  Some styles teach techniques for pouncing on a foe from
  above. This technique lets you buy off the -2 to attack
  described in Attack from Above (p. B402). It’s particularly
  suitable for cinematic ninja!
  Axe Kick
  Hard
  Default: Karate-4.
  Prerequisite: Karate; cannot exceed Karate skill.
  This kick involves lifting a leg and smashing it down onto
  the target heel-first. It’s a special option for Committed
  Attack (pp. 99-100) and All-Out Attack (p. B365). Use the
  rules below instead of the normal rules for those maneuvers.
  An Axe Kick has reduced vertical reach. If your foe’s SM
  exceeds yours by +1, you can’t target his head while he’s
  standing. If he’s larger, you can’t hit his head unless he’s
  crawling or on the ground. Resolve an attack to the foot as
  a Stamp Kick (pp. 80-81) rolled at your Axe Kick level.
  As a Committed Attack, an Axe Kick does thrust+1 crush-
  ing damage – or thrust at +1 per two dice, if better – plus
  skill bonuses. Roll against Axe Kick to hit. Afterward, you
  can’t dodge or retreat until your next turn, and are at -2 on
  all remaining active defenses.
  As an All-Out Attack, an Axe Kick does thrust+2 – or
  thrust at +1 per die, if better – plus skill bonuses. Hit or
  miss, you have no defenses until your next turn!
  An Axe Kick is difficult to back away from. If your oppo-
  nent’s retreat bonus makes the difference between a hit and
  a miss for an attack aimed above the foot, the kick still hits
  a lower body part. Head or neck shots strike the torso; torso,
  arm, or hand blows hit a leg; and kicks to the groin or leg
  stomp a foot.
  This move also beats down the target’s guard. A success-
  ful attack roll gives the defender -1 to parry any attack fol-
  lowing the Axe Kick until his next turn – even if his defense
  against the kick succeeds. Axe Kick is a good opener for a
  Rapid Strike or Combination!
  Back Kick or Back Strike
  Hard
  Defaults: prerequisite skill-2, or -4 for a kick.
  Prerequisite: Karate or any Melee Weapon skill; cannot
  exceed prerequisite skill.
  This technique lets you kick or use a melee weapon
  against a foe to your rear without making a Wild Swing or
  changing facing – although your legs must be free in order
  to change stance. Back Kick defaults to Karate-4. Back
  Strike defaults to Melee Weapon-2 and you must specialize;
  e.g., Back Strike (Staff). To throw a “back punch,” use
  Elbow Strike (p. 71).
  To use this technique, you must know that your adver-
  sary is behind you! Roll against Back Kick or Back Strike to
  hit, at an extra -1 if you target a specific hit location.
  A Back Kick has standard reach and damage for a kick.
  A Back Strike can only reach an enemy within one yard,
  regardless of weapon length. Thrusting attacks do their
  usual damage; swinging attacks have -2 damage or -1 dam-
  age per die, whichever is worse. A Back Strike from a
  Reversed Grip (pp. 111-112) uses the reach and damage
  effects of that grip instead of those given here.
  In all cases, you’re at -2 to all active defenses until your
  next turn. This is cumulative with the -2 to parry with a
  weapon in a Reversed Grip!
  Bind Weapon
  Hard
  Default: prerequisite skill-3.
  Prerequisite: Jitte/Sai or any fencing weapon skill; cannot
  exceed prerequisite skill.
  Fencers with swords that have crosspiece hilts can lock
  blades or hilts in a so-called bind. With a pronged weapon
  such as the jitte (p. 217), it’s possible to bind any weapon.
  This technique covers all such tactics.
  To bind, you must first successfully parry your oppo-
  nent’s fencing blade with your own such sword – or use a
  Jitte/Sai weapon to parry any weapon. On your first turn
  after the parry, roll against Bind Weapon to try to bind the
  weapon you parried; this is an attack. If you’re using a fenc-
  ing weapon, your adversary must be within a yard and you
  must step into close combat. With a Jitte/Sai weapon, the
  target weapon must merely be in reach (see p. B400).
  TECHNIQUES
  67
  
  Your foe’s only legal defenses are a dodge or a parry with
  the targeted weapon. He may retreat for the usual bonus. If
  his defense fails, you bind weapons – and if he tried to
  retreat, he can’t step back.
  You can use Bind Weapon offensively rather than after a
  parry. Step into range (see above) and roll against Bind
  Weapon to hit. The only difference is that your foe may try
  any defense, not just a dodge or a parry with the target
  weapon.
  While a bind is in effect, neither fighter can use the
  weapons involved to attack or defend. All other actions
  taken by defender and attacker alike are at -2 DX.
  Your foe may attempt to free his weapon on his turn.
  This counts as an attempt to break free (p. B371), and
  requires a full turn and a Quick Contest of his weapon skill
  against your Bind Weapon technique. If he uses finesse to
  disengage, make DX-based rolls. If he uses brute force, the
  rolls are ST-based. If he wins, the bind ends – and if he used
  ST, you must make a skill or Retain Weapon roll or drop the
  weapon you used to bind!
  Either of you can escape by dropping the weapon in the
  bind. This is a free action at any time. You can end the bind
  without losing your weapon. This, too, is a free action – but
  only on your turn.
  This tactic is common for two-weapon fencers – espe-
  cially those with a main-gauche. The objective is to bind the
  enemy’s blade and attack with a secondary weapon. Jitte/Sai
  fighters use paired weapons to similar effect.
  Breakfall
  Average
  Defaults: Acrobatics, Judo, or Wrestling.
  Prerequisite: Acrobatics, Judo, or Wrestling; cannot
  exceed prerequisite skill+5.
  68
  TECHNIQUES
  Attacks on “high-value” targets – face, chinks in armor,
  weapons, etc. – are effective fight-stoppers, which is why
  so many fighting styles teach them. These rules let war-
  riors study such moves as Hard techniques called Targeted
  Attacks. For each Targeted Attack (TA), the martial artist
  must specify three things:
  Skill: The Melee Weapon or unarmed combat skill
  used.
  Attack: The specific strike or grapple involved. For
  weapon skills, this is either “Swing” or “Thrust.” For
  unarmed striking skills, this is generally “Punch.” Either
  can instead name a striking technique such as Disarming,
  Kicking, Lethal Strike, or Return Strike. For grappling
  skills, options are “Grab,” “Grapple,” and – for Judo –
  “Throw.”
  Target: This can be a hit location other than the torso
  (Eye, Face, Arm, etc.), chinks in armor at a specific hit
  location (Torso Chinks is valid, although the GM may rule
  that some hard armor isn’t vulnerable), or Weapon. The
  attack must be able to target the location in the first place
  – a condition that most often affects attacks to the vitals,
  eye, or chinks in armor (see pp. B399-400).
  The default penalty equals the modifier to hit the tar-
  get. For strikes, this is -2 for Arm or Leg, -3 for Groin or
  Vitals, -4 for Hand or Foot, -5 for Face or Neck, -7 for
  Skull, or -9 for Eye. It’s -10 for chinks in armor on any of
  these locations (this replaces the usual penalty), but only -
  8 for chinks in torso armor. All strikes at weapons default
  at -4. Blows (Swing, Punch, etc.) intended to break a
  weapon have no extra penalty; attempts to disarm must
  specify Disarm as their attack and have a further -2 except
  with a fencing weapon (see p. B400).
  Grapples use half the usual hit location penalty: -1
  for Arm or Leg, -2 for Hand or Foot, -3 for Face or
  Neck, etc. Grabs for weapons are at -4. Judo throws can
  target any body part but the Eye, Vitals, or Groin, at 
  the penalties given for strikes. Such throws damage the
  targeted location and require a HT roll to avoid stun
  (see Judo Throw, p. 75).
  If defaulting from a skill, add the penalty for any spe-
  cial attack: -1 for Knee Strike; -2 for Elbow Strike,
  Kicking, or Lethal Strike; -4 for Lethal Kick; and so on. If
  defaulting from a technique, don’t apply this penalty – the
  technique’s default already includes it! Disarms default to
  skill and Disarming at the same penalty.
  By improving Targeted Attack, the fighter can buy off
  up to half of his default penalty (round up) for a strike,
  grab, or throw, or the whole penalty for a grapple. Write
  the TA as “TA (Skill Attack/Target).” Some examples:
  TA (Boxing Punch/Face): Defaults to Boxing-5; cannot
  exceed Boxing-2.
  TA (Broadsword Disarm/Weapon): Defaults to
  Broadsword-6 or Disarming (Broadsword)-6; cannot
  exceed Broadsword-3 or Disarming (Broadsword)-3.
  TA (Broadsword Swing/Neck): Defaults to Broadsword-
  5; cannot exceed Broadsword-2.
  TA (Judo Throw/Skull): Defaults to Judo-7; cannot
  exceed Judo-3.
  TA (Karate Knee Strike/Groin): Defaults to Karate-4 or
  Knee Strike-3; cannot exceed Karate-2 or Knee Strike-1.
  TA (Rapier Thrust/Vitals Chinks): Defaults to Rapier-
  10; cannot exceed Rapier-5.
  TA (Wrestling Grab/Weapon): Defaults to Wrestling-4;
  cannot exceed Wrestling-2.
  TA (Wrestling Grapple/Arm): Defaults to Wrestling-1;
  cannot exceed Wrestling.
  Roll against Targeted Attack to hit. A TA against a
  weapon assumes -4 to hit; roll at +1 vs. large weapons (-3
  to hit), -1 vs. small ones (-5 to hit).
  Repeating a Targeted Attack makes you predictable. If
  you use the same TA twice on a foe in a fight, he defends
  at +1 against your third and later uses!
  Targeted Attacks are realistic but complex. The GM is
  welcome to forbid them if they seem too fussy.
  Optional Rule: Targeted Attacks
  
  This technique covers ways of controlling or absorbing
  the shock of a fall: shoulder rolls, slapping the ground, and
  so on. When you’re thrown for damage (see Judo Throw,
  p. 75), a successful Breakfall roll deducts one plus your mar-
  gin of success from damage. If this prevents all damage, you
  may opt to end up crouching instead of lying down. You can
  also try to end up crouching after a non-damaging throw,
  but the lack of momentum makes it tricky: roll at Breakfall-
  3. Finally, you may substitute Breakfall for Acrobatics when
  rolling to reduce the effective distance of a fall (see Falling,
  p. B431); any success lets you end up crouching, if you wish.
  Cavalry Training
  Hard
  Default: Melee Weapon skill-2.
  Prerequisites: Riding and any Melee Weapon skill; cannot
  exceed Melee Weapon skill.
  This technique lets a mounted warrior buy off the -2 for
  attacking on the same turn as his mount (see Attacks by
  Mounts, p. B397). It also helps when he attacks while his
  mount’s velocity is 7 or more relative to his target. Such an
  attack is normally at +1 to damage and -1 to skill (see
  Cavalry Weapons, p. B397), but improving Cavalry Training
  to Melee Weapon skill-1 eliminates this -1. Raising Cavalry
  Training to full skill eliminates both penalties. Remember
  that skill with a mounted attack can’t exceed Riding skill –
  or Combat Riding (see below), if better.
  Choke Hold
  Hard
  Defaults: Judo-2, Wrestling-3, or appropriate weapon
  skill-3.
  Prerequisite: Judo, Wrestling, or appropriate weapon
  skill; cannot exceed prerequisite skill.
  This close-combat attack involves locking the target’s
  neck and applying pressure. It requires two hands. Roll
  against Choke Hold to hit. If you come from in front of your
  victim, you’re at -1.
  Your victim may try any legal defense. If he
  fails, you apply the hold, which counts as a grap-
  ple. If you struck from behind, he can only
  defend if he knew you were coming (see
  p. B391). Otherwise, all he can do is attempt to
  tuck his chin to counter your hold. This is a
  parry at -2 with a grappling skill. He can’t
  retreat. If he succeeds, you grapple him but get
  no hold; critical success means he completely
  ducks your attack.
  On your foe’s next turn and on subsequent
  turns, he may try to break free. You’re at +5 in
  the Quick Contest for using two hands. You con-
  trol only his neck and head, not his arms and
  legs. He can attack you at the usual -4 for being
  grappled. If you came from behind, he may only
  try the strikes detailed under Pain and Breaking
  Free (p. 119) or attempt to grapple your arm,
  which allows the usual follow-up techniques on
  later turns.
  On your next turn – and on each turn thereafter, until your
  prey breaks free – you may apply pressure to your victim’s
  carotid arteries to subdue him or to his trachea to choke him.
  This counts as an attack. Roll the Quick Contest described in
  Choke or Strangle (p. B370). Your hold gives you +3 ST. A
  carotid (“blood”) choke inflicts fatigue damage. A tracheal
  (“air”) choke delivers crushing damage.
  You can apply this hold using a weapon. Default and pre-
  requisite skills become a weapon skill. The lever gives a fur-
  ther ST bonus to restrain or injure your victim: +1 if reach C,
  +2 if longer. You can choke with the flat or the edge of a
  sword; if using the edge, you may only choke for cutting dam-
  age. You must grasp a sword with one hand on the handle,
  one on the blade. Make a DX roll when you roll to inflict
  injury. Failure does thrust cutting damage to your off hand
  (DR protects normally).
  Close Combat
  Hard
  Defaults: prerequisite skill-4, -8, or -12.
  Prerequisite: Any Melee Weapon skill; cannot remove more
  than half the default penalty.†
  In close combat (p. B391), a weapon without “C” in its
  Reach statistic gives a skill penalty based on its reach: -4 for
  reach 1, -8 for reach 2, or -12 for reach 3. In addition, swing
  damage is at -1 per yard of reach; e.g., a broadsword does -1
  damage, a greatsword gets -2, and a full-sized halberd has -3.
  Thrusting attacks do normal damage. Calculate skill and
  swing damage penalties using the weapon’s longest reach, not
  the reach at which it’s currently ready.
  This technique lets you buy off half the skill penalty. You
  may buy it up to skill-2 for a reach 1 weapon, skill-4 for a
  reach 2 weapon, or skill-6 for a reach 3 weapon.
  All of this assumes a normal grip. See Reversed Grip
  (pp. 111-112) for an alternative. Hilt punches and the like use
  Pummeling (p. 111) instead of these rules; this technique
  doesn’t apply.
  † Close Combat is also available for ranged weapons. This
  lets you buy off the entire Bulk penalty for close-combat pur-
  poses only; see Weapons for Close Combat (p. B391). Those
  with Heroic Archer (p. 45) don’t need this technique.
  Combat Riding
  Hard
  Default: Riding.
  Prerequisite: Riding; cannot exceed Riding+4.
  This technique represents training at riding under
  combat conditions. Use it instead of Riding whenev-
  er you roll to control your mount in battle. It doesn’t
  cover fighting – for that, learn Cavalry Training (see
  above) or Mounted Shooting (p. 77) – but where the
  rules limit weapon skill to Riding, your limit is
  Combat Riding instead. Combat Riding never aids
  Riding rolls to mount up, stay mounted, or direct
  your mount hands-free – see Hands-Free Riding
  (p. 73), Quick Mount (p. 78), and Staying Seated
  (p. 81) for those tricks – or for such non-
  combat activities as dressage, racing, and travel.
  TECHNIQUES
  69
  Jian
  
  Counterattack
  Hard
  Default: prerequisite skill-5.
  Prerequisite: Any unarmed combat or Melee Weapon
  skill; cannot exceed prerequisite skill.
  Counterattack represents attacking as soon as possible
  after defending in order to take advantage of the momentary
  “hole” an attacker must leave in his defenses. You can only
  attempt it on your turn immediately following a successful
  active defense – and only vs. the foe against whom you
  defended. If you blocked or parried, the Counterattack does-
  n’t have to use the hand(s) you used to defend, although it
  can if you wish.
  Roll against Counterattack to hit. Your foe is at -2 to
  Parry, or to his resistance roll if you tried a grappling move
  that uses a Quick Contest (e.g., takedown), or at -1 to Block
  or Dodge. If you hit, your attack inflicts its usual damage.
  You can use another technique as your counterattack; see
  Using Techniques Together (p. 64) to find effective skill level.
  Crack
  Average
  Default: Whip-4.
  Prerequisite: Whip; cannot exceed Whip skill.
  You can “crack” any ordinary whip – this is the sound
  of the tip breaking the sound barrier! Such an attack is at
  -4 to skill but +2 to damage. Crack lets you buy off the skill
  penalty. In a cinematic (or silly) campaign, Crack might
  work with anything whip-like: ropes, belts, long braids,
  wet towels . . .
  Disarming
  Hard
  Default: prerequisite skill.
  Prerequisite: Any unarmed combat or Melee Weapon
  skill; cannot exceed prerequisite skill+5.
  If you know this technique above default, you may use it
  instead of the underlying skill whenever you attack to dis-
  arm (see Knocking a Weapon Away, p. B401) – both for the
  roll to hit and in the ensuing Quick Contest. For instance, if
  you have Broadsword-14 and Disarming (Broadsword)-17,
  you disarm as if you had Broadsword-17. Penalties to hit the
  target weapon, including the -2 for using a non-fencing
  weapon, and modifiers in the Quick Contest (such as the +2
  for Jitte/Sai and Whip weapons) apply normally.
  Drop Kick
  Hard
  Defaults: Brawling-1, Sumo Wrestling-1, or Wrestling-2.
  Prerequisite: Brawling, Sumo Wrestling, or Wrestling;
  cannot exceed prerequisite skill.
  This attack uses two feet in an attempt to injure and
  knock down an opponent. It’s a special option for Move and
  Attack. Use the following rules instead of the normal rules
  for that maneuver.
  A Drop Kick is a type of slam (p. B371). You must move
  at least a yard towards your target. The kick itself has a reach
  of 2 yards. Roll against Drop Kick to hit. Damage is as for a
  slam, at +2 for going feet first (or +3 if wearing heavy boots).
  Brawling, Sumo Wrestling, or Wrestling adds its usual dam-
  age bonus. Succeed or fail, you immediately fall down. Until
  your next turn, you may block or parry from the ground at
  the usual penalties, but you can’t dodge or retreat.
  In a cinematic game, GMs may allow an Acrobatics-5 roll
  for the attacker to land on his feet after a successful Drop
  Kick. A miss results in a fall!
  Ear Clap
  Average
  Defaults: Boxing-3, Brawling-3, or Karate-3.
  Prerequisite: Boxing, Brawling, or Karate; cannot exceed
  prerequisite skill-1.
  This is an attack on your foe’s ear using a cupped or open
  hand. The goal is to pop his eardrum, stunning and deafen-
  ing him. You must be in close combat and have at least one
  free, empty hand.
  Roll against Ear Clap to hit. Your opponent may use any
  active defense. If the attack succeeds, it does thrust-3 crush-
  ing damage plus skill bonuses. In addition, roll a Quick
  Contest: Ear Clap vs. the victim’s HT. If you win, your target
  is physically stunned (p. B420); he’s also at -1 DX and deaf in
  one ear (treat as Hard of Hearing) for 1d seconds. On a crit-
  ical failure on the HT roll or critical success on Ear Clap, the
  victim must roll as if for a crippling injury to see how long
  he’s partially deaf; see p. B422. Permanent harm is possible!
  Ear Clap works best if you box both ears simultaneously.
  To do a double Ear Clap, you must have two free, empty
  hands and use All-Out Attack (Double) or another form of
  multiple attacks. Dual-Weapon Attack with the appropriate
  unarmed combat skill is one option; add the penalties for
  that technique to Ear Clap to determine effective skill. If only
  one hand hits, resolve it as above. If both hit, roll one Quick
  Contest. If you win, your victim is deaf in both ears (treat as
  Deafness) for 2d seconds. Once again, a critical failure on HT
  or critical success on Ear Clap indicates a crippling injury
  that could become permanent.
  Elbow Drop
  Hard
  Defaults: Brawling-4 or Wrestling-5.
  Prerequisite: Brawling or Wrestling; cannot exceed pre-
  requisite skill.
  This is a devastating elbow strike delivered using the
  whole body. It’s normally done by dropping from a standing
  posture, driving an elbow into the victim and landing on top
  of him. You can use it against a kneeling, sitting, or lying foe,
  making it an ideal follow-up to a takedown. Elbow Drop is a
  special option for Committed Attack or All-Out Attack. Use
  the rules here instead of the usual ones for those maneuvers.
  Roll against Elbow Drop to hit. The victim may dodge or
  block, or parry at -2. If he parries, your body counts as a
  weapon with weight equal to your ST; see Parrying Heavy
  Weapons (p. B376).
  70
  TECHNIQUES
  
  As a Committed Attack, Elbow Drop inflicts thrust+2, or
  thrust at +1 per die if better. Brawling adds its usual damage
  bonus; Wrestling adds damage equal to its ST bonus (+1 at
  DX+1, +2 at DX+2 or better) instead. As an All-Out Attack,
  damage is thrust+3, or thrust-1 at +2 per die if better, plus
  skill bonuses. If an Elbow Drop causes knockback, the tar-
  get goes nowhere – but if he’s sitting or kneeling, he must
  make the usual DX roll or be knocked down.
  If you miss, you hit the ground and suffer the damage
  you would have inflicted. The same thing happens if your
  opponent blocks with a shield.
  Succeed or fail, you end up lying face-up on the ground.
  After a Committed Attack, you’re at -2 to defend and unable
  to retreat. After an All-Out Attack, you’re defenseless!
  Elbow Strike
  Average
  Defaults: Brawling-2 or Karate-2.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  You can jab an elbow into an enemy behind you in close
  combat. Roll against Elbow Strike to hit. There’s no modifi-
  er for not facing him, but add an extra -1 if you target a spe-
  cific hit location. A hit inflicts thrust-1 crushing damage,
  plus skill bonuses. Treat an elbow to someone in front of you
  as a punch.
  Elbows are short-ranged and hard to hurt. You may not
  select All-Out Attack (Long) (pp. 97-98). Hurting Yourself
  (p. B379) applies, but damage is 1/10 of what you roll – not
  1/5 – and both it and injury from enemy parries affects the
  arm, not the hand.
  Entangle
  Hard
  Defaults: Kusari-4 or Whip-4.
  Prerequisite: Kusari or Whip; cannot exceed prerequisite
  skill.
  You can use a flexible weapon such as a whip or a kusari
  to entangle a foe. Roll against Entangle to hit. If your oppo-
  nent fails to defend, the weapon wraps around him.
  If you hit your victim’s arm or torso, you ensnare it. On
  subsequent turns, you must take a Ready maneuver to keep
  your opponent snared. Roll a Quick Contest of ST each turn.
  If you win, you immobilize your foe. If you lose, he pulls
  your weapon from your grasp. On a tie, he immediately
  breaks free without disarming you.
  If you entangle the neck, use the same rules but your
  opponent has -5 in the Contest. If you win, the whip or
  kusari cuts off the victim’s breathing – see Suffocation
  (p. B436).
  If you entangle a foot or a leg, the target must make a DX
  roll to remain standing (this is instead of the Contest above).
  He’s at -4 if he was running. If he falls, he takes 1d-4 crush-
  ing damage – or 1d-2 if running. On subsequent turns, use
  the rules above to keep him entangled.
  You must keep your weapon taut at all times to immobi-
  lize or suffocate your victim. This requires a Ready maneu-
  ver each turn. If you’re mounted and your mount is trained
  to do this for you, substitute its ST for yours in the Quick
  Contest.
  To escape from a taut whip or kusari, you must attack
  and cut it (the damage required depends on the weapon). To
  escape from a limp weapon – including one pulled from the
  attacker’s grasp – you need a free hand and must make three
  successful DX rolls. Each attempt counts as a Ready maneu-
  ver, during which you may take no other action.
  Evade
  Average
  Defaults: Acrobatics or Judo.
  Prerequisite: Acrobatics or Judo; cannot exceed prerequi-
  site skill+5.
  This technique represents training at avoiding opponents
  who wish to obstruct your movement. Evade (Acrobatics)
  lets you flip over, tumble under, or twist around your foe,
  while Evade (Judo) allows you to ward off your enemy’s
  hands as you run past. Either replaces DX when trying to
  evade (see Evading, p. B368). All normal penalties apply.
  Exotic Hand Strike
  Average
  Default: Karate-1.
  Prerequisite: Karate; cannot exceed Karate skill.
  Certain hand strikes use unusual striking surfaces: the
  edge of the hand, a single protruding knuckle, a claw-
  shaped fist, etc. These do extra damage to fleshy or fragile
  targets at the cost of being much more vulnerable to injury
  when striking a hard surface such as armor or bone. Roll
  against Exotic Hand Strike to hit. Standard hit location
  penalties apply. Damage is thrust crushing plus Karate
  bonuses. Hurting Yourself (p. B379) applies if your target has
  any DR – not just DR 3+.
  Eye-Gouging
  Hard
  Defaults: Brawling-5, Judo-5, or Wrestling-5.
  Prerequisite: Brawling, Judo, or Wrestling; cannot exceed
  prerequisite skill.
  This close-combat attack consists of grabbing someone’s
  head and pressing your thumbs into his eyes. It usually
  requires two empty hands. Roll against Eye-Gouging to hit.
  Your foe may defend normally. If he fails, you grapple
  him and he cannot see! He can try to break free (p. B371) as
  usual on his turn.
  Until your victim breaks free, you can drive your thumbs
  into his eyes on subsequent turns. This counts as an attack
  but doesn’t require an attack roll. Each eye takes thrust-4
  crushing damage. This can cripple and blind the eyes but
  never gets the ¥4 wounding modifier for the skull – the
  thumbs are too short! (Exception: The GM may give some
  nonhumans the perk “Long Thumbs,” in which case the
  wounding modifier does apply. The same goes for fighters
  with Talons or Long Talons.)
  You can gouge one-handed. The attack roll is against
  Eye-Gouging-4. Only one eye takes damage on later turns.
  TECHNIQUES
  71
  
  72
  TECHNIQUES
  Blinding your foe is an effective tactic – but while the
  eyes are fragile, they’re also too small for most strikes to
  get at them effectively. Eye-Gouging (p. 71) is one solution
  but hardly the only one!
  All of these close-combat strikes require an empty
  hand. If one of them hits and the target fails to defend, the
  victim must roll vs. Will. Any failure means he flinches
  and has -1 to attack and defense rolls until the end of his
  next turn, in addition to the technique’s other effects.
  Eye-Pluck*
  Hard
  Defaults: Brawling-10 or Karate-10.
  Prerequisite: Brawling or Karate; cannot exceed pre-
  requisite skill-4.
  This cinematic technique involves using the clawed
  fingers of one hand to grab an enemy’s eye and pull it out.
  It’s a strike, not a grapple. You can try it repeatedly but
  you can’t “hold onto” your enemy’s eye. Roll against Eye-
  Pluck to hit.
  Damage is thrust-3 crushing, plus your Brawling or
  Karate bonus. Injury over HP/10 cripples the eye. Any
  excess is lost. The difference between this and Eye-Poke
  is that if you cripple the eye, your victim must make an
  immediate HT roll. Failure means you pluck out his eye –
  a permanent crippling injury! See p. B422.
  If your foe’s Size Modifier exceeds yours by +5 or
  more, his eye is too big for you to grab and your Eye-
  Pluck counts only as an Eye-Poke.
  Eye-Poke
  Hard
  Defaults: Boxing-9, Brawling-9, or Karate-9.
  Prerequisite: Boxing, Brawling, or Karate; cannot
  exceed prerequisite skill-4.
  This is a jab to the eye using an extended finger. It can
  blind but it never gets the ¥4 wounding modifier for the
  skull (compare Lethal Eye-Poke, below). Roll against Eye-
  Poke to hit.
  A hit inflicts thrust-3 crushing damage. Injury over
  HP/10 cripples the eye. Any excess is lost. A miss by 1
  strikes the protective bone around the eye, damaging 
  the face instead – but as you’re hitting bone, skull DR 
  (usually DR 2) protects. Hurting Yourself (p. B379) applies
  if your target has any DR, not just DR 3+, or if you hit
  bone.
  Due to the risk of finger injury, many fighters pull this
  blow (see Subduing a Foe, p. B401). Little damage is need-
  ed to cripple an eye in any event!
  Eye-Rake
  Hard
  Defaults: Brawling-5 or Karate-5.
  Prerequisite: Brawling or Karate; cannot exceed pre-
  requisite skill.
  This technique attempts to blind the foe by scratching
  a clawed hand across his face and eyes. It’s easier than
  most strikes to the eyes because you’re using a broad
  striking surface against a large target (the upper face), but
  actual injury is superficial at best.
  On a successful hit, roll thrust-1 crushing damage.
  However, this isn’t a hard strike and normally inflicts no
  injury. Instead, the victim must make a HT roll at a penal-
  ty equal to the damage that penetrates DR. Failure means
  he’s blinded for 1 minute times his margin of failure.
  Critical failure means one eye suffers HP/10 of real injury
  (round down) and is crippled!
  Lethal Eye-Poke*
  Hard
  Default: Karate-11.
  Prerequisite: Karate; cannot exceed Karate-5.
  This is an attempt to drive an extended finger through
  an eye socket and into the brain. Treat it as Targeted
  Attack (Karate Lethal Strike/Eye) for all purposes. It
  inflicts thrust-2 piercing damage, plus Karate bonuses. It
  can blind and gets the ¥4 wounding modifier for the skull
  – just like any other piercing attack. With sufficient dam-
  age, it can kill.
  “Go for the eyes!”
  
  Feint
  Hard
  Default: prerequisite skill.
  Prerequisite: Any unarmed combat or Melee Weapon
  skill†; cannot exceed prerequisite skill+4.
  Feints aren’t always phony attacks. They include breaks
  in rhythm, false steps, head fakes, and other ploys to misdi-
  rect the foe. This technique represents training in all such
  methods. If you know it above
  default, use it instead of the
  underlying skill whenever you
  feint (p. B365) or someone
  tries 
  to 
  feint 
  you. 
  For
  instance, with Broadsword at
  14 and Feint (Broadsword) at
  16, you would make and
  resist feints at 16.
  Feint includes knowledge
  of Beats (pp. 100-101) and
  Ruses (p. 101). Make a ST-
  based roll to attempt a Beat or
  to use ST to resist one, an IQ-
  based roll to try a Ruse, or a
  Per-based roll to use Per to
  resist a Ruse. To find your
  level, add the difference between the relevant score and DX
  to Feint; e.g., DX 12, IQ 14, and Feint at 16 would allow a
  Ruse at 18.
  † Some styles include a Style Perk that permits a default
  to Acrobatics, Dancing, or another non-combat skill; see
  Feints Using Non-Combat Skills (p. 101).
  Finger Lock
  Hard
  Default: Arm Lock-3.
  Prerequisite: Arm Lock; cannot exceed Arm Lock
  technique.
  This technique lets you grab fingers and twist them
  painfully. Use the rules under Arm or Wrist Lock (p. 65),
  except that damage is to the hand – which is easier to crip-
  ple than the arm.
  Ground Fighting
  Hard
  Default: prerequisite skill-4.
  Prerequisite: Any combat skill; cannot exceed prerequi-
  site skill.
  This technique lets you buy off the -4 to attack while
  crawling, lying face-up, or lying prone. Roll against Ground
  Fighting instead of the prerequisite skill when you use that
  skill to attack from the ground. For instance, if you had
  Wrestling at 14 and Ground Fighting (Wrestling) at 13, you
  could grapple from the ground at skill 13.
  For every two points invested in Ground Fighting, you
  may also ignore -1 of the -3 to defend from the ground.
  Ground Fighting at skill-3 or skill-2 means you’re at -2,
  while at skill-1 or full skill, you have only -1. This replaces
  the rule on p. B231.
  Hammer Fist
  Average
  Defaults: Brawling-1 or Karate-1.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  A “hammer fist” is a punch using the side of a clenched
  fist. This technique includes both the true hammer fist and
  similar attacks meant to prevent injury to the attacker at the
  cost of less damage to the target: forearm smashes, punch-
  es with the palm or heel of an open hand, etc. In all cases,
  the striking surface is larger and less rigid than for a normal
  fist, reducing damage – but it’s much harder to injure your-
  self, making this strike ideal for hard targets.
  Roll against Hammer Fist to hit. Damage is thrust-2 plus
  skill bonuses. If Hurting Yourself (p. B379) would apply,
  damage is 1/10 of what you roll, not 1/5. Furthermore, you
  suffer a point less damage if your hand is parried aggres-
  sively or with a weapon, or otherwise stopped painfully.
  If your hand is crippled, you may use Hammer Fist to
  deliver a forearm smash. Use the above rules, but any self-
  inflicted injury affects the arm instead of the hand.
  Handcuffing
  Average
  Defaults: Binding, DX-2, Judo-1, or Wrestling-2; cannot
  exceed Binding, DX, Judo, or Wrestling.
  This is a limited, realistic version of Binding (pp. 82-83)
  for handcuffing a target quickly. It only works in close com-
  bat – and only if you grappled your target on a previous turn
  or parried his melee attack immediately prior to your turn.
  On your turn, roll a Quick Contest: Handcuffing vs. the
  higher of your victim’s DX or best grappling skill. This
  counts as an attack. Victory means you’ve handcuffed a limb
  of your choice. On later turns, you can repeat the process to
  cuff another limb or make an uncontested Handcuffing roll
  to attach the cuff to an inanimate object (pole, car door,
  bomb . . .) within a yard.
  You can handcuff a pinned opponent automatically in 2d
  seconds. A successful, unopposed Handcuffing roll reduces
  this to two seconds (one second on a critical success).
  Escape attempts use the Escape skill (p. B192) or Slip
  Handcuffs technique (p. B233). This takes a minute. Time
  reductions give the usual penalties; see Time Spent
  (p. B346). The GM may permit cinematic heroes one
  attempt at -10 to escape in a turn – effectively instantly.
  Hands-Free Riding
  Hard
  Default: Riding-3.
  Prerequisite: Riding; cannot exceed Riding skill.
  Using only one hand to control your mount gives -1 to all
  Riding rolls, while using no hands at all gives -3; see
  Mounted Combat (p. B396). This technique represents train-
  ing to buy off these penalties. Roll against Hands-Free
  Riding instead of Riding to control your mount using no
  hands. If you’ve improved this technique at all, you may
  ignore the -1 for using only one hand.
  TECHNIQUES
  73
  Hook Swords
  
  Head Butt
  Hard
  Defaults: Brawling-1 or Karate-1.†
  Prerequisite: Brawling or Karate; cannot exceed prerequi-
  site skill.†
  This is a close-combat strike using the forehead. Natural
  targets are the face (-5) and skull (-7) of a standing adversary,
  but you can attack anything! However, while the skull is hard,
  it has poor reach and leverage for striking.
  Roll against Head Butt to hit. Damage is thrust-1 crush-
  ing. Your victim may defend normally; if he parries, any dam-
  age this causes affects your face. Self-inflicted injury for a tar-
  get with DR 3+ applies to the skull; however, your skull’s DR
  2 protects normally. If you have rigid head protection – e.g., a
  metal helm – add +1 to damage and apply your armor’s DR
  against self-inflicted injury.
  † Head Butt requires practice to be effective; fighters with-
  out Brawling or Karate strike at DX-2 and do only thrust-2
  damage. This move is sometimes used while grappling and
  (illegally) in boxing matches, but it doesn’t benefit from
  Boxing, Judo, Sumo Wrestling, or Wrestling. Races with
  Strikers (p. B88) on their head don’t need Head Butt – they
  attack at full skill and do superior damage.
  Head Lock
  Hard
  Defaults: Judo-3 or Wrestling-3.
  Prerequisite: Judo or Wrestling; cannot exceed prerequisite
  skill.
  This attack involves controlling an enemy’s head and neck
  using two arms. It targets similar body parts to Choke Hold
  (p. 69). However, the goal is to lock your victim’s neck in a
  way that lets you injure it or his throat – not to cut off his
  blood or air supply.
  To apply this lock, you must first grapple your opponent
  by the neck; see Grappling (p. B370). Your victim may attempt
  to break free on his turn. If he fails, then on your next turn,
  you have two ways to injure him: you may attempt to choke
  him as described under Choke or Strangle (p. B370), substi-
  tuting Head Lock for ST if better, or you may try to throw him
  as explained in Throws from Locks (pp. 118-119). You can
  alternate between these attacks for as long as you maintain
  the lock.
  Treat sports-wrestling locks that seek to avoid causing
  injury as simple head or neck grapples. The same goes for the
  so-called head lock seen on the street (an arm around the
  neck).
  Hook
  Hard
  Default: prerequisite skill-5.
  Prerequisite: Any appropriate Melee Weapon skill; cannot
  exceed prerequisite skill.
  This is the technique of using a weapon with a projection
  – usually a hook – to snag a foe’s head, limb, weapon, or
  shield in order to pull him off-balance. You can learn it for
  any Melee Weapon skill, but you’ll need a suitable weapon to
  use it.
  Hook is a common technique for Axe/Mace, Polearm,
  and Two-Handed Axe/Mace, but while picks and most axes
  can hook, maces and knobbed clubs can’t – and only a few
  polearms sport hooks. It’s possible to add hooks to weapons
  that normally lack them, such as spears and staffs. Some
  swordfighting schools even taught (gauntleted!) fighters to
  grab their weapon by the blade and hook with the pommel
  and crosspiece. Swords wielded this way use the Axe/Mace
  or Two-Handed Axe/Mace skill, and are unbalanced. See
  Chapter 6 for more on suitable weapons and the associated
  skills.
  Roll against Hook to hit, modified for the target as noted
  below. Your adversary may defend normally. Hook doesn’t
  usually inflict damage, but some weapons have an edged
  hook (see below). While using a weapon to hook a foe, you
  can’t use it to attack or parry. You can always release or drop
  it as a free action on your turn, however.
  If hooking the head or a limb, apply standard hit location
  penalties. If you succeed, then on subsequent turns you may
  attempt to pull your victim off-balance or even to the
  ground. Roll a Quick Contest of ST. If you win, you drag
  your opponent into a kneeling posture; if he’s kneeling or
  crouching, he falls down. He can’t stand until he breaks free
  or you release him. If you lose or tie, nothing happens. If
  you critically fail, you drop your weapon! Your foe may try
  to break free normally on his turn.
  Hooking a weapon is an attempt to disarm; see p. B401.
  Apply the usual penalty to hit the weapon but ignore the -2
  for a non-fencing weapon. You get +2 in the ensuing Quick
  Contest, in addition to the usual modifiers. If you lose the
  Contest, your opponent retains his weapon and escapes
  from your hook.
  If hooking a shield, roll to hit at -4 plus its DB. If you suc-
  ceed, you may attempt to pull it out of line. Treat this as an
  attempt to disarm, but your opponent gets +4 in the Quick
  Contest if his shield is strapped to his arm. You get +2 if
  hooking with a two-handed weapon. If you win, the shield
  becomes unready – it’s still on your foe’s arm but he can’t
  block with it or benefit from its DB until he breaks free and
  takes a Ready maneuver to reorient it.
  Certain weapons designed for hooking are sharpened on
  the inside of the hook. These include the Chinese hook
  sword and the European bill. Such weapons inflict the dam-
  age listed for their hook in addition to the above effects. If
  using the optional Pain and Breaking Free rule (p. 119), such
  weapons are very effective against lightly armored foes!
  Horse Archery
  Hard
  Default: Bow-4.
  Prerequisites: Bow and Riding; cannot exceed Bow skill.
  “Horse Archery” is shorthand for Mounted Shooting
  (Bow/Horse). See Mounted Shooting (p. 77).
  Jam
  Hard
  Default: prerequisite skill Parry-1.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite Parry.
  74
  TECHNIQUES
  
  A Jam is an attempt to parry a low-line attack – typically
  a kick – by interposing a foot or leg aggressively enough to
  injure the attacker. It’s only useful against attacks on your
  lower body (feet, legs, or groin). You may attempt it instead
  of a non-damaging leg or foot parry once per turn; see
  Parries with Legs or Feet (p. 123).
  Roll against Jam to defend, at the usual -3 for Brawling
  vs. a swung weapon. You cannot retreat. Failure means
  you’re hit; your attacker may choose to hit his original tar-
  get, your parrying leg, or your parrying foot. Success means
  you parry and may roll against the underlying skill to strike
  the attacking body part or weapon, modified as follows.
  Modifiers: The usual -2 for kicking. Against unarmed, +0
  to hit a leg, -2 to hit an arm or foot, -4 to hit a hand; -1 if
  your foe knows Rapid Retraction (p. 51). Against armed, a
  basic -3; another -3 to -5 for weapon size (see p. B400); a fur-
  ther -3 for Brawling vs. a swung weapon.
  Success on this skill roll inflicts thrust-3 crushing dam-
  age or thrust-1 at -1 per die, whichever is worse, on the tar-
  geted weapon or body part. Skill bonuses apply normally.
  Failure means you didn’t parry forcefully enough to inflict
  damage.
  Judo Throw
  Hard
  Default: Judo.
  Prerequisite: Judo; cannot exceed Judo skill.
  This is the primary attack of the Judo skill. On the turn
  immediately after a successful Judo parry, you may attempt
  to throw your attacker if he’s within a yard. You must have
  at least one hand free to do so. This counts as an attack. Roll
  vs. Judo to hit. (On an All-Out Attack, you can’t try two
  throws but you can make one attempt at +4.) Your foe may
  use any active defense – he can parry your hand with a
  weapon! If his defense fails, you throw him.
  A thrown foe falls where you please. On a battle map, he
  lands in any two hexes near you. One of these hexes must be
  his starting hex, your hex, or any hex adjacent to one of
  those hexes. Your victim must roll against HT. Failure
  means he’s stunned. If you throw him into someone else,
  that person must roll vs. the higher of ST+3 or DX+3 to
  avoid being knocked down.
  The intent of Judo Throw is normally to put your rival on
  the ground – not to injure him – but you can throw him in
  a way that maximizes the impact of the fall on a specific
  location, injuring it. This is frowned upon in sport matches!
  Treat a damaging throw like any other, but at -1 to hit 
  plus any hit location penalty (not halved for grappling). Any
  location but the eye, vitals, or groin is valid; common targets
  are the skull, neck, and arm. Damage is thrust-1 crushing;
  there’s no bonus for skill. The victim may attempt a
  Breakfall (pp. 68-69) roll to reduce injury. Other effects are
  as for a regular Judo Throw.
  You may also throw a grappled foe. Instead of parrying
  first, you must grapple your opponent. On a later turn, try to
  throw him. This is an attack resolved as a Quick Contest:
  Judo vs. the highest of your adversary’s ST, DX, or best grap-
  pling skill. If you attempt a damaging throw, the extra penal-
  ties do modify your roll. If you win, you throw your victim as
  above. Otherwise, you don’t – but unless you critically failed,
  you retain your grapple and may try again on a future turn.
  Jump Kick
  Hard
  Default: Karate-4.
  Prerequisite: Karate; cannot exceed Karate skill.
  This showy, dangerous move lets you leap into the air to
  increase range and damage with a kick. Some sources claim
  it was used to unhorse riders! It’s a special option for
  Committed Attack (pp. 99-100) and All-Out Attack
  (p. B365). The rules below replace the standard ones for
  those maneuvers.
  As a Committed Attack, a Jump Kick involves a short
  jump forward or sideways that ends in a sharp kick. You
  must take two steps toward your foe; this effectively gives an
  extra yard of reach. Roll against Jump Kick to hit. A hit does
  thrust+1 crushing damage – or thrust at +1 per two dice, if
  better – plus Karate bonuses. Afterward, you cannot dodge
  or retreat until next turn, and have -2 on all other active
  defenses. On a miss, make the usual DX roll to avoid a fall;
  see p. B274.
  An All-Out Attack involves hurling your body at your
  opponent foot-first. You must move at least half your Move
  (minimum 2 yards) forward. Roll against Jump Kick to hit.
  Your target parries at -2. A hit inflicts thrust+2 – or thrust at
  +1 per die, if better – plus skill bonuses. If you miss, or if
  your target successfully defends, you fall down unless you
  can make a DX-4 or Acrobatics-2 roll. Hit or miss, you have
  no defenses at all until next turn!
  These rules are intended for Martial Arts campaigns.
  The GM is free to use the less-realistic version on p. B231 in
  games that don’t focus on the martial arts.
  Kicking
  Hard
  Defaults: Brawling-2 or Karate-2.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  Kicking covers all kicks not defined as standalone tech-
  niques: crescent kicks, hook kicks, rising kicks, roundhouse
  kicks, snap kicks, etc. Knowledgeable players are free to
  embellish, but in all cases, a kick requires an attack roll
  against Kicking and inflicts thrust crushing damage. Use
  Brawling or Karate skill – not Kicking – to determine the
  damage bonus, and use only the highest bonus. If you miss,
  roll vs. Kicking or DX to avoid falling down.
  TECHNIQUES
  75
  Punches and kicks are tools to
  kill the ego.
  – Bruce Lee, 
  The Tao of Jeet Kune Do
  
  Combine Kicking with Committed Attack (pp. 99-100) or
  All-Out Attack for devastating kicks like roundhouses or
  stepping side kicks, or with Defensive Attack (p. 100) for
  close, jabbing kicks. Add in Deceptive Attack (p. B369) for
  fast snaps and other tricky moves, or Telegraphic Attack
  (p. 113) for slow kicks with big windups.
  Knee Drop
  Hard
  Defaults: Brawling-3 or Wrestling-4.
  Prerequisite: Brawling or Wrestling; cannot exceed pre-
  requisite skill.
  This brutal attack involves dropping your entire weight
  onto your foe knee-first. It’s normally executed from a stand-
  ing posture by driving your knee into your adversary and
  landing on top of him. You can only use it against an oppo-
  nent who’s lying down, but it’s an ideal follow-up to a take-
  down. Knee Drop is a special option for Committed Attack
  or All-Out Attack. Use these rules instead of the usual ones
  for those maneuvers.
  Roll against Knee Drop to hit. Your victim may dodge or
  block, or parry at -2. If he parries, your body counts as a
  weapon with weight equal to your ST; see Parrying Heavy
  Weapons (p. B376).
  As a Committed Attack, Knee Drop inflicts thrust+2, 
  or thrust at +1 per die if better. Brawling adds its usual
  damage bonus; Wrestling adds damage equal to its ST
  bonus (+1 at DX+1, +2 at DX+2 or better) instead. As an
  All-Out Attack, damage is thrust+3, or thrust+1 at +1 per
  die if better, plus skill bonuses.
  On a miss, you hit the ground and one leg takes the dam-
  age you would have inflicted. If your opponent blocks with
  a shield, it has the same effect.
  Succeed or fail, you end up kneeling. You’re at -2 to
  defend and unable to retreat after a Committed Attack. After
  an All-Out Attack, you’re defenseless!
  Knee Strike
  Average
  Defaults: Brawling-1 or Karate-1.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  This is a snapping blow with the knee. Unlike a kick, it’s
  only useful in close combat (reach C). Roll against Knee
  Strike to hit. If you’ve grappled your opponent, he defends
  at -2; if you grappled from the front, you may attack his
  groin at no penalty! On a hit, roll thrust crushing damage,
  plus your Brawling or Karate bonus.
  Some fighters like to grab an opponent’s head and pull it
  down into a Knee Strike. For details, see Grab and Smash!
  (p. 118).
  Leg Grapple
  Hard
  Defaults: DX, Wrestling, or Judo; cannot exceed DX+4,
  Wrestling+4, or Judo+4.
  Leg Grapple is an attempt to catch the leg of a kicking
  foe. It’s a common response to high kicks. To use it, you
  must have one hand free and successfully parry a kick to
  your upper body – skull, eye, face, neck, torso, vitals, arm, or
  hand.
  On your first turn following the parry, you may attempt
  to capture your opponent’s leg if he’s within a yard. This is an
  attack. Step into close combat and roll against Leg Grapple
  to hit. Your foe can only dodge; this represents retracting his
  kick before you can catch him. If you succeed, you’ve
  grabbed his leg.
  Your foe may attempt to break free (p. B371) on his next
  turn, but you’re at +4 in the Quick Contest. Most fighters fol-
  low this technique with Leg Lock (see below) or a takedown
  (p. B370). If you try a takedown, you’re at +3 in the Quick
  Contest.
  This technique is frowned upon in competition – and
  often outright illegal in the ring – but very common in street
  fights. If the campaign emphasizes high-kicking cinematic
  warriors, the GM may not want to let fighters improve Leg
  Grapple.
  Leg Lock
  Average
  Defaults: Judo or Wrestling.
  Prerequisite: Judo or Wrestling; cannot exceed prerequi-
  site skill+4.
  76
  TECHNIQUES
  Dirty Tricks
  Which tactics are considered “dirty tricks”
  depends on exactly where, when, and whom you’re
  fighting. In a sporting match, anything that’s against
  the rules for fairness or safety reasons – dangerous
  holds, biting, blows to the groin, dirt in the eyes, etc.
  – is “dirty,” and getting caught means a forfeit and
  possible legal action. These things may be overlooked
  in a duel or a joust (even an “honorable” knightly
  one), but unequal or poisoned weapons would be
  “dirty,” with results ranging from a career-destroying
  reputation to bloody vendetta. On the street, in
  prison, or at war, of course, all bets are off!
  Throwing dirt, sand, beer, etc., in the eyes is a pop-
  ular dirty trick. Treat this as an attack based on DX,
  at -5 for the face but +3 for the width of the cloud or
  splash. The victim may dodge or block, but not parry.
  If hit, he must roll against HT. Failure means he’s
  blinded for 1d-3 seconds (minimum 1). Critical fail-
  ure means he’s blinded for 1d-3 minutes (minimum
  1) – he looked right into the attack with two open
  eyes!
  An unexpected illegal blow in a sporting match or
  duel may take a defender by surprise. Treat the first
  illegal blow as a free feint resolved immediately
  before the attack is resolved, on the same turn.
  Defenses against subsequent illegal blows of any kind
  suffer no penalties – the defender won’t be caught out
  twice! This won’t work on a battlefield, because noth-
  ing is against the “rules.”
  
  A leg lock is an attempt to restrain or cripple an opponent
  by twisting his leg. This technique allows you to improve
  your effective Judo or Wrestling skill for this purpose only.
  To use Leg Lock, you must have two hands free and
  already have a successful Leg Grapple (p. 76) on your oppo-
  nent. On your first turn following the Leg Grapple, you may
  attempt to place your foe’s leg in a lock. This is an attack. Roll
  against Leg Lock to hit. Your victim may use any active
  defense – he can parry your hand with a weapon! If his
  defense fails, you trap his leg in a lock.
  Your foe may attempt to break free (p. B371) on his next
  turn. If he loses, he has a cumulative -1 on future attempts to
  break free.
  On your next turn – and each turn thereafter, until your
  opponent breaks free – you may try to damage the trapped
  leg. Roll a Quick Contest: the higher of your ST (including
  your Wrestling bonus) or Leg Lock vs. the higher of your vic-
  tim’s ST+4 or HT+4. If you win, you inflict crushing damage
  equal to your margin of victory. The target’s rigid DR protects
  normally. Flexible armor, including natural DR with the
  Flexible or Tough Skin limitation, has no effect.
  If you cripple your victim’s leg, he’ll be unable to stand on
  it. You can inflict no further damage on a crippled limb, but
  you can continue to roll the Contest each turn. If you win,
  your target suffers shock and stunning just as if you had
  inflicted damage.
  Rolls to inflict damage are completely passive and don’t
  count as attacks. You can simultaneously make close-combat
  attacks on your opponent, who defends at -4 in addition to
  any penalties due to the damage caused by the lock itself. An
  attempt to throw him using the lock does count as an attack;
  see Throws from Locks (pp. 118-119).
  You can also apply this technique offensively. You must
  first use Judo or Wrestling to grapple your victim’s leg with
  two hands. If he fails to break free on his next turn, you may
  try Leg Lock on your next turn.
  Leg Lock uses finesse to cripple a foe’s limb. For a brute-
  force technique, see Wrench (Limb) (p. 82).
  Low Fighting
  Hard
  Default: prerequisite skill-2.
  Prerequisite: Any combat skill; cannot exceed prerequisite
  skill.
  This technique lets you buy off the -2 to attack from a
  kneeling or crouching posture. Roll against Low Fighting
  instead of the prerequisite skill whenever you use that skill to
  attack from a low posture. For instance, if you had Wrestling
  at 14 and Low Fighting (Wrestling) at 13, you could grapple
  from your knees at skill 13.
  Low Fighting affects the -2 to defend while kneeling in the
  same way. If you know it at skill-1, you’re at -1 to defend,
  while at full skill, you have no penalty.
  Low-Line Defense
  Hard
  Default: prerequisite skill Parry-2.
  Prerequisite: Boxing or Sumo Wrestling; cannot exceed
  prerequisite Parry.
  Kicking is illegal in the boxing or sumo ring, so boxers
  and sumotori don’t normally train to face it – which is why
  Boxing and Sumo Wrestling parries are at -2 against kicks.
  Fighters who cross-train against kicking martial artists or
  use their skills outside the ring can certainly learn to parry
  kicks, however! This technique lets them buy off the -2.
  Mounted Shooting
  Hard
  Default: ranged weapon skill-4.
  Prerequisites:
  Riding or a vehicle-operation skill
  (Bicycling, Driving, Teamster, etc.), and a ranged weapon
  skill; cannot exceed ranged weapon skill.
  You’ve practiced shooting a ranged weapon from a mov-
  ing mount or vehicle – chariot, horse, howdah, etc. You
  must specialize by both weapon skill and mount or vehicle
  type. Use the specialties listed for the two skills chosen as
  prerequisites. Mounted Shooting (Bow/Horse) is extremely
  common and called “Horse Archery” for brevity (p. B231).
  If you’ve improved this technique, modifiers for a rough
  ride and/or limited mobility (see Attacking from Moving
  Vehicle or Mount, p. B548) – including those for turning in
  the saddle to shoot – can’t reduce your weapon skill below
  your Mounted Shooting level when using your chosen
  weapon from the specified platform. Other penalties apply
  normally. For instance, if you had Thrown Weapon (Spear)-
  13 and Mounted Shooting (Thrown Spear/Chariot)-11, the
  penalties for a bumpy chariot ride couldn’t reduce Thrown
  Weapon (Spear) below 11, before other modifiers.
  Remember that your skill with a mounted attack can’t
  exceed Riding skill (p. B397). Combat Riding (p. 69) miti-
  gates this for the rider himself, but his passengers are limit-
  ed by his Riding skill.
  Neck Snap
  Hard
  Default: ST-4; cannot exceed ST+3.
  This brute-force attack consists of grabbing and sudden-
  ly twisting the victim’s head, with the intent of snapping the
  neck. Unlike most techniques, Neck Snap defaults to ST, not
  a skill. Wrestling gives its usual skill-based ST bonus.
  To use this technique, you must first grapple your oppo-
  nent by the neck using two hands; see Grappling (p. B370).
  Your victim may attempt to break free on his turn. If he
  fails, then on your next turn, roll a Quick Contest: Neck
  Snap vs. the higher of his ST or HT. This counts as an attack.
  If you win, you inflict swing crushing damage on your
  victim’s neck, with the usual ¥1.5 wounding modifier for hit
  location. The target’s rigid DR protects normally, but flexi-
  ble armor – including natural DR with the Flexible or
  Tough Skin limitation – has no effect. Neck injury can have
  serious consequences; see Lasting and Permanent Injuries
  (pp. 138-139).
  Otherwise, you inflict no damage. You may make repeat-
  ed attempts on later turns. Your opponent may attack you
  or attempt to break free during this time, subject to the
  usual limitations of being grappled.
  TECHNIQUES
  77
  
  Push Kick
  Hard
  Defaults: Brawling-3 or Karate-3.
  Prerequisite: Karate or Brawling; cannot exceed prerequi-
  site skill.
  This is a kick that shoves your adversary away instead of
  injuring him. You hit him with the flat of your foot and push.
  Many kickboxing styles use this technique to shove an oppo-
  nent into the ropes or far enough away to allow a full-
  extension finishing move.
  A Push Kick is a shove (p. B372) in all respects except that
  it’s done as a kick. Roll against Push Kick to hit. Your oppo-
  nent may defend normally. If you succeed, roll your usual
  kicking damage and double it. This damage causes no injury –
  use it only to work out knockback (p. B378).
  The above rules assume a Push Kick to the torso. A Push
  Kick to the leg gives the victim -2 to any DX roll to avoid
  falling down as a result of knockback. Targeting the skull, face,
  or neck makes the penalty -3. No other hit locations are valid.
  Quick Mount
  Average
  Defaults: Acrobatics-3, Jumping-3, or Riding-3.
  Prerequisite: Acrobatics, Jumping, or Riding†; cannot
  exceed prerequisite skill.
  This technique represents training at quickly mounting a
  horse or similar beast. Roll against it instead of Acrobatics,
  Jumping, or Riding for this purpose. See Mounting Up
  (p. B396).
  † The GM may allow Quick Mount for motorcycles and
  even cars (a speedy slide through an open window into the
  driver or passenger’s seat). This technique requires Acrobatics,
  Jumping, or the appropriate Driving skill.
  Retain Weapon
  Hard
  Default: prerequisite skill.†
  Prerequisite: Any weapon skill; cannot exceed prerequisite
  skill+5.†
  If you know this technique above default, you may use it
  instead of the underlying skill whenever somebody actively
  tries to disarm you (see Knocking a Weapon Away, p. B401).
  For instance, if you have Staff-13 and Retain Weapon (Staff)-
  16, you resist disarms as if you had Staff-16.
  Should an adversary try to disarm you using brute
  strength, you may make a ST-based Retain Weapon roll
  instead of a ST roll. Find your level by subtracting DX and
  adding ST. For example, if you have ST 14, DX 12, and Retain
  Weapon-15, your ST-based level is 15 - 12 + 14 = 17.
  † When learning this technique for missile weapons such
  as guns and bows, it defaults to DX and cannot exceed DX+5.
  Return Strike
  Hard
  Defaults: Flail-5 or Kusari-5.
  Prerequisite: Flail or Kusari; cannot exceed prerequisite
  skill.
  This technique capitalizes on a kusari or flail’s flexibility
  to strike the enemy from behind while facing him. To
  attempt it, you must have sufficient reach to attack a yard
  beyond your opponent – that is, reach equal to his range
  from you plus a yard.
  Roll against Return Strike to hit. If the target has never
  seen this move (GM decides), treat it as an attack from
  behind. This usually allows no active defense! Otherwise, it’s
  considered an attack from the side, which gives -2 to most
  defenses. See pp. B390-391 for detailed rules. Damage is
  unchanged, but only the DR on your victim’s back applies.
  You can combine Return Strike with Close Combat
  (p. 69) to do a “wrap shot” while in close quarters; see Using
  Techniques Together (p. 64). Treat this as striking into close
  combat (p. B392). If you miss your target or he dodges, you
  may hit yourself!
  Reverse Grip
  Average
  Defaults: prerequisite skill-6 for most one-handed
  weapons, skill-4 for two-handed ones, or full skill for Tonfa
  (only).
  Prerequisite: Any Melee Weapon skill; cannot exceed pre-
  requisite skill.
  This technique – useful only with weapons that can make
  thrusting attacks – lets you avoid the need for a Ready
  maneuver to switch between a regular overhand grip and an
  underhand grip more suitable for close-quarters stabbing. A
  successful Reverse Grip roll lets you change grips instantly.
  Failure means you drop the weapon and your turn ends . . .
  and critical failure also inflicts Tip Slash (p. 113) damage on
  your torso!
  Once reversed, most weapons work differently – see
  Reversed Grip (pp. 111-112) for details. The main uses for
  this technique are to prepare a long weapon for close com-
  bat and to sheathe your weapon more quickly (see Quick
  Sheathing, p. 102).
  You can also use this technique to spin a tonfa (p. 225).
  It defaults to full Tonfa skill, as the weapon’s side handle
  makes this move exceptionally easy.
  Sacrifice Throw
  Hard
  Default: Judo.
  Prerequisite: Judo; cannot exceed prerequisite skill level.
  This technique involves grappling your opponent, falling
  with him, and using your entire weight to throw him. It’s
  risky, but difficult to resist. You may only attempt it if a reg-
  ular Judo Throw (p. 75) would be possible; that is, on your
  turn immediately following a successful Judo parry or grap-
  ple. Sacrifice Throw is a special option for All-Out Attack
  (p. B365). Use these rules instead of the standard ones for
  All-Out Attack.
  Before you attempt the throw, you must declare whether
  you intend to land face-up, face-down, or kneeling, as well
  as where you plan to end up. One of your landing hexes –
  the only one, in the case of kneeling – must be your hex,
  your foe’s hex, or a hex adjacent to one of these. You must
  78
  TECHNIQUES
  
  also state whether you want your victim to end up face-up
  or face-down, and where, subject to identical restrictions.
  You can end up in the same place; that is, you can land atop
  him or pull him down on top of you.
  After stating your goal, roll against Sacrifice Throw to
  hit. Succeed or fail, you immediately end up in your
  declared posture and location, defenseless due to your All-
  Out Attack! Your opponent has -1 to dodge or block. He’s at
  -3 to parry if you fell or at -2 if you only dropped to your
  knees. If he fails to defend, you throw him exactly as you
  planned. If you were grappling him, you may let go as a free
  action, but you don’t have to – it’s common to hang on and
  follow a Sacrifice Throw with a pin or choke.
  This throw is dangerous in combat but common and
  useful in point-based matches.
  Scissors Hold
  Hard
  Default: Wrestling-2.
  Prerequisite: Wrestling; cannot exceed Wrestling skill
  level.
  This technique allows you to grapple an adversary’s legs
  using your own. You must have both legs free. You must
  also be lying face-up, sitting, or standing – but if you’re
  standing, then successful or not, you automatically end your
  turn on the ground. Scissors Hold isn’t possible from other
  postures (kneeling, crouching, etc.).
  Roll against Scissors Hold to hit. Your opponent defends
  normally. If you succeed, you’ve grappled his legs with
  yours. He may try to break free on his turn. If he fails, or
  chooses not to try, you’ve locked your legs around his. He
  may attempt to break free on subsequent turns, but at a
  cumulative -1 per turn.
  If your foe is standing, Scissors Hold leads naturally to a
  takedown (p. B370). Having both of his legs grappled this
  way gives you +3 in the Quick Contest!
  Spinning (Attack)
  Hard
  Defaults: prerequisite skill-2, or -3 for a kick.
  Prerequisite: Karate or any Melee Weapon skill; cannot
  exceed prerequisite skill.
  This technique involves turning in a circle before attack-
  ing. You must specialize. Spinning Punch defaults to Karate-
  2, and covers all forms of spinning hand and arm strikes.
  Spinning Kick defaults to Karate-3. Spinning Strike defaults
  to Melee Weapon-2, and you must specify the skill; e.g.,
  Spinning Strike (Knife). All of these are special options for
  All-Out Attack or Committed Attack (pp. 99-100) – use the
  rules below instead of the normal ones for those maneuvers.
  The goal behind spinning before attacking is to deceive
  your opponent. This might work on a less-skilled adversary,
  but a skilled fighter is likely to detect your ploy and defend
  more easily. To simulate this, roll a Quick Contest of
  Spinning Attack against your opponent’s best melee combat
  skill before you make your attack roll. If you win, you may
  subtract your margin of victory from your victim’s defense
  roll against the blow. If you lose, you “telegraph” your inten-
  tions and your foe may add his margin of victory to his
  defense! Thus, this move is risky . . . but it’s still common in
  tournaments and sport martial arts.
  Next, make an attack roll against Spinning Attack. Your
  target may use any active defense, adjusted by the modifier
  determined in the Contest. This does add to the penalty for
  a feint, Deceptive Attack, etc. – a well-executed Spinning
  Attack can increase the defense penalty while a bad one can
  cancel it out (or worse). However, if you wish to try a
  Deceptive Attack, you must apply the penalty for that option
  to both your roll in the Contest and your attack roll.
  As a Committed Attack, a Spinning Attack does normal
  damage for your punch, kick, or weapon. It leaves you at -3
  on all defense rolls and unable to retreat. If you struck with a
  hand or a weapon, you can’t use it to parry. If you kicked, you
  can’t dodge at all. These penalties last until your next turn.
  TECHNIQUES
  79
  Much as you can kick as well as punch, you can use
  your legs to grapple. To do so, you must be facing your
  adversary and not pinned. You have -2 to DX or skill, but
  +2 to ST. The DX penalty stems from using your legs, not
  from posture. You only suffer penalties for a non-standing
  posture against a standing foe; Low Fighting and Ground
  Fighting affect these normally. Your enemy’s posture
  might give additional penalties to grapple certain hit loca-
  tions from some postures; see Postures, Hit Locations, and
  Techniques (pp. 98-99). If you grapple with legs from a
  standing start, you avoid all posture penalties but end
  your turn lying face-up. It counts as a step to leap up, use
  your legs, and fall; see Change Posture (pp. 98-99).
  Grapples using legs allow all the usual follow-ups –
  takedown, pin, strangle, bear hug, Neck Snap, etc. – at -2
  DX, +2 ST. You can learn leg-based versions of grappling
  techniques for this. Each is a separate technique with an
  extra -2 on its default. All get +2 ST – or +1 to damage, if
  there’s no ST roll. Options include:
  Leg Throw: As Judo Throw (p. 75), but defaults to
  Judo-2.
  Lower-Body Arm Lock: As Arm Lock (p. 65), but
  defaults to Judo-2 or Wrestling-2.
  Lower-Body Head Lock: As Head Lock (p. 74), but
  defaults to Judo-5 or Wrestling-5.
  Lower-Body Leg Lock: As Leg Lock (p. 65), but defaults
  to Judo-2 or Wrestling-2.
  Triangle Choke: As Choke Hold (p. 69), but defaults to
  Judo-4 or Wrestling-5.
  Using Your Legs
  
  As an All-Out Attack, a Spinning Attack involves putting
  your full weight behind the blow, using an exaggerated spin
  (360° or more!), and/or a making a wide, looping attack.
  You’re at -2 to skill for both the Contest and your attack roll.
  However, your damage is at +2 or +1 per die, whichever is
  better. You have no defenses.
  In either case, if you throw a Spinning Kick, balancing
  during the spin is especially difficult. If your kick misses or
  your foe successfully defends, the roll to avoid falling is
  against DX-2.
  You can combine Spinning Punch with Elbow Strike
  (p. 71), Exotic Hand Strike (p. 71), Hammer Fist (p. 73), or
  Lethal Strike (p. 85). Likewise, you can mix Spinning Kick
  with Lethal Kick (p. 85). The GM may permit other tech-
  niques, and may allow armed techniques to work with
  Spinning Strike. See Using Techniques Together (p. 64) to
  find effective skill level.
  Stamp Kick
  Hard
  Defaults: Brawling-3 or Karate-3.
  Prerequisite:
  Brawling or Karate; cannot exceed 
  prerequisite skill.
  80
  TECHNIQUES
  Martial artists often practice executing a particular
  sequence of techniques in rapid succession with the goal of
  economizing movement to the point where the separate
  moves become a single, fluid motion. A skilled fighter can
  perform such a “combination” almost as quickly as he
  could a single technique. Reflecting this reality in the game
  adds significant complexity; thus, this section is optional.
  A Combination is a technique that lets a warrior buy off
  the Rapid Strike penalty for a specific sequence of two or
  three attacks. A three-attack Combination does enable a
  martial artist to exceed the two-attack limit for a realistic
  Rapid Strike . . . if he spends points on it (see below).
  To design a Combination, specify two or three Targeted
  Attacks (TAs) and their order. Almost any TA is “legal,”
  including a basic attack to the torso or a TA the fighter has-
  n’t improved; e.g., treat an ordinary rapier thrust to the
  torso as TA (Rapier Thrust/Torso). An attack can appear
  multiple times if it doesn’t involve a weapon that becomes
  unready (or stuck) after attacking. Grapples and grabs are
  acceptable, but the only subsequent attacks that the grap-
  pling hand(s) can make are those that require a grip on the
  target; e.g., Judo Throw.
  A Combination lets a fighter eliminate the Rapid Strike
  penalty – bypassing the usual “precision for speed” tradeoff
  – by omitting the extra step of matching attacks to targets.
  This means it always goes off the same way. Thus, it can-
  not include untargeted attacks or leave the order of attacks
  unspecified.
  A Combination is a special technique with “split” skill
  levels, one per attack, written as follows:
  Combination (Skill 1 Attack 1/Target 1 + Skill 2 Attack
  2/Target 2 + Skill 3 Attack 3/Target 3)-Level 1+Level
  2+Level 3
  Each portion defaults to the underlying attack at -6 for
  two attacks or -12 for three, halved for Trained by a Master
  or Weapon Master. When improving the Combination, buy
  it as a Hard technique but add an extra point cost equal to
  the number of attacks: default+1 costs 4 points for a two-
  attack combo, 5 points for a three-attack one. Fighters
  without one of the two advantages above can only use a
  three-attack technique if they’ve spent the minimum 5
  points to raise it above default. Improvements adjust all
  levels by the same amount and can at most buy off the
  default penalty.
  Example 1: Don Ortiz has Rapier-18 with TA (Rapier
  Thrust/Vitals)-16 
  and 
  Brawling-15 
  with 
  Kicking
  (Brawling)-15. He knows a Combination that involves a
  rapier thrust to the vitals using his TA and then a Brawling
  kick to the torso using Kicking. At -6 for two attacks, his
  default is Combination (Rapier Thrust/Vitals + Brawling
  Kick/Torso)-10+9. He could improve this to 16+15 for 9
  points.
  Example 2: Sifu Chen has Trained by a Master, Judo-20,
  and Karate-22. He uses a Combination to grab and then
  throw his foe (both at his unmodified Judo level), and then
  boot him in the head (Karate at -2 for a kick and -5 for the
  face, or 15). Three attacks default at -12 but Chen halves
  this to -6 for Trained by a Master. His default is
  Combination (Judo Grapple/Torso + Judo Throw + Karate
  Kick/Face)-14+14+9. He can raise this as high as 20+20+15
  for 10 points.
  Treat a Combination like any Rapid Strike – subject to
  all the usual rules for multiple attacks (see Multiple Attacks,
  p. 126-128) – with these exceptions:
  • Certain attacks require an earlier attack as a “setup”;
  e.g., a Judo Throw requires a grapple. If the setup attack
  fails, the follow-up attack is impossible. This immediately
  ends the Combination, even if it has a third attack.
  • The target of the Combination defends normally, but
  if he makes his defense roll against an attack – or if his
  attacker misses with one – he gets +3 to defend against the
  remainder of the Combination.
  • If you use the same Combination twice on a given
  opponent in a fight, he defends at +1 against your third and
  later uses.
  Two-Handed Combinations: A two-attack Combination
  consisting of a one-handed attack with either hand works
  the same way but the penalty is -4 (not -6). Adding a third
  attack to the Combination – either before or after attacking
  with either hand – makes the penalty -9 (not -12).
  Cinematic warriors are generally better off learning Dual-
  Weapon Attack (p. 83).
  Defensive Combinations: Many realistic “combinations”
  involve a defense that leads into an attack. Don’t use these
  rules for that! Instead, see Riposte (pp. 124-125).
  Optional Rule: Combinations
  
  This kick consists of a swift, downward stamp with the
  heel, using your entire body weight to give additional force to
  the kick. It does more damage than a normal kick, but it can
  only target an opponent who’s lying down or the foot or leg of
  a standing foe.
  Roll against Stamp Kick to hit. Damage is thrust+1, plus
  your Brawling or Karate bonus. On a miss, you stomp the
  ground and must make a DX roll to avoid ending up off-
  balance and unable to retreat until your next turn.
  Staying Seated
  Average
  Default: Riding.
  Prerequisite: Riding; cannot exceed Riding+4.
  This technique represents special training in the art of
  staying on the back of a mount. Knights learn it to keep their
  seat in combat; rodeo riders practice it to win competitions!
  When rolling for any reason to avoid falling off your mount
  (for instance, the rolls on p. B397), use Staying Seated instead
  of Riding.
  Sweep
  Hard
  Default: prerequisite skill-3.
  Prerequisite: Appropriate Melee Weapon or unarmed com-
  bat skill; cannot exceed prerequisite skill.
  This technique lets you knock down an opponent in a sin-
  gle attack rather than by grappling him and executing a take-
  down or throw. It isn’t aimed at his center of mass with the
  goal of pushing him away, like a Push Kick or shove. It’s an
  attempt to “clothesline” his neck or head, knock his legs out
  from under him, or otherwise unbalance him.
  Roll against Sweep to hit. Hit location is a special effect –
  don’t apply a penalty for it. Your target may defend normally.
  If he fails, roll a Quick Contest: your Sweep or ST vs. his ST,
  DX, Acrobatics, or best grappling skill. Use the highest value
  in both cases. If he loses, he falls down.
  Many combat skills can Sweep. You can try an armed ver-
  sion with any two-handed weapon with reach 2+. This
  defaults to Polearm, Spear, Staff, Two-Handed Axe/Mace,
  Two-Handed Flail, or Two-Handed Sword, and has the
  weapon’s usual reach. You can also Sweep with Judo, Karate,
  or Sumo Wrestling. When you attack, specify a stiff arm to
  the upper body (reach C, requires a free hand), a sweeping
  kick (reach C, 1, uses a leg), or a pull in a clinch (reach C, only
  when grappling). Those with Strikers, especially tails, can
  learn Sweep (Brawling) and attack at their usual reach.
  Regardless of the weapon used, Sweep is a slow, pushing
  attack that doesn’t inflict damage.
  Trip
  Hard
  Default: prerequisite skill Parry-1.
  Prerequisite: Judo, Sumo Wrestling, or Wrestling; cannot
  exceed prerequisite Parry.
  Trip lets you cause a two-legged foe to stumble and miss
  with a slam. It counts as a parry with the prerequisite skill.
  Success means you avoid the slam and your attacker must
  make a DX or Acrobatics roll at -5 or fall down!
  Per p. B376, a charging fighter’s “effective weight” as a
  weapon equals his ST. Since your weight limit with an
  unarmed parry equals your Basic Lift, Trip fails automati-
  cally if your foe’s effective weight exceeds your BL. At ST 8
  and BL 13, you couldn’t stop a ST 14+ opponent. With ST 14
  and BL 39, only ST 40+ giants would be a problem.
  Shield DB doesn’t benefit Trip. You can’t retreat for a
  bonus, either – or use a Slip or Sideslip (see Retreat Options,
  pp. 123-124). You can Dive by assuming a crawling posture
  across your foe’s path. Apply the usual modifier to your roll
  and use 2¥BL to determine whom you can trip.
  You can’t attack with Trip – use Sweep (see above) for
  that. However, you can use Trip to intercept someone run-
  ning past you (not merely stepping) within a yard. On a bat-
  tle map, that’s through your hex or an adjacent hex. This
  works like a regular Trip and counts as a parry.
  Trip can use many body parts: arms, legs, a hip, etc. You
  must Dive or use a free foot to intercept a runner who isn’t
  trying to slam you.
  Two-Handed Punch
  Average
  Default: Brawling-2.
  Prerequisite: Brawling; cannot exceed Brawling skill.
  This technique involves either knitting the fingers of two
  hands together to strike or striking with two fists held
  together. A common move in movies and on television, it’s
  not terribly safe or effective in reality.
  Roll against Two-Handed Punch to hit. Your opponent
  defends normally, but if he successfully parries and inflicts
  damage, both of your arms take full damage. If you take
  damage from striking DR 3+, both hands take full damage.
  Damage is thrust+1 crushing – or thrust at +1 per die, if bet-
  ter – plus your Brawling bonus.
  On a turn when you attempt a Two-Handed Punch, you
  can only parry once with your hands. This does count as a
  Cross Parry (p. 121) – the parry is more effective but you
  only get one.
  Uppercut
  Average
  Defaults: Boxing-1, Brawling-1, or Karate-1.
  Prerequisite: Boxing, Brawling, or Karate; cannot exceed
  prerequisite skill.
  This is a short punch directed upward from a low stance.
  It delivers a powerful blow to an opponent standing in close.
  You can only use Uppercut against the upper body – skull,
  eye, face, neck, torso, arm – of a standing foe. (Exception: If
  his SM exceeds yours, you can target everything but his
  feet.) Damage is thrust crushing plus skill bonuses. Your tar-
  get defends normally.
  Uppercut is a very close-range punch. Many fighters
  throw it after getting their adversary in a clinch with the
  other arm. Grappling an opponent around the back of his
  head and punching is illegal in modern sport boxing, but
  very effective (see Grab and Smash!, p. 118).
  TECHNIQUES
  81
  
  Wrench (Limb)
  Hard
  Default: ST-4; cannot exceed ST+3.
  This technique involves grabbing and suddenly twisting
  an enemy’s limb to dislocate or break it. It defaults to ST –
  not a skill – and must be learned separately for each limb:
  Wrench Arm, Wrench Leg, and so forth. Wrestling gives its
  usual skill-based ST bonus.
  To use this technique, you must first grapple your oppo-
  nent by the desired limb using two hands; see Grappling
  (p. B370). He may attempt to break free on his turn. If he
  fails, then on your next turn, roll a Quick Contest: Wrench
  (Limb) vs. the higher of your victim’s ST or HT. He gets +4 if
  you’re wrenching his leg. This counts as an attack.
  If you win, you inflict swing crushing damage on the
  limb. The target’s rigid DR protects normally. Flexible armor
  – including natural DR with the Flexible or Tough Skin lim-
  itation – has no effect.
  Otherwise, you inflict no damage. You may make repeat-
  ed attempts on later turns. Your opponent may attack you
  or attempt to break free during this time, subject to the
  usual limitations of being grappled.
  Wrench Spine
  Hard
  Defaults: ST-4 or Wrestling-4; cannot exceed ST+3 or
  Wrestling+3.
  Some old wrestling manuals depict techniques for break-
  ing an opponent’s back: pick him up, hoist him over both
  shoulders, and then pull his leg and arm (or neck) to snap
  his spine. While not difficult, this procedure is slow and
  requires great strength. For a rapid, cinematic spine-
  snapper, see Backbreaker (see below).
  Wrench Spine takes several turns to execute. On your
  first turn, you must grapple your opponent with two hands
  around the torso. Resolve this as a normal grapple.
  If your victim fails to break free on his turn, roll against
  Wrench Spine on your next turn to hoist him into position.
  Success means you lift him up and swing him over your
  shoulders. Any failure means you fall down with your foe
  on top of you and take thrust damage to your own neck. If
  your opponent’s weight exceeds your BL¥4, you simply
  can’t pick him up; your attempt fails but you don’t fall or
  hurt yourself.
  On later turns, roll a Quick Contest of Wrench Spine vs.
  the higher of your victim’s ST+4 or HT+4. If you win, you
  inflict swing crushing damage. The target is the spine.
  There’s no wounding multiplier for this location but suffi-
  cient injury can mean severe and possibly permanent crip-
  pling; see New Hit Locations (p. 137). Even if the GM isn’t
  using the spine hit location in general, he should use those
  rules for Wrench Spine.
  The target’s rigid DR protects normally. Flexible armor,
  including natural DR with the Flexible or Tough Skin limi-
  tation, has no effect. The spine’s own DR doesn’t help,
  either – you’re not striking the spine but applying continu-
  ous pressure to break it.
  You may make repeated attempts on later turns. Your
  opponent may attack you or attempt to break free during
  this time, subject to the usual limitations of being grappled.
  82
  TECHNIQUES
  CINEMATIC TECHNIQUES
  These techniques are so risky – or so unlikely to be effec-
  tive in a real fight – that few reputable real-world schools
  teach them. This doesn’t mean they’re impossible, only that
  a martial artist needs Trained by a Master or Weapon
  Master to improve them. Anybody can attempt a cinematic
  technique at default, if the GM permits.
  The GM is free to forbid a technique – even at default –
  if he feels it would spoil the game’s “feel.” This might be
  because the campaign is realistic, but cinematic techniques
  don’t automatically fit every cinematic setting, either.
  Conversely, if the GM believes that a technique is realistic, it
  is . . . at least in his game.
  Backbreaker*
  Hard
  Defaults: ST-3 or Wrestling-3; cannot exceed ST+3 or
  Wrestling+3.
  Some cinematic wrestlers – and strongmen in general –
  can pick up an opponent and break his spine over their
  knee. To attempt this, you must first grapple your foe with
  two hands around the torso. Resolve this as an ordinary
  grapple.
  If your opponent fails to break free on his turn, roll
  against Backbreaker on your next turn. Success means you
  lift up your victim, drop to one knee, and smash his back
  across your other knee. Failure means you drop him; he
  ends up face-up on the ground and you end up kneeling, but
  neither of you suffers damage. If his weight exceeds your
  BL¥4, you simply aren’t strong enough to pick him up – you
  waste a turn trying to lift him and can’t proceed with the
  technique.
  A successful Backbreaker does swing crushing damage
  to the spine. This location has no special wounding multi-
  plier but sufficient injury can do serious harm; see New Hit
  Locations (p. 137). Even if the GM isn’t using the spine hit
  location, he should use those rules for Backbreaker.
  The target’s rigid DR protects normally. Flexible armor,
  including natural DR with the Flexible or Tough Skin limi-
  tation, has no effect. The spine’s DR does apply, as this is a
  direct blow to the spine.
  Binding*
  Hard
  Default: prerequisite skill.
  Prerequisite: Judo or Knot-Tying; cannot exceed prereq-
  uisite skill+4.
  
  This is the technique of binding a victim limb-by-limb
  while parrying his attacks. In Japanese legend, guards and
  police used it to restrain criminals, while ninja used it for
  abductions. To use Binding, you must have a rope (or hand-
  cuffs) ready in two hands.
  Binding only works in close combat. On your turn after
  a successful grapple or parry – unarmed or using the rope –
  you can attempt to bind a limb. To do so, win a Quick
  Contest of Binding vs. your foe’s DX or best grappling skill.
  This is an attack. To tie up successive limbs, repeat the
  process. You can bind two limbs with cuffs, any number
  with a rope. Your victim can try to free himself on his turn;
  use the rules for Bolas (p. B410).
  If you bind all of your victim’s legs, he must roll vs. DX-
  6 every turn or fall down. His DX and ST are at -6 to resist
  takedowns and techniques intended to knock him down. If
  you bind all of his limbs, he’s helpless – although he can
  attempt an Escape or DX-6 roll to free himself (see Escape,
  p. B192).
  Dual-Weapon Attack*
  Hard
  Default: prerequisite skill-4.
  Prerequisite: Any unarmed combat or one-handed Melee
  Weapon skill†; cannot exceed prerequisite skill.
  If you attack with two weapons at once, you’re normally
  at -4 on each attack unless you All-Out Attack. This tech-
  nique lets you buy off the penalty. To eliminate the extra -4
  for the “off” hand, you’ll also need Off-Hand Weapon
  Training (p. 50). See Dual-Weapon Attacks (p. B417) for
  other important details.
  You must learn Dual-Weapon Attack (DWA) separately
  for each skill. For instance, attacking with two axes requires
  two DWA (Axe/Mace) rolls, but attacking with an axe and a
  whip requires a DWA (Axe/Mace) roll and a DWA (Whip)
  roll.
  Dual-Weapon Attack is a valid combat option even in
  realistic games. The technique is cinematic because you
  need Trained by a Master or Weapon Master to improve it.
  † This technique is also available for Guns (Pistol) even
  in realistic campaigns and for Bow in cinematic ones. DWA
  (Bow) lets you shoot two arrows at once from a bow, possi-
  bly at different targets! Heroic Archer halves the default
  penalty to -2. Readying a second arrow requires an extra
  Ready or use of Multiple Fast-Draw (p. 103).
  Dual-Weapon Defense*
  Hard
  Defaults: prerequisite skill Block-1 or Parry-1.
  Prerequisite: Any combat skill that gives a Block or Parry
  score; cannot exceed prerequisite Block or Parry.
  You’re normally at -1 to defend against a Dual-Weapon
  Attack (p. B417). This technique lets you buy off that penal-
  ty. To ward off both attacks, you must make two defense
  rolls simultaneously: a parry with either hand or a parry
  with one hand and a block with the other. Roll against Dual-
  Weapon Defense for the weapon or shield in each hand.
  You can also learn Dual-Weapon Defense for use with a
  two-yard or longer Polearm, Spear, Staff, or Two-Handed
  Sword weapon. This lets you buy off the -1 to parry both
  halves of a Dual-Weapon Attack with a single parry; see
  Parrying with Two-Handed Weapons (p. 123).
  Fighting While Seated*
  Hard
  Default: prerequisite skill-2.
  Prerequisite: Any combat skill; cannot exceed prerequi-
  site skill.
  Some cinematic martial artists show their contempt for
  lesser opponents by remaining seated when attacked. This
  technique replaces the prerequisite skill while seated; e.g.,
  if you have Karate at 20 and Fighting While Seated
  (Karate) at 19, you can punch or feint from a seated posi-
  tion at 19, kick at 17, etc. Fighting While Seated also helps
  with the -2 to defend while seated. If you know it at skill-1,
  you’re at -1 to defend, while at full skill, you have no
  penalty.
  You may stand on your turn by taking a Change Posture
  maneuver. To stand instantly, roll against Acrobatic Stand
  (p. 65) at +4. Success lets you take any maneuver normal-
  ly. Failure means you must take a Change Posture
  maneuver.
  For rules on fighting while sitting on the ground rather
  than seated in a chair, see Postures, Hit Locations, and
  Techniques (pp. 98-99).
  Flying Jump Kick or Flying Lunge*
  Hard
  Defaults: prerequisite skill-4, or -7 for a kick.
  Prerequisite: Karate or any thrusting Melee Weapon
  skill; cannot exceed prerequisite skill.
  A “flying” attack is a devastating blow that gets extra
  power from a full run and jump at the enemy. Realistic
  martial artists practice this stunt for show – never for com-
  bat. In the movies, though, all bets are off! Flying Jump
  Kick defaults to Karate-7 and ends in a kick. Flying Lunge
  defaults to Melee Weapon-4 for any thrusting weapon, and
  involves hurling yourself weapon-first at the foe.
  Either flying attack is a special option for Move and
  Attack (p. B365). Use the rules below instead of the normal
  ones for that maneuver. If you use this technique, it’s all
  you can do that turn, no matter how fast or skilled you are.
  To launch a Flying Jump Kick or Flying Lunge, you
  must first make a running broad jump; see Jumping
  (p. B352). This requires a DX or Jumping roll. If success-
  ful, then at the end of your jump, roll against your level
  with this technique to hit.
  Your victim parries at -2. If you hit, you inflict your
  usual damage at +2 – or at +1 per die, if better. Start with
  kicking damage for Flying Jump Kick, your weapon’s
  thrusting damage for Flying Lunge.
  Afterward, you cannot retreat. Moreover, you cannot
  dodge if you kicked or parry if you used a weapon. All of
  your remaining active defenses are at -2. These effects last
  until your next turn.
  TECHNIQUES
  83
  
  This technique is dangerous! If you fail the roll for your
  jump or your attack – or if your target successfully defends
  – you fall unless you can make a DX-8 or Acrobatics-4 roll.
  On a fall, you suffer damage for a collision with an immov-
  able object (the ground) at an effective Move equal to the
  full distance of your run and jump.
  Grand Disarm*
  Hard
  Defaults: fencing weapon skill-9, other Melee Weapon
  skill-11, or unarmed combat skill-11.
  Prerequisite: Any unarmed combat or Melee Weapon
  skill; cannot exceed prerequisite skill.
  Grand Disarm is a special All-Out
  Attack that lets you disarm every foe adja-
  cent to you with lightning speed. Use these
  rules instead of the usual ones for All-Out
  Attack (p. B365). If you attempt a Grand
  Disarm, it’s all you can do that turn, no
  matter how fast or skilled you are.
  A Grand Disarm involves spinning in
  place – you cannot step – and trying to dis-
  arm every single foe within a yard. You
  must engage your enemies in either clock-
  wise or counterclockwise order (your
  choice). You can’t combine this with any
  technique except Disarming (p. 70).
  Roll against Grand Disarm once per foe, in the order
  chosen above, to hit his weapon. Your opponents may
  defend normally. If you critically miss on any of these
  attacks, your Grand Disarm ends immediately and you must
  roll on the Critical Miss Table (p. B556).
  After resolving all of the attack and defense rolls, you
  may try to disarm everyone who didn’t successfully defend!
  Use the rules on p. B401; you roll against the higher of your
  weapon skill or your Disarming technique (not Grand
  Disarm). Resolve each disarming attempt completely before
  moving to the next. Should you be disarmed during one of
  these Contests, don’t keep rolling – your turn ends
  immediately.
  Since Grand Disarm is an All-Out Attack, you have no
  active defenses afterward. In a cinematic game, though, it’s
  traditional for those disarmed this way to gape and gawk on
  their next turn – not to attack with another weapon or bare
  hands. The GM should make an IQ roll for each foe (in over-
  the-top games, at -1 per successful disarm after the first).
  Those who fail are mentally stunned (p. B420) by your awe-
  inspiring move!
  Hand Catch*
  Hard
  Default: prerequisite skill Parry-3.
  Prerequisite: Judo, Sumo Wrestling, or Wrestling†; can-
  not exceed prerequisite Parry.
  This technique – popular with cinematic warriors, mus-
  cular henchmen, and super “bricks” – involves catching an
  incoming attack in your hand. It isn’t realistic! It’s a one-
  handed parry, even if the prerequisite skill usually parries
  with two hands, and incompatible with Cross Parry (p. 121).
  Roll against Hand Catch to defend, at the usual -2 for
  Sumo Wrestling vs. a kick, or -3 for Sumo Wrestling or
  Wrestling vs. a weapon. You cannot retreat. Failure means
  you’re hit. The attacker may choose to hit his original target,
  your parrying arm, or your parrying hand. Success means
  you parry and may roll against the prerequisite skill to grab
  your attacker, modified as follows.
  Modifiers: Against unarmed, -2 to hit a hand or foot; -2
  for Sumo Wrestling vs. a foot; -1 if your foe knows Rapid
  Retraction (p. 51). Against armed, a basic -3; another -3 to 
  -5 for weapon size (see p. B400); a further -3 for Sumo
  Wrestling or Wrestling vs. a weapon.
  Success on this skill roll means
  you grapple the extremity or grab the
  weapon! On later turns, you can use
  any combat option or technique that
  requires a grab or grapple to set up –
  Disarming, Finger Lock, Judo Throw,
  Snap Weapon, Wrench Limb, etc., as
  applicable. Failure means you deflect
  the attack but fail to catch your
  attacker.
  The GM may let realistic fighters
  try this technique at default. The con-
  sequences of failure are steep enough
  to keep it under control.
  † You can also learn Hand Catch
  for Parry Missile Weapons in order to
  catch ranged weapons. If you have Precognitive Parry, you
  can use any Hand Catch specialty for this. Hand Catch can
  only trap projectiles (not beams) that the underlying parry
  could deflect. Use the standard modifiers for such parries
  instead of those above. Success plucks the weapon from the
  air, regardless of hand DR. Failure means you’re hit. Don’t
  use Hand Catch to catch something thrown to you – use
  Catching (p. B355).
  Hand-Clap Parry*
  Hard
  Default: prerequisite skill Parry-5.
  Prerequisite: Judo or Karate; cannot exceed prerequisite
  Parry.
  This often-foolhardy cinematic technique – common in
  samurai stories – lets you trap an opponent’s weapon in mid-
  stroke. By clapping your hands together, you capture the
  weapon’s blade, haft, or head.
  Roll against Hand-Clap Parry to defend against an
  attacker’s weapon. Success means you stop the attack and
  trap the weapon. Failure means you’re hit, and your
  assailant may choose to hit his original target or either of
  your hands! Succeed or fail, this is the only parry you may
  make with your hands this turn.
  If you trap the weapon, your enemy’s turn ends immedi-
  ately. He loses any additional attacks or maneuvers he might
  have had, and can’t step. He can’t use the trapped weapon to
  parry or attack until you relinquish it. On future turns, he
  may try to break free. If he opts to give up his weapon, it’s a
  free action on his turn.
  84
  TECHNIQUES
  Shuriken
  
  On your next turn, you may attempt to disarm or use
  Snap Weapon (p. 87). You don’t have to do either – you can
  act normally while holding onto the weapon, as long as you
  leave two hands on the weapon and don’t step away from
  your victim. Relinquishing the weapon is a free action on
  your turn.
  If you make a successful disarm attempt – or your foe
  releases his weapon – you may try to reverse the weapon
  and ready it yourself on your next turn. This requires a DX
  roll. Success means you catch the weapon, which counts as
  a Ready maneuver. On a critical success, you ready the
  weapon instantly! Failure means you drop it. On a critical
  failure, you also inflict Tip Slash (p. 113) damage on your
  torso.
  Initial Carving*
  Hard
  Default: prerequisite skill-4.
  Prerequisite: Any fencing weapon skill; cannot exceed
  prerequisite skill.
  A cinematic swashbuckler can try to carve an initial
  using his blade. Determine where he’ll carve the initial and
  the number of strokes he’ll need to carve it – for instance, a
  Z takes three. The first stroke is at no penalty beyond that
  for hit location; it’s at -0 on the torso, -5 on the face, and so
  on. If the stroke inflicts at least a point of cutting damage, it
  will mark anything but metal or similarly hard materials,
  ripping cloth (but not armor), scarring skin, and delivering
  any poison vile enough to need only a scratch. An impaling
  weapon can make a Tip Slash (p. 113) to do cutting damage.
  It’s more difficult to align the remaining strokes of the
  initial relative to the first. The attack roll is at -4 (in addi-
  tion to hit location modifiers) for an initial roughly 4”¥4”.
  If a subsequent stroke fails by 4 or less, it makes a slash but
  it isn’t properly connected to the earlier lines – there’s a gap
  or an overlap (roll a die). This can be bad form; it might
  even change the initial to another letter! It’s possible to con-
  nect lines that are too far apart; try again at the same mod-
  ifier. The victim might object to the erasing process, 
  however, as this involves at least half a dozen crisscross
  lines. Initial Carving is generally the realm of the incredibly
  skilled . . . or those named Inigo, Ignatz, or Irene.
  You must learn a separate technique for each letter. It
  lets you buy off the -4 for the second and later strokes. To
  remove the penalties for carving in a specific hit location,
  buy a Targeted Attack (p. 68).
  Example: Don Lorenzo Estrada wishes to leave the ini-
  tials L.E. on the skin of several (unwilling) acquaintances,
  so he practices long and hard. He spends 4 points on the L
  and 5 on the E (which takes four strokes, so he wants to get
  it right the first time). His Rapier skill is 14; he’ll make the
  first stroke of each letter on a 14 or less. The next part of
  the L is at default+3, giving a net -1 to skill – he needs a 13.
  The E is at default+4; he has no penalty to carve it at all.
  Lethal Kick*
  Hard
  Default: Karate-4.
  Prerequisite: Karate; cannot exceed Karate skill.
  This kick focuses all of your strength onto a toe or toes,
  converting your blow from crushing to piercing. This 
  lets you target the vitals or eyes. Roll against Lethal Kick
  to hit, applying the usual hit location penalties. Damage is
  thrust-1 plus your Karate bonus. Hurting Yourself (p. B379)
  applies if your target has any DR – not just DR 3+.
  Lethal Kick is generally impossible while wearing fully
  enclosed shoes or boots, but the GM might allow it with
  such pointy footwear as cowboy boots and stiletto heels –
  especially in a cinematic campaign!
  As combat options, Lethal Kick and Lethal Strike
  (below) are reasonable even in a realistic game. The tech-
  niques are cinematic because only warriors with Trained by
  a Master can improve them.
  Lethal Strike*
  Hard
  Default: Karate-2.
  Prerequisite: Karate; cannot exceed Karate skill.
  This is a hand strike with stiffened fingers. It uses the
  rules for Lethal Kick, above, but damage is thrust-2 plus
  your Karate bonus. It’s possible while wearing gloves with
  individual fingers, even gauntlets, but incompatible with
  mitts, boxing gloves, etc.
  Piledriver*
  Hard
  Defaults: ST-5 or Wrestling-5.
  Prerequisite: Wrestling; cannot exceed ST or Wrestling.
  Piledriver involves grappling your opponent, turning
  him upside down, and driving his skull into the ground by
  sitting down hard. This is a clumsy, risky move, rarely seen
  outside professional (“entertainment”) wrestling. It’s a spe-
  cial All-Out Attack option – use these rules instead of the
  usual ones for that maneuver.
  TECHNIQUES
  85
  . . . Iros lunged, hitting the
  shoulder. Then Odysseus hooked
  him under the ear and shattered
  his jaw bone so bright red blood
  came bubbling from his mouth,
  as down he pitched into the dust,
  bleating, kicking against the dust,
  his teeth stove in.
  – Homer, The Odyssey
  
  To execute a Piledriver, you must first grapple your oppo-
  nent with two hands by the arms, torso, or legs. Resolve this
  as an ordinary grapple. Your foe may defend normally.
  If your enemy fails to break free on his turn, then on your
  next turn, make a Piledriver roll to turn him head-down and
  drop to a sitting posture. This counts as an attack. If your
  victim’s weight exceeds your BL¥4, you aren’t strong enough
  to pick him up – your attack fails automatically but you
  must still roll to see if you critically fail!
  Your victim may defend at the usual penalties for being
  grappled. If he knows the Wrestling skill, he can counter
  your move by pivoting to make the attack mechanically dif-
  ficult. This defense counts as a Wrestling parry and is possi-
  ble even if your foe has no hands free.
  A successful Piledriver does thrust+4 crushing or
  thrust+2 at +2 per die, whichever is greater, plus damage
  equal to your ST bonus from Wrestling (+1 at DX+1, +2 at
  DX+2 or better). Apply this to the skull. Immediately after-
  ward, you can attempt a pin as a free action. Your opponent
  may resist as usual – but he’s still grappled and may be
  stunned or otherwise suffering from his injuries.
  If your Piledriver fails for any reason but being too weak
  to lift your foe, including a successful enemy defense, you
  still drop to a sitting posture. You must also roll vs. HT. A
  failed HT roll means you sit down too hard, strain your gut,
  etc. Apply the damage you would have inflicted to your own
  torso. Critical failure on the Piledriver roll means you end
  up sitting and injure yourself automatically (no HT roll).
  86
  TECHNIQUES
  Martial-arts legend features countless “ultimate tech-
  niques” taught only to advanced students. Kung fu has
  dim mak – the “death touch” – with supposed origins in
  13th-century Taoist medicine. The rapier masters of the
  16th and 17th centuries reputedly attacked with the botte
  segrete, or “secret strike,” while 18th-century smallsword
  masters defended with the parata universale, or “universal
  parry.” These were the irresistible force and immovable
  object of European swordplay. The list goes on.
  Most fabled techniques have prosaic origins. Death
  touches and similar strikes have their genesis in physiolo-
  gy, not esoteric medicine. When healers discover new
  human frailties, warriors seek to exploit them in battle; see
  New Hit Locations (p. 137) for examples. This isn’t magic
  – a sufficiently skilled fighter can target any body part he
  wishes, given a reason to do so.
  This doesn’t stop rumors about secret techniques from
  arising when one man defeats another with a strike to an
  unusual target. An example is the coup de Jarnac. Guy de
  Chabot de Jarnac killed François de Vivonne de La
  Châtaigneraie (one of France’s greatest swordsmen) on
  July 10, 1547, in France’s last legal duel. He used a feint
  followed by a cut to the hamstring. This is immobilizing
  but not usually fatal, but La Châtaigneraie – mortified that
  an inferior defeated him in this way – refused medical aid
  and bled to death. It wasn’t long before dishonest masters
  were offering to teach the coup de Jarnac to gullible,
  wealthy students!
  Tactics, like medicine, developed gradually. Lunging
  with a sword seems obvious – anyone can attempt it 
  in GURPS (see All-Out Attack (Long), pp. 97-98) – but it
  wasn’t common before the 16th century. Until the lunge
  became widespread, swordsmen who used it to defeat foes
  were spreading the legend of a botte segrete. Similarly,
  when lighter blades enabled the sword to rival the buckler
  and main-gauche on defense, tales of the parata universale
  followed. This is just the standard fencing parry described
  in Fencing Weapons (p. B404).
  In a realistic campaign, effective secret techniques
  shouldn’t exist. If the GM enforces Limited Maneuver
  Selection (p. 113), however, an untrained fighter won’t
  have access to all of the combat maneuvers and options in
  the Basic Set and Chapter 4, many of which are quite
  effective. Should he experience these at the hands of a
  well-trained opponent (and survive), he might spread
  rumors of secret techniques. The GM shouldn’t let the
  truth slip until the PCs see this “amazing” move in action.
  Still, every tactic was a brilliant new discovery at some
  point. The GM is welcome to forbid maneuvers or options
  that he feels warriors wouldn’t know about in his setting.
  He might let skilled martial artists buy knowledge of these
  tactics as perks – one per option, maneuver, or rarely
  known hit location. Those who witness such moves can try
  them . . . but until they spend that point, treat their efforts
  as ordinary attacks and defenses.
  In a cinematic game, secret moves definitely exist – as
  cinematic skills and techniques, or even as special powers
  (see Chi Powers for Martial Artists, p. 46). Dim mak might
  be the Pressure Secrets skill or the Hand of Death (see
  Innate Attack, p. 46). The botte segrete might be the Flying
  Lunge technique.
  In any game, unethical instructors might claim to teach
  secret techniques. The GM may rule that these are totally
  ineffective, and work as described in Useless Techniques
  (p. 95). Alternatively, they might be horribly risky – like the
  infamous coup de D’Artagnan, a botte segrete from The
  Three Musketeers.
  A typical “risky” secret technique is Hard, defaults to
  Melee Weapon-4 or Acrobatics-4, and can’t exceed the con-
  trolling skill. When used, roll a Quick Contest between the
  attacker’s technique and highest of the target’s Per, Body
  Language, or best melee combat skill. If the attacker wins,
  his foe’s active defense is reduced as per a successful feint
  (p. B365). If he loses or ties, his adversary automatically
  defends against the attack and the technique-user has -3 to
  defend against his opponent’s next attack.
  Whatever the truth about secret techniques, people
  tend to believe in them. Martial arts-related Delusions (see
  Delusions, pp. 53-54) about invincible moves are appro-
  priate. In the interest of good player-GM relations, the GM
  should consider permitting PCs who pay points for risky
  secret techniques to take related Delusions to defray the
  cost!
  Secret Techniques
  
  A variation is to grapple your adversary, pick him up, and
  smash him skull-first into the floor, wall, or other fixed
  object. This is a common tactic for strong men in mixed
  martial arts bouts – often in response to being grappled. (If
  you do this without lifting your foe, use Grab and Smash!,
  p. 118, instead.) This move works as described above with
  three important differences:
  1. If your foe is grappling you with two hands and you
  have a free hand, you can opt to grapple his head or arm
  with only one hand as your initial grapple. This is a standard
  grapple; your rival defends normally. However, if he lets go
  of you on his turn, you can’t attempt a Piledriver on your
  next turn (you still keep your grapple).
  2. The attack roll is at +3, because you’re not trying to
  invert your victim after you pick him up.
  3. Damage drops to thrust+2 crushing or thrust at +1 per
  die, whichever is greater, plus the Wrestling bonus.
  Pole-Vault Kick*
  Hard
  Default: Karate-4.
  Prerequisites: Jumping and Karate; cannot exceed Karate
  skill.
  This technique is a variation on Jump Kick (p. 75) that
  uses a pole – typically a quarterstaff but sometimes a sword
  stuck in the ground or even a convenient banister – to vault
  into a kick. It involves a short pole-vault forward or side-
  ways that ends in a sharp kick. It’s a special option for All-
  Out Attack. Use the following rules instead of the normal
  ones for that maneuver.
  To attempt a Pole-Vault Kick, you must have two hands
  on a pole, sword, or similar vertical lever. You must take at
  least two steps toward the foe; this effectively gives you an
  extra yard of reach. Roll against Pole-Vault Kick to hit. Your
  target parries at -2.
  If you hit, you do thrust+3 crushing damage – or
  thrust+1 at +1 per die, if better – plus your Karate bonus. If
  you miss, or if your target successfully defends, you fall
  down unless you can make a DX-4 or Acrobatics-2 roll. Hit
  or miss, you have no defense at all until your next turn!
  As strange as it may seem, some real-world martial
  artists do practice this kick, although its effectiveness is
  doubtful. At the GM’s option, realistic warriors who practice
  especially flashy styles can buy a Style Perk that lets them
  improve this technique.
  Pressure-Point Strike*
  Hard
  Default: prerequisite combat skill-2.
  Prerequisites: Either Pressure Points or Pressure Secrets,
  and a combat skill that’s useful with those skills; cannot
  exceed combat skill.
  Attacks with the Pressure Points and Pressure Secrets
  skills are normally at -2 to hit. This technique lets you buy
  off this penalty.
  Roll with Blow*
  Hard
  Default: prerequisite skill-2.
  Prerequisite: Acrobatics or any unarmed combat skill;
  cannot exceed prerequisite skill.
  This represents special training at presenting little resist-
  ance to the force of a punch or other bludgeoning attack,
  resulting in less injury. Whenever you’re hit by a crushing
  attack, you may roll against Roll with Blow to reduce
  damage.
  Success means you take half damage (round up) before
  subtracting DR . . . but double the basic damage roll to cal-
  culate knockback (p. B378). This doubling is cumulative
  with the effects of attacks that normally cause extra knock-
  back. Make a DX roll at -1 per yard of knockback to avoid
  falling down. Critical success on Roll with Blow means you
  take only 1 point of damage (extra knockback still applies).
  Failure means you take normal damage and extra knock-
  back. On a critical failure, you also fall down automatically
  and are physically stunned!
  Roll with Blow is risky in places where knockback is like-
  ly to mean a collision. In a superhero game, the GM may let
  anyone learn this skill – people being knocked great dis-
  tances into and through things is very much in-genre!
  Snap Weapon*
  Hard
  Defaults: ST-4 or ST-based Jitte/Sai-4; cannot exceed
  ST+3 or ST-based Jitte/Sai+3.
  Cinematic strongmen often use brute strength to snap
  weapons. You can only attempt this if you trapped the tar-
  get weapon with a barehanded grab or Bind Weapon
  (Jitte/Sai) on an earlier turn – or on your turn after making
  a successful Hand Catch or Hand-Clap Parry. Roll a Quick
  Contest: Snap Weapon vs. the weapon’s HT. Use HT 10 for
  missile weapons, HT 12 for melee weapons. Cheap weapons
  get -2; fine ones, +1; very fine ones, +2. This is an attack. If
  you win, you inflict thrust crushing damage on the weapon.
  Springing Attack*
  Hard
  Default: prerequisite skill-2.
  Prerequisite: Any unarmed combat or Melee Weapon
  skill; cannot exceed prerequisite skill.
  Springing Attack represents an attack made from the
  kind of deep stance that some cinematic fighters use to
  “store up” energy for a powerful strike. To make an attack
  like this, you must first crouch. This takes your entire turn
  – you may do nothing else.
  On your next turn, make a roll against Springing Attack
  – not the prerequisite skill – to hit with your first attack. If
  you hit, that one attack is at +2 to damage or +1 per die,
  whichever is better. If you miss, you have -2 to DX and all
  active defenses until your next turn. On a critical miss, you
  fall down! If your foe defends, you suffer no special ill
  effects.
  TECHNIQUES
  87
  
  88
  TECHNIQUES
  Humorous movies often feature silly techniques that
  embarrass or distract the victim. These aren’t “cinematic” in
  the usual sense – they aren’t legendary, high-powered, or
  chi-based – but neither are they realistic. Most simply
  wouldn’t work in a real fight. The GM may rule that such
  techniques are useless (see Useless Techniques, p. 95), but in
  a silly game it’s more fun to let them work!
  Double Eye-Poke
  Hard
  Defaults: Brawling-5 or Karate-5.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  This is a darting thrust to both eyes using one hand with
  two extended fingers – often accompanied by suitable
  sound effects (“Poink!”). The goal isn’t to maim but to dis-
  tract the victim so you can pull a fast one or run away! If hit,
  the target must roll vs. HT. Failure means he’s blinded for
  seconds equal to his margin of failure.
  Eye-Poke Defense
  Hard
  Default: prerequisite skill Parry.
  Prerequisite: Any unarmed combat skill; cannot exceed
  prerequisite Parry+5.
  The best defense against Double Eye-Poke is to place a
  hand upright along the nose, which forces the attacker’s fin-
  gertips to stop short of the eyes. This parry is an ultimate
  defense, and can go as high as Parry+5. Of course, it only
  works against Double Eye-Poke . . .
  Flying Atomic Wedgie
  Hard
  Defaults: Brawling-8 or Wrestling-8.
  Prerequisite: Brawling or Wrestling; cannot exceed pre-
  requisite skill.
  The Flying Atomic Wedgie is a Move and Attack: you
  leap past the target, grab hold of his underpants, and pull at
  full power – hopefully getting the shorts up over his head. If
  you hit, roll a Quick Contest of ST with the victim. You’re at
  +1 per yard you ran toward him. If you win, he suffers
  agony (p. B428) for minutes equal to your margin of victo-
  ry and embarrassment for considerably longer.
  Halitosis Attack
  Average
  Default: HT-5; cannot exceed HT+5.
  Prerequisite: Odious Personal Habit (Foul Breath).
  This dreaded attack is an attempt to overcome the
  enemy with bad breath in close combat. To use it, you must
  grapple your foe from the front or he must do the same to
  you. On later turns, roll a Quick Contest: your Halitosis
  Attack vs. your victim’s HT. This counts as an attack.
  If you win, you stun your victim for seconds equal to
  your margin of victory. If you critically succeed or he criti-
  cally fails, he’s retching for that time instead (p. B429). If he
  has No Sense of Smell/Taste, though, he’s immune!
  There are persistent rumors of a Flatulence Attack that
  works on foes who grapple you from behind. The GM
  should decide whether martial farts suit his campaign.
  Noogie
  Hard
  Defaults: Brawling-5 or Karate-5.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  A Noogie is a knuckle rub to the top of the head. If hit,
  the victim suffers moderate pain on his next turn (only).
  Repeated hits on successive turns cause this to progress a
  step a turn to severe pain, terrible pain, and agony. Further
  attacks extend the agony’s duration. For rules for pain and
  agony, see p. B428.
  The best way to use Noogie is to pin the target and noo-
  gie away until he’s in agony. This gives the usual +3 to
  Intimidation when you finally stop and make demands
  (“Say ‘uncle’!”).
  Head DR beyond the standard DR 2 for the skull grants
  immunity.
  Nose Slap
  Hard
  Defaults: Brawling-5 or Wrestling-5.
  Prerequisite: Brawling or Wrestling; cannot exceed pre-
  requisite skill.
  Nose Slap is a close-combat attack that involves grab-
  bing the victim’s nose with one hand and using the other to
  slap him across the face – all in one smooth motion. If hit,
  the target is stunned and must roll vs. HT. Failure means he
  drops anything he’s holding in either hand and clutches his
  nose. If he has something he can’t drop, like a shield, he hits
  himself in the face with it. Nyuk!
  Wet Willy
  Hard
  Defaults: Brawling-6 or Karate-6.
  Prerequisite: Brawling or Karate; cannot exceed prereq-
  uisite skill.
  To attempt a Wet Willy, you must first take a Ready
  maneuver and moisten a finger with saliva. The following
  turn, roll against Wet Willy to wiggle the slimy finger
  around in your adversary’s ear. If he’s hit, he must roll as if
  Squeamish (p. B156) with a self-control roll equal to his
  Will. If he’s already Squeamish, he must attempt his normal
  self-control roll at -3. Failure has the usual effect.
  Silly Techniques
  
  You may combine Springing Attack with another strik-
  ing technique. See Using Techniques Together (p. 64) to find
  effective skill level.
  Timed Defense*
  Hard
  Default: active defense-2; cannot exceed active defense.
  This technique helps you defend against opponents who
  use acrobatics or speed to move behind you and attack. It
  lets you buy off the -2 for a flank or “runaround” attack
  (p. B391) for one active defense. For Block or Parry, you
  must specialize by combat skill. You may use Timed Defense
  (Dodge) only once per turn.
  Whirlwind Attack*
  Hard
  Default: prerequisite skill-5.
  Prerequisite: Boxing, Karate, or any Melee Weapon skill;
  cannot exceed prerequisite skill.
  Whirlwind Attack is a special All-Out Attack that lets you
  attack every foe adjacent to you with lightning speed! If you
  make a Whirlwind Attack, it’s all you can do that turn, no
  matter how fast or skilled you are. Since it’s an All-Out
  Attack, it leaves you with no active defenses. Otherwise, the
  rules below replace the usual ones for that maneuver.
  When you launch a Whirlwind Attack, you spin in place
  (you cannot step) and attack all foes within a yard. You must
  attack them in clockwise or counterclockwise order – your
  choice. All of your attacks must be kicks, punches, or strikes
  with a swung weapon, and you cannot combine Whirlwind
  Attack with another technique (such as Disarming, but see
  Grand Disarm, p. 84) or with cinematic skills such as Power
  Blow.
  Determine a random hit location for each foe and then
  roll against Whirlwind Attack to hit, with the usual hit loca-
  tion penalties. Your opponents defend normally. Resolve
  each attack completely before moving to the next one. If
  using a weapon that can get stuck (see Picks, p. B405), your
  Whirlwind Attack ends on the first successful attack. If any
  of the attacks is a critical miss – or if any of your enemies
  critically succeeds on his defense – then that attack and all
  remaining attacks are critical misses. Roll on the Critical
  Miss Table (p. B556) once per attack!
  You may end a Whirlwind Attack facing in any direction.
  TECHNIQUES
  89
  CREATING NEW TECHNIQUES
  This chapter’s techniques don’t
  constitute an exhaustive list. Each
  martial-arts master has unique moves,
  a typical fencing manual describes
  hundreds of attacks and parries for
  one type of sword, and a global survey
  of unarmed fighting arts would reveal
  thousands of kicks. This doesn’t even
  touch on feats from legend and cine-
  ma, which – freed of the fetters of
  physics – vastly outnumber realistic
  techniques! Thus, the GM is likely to
  learn of new techniques from fact and
  fiction . . . and face players who want
  signature moves for their characters.
  Most “new” techniques are varia-
  tions on existing ones, with differences so subtle that they
  don’t merit game effects. For these, don’t bother with the
  design system below. Just rename one of the techniques on
  pp. 65-89 to agree with your source and use its rules as writ-
  ten. The original technique and all renamed versions should
  default to one another at no penalty. For instance, you might
  refer to Lethal Strike (p. 85) as “Spear Hand” or “Crane’s
  Bill,” but all would use the Lethal Strike rules and default to
  each other at full skill.
  Below is a greatly expanded version of Creating
  Techniques (p. B229) that’s intended for truly new techniques.
  This system is meant for dedicated Martial Arts campaigns.
  Its degree of detail would be excessive in other kinds of
  games. It’s also primarily for GMs. If the GM permits players
  to use it, he should carefully examine their creations before
  allowing them.
  Name
  Give the technique an evocative name.
  You might take this from a real-world style
  or a fictional source, or simply make it up.
  The name might be prosaic, like
  “Uppercut”; designed to frighten enemies,
  like “Up From Hell”; or poetic, like
  “Brushing the Horse’s Tail” or “Swallow
  Takes Wing.”
  Concept
  Decide what the technique does in
  game terms. Skip down to Defaults (pp. 90-
  92) to see what’s possible, if you’re unsure.
  The crucial thing to remember is that com-
  bat skills – studied as part of a style or on their own – repre-
  sent the distillation of decades, centuries, or millennia of
  experience under circumstances where error could mean
  death. Thus, their core uses provide a tried-and-true balance
  between several measures of effectiveness, notably defense,
  mobility, power, precision, reach, and speed. A technique that
  stresses one or two of these things will compromise the rest.
  Also bear in mind that a technique cannot improve the
  core use of the skill to which it defaults: punching for Boxing,
  Brawling, or Karate; grappling for Judo, Sumo Wrestling, or
  Wrestling; or swings and thrusts for Melee Weapon skills.
  Techniques can only boost secondary uses (e.g., kicking, for
  Brawling or Karate) or penalized versions of primary ones.
  The same logic applies to techniques that default to active
  defenses: these cannot improve ordinary active defense rolls,
  only penalized uses in special circumstances.
  Tonfas
  
  Prerequisites
  Unless the technique is based on Dodge or an attribute,
  it must specify at least one prerequisite skill. The technique
  automatically defaults to this skill – or, for defensive tech-
  niques, to the Block or Parry score calculated from this skill.
  If more than one skill qualifies as a prerequisite and gives a
  default, the buyer must specialize; see Specialties (p. 92-93).
  Skills that don’t give defaults can still be logical prerequi-
  sites; e.g., Acrobatics for flamboyant jumping kicks, or
  Riding for mounted techniques.
  It’s reasonable to name another technique as a prerequi-
  site, too. This may or may not give a default. A fighter must
  have at least a point in the prerequisite technique to
  improve the subsidiary technique, but he can always
  attempt it at default – or even at “double default,” if he has
  points in the underlying skill but not in either technique.
  Finally, advantages can be prerequisites. By far the most
  common of these is Style Familiarity (p. 49) with a style that
  teaches the technique. All cinematic techniques require
  Trained by a Master or Weapon Master – anyone can
  attempt them but only warriors with one of those advan-
  tages can improve them. Techniques for nonhumans might
  require Claws, Extra Arms, Strikers, etc., if they rely on such
  body parts.
  Defaults
  A technique must default to a skill, another technique, an
  active defense, or (rarely) an attribute. The default penalty
  measures the technique’s precision. Improvements in areas
  other than precision – mobility, power, reach, etc. – worsen
  the penalty, while shortcomings reduce it. The more all-
  round capability a technique offers, the worse its default
  penalty and the more points you must spend to get good at
  it!
  Many techniques incorporate maneuvers, active defens-
  es, or combat options (such as Telegraphic Attack and Wild
  Swing), but thanks to the design principles behind GURPS,
  they obey the same rule: if they favor one type of effective-
  ness, they sacrifice another.
  Below are guidelines for assigning default penalties. You
  can save time and effort by starting with the closest existing
  technique and adjusting its default as you add and subtract
  effects. The most important rule is this:
  The final default modifier can never give a bonus. If this
  happens, set it to 0.
  Offensive Techniques
  When building an offensive technique, you must choose the
  attack it’s based on. This determines its basic default penalty.
  Some important options by skill, with basic default penalties
  given in parentheses:
  Boxing: Punch (+0).
  Brawling: Elbow (-2), Kick (-2), Knee (-1), Punch (+0), or
  Slam (+0).
  Judo: Grab (-4), Grapple (+0), Sweep (-3), or Throw (+0).
  Karate: Elbow (-2), Kick (-2), Knee (-1), Punch (+0), or
  Sweep (-3).
  Melee Weapon: Strike (+0). A hooked/tined weapon, whip,
  etc., can Grab (-4). A long weapon can Sweep (-3).
  Sumo Wrestling: Grab (-4), Grapple (+0), Shove (+0), Slam
  (+0), or Sweep (-3).
  Wrestling: Grab (-4) or Grapple (+0).
  Unless you specify otherwise, the technique works with all
  of All-Out Attack, Attack, Committed Attack, Defensive Attack,
  and Move and Attack. It can work differently in each case,
  though. If so, be sure to describe the differences.
  You can limit the technique to a subset of these maneuvers.
  If you do, you must also choose one specific option for any
  maneuver that offers multiple options. The technique inherits
  the effects of these maneuvers and options – including any
  built-in penalties to the attack roll, which adjust the default
  penalty. For instance, a kick (-2) that must use Move and
  Attack (-4) would default to skill-6 and use the Move and
  Attack rules. If you apply any of the modifications below, the
  technique effectively becomes a new option for the maneu-
  ver(s) in question.
  Additional effects further modify the default. While some of
  these are open-ended, extreme levels are cinematic; see
  Designing Cinematic Techniques (pp. 94-95). Common options
  include:
  Damage: +4 to default for -2 damage or -1 damage per die,
  whichever is worse; +2 to default for -1 damage; -2 to default
  for +1 damage; or -4 to default for +2 damage or +1 damage
  per die, whichever is better. Techniques based on Defensive
  Attack cannot take damage bonuses but can worsen their dam-
  age penalty for an improved default.
  Extra Movement: Techniques based on Committed Attack
  can optionally allow a double step at -2 to hit. Those based on
  Move and Attack let the attacker travel his full Move at -4 to
  hit. In either case, add the appropriate penalty to the tech-
  nique’s default penalty. Alternatively, base the technique on All-
  Out Attack, which allows half Move at no penalty. For a slam-
  based technique, remember that a slam isn’t at -4 to hit (and
  isn’t “capped” at skill 9) as a Move and Attack, and allows full
  Move as an All-Out Attack.
  Hit Location: Add any hit location penalty to the default. No
  technique can eliminate every hit location penalty, though! At
  most, a technique can eliminate the penalty for one specific 
  target. For details, see Targeted Attacks (p. 68).
  90
  TECHNIQUES
  Basic Attacks
  A basic attack is any fundamental use of a combat
  skill that can form the basis of an offensive tech-
  nique, defining its initial effects and default penalties.
  A skill’s “core” use is the most basic attack of all and
  defaults at +0. For an unarmed striking skill, this is a
  hand strike or punch that deals thrust-1 crushing
  damage (p. B271). For an unarmed grappling skill,
  this is a grapple (p. B370). For a weapon skill, this is
  any of the attacks listed in the table entry for that
  weapon – although not every weapon technique
  works with every attack. Trickier options include
  elbow strikes (p. B404, p. 71), grabs (p. B370), kicks
  (p. B271, pp. 75-76), knee strikes (p. B404, p. 76),
  shoves (p. B372), slams (p. B371), sweeps (p. B232,
  p. 81), and throws (p. B203, pp. 75,78-79).
  
  Opponent’s Defenses: +2 to default per +1 to all of the
  opponent’s defenses against the attack, or -2 to default per -
  1 to any one of the target’s defenses against the attack. If the
  technique penalizes more than one defense, only the largest
  penalty uses this scheme; smaller penalties to other defens-
  es give only -1 to default per -1 to defense. For instance, if
  the victim has -2 to parry, -1 to block, and -1 to dodge, the
  default is at -6.
  Own Defenses: +2 to default per -1 to all of one’s active
  defenses while attacking, or -2 to default per +1 to any one
  active defense. The latter modifier differs from Defensive
  Attack in that it trades skill rather than damage for a defen-
  sive bonus; it can “stack” on top of a regular Defensive
  Attack. Techniques based on Committed Attack include that
  maneuver’s basic -2 to all defenses and cannot remove this
  by adding a defensive bonus – but they can get an easier
  default by taking a worse penalty! Techniques based on All-
  Out Attack cannot modify the attacker’s defenses at all.
  Wild Swing: If the attack specifically strikes a target to
  the side or back, apply the -5 Wild Swing penalty to its
  default (see Wild Swings, p. B388).
  Special Benefits: Each built-in exemption from the usual
  rules gives -1 to the default penalty. Such benefits are 
  similar to Style Perks (pp. 49-52) but apply only to one 
  technique. Examples include:
  •Being able to retreat after a particularly acrobatic
  Committed Attack.
  •Bypassing the DX roll to avoid falling on a miss with a
  low-powered kick.
  • Ignoring the effective skill limit of 9 on a Wild Swing
  when striking rearward.
  A technique can also “trade” one of the usual effects of
  the attack on which it’s based for a different but equally
  valuable effect. For example, Push Kick (p. 78) lets a
  Brawling or Karate kick act as a shove (p. B372), trading
  kicking damage for the ability to use twice that damage for
  knockback only. Conversely, a “Slap” technique might turn a
  Sumo Wrestling shove into a strike that inflicts punching
  damage instead of knockback. Such benefits often make an
  entirely new basic attack available to a skill. All such tech-
  niques get -1 to their default penalty to reflect the fact that
  they’re unusual, rarely taught uses.
  Special Drawbacks: Extra restrictions give +1 apiece to
  the default penalty. A few examples:
  • An additional success roll required before attempting
  the technique (failure means the technique fails) or to recov-
  er afterward (with negative consequences on a failure!).
  • Having to Do Nothing to recover on the turn after the
  technique. This is cumulative with the modifier for an extra
  success roll afterward.
  • Having to parry an attack by the future target and/or
  use a “setup” move that takes a full turn (e.g., grapple him
  or take a Ready maneuver) to be able to employ the tech-
  nique. This is cumulative with the modifier for an extra suc-
  cess roll beforehand. Throws automatically work like this
  and cannot claim this drawback.
  •Increased odds of the attacker getting hurt on an ordi-
  nary miss. This might be self-inflicted injury when punching
  any DR instead of DR 3+, collision damage, etc.
  •Limited target selection, most often “upper body only”
  (skull, eyes, face, neck, torso, vitals, arms, and hands),
  “lower body only” (groin, legs, and feet), or “only on a foe
  who isn’t standing or who has lower SM.”
  Some drawbacks come in multiple levels:
  • A penalty to the DX roll to avoid falling on a missed
  kick is worth +1 for DX-2, +2 for DX-4, or +3 for DX-6 or
  worse. A required or automatic fall, as for Drop Kick (p. 70)
  or Elbow Drop (p. 70-71), is worth +4. Having to drop to a
  kneeling or sitting posture is worth only +2.
  • Reduced maximum reach is worth +1 per yard. Going
  from 1 to C counts as 1 yard (+1) and is common for low-
  powered kicks.
  Example 1: Back Kick (p. 67) gets the basic -2 for a kick
  and an extra -5 for a Wild Swing, since it’s an attack direct-
  ly backward. Furthermore, it ignores the usual skill cap of 9
  on a Wild Swing – a special benefit (-1). These penalties total
  -8. However, the attacker has -2 to his defenses, which adds
  +4. The final default penalty is thus -4.
  Example 2: Flying Jump Kick (p. 83-84) gets the basic -2
  for being a kick plus the -4 for Move and Attack. It gets +2
  damage, for another -4, and gives the target -2 to parry, for
  a further -4. It has two special benefits, too: it ignores the
  skill cap of 9 on a Move and Attack (-1) and lets the attack-
  er add his jumping distance to his Move (-1). These penal-
  ties total -16! However, the kick leaves the attacker at -2 to
  defend, for +4. And it has three special drawbacks: it
  requires a Jumping roll to execute (+1); the roll to avoid a
  fall is at DX-6 (+3), which becomes DX-8 with Move and
  Attack’s built-in -2 to avoid falls; and any fall results in colli-
  sion damage (+1). These bonuses total +9, making the final
  default penalty -7.
  Locks and Holds
  A lock or a hold with special effects on the turn after the
  attacker grapples his victim is an offensive technique that
  defaults to a grappling skill. The basic default penalty is the
  penalty to grapple the target hit location (see p. B400). On
  top of this, all such techniques have three mandatory mod-
  ifications: having to grapple or parry in order to attempt the
  hold or lock gives +1 for requiring an additional success roll
  and +1 for taking an extra action to set up, while the ability
  to inflict ongoing suffocation or injury via a Quick Contest,
  when a grapple normally causes no damage, is a special
  benefit worth -1. These modifiers total +1. Apply other mod-
  ifiers as necessary.
  Example: Arm Lock (p. 65) targets the arm, which has a
  hit location penalty of -1 for grappling purposes, making the
  basic default penalty -1. It gets another -1 for being able to
  inflict ongoing injury. These penalties total -2. However, the
  initial grapple takes an extra turn (+1) and requires an
  attack roll (+1), adding +2. The net default penalty is +0.
  Defensive Techniques
  A defensive technique defaults either to Dodge or to the
  Block or Parry score calculated from a particular combat
  skill. It might default to more than one of these defenses,
  in which case the buyer must specialize (see Specialties,
  pp. 92-93).
  TECHNIQUES
  91
  
  A use of a defensive technique is a use of the active
  defense to which it defaults for all purposes. It’s only possi-
  ble if the fighter could attempt the underlying defense – that
  is, never after an All-Out Attack or against a surprise attack,
  and only against an attack that the defense could affect. It
  takes the same modifiers as that defense; e.g., Combat
  Reflexes gives +1 and retreating provides +1 or +3. Where
  the rules limit the number of defenses possible or give
  penalties for multiple defenses, techniques that default to
  Block or Parry count as blocks or parries, respectively.
  Most defensive techniques offer a way to “buy off” penal-
  ties to defenses. These have a default
  penalty equal to the situational penalty
  in question. Some examples:
  -1 to defend against a Dual-
  Weapon Attack (p. B417).
  -1 to parry using a knife.
  -2 to block a flail.
  -2 to defend against an attack from
  the side (p. B390) or above (p. B402),
  or a “runaround” attack (p. B391).
  -2 to parry a kick if using Boxing
  or Sumo Wrestling.
  -2 to parry using a whip.
  -3 to parry weapons using
  unarmed skills other than Judo and
  Karate.
  -4 to parry a flail.
  The GM may permit other effects –
  either instead of or in addition to the above – each of which
  modifies the default. Examples include:
  Opponent’s Defenses: The defender can use his defense to
  “set up” his next attack. For each -1 to the default, the
  attacker is at -1 to parry the defender’s attack, on the next
  turn only, if that parry involves the weapon that the defend-
  er warded off using this technique.
  Own Attack Roll: Another kind of “setup.” For each -1 to
  the default, the defender gets +1 to his attack roll, on the
  next turn only, against the attacker he warded off using this
  technique.
  Own Defenses: -1 to default per +1 to one other active
  defense after defending with this technique, or +1 to default
  per -1 to all other active defenses after using this defense.
  The latter modifier can only offset penalties; it cannot result
  in a net bonus.
  Special Benefits: Each built-in exemption from the stan-
  dard rules – e.g., being able to drop to the ground or side-
  step as a retreat against a melee attack – gives -1 to the
  default penalty. A few potent benefits might give -2; e.g.,
  being able to retreat two steps or step directly toward your
  enemy and count it as a “retreat,” either of which is cine-
  matic if you can improve it!
  Special Drawbacks: Each additional restriction on the
  defense adds +1 to its default penalty. This cannot give a net
  bonus. Some examples:
  • An additional success roll required before attempting
  the technique. Failure means the defense fails!
  • Attacker may opt to hit a more vulnerable target than
  his intended one if the defense fails. A common example is
  a weapon parry that involves risky hand placement on the
  parrying weapon, giving the attacker the option to strike a
  hand should the parry fail.
  • Falling down on an ordinary failure.
  • Inability to defend against a broad category of attacks:
  armed attacks, close-combat attacks, swings, thrusts, etc.
  • Increased injury from the incoming attack if the
  defense fails. This is worth +1 to the default for +1 to the
  attacker’s damage – or +2 if the attacker gets the better of +2
  damage or +1 damage per die.
  Example: A fighter wishes to use his
  Brawling parry to ward off swung
  weapons by stepping inside his
  attacker’s guard and parrying the
  weapon arm instead of the weapon.
  Brawling has -3 to parry weapons.
  The ability to step forward as a
  “retreat” is a special benefit that adds
  a further -2. The total penalty is -5.
  However, there’s a major drawback:
  failure means stepping into the
  attack for +2 damage! This gives +2,
  making the final default penalty -3.
  Utility Techniques
  The GM may allow a technique
  that “buys off” a specific situational
  skill penalty for all uses of a skill, if a
  fighter could logically study a body of
  moves that would be useful in that
  situation. However, no technique can eliminate a general
  category of penalties, such as “all posture penalties.” For
  instance, Ground Fighting (p. 73) defaults to skill-4 and per-
  mits a fighter to buy off the -4 to attack when lying down,
  while Low Fighting (p. 77) defaults to skill-2 and does the
  same for the -2 when sitting or kneeling . . . but a single tech-
  nique couldn’t encompass both.
  Utility techniques need not be based on combat skills to
  be useful in a fight. Warriors might be able to improve their
  odds with special uses of Acrobatics, Jumping, and other
  athletic skills in combat; see Acrobatic Stand (p. 98) and
  Breakfall (pp. 68-69) for examples.
  Specialties
  If a custom-built technique defaults to multiple skills, list
  those skills. Individuals who learn the technique must spec-
  ify which version they know and note the skill name as the
  technique’s “specialty” on their character sheet; e.g., Elbow
  Strike (Brawling) or Elbow Strike (Karate). There’s no
  default between such specialties – even if the parent skills do
  default to one another.
  Techniques that default to other techniques automatical-
  ly “inherit” the specialty of the parent technique. For
  instance, if a student learns Finger Lock from his default to
  Arm Lock (Judo), he automatically has Finger Lock (Judo).
  All of this applies equally to defensive techniques. The
  fighter must specify both the defense (Block, Dodge, or
  Parry) and the skill that enables it (unnecessary for Dodge);
  e.g., Dual-Weapon Defense (Shield Block) or Dual-Weapon
  Defense (Staff Parry).
  92
  TECHNIQUES
  Deer Antlers
  
  If a technique defaults only to ST, DX, Dodge, or a similar
  score that doesn’t derive from a skill level, it doesn’t require
  specialization.
  Difficulty Level
  The lists below assign “Average” or “Hard” difficulty to
  broad classes of techniques on the bases of real-world diffi-
  culty and game balance. These are merely guidelines! The GM
  may rule that an otherwise Average technique with many spe-
  cial effects is Hard – or that one that would normally be Hard
  is only Average because it’s such a basic use of the skill to
  which it defaults.
  Average
  • Holds and locks that pit the attacker’s arms or hands
  against the target’s torso, arms, or legs.
  • Unarmed strikes and shoves involving elbows, hands,
  knees, and other “intuitive” striking surfaces. This varies by
  race; e.g., teeth are a dog’s first resort but not a man’s.
  •Weapon thrusts and swings.
  Hard
  •Defensive techniques.
  •Disarms.
  •Feints.
  • Holds and locks applied using the attacker’s legs or feet,
  or that go after the target’s feet, hands, head, or neck.
  •Improved resistance to disarms, feints, grapples, etc.
  •Multiple strikes, regardless of how many arms or
  weapons the attacker has.
  • Techniques that buy off penalties for a target (e.g., hit
  location) or situation (e.g., posture, or combat from a moving
  platform).
  • Unarmed attacks that involve “unintuitive” striking sur-
  faces. This depends on race; e.g., a kick is unbalancing and
  thus unintuitive for a human but not for a horse.
  •Weapon-based grabs and grapples.
  Maximum Level
  A combat technique should always specify a level past
  which further improvement is only possible by raising the par-
  ent skill, technique, etc.
  A technique that defaults to a skill, technique, or active
  defense at a penalty cannot be raised past the score to which it
  defaults. GURPS treats attacks and defenses as discrete
  actions . . . but in reality, each move “sets up” the next. Any
  technique tricky enough to give a penalty is only as good as the
  fighter’s grasp of the basics he uses to set it up.
  On the other hand, a technique that defaults to a skill (only)
  at no penalty represents a “sub-skill”: a body of knowledge that
  one could theoretically isolate and study almost as if it were its
  own skill. Skill+4 is a reasonable maximum here – but the GM
  is free to use skill+3 to control easily abused techniques or
  skill+5 for self-limiting ones.
  A technique that defaults to a technique or an active defense
  at no penalty can never exceed the parent score, however.
  Techniques that default to attributes constitute a special
  case. Improving a technique like this represents training at a
  feat that anybody could try – which describes most skills!
  Since there’s no upper limit on skills, the GM could fairly allow
  almost any maximum.
  Description
  The description of a technique should provide about the
  same degree of detail as the worked examples in this chap-
  ter. Remember that techniques include all of the effects of
  the combat options, maneuvers, and techniques from which
  they’re built, except for those deliberately removed using the
  design system. To keep page-flipping in play to a minimum,
  summarize the basic and added effects in one place.
  DESIGNING REALISTIC
  TECHNIQUES
  Every aspect of a realistic technique should make sense
  in real life. In particular, the tradeoffs should be logical.
  One could stack up any number of effects and work out the
  “fair” default . . . but that would be an abstract number
  shuffle and have little to do with reality. In general:
  • Damage: For realistic punches, damage bonuses
  should come with drawbacks – most often high potential
  for self-inflicted injury. If a punch gets extra damage with-
  out such a limitation, base it on Committed Attack
  (Strong) or All-Out Attack (Strong).
  Kicks can deliver extra damage with fewer drawbacks,
  or even with other bonuses. For instance, a high-powered
  kick that involves jumping at the foe might be parried at a
  penalty, as it’s difficult to parry an entire person!
  Weapon strikes that deliver extra damage involve exag-
  gerated windups, awkward striking angles, or placing the
  weapon in contact with the target for a long time (e.g., a
  drawing or sawing cut). Any of these things should give the
  target a bonus to defend.
  Extra-powerful kicks and weapon blows tend to open
  up the attacker’s guard, giving him a penalty to his own
  defenses! Many are Committed or All-Out Attacks.
  • Extra Movement: In realistic games, high-mobility
  attacks should be Committed or All-Out Attacks. Allowing
  fighters to buy off the -4 for Move and Attack is unrealistic
  – being able to run at top speed, attack at full skill, and still
  defend effectively is simply too much action for one
  second.
  • Opponent’s Defenses: Realistic bonuses to the target’s
  defenses against an offensive technique shouldn’t exceed
  +2. They make the most sense for haymaker punches,
  extra-damage weapon attacks, and other slow or clumsy
  strikes that are easy to see coming and avoid.
  Penalties to an opponent’s Parry – from offensive or
  defensive techniques – shouldn’t be worse than -2. These
  mainly suit tricky “spinning” attacks, kicks that get their
  bonus damage from a jump (which can bash the defender’s
  hand aside), and parries that involve moving inside the
  foe’s guard . . . which tend to cause extra damage to the
  user if he fails! Few realistic techniques can justify a penal-
  ty to the defender’s Block or Dodge. For that, use a feint or
  Deceptive Attack.
  • Own Attack Roll: The bonus to hit with an attack that
  follows a defensive technique shouldn’t exceed +2. Such
  techniques tend to be dangerous and should usually result
  in the defender taking extra damage if he fails.
  TECHNIQUES
  93
  
  •Own Defenses: A bonus to one’s Block, Dodge, or Parry
  when using an offensive technique shouldn’t exceed +2 for a
  realistic attack. This is typically a Parry bonus, and only
  benefits parries with the weapon used to attack. It repre-
  sents a guarded blow calculated to “feel out” the foe in order
  to better respond to him – much like a Defensive Attack –
  and often comes with a reduction in damage. It wouldn’t be
  unrealistic to tie +1 Parry to -1 damage and +2 Parry to -2
  damage. Bonuses to other defenses when using a defensive
  technique should likewise not exceed +2.
  Similarly, a penalty to all of one’s own defenses when
  attacking likely represents an aggressive attack similar to
  Committed Attack. The GM might wish to make this penal-
  ty mandatory for techniques that get bonus damage. In any
  event, the defense penalty from a realistic offensive or defen-
  sive technique shouldn’t be worse than -2.
  •Special Benefits: Above all, these must make sense. For
  instance, a full-powered kick shouldn’t be able to take “no
  DX roll to avoid falling on a miss” as a benefit. A kick that
  safe is likely low-powered, with a damage penalty . . . or has
  a balancing drawback, such as being a low kick that can
  only affect the feet and legs of a standing target. Removing
  the effective skill cap of 9 from a Wild Swing is realistic;
  many real-world martial arts teach precision strikes to the
  side and rear. Eliminating the same limit for a technique
  based on Move and Attack is highly unrealistic, however!
  • Special Drawbacks: These, too, must be logical and fit
  in with the technique’s other effects: a full turn of Ready to
  “wind up” before a high-damage attack, reduced reach for a
  cautious attack that gives the attacker a Parry bonus or a
  damage penalty, a Jumping roll to execute a dangerous kick
  (and a penalty to the DX roll if it misses), etc. The GM
  shouldn’t permit “super-techniques” that give the attacker
  damage and defense bonuses, penalize the target’s defenses,
  and offer many special benefits . . . and then “pay” for it all
  by piling on a dozen unrelated drawbacks.
  Lastly, it’s important to recognize that it isn’t realistic to
  buy off every penalty. As noted above, no believable offensive
  technique should be able to eliminate the -4 for a Move and
  Attack – and of course any penalty that a cinematic tech-
  nique can’t handle (see below) is definitely beyond the reach
  of a realistic one!
  DESIGNING CINEMATIC
  TECHNIQUES
  A cinematic technique doesn’t have to make sense. All
  that matters is that it’s true to the spirit of the game and – if
  taken from a fictional source – its origins. Legend and cine-
  ma are full of “super-techniques” that give bonuses in every
  category, the only cost being a huge default penalty . . .
  which is of no concern to the master, whose prodigious skill
  can easily absorb a mere -15 or -20. A few guidelines for
  GMs who wish to temper their cinematic campaigns with
  game balance:
  •Damage: No matter how deadly a technique is reputed
  to be, the GM should limit its damage bonus to +2 (or +1 per
  die, if better). Weapon Masters already get a damage bonus,
  while unarmed fighters can learn Pressure Secrets. These
  simulate the devastating “secret techniques” of cinematic
  masters far better than do massive technique-based damage
  bonuses.
  •Extra Movement: In settings with a chambara or wuxia
  sensibility, there should be many techniques that let war-
  riors buy off the -4 for Move and Attack. To truly simulate
  these genres, most techniques should have a Move and
  Attack variant! An attack that gets extra movement from
  jumping, tumbling, vaulting, etc., has an additional -1 – or 
  -2 if it allows full-fledged acrobatics (see Flying Attack,
  p. 107, and Acrobatic Attack, p. 1007).
  •Hit Location: Contrary to the rules for Targeted Attacks
  (p. 68), the GM may wish to allow warriors to eliminate hit
  location penalties completely by buying cinematic tech-
  niques. This is deadly – imagine a swordsman who can com-
  pletely remove the -9 to hit the eyes or the -10 for chinks in
  armor on the skull – but it is in keeping with much of
  martial-arts fiction.
  • Opponent’s Defenses: Bonuses to the target’s defenses
  against offensive techniques can go as high as +4 in cine-
  matic games. Use this for exotic “finishing moves” that only
  work against opponents who are already defeated and
  unable to defend. On the other side of the coin are mythical
  techniques (either offensive or defensive) that can suppos-
  edly defeat the strongest defense. These might give an oppo-
  nent up to -4 to his Block, Dodge, and/or Parry.
  •Own Attack Roll: Elaborate defensive techniques might
  give +4 or more to hit one’s foe after parrying his attack at a
  proportionally huge penalty. This is an excellent choice for
  the cinematic barbarian, whose parry is often little more
  than a powerful, cleaving blow designed to knock aside his
  opponent’s weapon and lead directly into an attack.
  • Own Defenses: A cinematic warrior might get up to +4
  to one of his defenses for an elaborate offensive technique
  that involves attacking from some secret guard position . . .
  or up to -4 to all of his defenses when making a desperate
  lunge or mighty swing that’s designed to avoid retaliation by
  killing the target. He might receive between +4 and -4 to
  other defenses when using a similarly extreme defensive
  technique.
  •Special Benefits: Almost anything is possible! Offensive
  techniques that make it possible to buy off Move and Attack
  penalties are particularly common. These often toss in an
  extra -1 to get rid of the skill limit of 9 and a further -1 to
  eliminate the restriction against retreating afterward.
  Defensive techniques can enjoy similarly extreme bene-
  fits. A classic example is defense against attacks from
  behind without having Peripheral Vision or 360° Vision.
  This benefit gives a basic default of -1, plus the usual -2 for
  the awkward angle. A technique like this might require
  Danger Sense or Precognition to use at all.
  • Special Drawbacks: There are at least two schools of
  thought on this matter. Some techniques seem to pay for
  their effectiveness by being risky. They offer many benefits
  alongside frightening drawbacks that keep their default
  penalties relatively modest. Even a beginner can try these
  moves . . . but any failure is disastrous!
  Other techniques have no special down side – except, of
  course, for a huge default penalty. This puts them out of the
  reach of beginners. Once perfected, though, they’re very reli-
  able and very deadly.
  94
  TECHNIQUES
  
  The GM decides which model to use. He might use the
  same one for every technique he designs, vary his approach
  from style to style, or let the chips fall where they may.
  The GM should be more lenient about which combat
  penalties a cinematic technique can remove, too. The only
  hard-and-fast rule is that no technique should make it pos-
  sible to buy off the penalties for Rapid Strike or multiple
  parries (reducing these penalties is the territory of Trained
  by a Master and Weapon Master, which are far more expen-
  sive than any technique); those for distraction, stunning, the
  momentary shock from injury, etc. (nobody spends enough
  time in any of these states to get good at fighting that way);
  and those for darkness or invisibility (but see Blind Fighting,
  p. B180).
  USELESS TECHNIQUES
  A few techniques are almost worthless in a real fight.
  They seem to make sense but simply don’t work in reality –
  although this doesn’t automatically make them cinematic or
  silly (see Silly Techniques, p. 88). This is often the case for
  secret techniques, many of which are so secret that they’ve
  never been tested in anger (see Secret Techniques, p. 86).
  If the GM wishes, he can cook up plausible-sounding
  techniques with intriguing names and have unscrupulous –
  or naïve – masters offer to teach them to the PCs. Since
  these techniques don’t really do anything special, he can
  assign default penalties, difficulties, and maximum levels
  more-or-less randomly.
  A potential student gets an IQ-based roll against the tech-
  nique’s prerequisite skill when he first hears about or wit-
  nesses the technique. If the teacher is being deliberately
  deceptive, treat this as a Quick Contest, with the teacher
  using Fast-Talk if speaking, his combat skill if demonstrat-
  ing. If the student succeeds (or wins the Contest), he realizes
  that the technique is a dud. Otherwise, he’s unsure – the
  player must decide whether to spend time and points to
  learn the technique, and the GM has no obligation to tell the
  truth.
  On a successful roll, offensive techniques work as attacks
  and defensive ones work as active defenses. But that’s all
  they are: ordinary attacks and defenses encumbered with a
  default penalty. The GM should mumble, shuffle paper, and
  roll dice in secret whenever they’re used to give the impres-
  sion that something more is going on.
  On a critical success, however, the sheer lack of logic
  involved throws the opponent off-guard! If the technique-
  user was attempting an attack, he rolls on the Critical Hit
  Table three times and picks whichever result he likes best. If
  he was trying a defense, he makes his opponent roll three
  times on the Critical Miss Table and chooses which result to
  apply. In effect, he gets the benefit of Luck on the roll on the
  table – because he got lucky!
  DESIGNING TECHNIQUES
  FOR NONHUMANS
  Slight physiological differences between humans and
  nonhumans needn’t imply new techniques. It’s easiest to use
  human techniques and simply note the impact – if any – of
  minor physical peculiarities. Features (p. B452) should only
  alter special effects. Small differences that make techniques
  more effective don’t change the techniques but qualify as
  racial perks (just like Fur, p. B101) in Martial Arts games;
  e.g., “Long Thumbs” is a perk because it converts Eye-
  Gouging (p. 71) from a nasty attack to a deadly one.
  Major body parts – Extra Arms, Strikers, etc. – often do
  require new techniques. The fastest way to design such a
  technique is to start with a human technique and modify its
  default and damage to reflect the capabilities of nonhuman
  body parts relative to those that the technique assumes. For
  example, a tail is an Extra Arm that “punches” for thrust-1
  damage while a leg has -2 DX and kicks for thrust damage,
  so when adapting kicks to tail strikes, the default becomes
  two points less severe but damage drops a point. Thus, a
  “Tail Smash” based on Stamp Kick (pp. 80-81) defaults at -
  1, not -3, and does thrust damage, not thrust+1.
  Design techniques with no human equivalent using the
  detailed system. The standard attack modes of a body part
  are its basic attacks, with effective DX and damage as noted
  above. A technique that grants a whole new basic attack –
  e.g., a grapple with a Striker such as horns – has a special
  benefit and merits the standard -1 to its default.
  Additional notes and examples appear under Sweep
  (p. 81), Teeth (p. 115), and Close Combat and Body
  Morphology (p. 114-117).
  TECHNIQUES
  95
  
  The Italian used his dagger to ward off Adrian’s sword, and
  then counterattacked with a rapier thrust to her heart.
  “Impacciato, inglese!”
  Adrian nimbly melted out of reach and shifted her left hand
  from ricasso to hilt, putting 10 feet of ground and three feet of
  steel between herself and her enemy. “Your language is the
  howling of dogs, fop. I know only that you wear enough gold
  to feed a family for a year.”
  “And I shall have more once I collect the price on your
  head,” retorted the bounty hunter. He struck Adrian’s extended
  blade with both of his own – but her strength and her sword’s
  weight foiled his disarm.
  “You plan to cut off my head using your inadequate little
  weapon?” Adrian taunted, keeping her distance.
  It was enough. Her rival’s face flushed red and
  he launched himself at her . . . but the infa-
  mous “flying lunge” simply screeched
  along Adrian’s blade as it encountered
  her guard.
  Spinning, Adrian spoiled her foe’s
  landing with a slap of her blade,
  sending him sprawling face-first.
  Pricking his back with her
  point, she delivered an
  ultimatum, “Yield
  now and you shall
  lose only gold.”
  The combat tech-
  niques in Chapter 3 and
  fighting styles in Chapter 5 add
  significant depth to the abilities
  of warriors. A martial artist
  doesn’t simply roll against his
  Karate or Smallsword skill – he
  uses his Tae Kwon Do expertise
  to throw a Jump Kick or his
  Escrima training to try a Dual-
  Weapon Attack. Not all combat
  options map to techniques and
  styles, though. Many require exten-
  sions to the combat system itself.
  This entire chapter is an adden-
  dum to Chapters 11-14 of the Basic
  Set. It expands on the rules given
  there for combat and injury. Some of
  these additions are highly realistic
  while others are extremely cinemat-
  ic, but they’re all optional. The GM
  decides which rules apply. It’s possi-
  ble to use everything . . . but it’s more
  fun (and less confusing!) to use only
  the subset of material that suits the
  campaign’s genre and realism level.
  CHAPTER FOUR
  COMBAT
  96
  COMBAT
  
  EXPANDED COMBAT
  MANEUVERS
  COMBAT
  97
  In a Martial Arts game, the GM might permit the fol-
  lowing additional possibilities for the combat maneuvers
  described on pp. B363-366. These options supplement those
  in the Basic Set but don’t replace them. Unless noted other-
  wise, all of the usual benefits and drawbacks of the under-
  lying maneuver still apply – notably those described under
  “Movement” and “Active Defense.”
  As explained in Creating New Techniques (pp. 89-95),
  some combat techniques are based on specific maneuvers;
  e.g., Jump Kick (p. 75) is a Committed Attack or All-Out
  Attack. Such techniques are new options for the maneuvers
  in question, on an equal footing with but distinct from those
  in the Basic Set. For instance, Jump Kick allows a unique
  All-Out Attack option, All-Out Attack (Jump Kick), which
  you can’t combine with a basic option such as All-Out Attack
  (Strong) or another technique-specific option like All-Out
  Attack (Whirlwind).
  AIM
  You can take an Aim maneuver to
  improve your odds with Rapid Fire with
  Thrown Weapons (p. 120) or Rapid
  Strike with Thrown Weapons (pp. 120-
  121). You must declare which oppo-
  nent you’re aiming at. Your aiming
  bonuses (for Accuracy, turns of Aim,
  etc.) only apply to attacks against that
  one foe, regardless of how many
  attacks or shots you have. For a Rapid
  Strike, apply the Accuracy of each
  weapon separately to its own attack roll.
  A warrior with the Heroic Archer advantage generally
  gets his weapon’s Accuracy bonus without an Aim maneuver
  – see p. 45 for details. If he chooses to Aim, he gets a further
  +1 for the first second of Aim, or +2 for two or more seconds
  of Aim.
  ALL-OUT ATTACK
  The GM should permit the four “basic” All-Out Attack
  options (Determined, Double, Feint, and Strong) and the
  new Long option below with any melee attack that doesn’t
  specifically forbid them. In particular, a grappler can use All-
  Out Attack to travel up to half his Move into close combat
  and grab or grapple at +4, grapple two body parts, or feint
  and then grapple. He can even use All-Out Attack (Long) to
  grab his foe from a yard away – although it’s unwise to give
  an armed enemy room to use his weapon!
  The GM should be generous about substituting feints for
  attacks, too. All-Out Attack (Feint) is just an All-Out Attack
  (Double) that trades the first attack for a feint, so there’s no
  reason why a fighter couldn’t reverse the order: attack first
  and then feint to benefit a later attack. Other alternatives
  include using All-Out Attack (Determined) to feint at +4 and
  All-Out Attack (Long) to feint a distant foe.
  All-Out Attack is perfect for simulating cinematic
  actions. All-Out Attack (Double) might be a chop followed
  by a spinning draw cut . . . or a single, deadly “throat-
  slitting” attack, the two attack rolls reflecting the difficulty
  of the feat, the chance that the victim could escape mid-cut,
  and the potential for twice the damage. All-Out Attack
  (Strong) could represent a stab followed by a twist of the
  blade, a big roundhouse punch, or grabbing someone and
  pulling him into a blow. All-Out Attack (Long) might involve
  throwing a weapon at the enemy and catching it as it
  bounces off!
  Combat options take things a step further. A warrior
  could choose All-Out Attack (Double) and make a Rapid
  Strike or Dual-Weapon Attack with one of his two attacks,
  giving him three attacks (see Multiple Attacks, pp. 126-128).
  Or he could use All-Out Attack (Feint) to feint and then
  make a Deceptive Attack, striking an
  “unstoppable blow.”
  A little imagination lets players avoid
  long lists of techniques, provided the GM is
  flexible and the PCs are willing to take the
  risk of an All-Out Attack.
  All-Out Attack (Long)
  This is a fifth All-Out Attack option for
  melee combat. It represents a full-
  extension jump or lunge. It gives the 
  fighter an extra yard of reach; e.g., he could
  use a shortsword, which normally has a
  reach of 1 yard, to strike somebody 2 yards away.
  All-Out Attack (Long) has no effect on the attack roll. For
  thrusting attacks, there’s no effect on damage, either.
  Swinging attacks are more awkward, and at -2 damage or 
  -1 damage per die, whichever is worse.
  As usual for All-Out Attack, the attacker may move up to
  half his Move forward before attacking. This makes it possi-
  ble to simulate balestras and similar gap-closing moves.
  Even without movement, this maneuver can be useful for
  leaning over or under a barrier, or over a fighter who’s kneel-
  ing, sitting, or lying down. However, the extra reach can’t be
  used to attack past a crouching or standing fighter – through
  his hex, in tactical combat – as his body would get in the
  way of the extended arm and foot.
  The attacker may opt to end this maneuver in a crouch,
  which represents a sprawling lunge with a hand on the floor
  for support (often termed a “floor lunge”). He cannot sup-
  port himself with a hand that’s holding the weapon used to
  attack; thus, two-armed beings with two-handed weapons
  can’t drop to a crouch. The supporting hand need not be
  empty – it can hold a shield, second weapon, etc. This
  crouch calls for a DX roll. Failure means the fighter ends up
  kneeling instead; critical failure means he falls down.
  Repeating Crossbow
  
  All-Out Attack (Long) is incompatible with Defensive
  Grip (pp. 109-111), which involves holding the weapon 
  closer than usual, and mutually exclusive with other All-Out
  Attack options (Determined, Double, Feint, and Strong). It’s
  compatible with most other attack options: Deceptive Attack
  (p. B369), Rapid Strike (p. B370), Telegraphic Attack
  (p. 113), Tip Slash (p. 113), etc.
  Slams as All-Out Attacks
  A real-life slam is usually an All-Out Attack at a full run. To
  reflect this, slams (including flying tackles, pounces, and
  shield rushes) enjoy a special relationship with All-Out Attack:
  the attacker can travel up to full Move! He may choose the
  Determined, Feint, or Strong option, but not Long – for extra
  reach, do a flying tackle.
  The Double option is a special case. The attacker can’t slam
  twice but he can launch another melee attack before he slams.
  This first attack can be on the slam’s target (the slam repre-
  senting bodily follow-through on a charging attack) or on
  somebody passed along the way. Doing either allows only half
  Move, as usual for All-Out Attack.
  ATTACK
  When attacking with a technique, be sure to read its
  description! Many techniques – especially cinematic ones –
  don’t allow an ordinary Attack maneuver. They only work with
  All-Out Attack, Committed Attack, or Move and Attack.
  Note also that while Attack allows “any” active defense,
  some attacks preclude a later parry. In particular:
  •If using a weapon that can get stuck (see Picks, p. B405),
  you cannot parry until you free the weapon.
  •If you grab or grapple, the hand(s) you use to grip your foe
  cannot parry.
  •If you strike using a weapon that becomes unready, it can-
  not parry afterward.
  • If you strike using an unbalanced weapon, you cannot
  parry with it that turn.
  CHANGE POSTURE
  You don’t need a Change Posture maneuver to assume a
  lower posture in order to grab, grapple, pin, shove, slam, or
  strike at reach C. If making one of these attacks as part of an
  All-Out Attack, Attack, Committed Attack, or Move and Attack
  maneuver, you may take one of the following posture changes
  as part of the movement portion of your maneuver:
  •Dive forward to go from standing to kneeling, crawling, or
  lying prone. This counts as your entire step if making an Attack
  or Committed Attack. It costs you one movement point if mak-
  ing an All-Out Attack or Move and Attack, and must come at
  the end of your movement. For instance, if you had Move 6,
  you could run 3 yards to All-Out Attack, or run only 2 yards
  and dive prone. On a battle map, if you end up crawling or
  prone, your upper body ends up in the front hex of your
  choice.
  • Dive forward to go from kneeling to crawling or lying
  prone. This takes your entire movement allowance in all cases.
  Your upper body ends up in the front hex of your choice.
  •Fall backward to go from standing to sitting or lying face-
  up. This takes your entire movement allowance if you make an
  All-Out Attack, Attack, or Committed Attack. It costs you one
  movement point if making a Move and Attack, and must come
  at the end of your movement. If you change to lying face-up,
  your lower body ends up in the front hex of your choice.
  •Fall backward to go from kneeling or sitting to lying face-
  up. This uses up all of your movement in all cases. Your upper
  body ends up in the side or back hex of your choice.
  To drop to the ground defensively on an opponent’s turn,
  use the rules under Retreat Options (pp. 123-124) or
  Sprawling (p. 119) instead.
  Acrobatic Stand
  If lying face-down or face-up, you can attempt a flip, kip-
  up, or roll that takes you directly to a standing posture with-
  out assuming a crawling, kneeling, or sitting posture first.
  This requires a Change Posture maneuver; you can’t do it as
  the “step” portion of another maneuver.
  Make an Acrobatics-6 roll with an additional penalty equal
  to encumbrance level. Success means you end your turn
  standing; on a critical success, you can use this as the step
  portion of an Attack, Committed Attack, Defensive Attack,
  Feint, or Ready. Failure means you end your turn sitting (not
  kneeling or crawling); critical failure means you remain face-
  down or face-up.
  If you’re sitting or crawling, you can try to spring into a
  standing posture as a step – exactly as if you were going from
  kneeling to standing. Roll at Acrobatics-6 minus encum-
  brance level. Success lets you stand and execute any maneu-
  ver that allows a step. Failure means you stand, but it counts
  as a Change Posture maneuver and your turn ends. On a crit-
  ical failure, you fall down!
  In either case, you can opt to “stand” in a crouching pos-
  ture – handy when regaining your feet under fire.
  These rules assume you stand defensively. You may opt to
  go “all-out.” This gives +4 to Acrobatics but deprives you of
  active defenses! If lying, any success – even critical success –
  means a rapid posture change only. If sitting or crawling, your
  sole option after a success is an All-Out Attack.
  Postures, Hit Locations, 
  and Techniques
  Realistically, a fighter’s posture influences the attacks he
  can attempt, rendering some impossible while making others
  easier or harder. The modifiers for postures and hit locations
  in the Basic Set are generic. They’re usually fine but they don’t
  cover every possible situation. For instance, the -4 for lying
  down and -5 to hit the face suggest that a prone man can hit
  a standing foe in the face at -9. He probably can – with a
  sword. He shouldn’t be allowed to try this with a knife or a fist
  unless he has Stretching, though!
  The GM is free to assign a modifier to any attack he feels
  should be easier or harder from a given posture, and to for-
  bid those that seem silly. Below are detailed rules for those
  who enjoy extreme realism. They assume two fighters with
  Size Modifiers that differ by no more than ±1. For more
  extreme SM differences, use Combat at Different Levels
  (p. B402).
  98
  COMBAT
  
  All of these modifiers are cumulative with each other and
  with the standard modifiers for posture, hit location, and tech-
  nique. For instance, if a sitting fighter leans back on his hands
  and kicks up at the face of a standing foe, he takes the usual 
  -2 for sitting, -2 for kicking, and -5 for targeting the face . . . and
  an extra -1 to target the face and -1 to kick, because he’s sitting.
  Standing
  +0 to attack/+0 to defend
  Hit Location Effects: Remove -1 from the hit location penal-
  ty to attack the neck, face, eye, or skull of a kneeling or sitting
  man, or to kick the leg or foot of a standing man.
  Prohibited Attacks: None.
  Modified Attacks: Punches and attacks with close-combat
  weapons (reach C) against enemies who are lying down
  require the attacker to stoop into a near-crouch, which gives 
  -2 to hit. Elbow Strike and Knee Strike can’t reach those who
  are lying down at all – use Elbow Drop and Knee Drop. Head
  Butt can’t reach opponents who are lying down either, and has
  -2 to hit even against kneeling, sitting, or crawling foes. Using
  Scissors Hold or the grappling techniques in Using Your Legs
  (p. 79) forces the attacker to fall down.
  Kneeling
  -2 to attack/-2 to defend
  Hit Location Effects: Remove -1 from the hit location penal-
  ty to attack the feet, legs, or groin of a standing man, but add
  -1 to hit his neck, face, eye, or skull.
  Prohibited Attacks: All kicks, Backbreaker, Knee Drop,
  Knee Strike, Piledriver, Scissors Hold, and any Sweep using a
  leg.
  Modified Attacks: Elbow Drop is at -1 damage and can only
  target someone who is crawling or lying down. Head Butt is at
  -2 to hit an opponent who is crawling or lying down – and
  against a standing opponent, it can only target the legs or
  groin. Techniques from Using Your Legs (p. 79) can only target
  the legs of a standing man.
  Sitting
  -2 to attack/-2 to defend
  Note: If seated on something (e.g., a chair), the rules under
  Fighting While Seated (p. 83) apply instead.
  Hit Location Effects: Remove -1 from the hit location penal-
  ty to attack the feet, legs, or groin of a standing man, but add
  -1 to hit his neck, face, eye, or skull.
  Prohibited Attacks: Aerial kicks (Drop Kick, Flying Jump
  Kick, Jump Kick, Pole-Vault Kick, etc.), Back Kick,
  Backbreaker, Knee Drop, Piledriver, and any kind of slam.
  Modified Attacks: The rules under Kneeling apply here, too.
  In addition, Elbow Strike cannot hit the neck, face, eye, or
  skull of a standing man. Knee Strike, any Sweep using a leg,
  and all permitted kicks are awkward, and have an extra -1 to
  attack and damage rolls. Downward kicks (Axe Kick, Stamp
  Kick, etc.) can only hit opponents who are crawling or lying
  down, or the feet of a standing foe, and do -1 damage.
  Crawling
  -4 to attack/-3 to defend
  Hit Location Effects: Remove -2 from the hit location
  penalty to attack the feet or legs of a standing man, but add
  -2 to hit his neck, face, eye, or skull.
  Prohibited Attacks: Backbreaker, Elbow Drop, Knee
  Drop, Piledriver, Scissors Hold, Two-Handed Punch, any
  Sweep using a leg, all kicks except Back Kick, and weapon
  strikes at reach 1+.
  Modified Attacks: Elbow Strike is awkward, has an extra
  -1 to hit, and cannot reach the neck, face, eye, or skull of a
  standing man. Against a standing foe, Head Butt can only
  attack the groin, legs, or feet. Knee Strike can only target an
  opponent who is lying down, the legs or feet of a sitting
  man, or the feet of a standing man. Techniques from Using
  Your Legs (p. 79) can only target the legs of a standing man.
  Lying Face-Up
  -4 to attack/-3 to defend
  Hit Location Effects: Remove -2 from the hit location
  penalty to attack the feet or legs of a standing man, but add
  -2 to hit his neck, face, eye, or skull.
  Prohibited Attacks: Aerial kicks (as explained for Sitting),
  Back Kick, Backbreaker, Elbow Drop, Knee Drop, and
  Piledriver.
  Modified Attacks: Elbow Strike and Head Butt cannot
  reach any part of a standing man but his feet or legs, and
  cannot attack the neck, face, eye, or skull of anyone who
  isn’t crawling or lying down. Stability removes -2 from the
  penalty for permitted kicks and Sweeps with legs, but lack
  of leverage gives -1 damage. Knee Strike, punches, and
  close-combat weapon attacks (reach C) cannot reach above
  the groin of a standing man.
  Lying Face-Down (Prone)
  -4 to attack/-3 to defend
  Hit Location Effects: Remove -2 from the hit location
  penalty to attack the feet or legs of a standing man, but add
  -2 to hit his neck, face, eye, or skull.
  Prohibited Attacks: Backbreaker, Elbow Drop, Knee
  Drop, Piledriver, and all kicks except Back Kick.
  Modified Attacks: Elbow Strike, Head Butt, and Knee
  Strike cannot reach any part of a standing man but his feet,
  and cannot attack the neck, face, eye, or skull of anyone who
  isn’t crawling or lying down. Punches and close-combat
  weapons cannot target anything above the groin on a stand-
  ing man. Techniques from Using Your Legs (p. 79) can only
  target the legs of a standing man.
  COMMITTED ATTACK
  Most martial arts teach a continuum of options between
  the dedicated offense of All-Out Attack and pure defense of
  All-Out Defense. The Attack maneuver is a good middle
  ground, but the GM may allow two new maneuvers that let
  fighters emphasize either offense or defense without forsak-
  ing the other completely. Committed Attack falls between
  Attack and All-Out Attack, while Defensive Attack (below)
  lies between Attack and All-Out Defense. In campaigns that
  use these rules, some combat techniques require the user to
  choose one of these maneuvers instead of Attack.
  Committed Attack represents an aggressive attack such
  as a “haymaker,” lunge (for a full-extension lunge, see All-
  Out Attack (Long), pp. 97-98), pass, or roundhouse. The
  fighter must use a ready melee attack and choose one of
  these options before he attacks:
  COMBAT
  99
  
  •Determined: Make a single attack at +2 to hit.
  • Strong: Make a single attack at normal skill and +1 to
  damage. This only applies to melee attacks doing ST-based
  thrust or swing damage – not to force swords, etc. At the
  GM’s option, the damage bonus can scale up for high-ST
  characters: add +1 to damage per two full dice of basic dam-
  age, before other modifiers.
  Movement: Step or two steps. A second step gives -2 to
  hit, making the total modifier +0 for Committed Attack
  (Determined) or -2 for Committed Attack (Strong).
  Movement can come before or after the attack. An attacker
  who takes two steps can step, attack, and step again – a tac-
  tic known as “attack and fly out.”
  Active Defense: The attacker cannot parry with the
  hand(s) he used to attack, block if he attacked with his
  shield or cloak, or dodge if he kicked. He can use any other
  defense, but at -2. He cannot retreat.
  DEFENSIVE ATTACK
  This represents a cautious “probing” attack made from a
  full guard position, such as a jab with a thrusting weapon
  (including a fist or foot) or a quick, light tap with a swung
  one. The fighter must use a ready melee attack. He gets -2
  damage or -1 damage per die, whichever is worse, but enjoys
  improved active defenses – see below. If he attempts to grab
  or grapple, his target gets +1 to defend.
  Movement: Step. Movement can come before or after the
  attack.
  Active Defense: Any. Before the attacker rolls, he must
  select a defensive benefit. If he attacks with a balanced
  weapon (including a hand or a shield), he may choose either
  +1 to Parry with one of his weapons or +1 to Block. He can
  assign the bonus to the weapon he’s striking with. If he
  attacks with an unbalanced weapon (one with “U” in its
  Parry statistic), he may claim +1 to Parry or Block with a
  different weapon, or opt to parry with the same weapon, at
  no bonus, despite using it to attack. If he kicks, he gets no
  Block or Parry bonus but +2 on rolls to avoid a Leg Grapple
  (p. 76) and on DX rolls to avoid falling.
  EVALUATE
  Evaluate provides exactly
  the same benefits for
  Committed Attack and Defensive Attack that it does for the
  maneuvers listed on pp. B364-365. In combat-heavy cam-
  paigns – like most Martial Arts games – the GM may want
  to use the following optional rules.
  Countering Feints and 
  Deceptive Attacks
  If you’re watching your opponent’s rhythm and move-
  ments in order to get a clear shot at him, you’re more like-
  ly to notice everything he’s doing – including his actions
  toward you! At the GM’s option, you may use your current
  Evaluate bonus against a foe to cancel out defense penalties
  from any feint or Deceptive Attack he attempts against you.
  This can never give a net bonus. For instance, if you’ve
  taken two turns of Evaluate (for +2 to skill) when your foe
  launches a Deceptive Attack that gives you -4 to defend, you
  would defend at only -2.
  This applies only to Deceptive Attacks and feints that
  occur while you’re taking the Evaluate maneuver, and only
  negates penalties to defend against that one foe. Once you
  make an attack on him and claim your Evaluate bonus, you
  lose this side benefit until you Evaluate again.
  Evaluate and Non-Combat Skills
  If you’re paying close attention to one person on the bat-
  tlefield, you’re more likely to notice anything unusual or
  dangerous about him. Apply your current Evaluate bonus to
  IQ rolls to notice him playing tricks on you (see Dirty Tricks,
  p. B405); Body Language rolls to determine whether he’s
  nervous, on drugs, Berserk, etc.; Expert Skill (Hoplology)
  rolls to identify his martial-arts style; and Observation rolls
  to spot Supernatural Features, concealed weapons, and
  other “interesting” items. This applies only while you
  Evaluate.
  FEINT
  A fighter’s ability to notice and react to trickery in com-
  bat is realistically a question of experience. It has little to do
  with the weapon he happens to have in hand! If the GM
  doesn’t mind a little added complexity, he should consider
  allowing all combatants to resist (but not initiate) feints
  using their best Melee Weapon or unarmed combat skill.
  Example: Baajikiil the spear-master, having snapped off
  his spear in a foe’s sternum, hastily snatches up his enemy’s
  mace. He knows Spear at 18 but must wield the mace at
  default Axe/Mace skill . . . a paltry 8. He still has his trusty
  shield, which he uses at his Shield skill of 16. If he tries to
  feint, he rolls at 8 with the mace or 16 with the shield – his
  Spear skill doesn’t help. However, if he resists a feint, he does
  so at skill 18. He might not know much about hitting people
  with a mace, but he’s a veteran fighter and won’t be easy to
  fool!
  By the same token, those who know any specialty of the
  Feint technique (p. 73) may use it to resist feints as well as
  to execute them. Their knowledge of combat deceptions
  makes them much less likely to fall for such tricks.
  Beats
  A strong fighter can try to batter down his enemy’s guard
  in preparation for an attack. This is a Beat. An option for a
  ready melee attack, it requires a Feint maneuver. Unlike a
  feint, a Beat must target one particular defense:
  • If the fighter successfully blocked or parried an attack
  immediately prior to this turn, he can use the limb, shield, or
  weapon he defended with to Beat. He must target the
  weapon or shield he defended against – or his enemy’s
  unarmed guard, if the foe attacked barehanded.
  • If the fighter attacked his enemy this turn or on the
  immediately previous turn, and his opponent successfully
  blocked or parried, he can attempt a Beat with the attack he
  just used. He must target the weapon or shield his adversary
  defended with – or his rival’s unarmed guard, if the foe
  defended barehanded.
  100
  COMBAT
  
  • If the fighter has his victim grappled barehanded or
  with a weapon (via Entangle, Hook, etc.), he can target his
  opponent’s Dodge or unarmed guard by pulling him off-
  balance or holding him in place.
  Resolve the Beat as a Quick Contest of melee combat
  skills. This works like a feint, but the initiator makes a ST-
  based skill roll. His victim may try either a DX-based skill
  roll to break contact or a ST-based roll to meet force with
  force.
  If the aggressor wins, his margin of victory lowers the
  targeted defense like a feint would. A Beat against a weapon
  or a shield affects its Parry or Block, one on an unarmed
  guard penalizes all barehanded parries, and of course Beats
  against Dodge affect Dodge. That defense is reduced against
  attacks from anyone! There’s no effect on other defenses. The
  penalty lasts until the end of the next turn of the fighter who
  made the Beat.
  Ruses
  A cunning warrior can sometimes get his foe to lower his
  guard through clever tactics rather than deftness (a feint) or
  sheer power (a Beat). Such a ploy is called a Ruse, and calls
  for a Feint maneuver.
  A Ruse involves a Quick Contest of combat skills, like a
  feint. However, it’s a dirty trick (p. B405) – and like most
  such tricks, it’s based on IQ. The trickster makes an IQ-
  based skill roll rather than the usual DX-based one. His
  opponent can choose to resist with a Per-based skill roll
  (which represents being wary), a standard DX-based roll (to
  get his weapon back in position), or his Tactics skill. Handle
  this as a feint for all other purposes.
  Defensive Feints
  You can use a feint (including a Beat or a Ruse) to make
  it harder for your enemy to attack you instead of weakening
  his defenses. This is useful when your opponent is less
  skilled than you but has a weapon you would rather not
  defend against – for instance, a force sword when you’re
  armed with a conventional blade. Roll the attempt as usual.
  If you win, you inflict a penalty on your foe’s next attack roll
  against you instead of on his next defense roll against you.
  Spotting Feints
  The GM shouldn’t tell the players when an NPC makes a
  successful feint or Ruse against a PC. He should do every-
  thing he can to convince them that the NPC just missed. By
  the same token, the GM shouldn’t abuse his omniscience
  and have NPCs flee from successful feints by PCs. By defi-
  nition, the subject of a feint doesn’t know he’s been had! An
  observer who takes a Concentrate maneuver and makes a
  successful roll against Tactics or Body Language (to “read”
  one of the fighters involved) might realize what’s going on
  . . . but this shouldn’t be automatic.
  One way to remove the temptation to act on gaming-
  table knowledge in the game is to have all combatants
  declare feints and Ruses when they execute them . . . but to
  roll the Quick Contest the instant before the attack it would
  affect. Treat the Quick Contest and the attack roll as a single
  action. Nobody can trigger a Wait in between! Nervous
  fighters are free to flee from every opponent who gets tricky,
  but they can’t selectively react to successful feints.
  On the other hand, a failed feint or Ruse is obvious. The
  same goes for any Beat, successful or not – this isn’t a sub-
  tle maneuver!
  It’s possible to be ready for a feint, though. If your oppo-
  nent has studied one or more styles and you have Style
  Familiarity (p. 49) with them all, you have a good idea of the
  kinds of tricks he’s likely to try. This reduces the defense
  penalty by -1. As discussed under Evaluate (p. 100), if you’re
  taking an Evaluate maneuver against someone who suc-
  cessfully feints you, your current Evaluate bonus offsets the
  defense penalty. These effects are cumulative, and defray
  offensive and defensive feints, Beats, and Ruses alike, but
  can never give a net bonus.
  READY
  The special rules for melee weapons in this chapter apply
  only when you have a ready weapon. Once you take a Ready
  maneuver to draw a weapon – or make a Fast-Draw roll to
  do the same – it stays ready until:
  • You lose it. This happens if you deliberately drop it,
  throw it, or give it away; a foe uses a grab or grapple to make
  you drop it (see Unarmed Combat, p. B370); you parry a
  weapon heavy enough to break or knock aside your own
  (see Parrying Heavy Weapons, p. B376); an opponent suc-
  cessfully breaks or knocks away your weapon (see Striking
  at Weapons, p. B400); you suffer knockdown (see
  Knockdown and Stunning, p. B420); or a critical hit or criti-
  cal miss disarms you (see Critical Success and Failure,
  p. B556).
  • You lose control of it. This may occur if an enemy tries
  but fails to disarm you (p. B401), or due to a critical miss
  (p. B556). It always happens if your weapon has a “‡” in its
  ST statistic and you use it to attack, unless you’re extremely
  strong (see ST, p. B270), or if your weapon gets stuck (see
  Picks, p. B405).
  •You put it away. This normally takes two Ready maneu-
  vers for a melee weapon; see p. B383.
  COMBAT
  101
  Feints Using Non-Combat Skills
  A few styles include a Style Perk that lets a skill
  other than a combat skill make a feint. The GM
  decides which skills are capable of feints, Beats, and
  Ruses, and what scores are used to resist these gam-
  bits. Acrobatics, Dancing, and similar skills require
  an ordinary DX-based roll by the one attempting the
  feint. His opponent resists with a standard DX-based
  combat skill roll. Exotic skills, on the other hand,
  might even involve Will or HT; e.g., a Ruse with Sex
  Appeal would pit the initiator’s HT-based Sex Appeal
  skill against a Will-based combat skill roll by his
  adversary!
  
  Thus, a weapon that’s ready stays ready until one of the
  above events occurs, while a weapon that’s unready stays
  unready until you take a Ready maneuver to remedy the sit-
  uation. Most other events in combat – being slammed,
  changing posture, suffering shock, etc. – have no effect on
  weapon readiness.
  There are situations in which you might take a Ready
  maneuver for a ready weapon, though:
  •To adjust reach. As noted under Reach (p. B269), if your
  weapon has more than one reach marked with an asterisk
  (*) in its Reach statistic, like a halberd, you need a Ready
  maneuver to select a different reach from the one you’re cur-
  rently using.
  • To change grips. The “regular” grip uses the combat
  rules as written, and is best for most situations. The
  Defensive Grip (pp. 109-111) is useful when you have a dan-
  gerous enemy in front of you and no foes behind you. The
  Reversed Grip (pp. 111-112) is handy for close combat.
  Altering grip takes a Ready maneuver.
  • To change hands. You can use
  some weapons (bastard swords,
  spears, etc.) in one hand or two. Most
  armed grappling techniques require
  two hands on the weapon, even if it’s
  normally one-handed. To switch
  between one- and two-handed grips –
  or to pass a one-handed weapon from
  one hand to another – requires a
  Ready maneuver.
  You can combine these three options
  with each other and with drawing,
  picking up, or regaining control of an
  unready weapon, except where explic-
  itly forbidden. The entire procedure counts as a single
  Ready maneuver.
  Generally, all of a weapon’s functions are available when
  it’s ready. There are two special cases where this isn’t true
  but you don’t need a Ready maneuver to restore full func-
  tionality – you just need to wait until your next turn:
  1. You can use your weapon with two different skills. Some
  weapons work with more than one Melee Weapon skill. You
  can only enjoy the benefits of one skill per turn. You can
  switch skills from turn to turn, and only need a Ready to go
  between one- and two-handed skills; e.g., Broadsword and
  Two-Handed Sword. See Switching Weapon Skills (p. 104).
  2. Your weapon is unbalanced. A weapon with a “U” in its
  Parry statistic cannot parry immediately after an attack. If
  you attack, you must wait until your next turn before you
  can parry again. See Unbalanced Parries (p. 125).
  The rest of this discussion applies primarily to melee
  weapons. See Quick-Shooting Bows (pp. 119-120) for a 
  special Ready-and-Attack option for archers.
  Defensive Grip
  Shifting into or out of a Defensive Grip (pp. 109-111)
  with a melee weapon requires a Ready maneuver. This is
  never a free action – even for those with the Fast-Draw skill
  – but the required Ready can be simultaneous with one or
  more of drawing the weapon, changing its reach (if it has a
  “*” in its Reach statistic), regaining control after an attack
  (if it has a “‡” in its ST statistic), or shifting between one-
  and two-handed grips.
  Examples: A fighter who swung his glaive at reach 3
  could use one Ready maneuver to assume a Defensive Grip
  and reduce his reach to 2 and regain control of his weapon.
  A warrior with a broadsword could use a single Ready to
  unsheathe his sword directly into a Defensive Grip – but if
  he used Fast-Draw to get his weapon, he would still have to
  take a Ready to get into a Defensive Grip.
  Reversed Grip
  To go from a regular grip or Defensive Grip to a Reversed
  Grip (pp. 111-112), or vice versa, usually takes a Ready
  maneuver. This maneuver can also adjust reach (in fact,
  assuming a Reversed Grip automatically reduces the reach
  of most weapons) and switch between one- and
  two-handed grips. You can’t use the same
  Ready to recover after an attack; that
  requires its own Ready maneuver. You can
  draw a sheathed weapon directly into a
  Reversed Grip, though.
  There are techniques for shifting back
  and forth between a normal grip (but not a
  Defensive Grip) and a Reversed Grip with-
  out a Ready, but these are risky. To attempt
  a rapid grip change, make a weapon skill
  roll at -4 for a two-handed weapon, -6 for a
  one-handed one. Exception: A tonfa (p. 225)
  has a side handle specifically designed to
  allow this grip change, permitting a roll at
  unpenalized Tonfa skill.
  Success means an immediate grip change, allowing you
  to take your turn normally. Your weapon must remain in the
  chosen grip for the remainder of your turn; you cannot
  change grips again.
  Failure means you drop your weapon. Critical failure
  means you inflict Tip Slash (p. 113) damage on your torso
  and then drop your weapon! Any failure counts as an unsuc-
  cessful Ready maneuver and ends your turn.
  Quick Sheathing
  Being in a Reversed Grip makes a special Ready option
  available: you can scabbard your weapon in one turn
  instead of the usual two (p. B383). This is because one of the
  more common ways to sheathe a weapon involves assuming
  a Reversed Grip – and you’ve already done that! (The other
  way is to hold the weapon normally and take one turn to
  align it with its scabbard, another to sheathe it. This keeps
  your weapon in the more versatile normal grip should you
  need it during that first turn.)
  If you have a Style Perk that enables you to use Fast-
  Draw to sheathe your weapon quickly, you can use it from a
  Reversed Grip. This lets you Ready to a Reversed Grip and
  attempt a Fast-Draw roll afterward to scabbard your
  weapon in one turn. If you make the skill roll for a rapid grip
  change followed by a Fast-Draw roll, you can sheathe your
  weapon instantly. See Iaijutsu (p. 174) for a style that offers
  this perk.
  102
  COMBAT
  Bagh-Nakh
  
  Multiple Fast-Draw
  A successful Fast-Draw roll lets you ready a stowed
  weapon instantly, without taking a Ready maneuver; see
  Fast-Draw (p. B194). Realistically, this takes some time. Skill
  imposes a limit on how many weapons you can draw and
  still act.
  Every turn, you may Fast-Draw one weapon per hand at
  no penalty – although draws with the “off” hand have the
  usual -4. If you give away or willingly discard a weapon, or
  hurl a throwing weapon – but not if you fail a Fast-Draw roll
  or lose a weapon on a critical miss – you may make further
  Fast-Draw attempts later on your turn. Repeated attempts
  with a given hand are at a cumulative -2 per Fast-Draw roll
  after the first. For instance, a fencer could Fast-Draw a rapi-
  er with his master hand at no penalty and a dagger with his
  off hand at -4; however, he would have -2 if he cast aside his
  rapier and attempted to Fast-Draw a pistol and -6 if he
  pitched his dagger and tried to Fast-Draw another.
  Two-handed Fast-Draw attempts count against the total
  for both hands. For instance, if a swordsman uses Fast-
  Draw to ready a greatsword with two hands and then dis-
  cards it, he’s at -2 to try another Fast-Draw with either hand.
  Similarly, two-handed Fast-Draw attempts use the worst
  penalty accrued for either hand involved. If our swordsman
  Fast-Draws and hurls a knife using his right hand, he’s at -2
  to Fast-Draw his greatsword, even though he hasn’t tried
  Fast-Draw with his left hand.
  It’s possible to Fast-Draw multiple, identical weapons at
  once for the purpose of Rapid Strike with Thrown Weapons
  (pp. 120-121) or Dual-Weapon Attack (Bow). The weapons
  must weigh less than 1 lb. and be worn in a way
  that lets you reach them all with one hand.
  Make a single roll at -2 per weapon. For the
  sake of future Fast-Draw rolls, this counts as
  one previous attempt per weapon.
  For
  instance, Fast-Draw (Knife) would be at -8 for
  four daggers at once, and an ensuing Fast-
  Draw (Sword) roll to draw a rapier with that
  hand would have -8 for four previous Fast-
  Draws.
  Success and failure have their usual effects
  in all cases. Any failure ends your turn; no fur-
  ther Fast-Draw attempts are possible. Critical
  failure means you also drop the weapon – or
  all the weapons, if drawing multiple weapons
  simultaneously!
  Heroic Archers and Weapon Masters may
  halve all multiple Fast-Draw penalties for
  weapons covered by their advantage. If both
  advantages apply, divide by 4 (round in the
  warrior’s favor).
  Fast-Draw from Odd
  Positions
  The Fast-Draw skill assumes that you’re
  standing still with nobody holding onto you,
  able to use your master hand to reach your
  weapon. In close combat and other cramped
  quarters, you must make a DX roll to reach a
  weapon before you can Fast-Draw it (see
  Readying in Close Combat, p. B391). For
  added realism, apply the following modifiers
  to Fast-Draw rolls and DX rolls to reach
  weapons:
  Crawling or lying down: -4
  Crouching, kneeling, or sitting: -2
  Grappled: -4
  Hanging upside down: -2
  Move or Move and Attack: -2 during or
  after the maneuver
  Off-hand: -4
  The weapon’s location is another impor-
  tant modifier, the effects of which depend on
  the weapon and Fast-Draw specialty:
  COMBAT
  103
  Who Draws First?
  A staple of martial-arts drama is the standoff between two warriors
  who suddenly draw weapons and attack each other. Who draws first –
  and consequently gets the first strike – is crucial here!
  If combat is in progress, resolve the situation using the turn
  sequence (p. B363). The faster fighter takes his turn first. If his
  weapon is ready, or if he can Fast-Draw it, he gets the first attack. If he
  must take a Ready maneuver, his turn ends. Then the slower fighter
  takes his turn. If he has a weapon ready – or can Fast-Draw one – he
  gets the first attack. If he, too, must take a Ready maneuver, it’s the
  faster fighter’s turn again . . .
  If combat isn’t in progress, use the following rules:
  •Neither fighter has a ready weapon; one knows Fast-Draw, the other
  does not. The fighter with Fast-Draw may roll against his skill. If he
  succeeds, he strikes first. If he fails, resolve this as a standoff between
  two fighters, neither of whom knows Fast-Draw (below). If he critical-
  ly fails, he throws away his weapon and his foe strikes first!
  • Neither fighter has a ready weapon; both or neither know Fast-
  Draw. Roll a Quick Contest. Use Fast-Draw skill if both fighters have
  it, weapon skill if neither does (or if one does but failed his attempt).
  The winner strikes first. In a tie, they attack simultaneously; they may
  dodge or block, but not parry! Regardless of the skill used, apply the
  modifiers under Fast-Draw from Odd Positions, plus these special
  modifiers:
  Grease: A greased scabbard gives +1 here, but the greasy weapon
  gives -1 to weapon skill on later rolls.
  Hand on Weapon: A fighter with a hand already on his weapon
  adds +4. Both fighters can claim this bonus!
  Length: The fighter with the longer weapon has -1 (his weapon
  takes longer to clear its scabbard).
  Weight: The fighter with the heavier weapon has -1 unless he has at
  least 1.5 times the required ST for the weapon.
  • One fighter has a ready weapon; his opponent knows Fast-Draw.
  Roll a Quick Contest. The ready fighter uses weapon skill; his only
  modifier is +1 if he has Combat Reflexes. The unready fighter uses
  Fast-Draw skill modified as for a Quick Contest of Fast-Draw (above),
  with an additional -10! The winner strikes first. In a tie, the fighter
  with the ready weapon strikes first.
  •One fighter has a ready weapon; his opponent lacks Fast-Draw. The
  fighter with the ready weapon strikes first.
  
  Arrow: +1 if stuck in the ground at your feet, +0 if in a
  quiver, or -2 if thrust through a belt. If you have multiple
  types of arrows, roll randomly for the type drawn. Attempts
  to draw a specific type of arrow suffer an extra -2.
  Flexible: +0 if properly coiled and hanging at your belt,
  but -2 if worn as a belt or otherwise wrapped around your
  body.
  Force Sword: +0 if hanging at your hip, -1 if hanging any-
  where else, -2 if protruding from a boot*, or -3 if in a pock-
  et or otherwise concealed.
  Knife: +0 if sheathed at your hip or (darts only) in a
  quiver, -1 if sheathed elsewhere (bandolier, wrist, handle-
  down on chest†, etc.), -2 if carried in a boot* or thrust
  through a belt without a sheath, -3 if in a pocket or con-
  cealed, or -5 if carried in your teeth (and critical failure
  means you inflict normal cutting damage to your face!).
  Shuriken: +0 if carried on pegs on armor or in a pouch,
  but -3 if carried any other way (in a pocket, up a sleeve, con-
  cealed in a belt buckle, etc.).
  Sword: +0 if sheathed at your hip on the side opposite
  your weapon hand, or over either shoulder; -1 if sheathed at
  your hip on the same side as your sword hand, but +0 if you
  draw into a Reversed Grip (pp. 111-112). Add -2 if you lack
  a proper scabbard (e.g., a sword thrust through a belt). A
  sword cane or sheathed sword carried in hand gives +0.
  Tonfa: +0 if carried in a loop at your hip on the same side
  as your weapon hand, -1 if in a loop on the opposite side, or
  -2 if carried in any other way.
  Two-Handed Sword: +0 if worn over either shoulder in a
  proper back sling, or carried in hand but sheathed and rest-
  ing on a shoulder; -2 if slung any other way.
  * A weapon in a boot is easier to reach from low postures:
  when crouching, kneeling, or sitting, ignore the -2 for a
  weapon in a boot and the -2 for posture, and roll at +0.
  † A knife carried handle-down on the chest gets -1 to
  Fast-Draw, but gives +1 to DX rolls to reach the weapon in
  close combat and lets you ignore the -2 for hanging upside
  down.
  All of these modifiers are cumulative with each other and
  those under Multiple Fast-Draw (above). Shock, distraction,
  and afflictions have the same effect on Fast-Draw rolls and
  DX rolls to reach weapons as they do on attack rolls.
  Quick-Readying Nearby Weapons
  Readying a weapon from the ground normally takes two
  Ready maneuvers: one to kneel or crouch and grab it, one to
  prepare it for combat. Assuming a low posture at the start
  of your first turn counts as a “step”; so does standing up at
  the end of your second turn. However, you can try a showy
  Ready maneuver that lets you grab and ready a weapon in
  one second. This requires a DX or Fast-Draw roll, at -3 if you
  crouch first or -5 if you use a foot to flip the weapon into
  your hand while standing.
  Likewise, it takes two Ready maneuvers to fetch a
  weapon from a table or a weapon rack: one to grab it (and
  possibly release it from the rack), one to prepare it for fight-
  ing. You can remain standing, though; you needn’t crouch.
  In this case, readying the weapon with a single Ready
  maneuver requires a DX or Fast-Draw roll at -3. Use this
  rule for a sword stuck point-down in the ground, too – but
  the modifier is -3 from horseback and only -1 on foot.
  In all cases, success means you ready the weapon in one
  second (never instantly, even with Fast-Draw). Failure
  means you don’t grasp the weapon and waste your entire
  turn clutching at air. Critical failure means you knock the
  weapon 1d yards away in a random direction. On an 18, you
  instead grab a blade or spike, or smash your hand into the
  floor, wall, or table. Roll thrust damage to your hand – or to
  your face, if flipping a weapon with your foot! This is cutting
  for a blade, crushing otherwise. If grabbing a sword stuck in
  the ground, it’s the sword that’s damaged – the tip snaps off,
  turning its impaling attack into a crushing one.
  Switching Weapon Skills
  Many weapons work with more than one combat skill. If
  you must change the number of hands involved in order to
  change skills, switching skills requires a Ready maneuver.
  This includes preparing a two-handed missile weapon, like
  a bow, for use as an improvised one-handed club.
  If you can change skills without changing the number of
  hands involved, though, you can simply specify which skill
  you’re using as a free action at the start of your turn. This
  doesn’t require a Ready maneuver. However, it compels you
  to use your level with that skill and the statistics listed under
  that skill on the weapon table, and limits you to techniques
  and options valid for that skill. At the start of your next turn,
  you can specify a different skill.
  Example: A warrior with a spear can wield it one-handed
  using Thrown Weapon (Spear), one- or two-handed with
  Spear, or two-handed with Staff. If he has it ready for throw-
  ing in one hand and a foe steps into melee range, he can
  simply declare he’s using Spear instead of Thrown Weapon
  at the start of his next turn. If he wants to switch to a two-
  handed Spear grip for better thrusting damage, he’ll need a
  Ready maneuver. Once his spear is in that grip, he can
  choose to use it with either Spear or Staff at the start of each
  turn. Spear allows him to stab with the tip but he must
  parry using Spear. Staff gives him +2 to Parry but limits him
  to Staff techniques, crushing damage, etc.
  104
  COMBAT
  
  MOVE
  Outside of pure ground-fighting styles, martial-arts mas-
  ters laud the virtues of mobility. An extra point of Basic Move
  or one less level of encumbrance can mean the difference
  between life and death. This is why fighters in training often
  run as much for speed as for endurance, and why even war-
  riors who face dangerous weapons might enter battle in light
  armor or no armor.
  To give high-Move martial artists a realistic advantage, the
  GM should consider using Movement in Tactical Combat
  (p. B386) for the Move maneuver even when not playing out
  combat on a battle map. Tell the players how far apart the
  combatants are and strictly enforce movement point costs for
  facing, posture, footing, etc. This makes “closing the gap” with
  a foe wielding a ranged weapon – or fleeing from a losing bat-
  tle – as dramatic as landing and avoiding blows.
  Of course, Move is mainly for going from A to B. It’s near-
  ly always more effective to close the gap by selecting All-Out
  Defense (Increased Dodge) to travel at half Move and receive
  a Dodge bonus, or by taking Move and Attack to run at full
  speed and launch an attack. The GM should make the players
  aware of these tactical options and keep track of movement
  point costs for them as well.
  Finally, in a cinematic Martial Arts game, heroes are as
  likely to move by jumping as by running. A Move maneuver
  lets a fighter jump from a standing start or run any distance
  up to his current Move and then jump. See Jumping (p. B352)
  for rules. To save time in play, calculate high- and broad-jump
  distances – for both standing and running jumps – and record
  the full values and halved values for combat on the character
  sheet. Some additional flashy movement options appear
  below.
  Acrobatic Movement
  Martial Arts campaigns often feature capoeiristas, ninja,
  and dashing swordsmen who move acrobatically in combat to
  avoid obstacles and surprise enemies. Below are some classic
  stunts for use during a Move maneuver. After attempting any
  of these, your next dodge (only) is automatically an Acrobatic
  Dodge (p. B375), whether or not you used the Acrobatics skill:
  you dodge at +2 if your feat succeeded but at -2 if it failed.
  These options are flamboyant but risky, and obey the laws
  of physics – which makes them plausible in a realistic cam-
  paign. For over-the-top cinematic action, see Chambara
  Fighting (pp. 128-130). For acrobatic versions of the Change
  Posture and Feint maneuvers, see Acrobatic Stand (p. 98) and
  Feints Using Non-Combat Skills (p. 101), respectively.
  Banister Sliding
  Roll against the better of DX-2 or Acrobatics-2 to slide
  down a banister at Move 5, regardless of your Move score.
  This assumes a sitting posture. Roll against Acrobatics-8 if
  you’re standing up! In either case, you can slide until you run
  out of banister, but you must make this roll once per turn.
  Failure means you slip off and land standing on the stairs
  at a random point along your path; the GM can roll dice or
  simply choose a spot. Critical failure means you fall off at a
  random point, pitch headfirst down the stairs, and suffer a col-
  lision with the ground at Move 5 – or at Move 7, if you were
  standing. If the banister had open air on one side, roll 1d on a
  critical failure. On 1-3, you fall down the stairs as usual; on 
  4-6, you go over the railing and suffer falling damage!
  Evading
  You may substitute Acrobatics for DX when evading dur-
  ing a Move maneuver (see Evading, p. B368). Specify what
  you’re doing: tumbling between your foe’s legs, rolling over his
  shoulder, etc.
  If your high-jump distance – with any bonus for running
  but halved for use in combat – exceeds your opponent’s height,
  you can try to evade by leaping over him. In this case, use
  Jumping in place of DX.
  In either case, if you win the Quick Contest, you evade and
  can continue moving. If you tie, your foe stops you. But if you
  lose, you fail to evade and take +1 damage if your foe manages
  to hit you before your next turn – you leapt right into his
  attack!
  Skidding
  To skid across slippery ground, you must have moved
  toward it last turn. Make a DX or DX-based Skating roll at the
  surface’s combat penalty for bad footing – usually -2 (p. B547)
  – each turn. You may kneel or go prone as a free action with-
  out affecting speed. On the first turn of skidding, success lets
  you slide the distance you moved toward the slick area last
  turn; on later turns, you travel half as far as on the previous
  turn (round down). This is instead of running as described in
  Bad Footing (p. B387). Failure means you fall if standing, stop
  otherwise. Critical failure means you wipe out and collide with
  the ground (see Immovable Objects, p. B431).
  Spinning
  If you use more than half your movement points, you may
  normally change facing by only one hex-side (see Facing
  Changes, p. B387). To spin to face any direction at the end of
  your turn, make an Acrobatics or DX-based Running roll with
  the speed penalty for the distance you moved that turn.
  Consult the table on p. B550; e.g., Move 5 gives -2. Failure
  means you end up facing a random direction; roll 1d. Critical
  failure means you fall down.
  You can also spin at the end of a skid. To do so, roll as
  explained under Skidding (above) instead, but apply the speed
  penalty for spinning to the die roll. Failure and critical failure
  are as for skidding.
  Swinging
  You can swing from any rope, chandelier, etc., strong
  enough to support your weight (GM’s decision). If it’s within
  reach or you can reach it with a step, simply grab it and swing.
  If it’s more than a yard above you, roll vs. Jumping to reach it.
  Failure means you waste your turn jumping and missing; crit-
  ical failure means you fall down.
  The object’s length determines how far you can swing.
  Regardless of its true length, its effective length can’t exceed the
  distance from its suspension point to the ground. You can
  swing a distance of up to 3/4 of length in any direction from
  an object hanging vertically. If it’s roughly 45° off-vertical, like
  a tied curtain, you can swing twice as far but your path must
  follow the imaginary line through your starting position and
  the place where the object would hang vertically. You can veer
  up to 10% of swinging distance (minimum a yard) to either
  side to avoid obstacles.
  COMBAT
  105
  
  To execute the swing, make an Acrobatics roll at
  the speed penalty for the distance traveled (see
  p. B550). Apply a further -2 if swinging by the legs.
  Success lets you swing and hop off at any point
  along your path. Failure means you miscalculate
  and swing to a random point on the path – roll dice
  or the GM chooses. On a critical failure, you fall at
  a random location and suffer a collision with the
  ground; velocity equals the maximum distance you
  could have swung.
  Tic-Tacs
  A “tic-tac” is a running leap at a vertical surface,
  followed by a foot plant and shove to propel you up
  and away. This requires a roll against the better of
  Acrobatics-4 or Jumping-4. Success gives you
  height equal to 1/4 your running broad jump dis-
  tance (p. B352) and lets you rebound the same dis-
  tance horizontally. Halve distances in combat.
  Failure means a fall from the same height; critical
  failure inflicts maximum falling damage.
  If this moves you into contact with another sur-
  face (e.g., a parallel wall), you can push off again.
  Use the same rules but roll at an extra -2. The “run”
  for calculating distance is the horizontal distance
  from your last tic-tac (in yards, rounded down).
  You can keep bouncing – at -2 per tic-tac – until you
  stop short of a wall or gain height equal to Basic
  Move/2 yards.
  Once you stop, you can try anything allowed
  after acrobatic movement, including an Acrobatic
  Attack (p. 107). You may try to clear an obstacle, if
  you’re high enough; see Vaulting and Diving
  (p. 107). In either case, apply the cumulative 
  penalty for tic-tacs if that would be worse than the
  usual modifier for movement.
  Example: David has Basic Move 6. He runs 4
  yards and pushes off the wall of an alleyway with
  an Acrobatics-4 roll. Broad jump distance is (2 ¥
  Basic Move) - 3 feet, but he adds 4 to Basic Move
  for his run, giving 17’. He flies 17’/4 = 4.25’ (1.4
  yards) horizontally and gains 4.25’ of height. He
  hits the far wall, 3’ away, and jumps again. His run-
  ning start is only 1 yard from his previous tic-tac.
  The roll is Acrobatics-6. He succeeds. This gives 11’,
  which launches him 11’/4 = 2.75’ (0.9 yard) across
  the alley – not far enough for a third tic-tac – and
  gives him 2.75’ more height, or 7’ total. He can now
  dive for a vent that’s 6’ off the ground. He makes an
  Acrobatics-6 roll and slips through.
  Tumbling
  You may attempt to cartwheel, roll, or other-
  wise tumble across level ground at full Move. Make
  an unmodified Acrobatics roll. On a success, any-
  one who makes a ranged attack on you must add
  your Move to range, contrary to Ranged Attacks on
  Human Targets (p. B373). Failure means you only
  get half your Move and no special benefits. Critical
  failure means you fall down and go nowhere!
  106
  COMBAT
  Dealing with Charging Foes
  The surest counter to a charge is a stop thrust (see Wait,
  p. B366): Wait, and then make a thrusting attack against an enemy
  who tries to close with you. You’ll get a damage bonus for his move-
  ment. He can defend, but he can’t retreat if he moved more than a
  step toward you.
  Below are other options. These make life hard for chambara and
  wuxia fighters, and don’t especially suit cinematic games.
  Parry
  You can use a ready melee weapon to parry a grab, grapple,
  slam (including a pounce or flying tackle), or any other unarmed
  attack at no special penalty as your attacker enters close combat.
  Effective “weapon weight” is ST/10 lbs. if he grabs or grapples, ST
  lbs. otherwise.
  If you succeed, roll against weapon skill to injure your foe (at -
  4 if he used Judo or Karate). If your weapon can only thrust, suc-
  cess inflicts thrusting damage; otherwise, use swinging damage.
  This counts as a parry, not an attack.
  See also Parrying Heavy Weapons and Parrying Unarmed Attacks
  (p. B376).
  Obstruction
  If someone tries to evade you from the front (see Evading,
  p. B368) and you have a melee weapon that can parry, you may roll
  against weapon skill instead of DX in the Contest. You keep him
  from evading if you win or tie – but if you win, you use your
  weapon to stop him! This counts as a parry with that weapon. Find
  damage as for Parry, above, and then halve it (round down).
  Holding a Foe at Bay
  If a stop thrust, parry, or obstruction attempt results in knock-
  down (p. B420), your foe falls, stunned. His turn ends. If it causes
  knockback (p. B378), he must use additional movement to close the
  gap. He might not be able to reach you; he could even fall down!
  Even if neither knockback nor knockdown occurs, your weapon
  is in the way. If you inflicted injury with anything but a thrusting,
  impaling weapon – or if you rolled damage but didn’t penetrate DR
  – your foe must win a Quick Contest of ST with you to get closer.
  Otherwise, you hold him off. To keep coming, he must use two
  movement points to sidestep and take a different path.
  If you wounded your foe with a thrusting, impaling weapon, it’s
  inside him. He can still spend two movement points to back off and
  change paths. Alternatively, he can try a Will-3 roll – at +3 for High
  Pain Threshold or -4 for Low Pain Threshold – to run himself
  through! Success increases his wound to the maximum possible
  injury from your original blow. Then find maximum damage for
  your weapon using his thrust score. If this exceeds the DR on his
  back, he can keep moving toward you and your weapon is consid-
  ered stuck (see Picks, p. B405).
  Example: Tiberius runs 4 yards toward Rufus, who stop thrusts
  with his spear. Rufus’ damage is 1d+3, +2 for the charge, for 1d+5.
  He rolls 8 points of damage, which pierces Tiberius’ DR 5 armor
  and inflicts 6 points of injury. Tiberius makes a Will-3 roll and push-
  es forward. Rufus’ maximum damage was 11, which would inflict
  12 points of injury. Tiberius loses 6 more HP. Tiberius has ST 13. A
  spear in his hands would do 1d+3. Maximum damage is 9. This
  exceeds DR 5, so the spear comes out his back as he moves in!
  
  Vaulting and Diving
  Anybody can crawl under a table, clamber over the hood of
  a car, etc., in two turns, as explained under Jumping During
  Combat (p. B352). To bypass such an obstacle without stop-
  ping, you must run at least two yards toward it to build
  momentum, have one or more movement point left, and
  attempt an Acrobatics roll. This roll is at -4 to dive through a
  window, or to tuck and roll between a high obstacle and a low
  one, such as two pipes or laser beams.
  Success means you tumble under, vault over, or dive past
  the obstacle. This costs one movement point – but if you have
  any movement left, you can keep moving. You can try this
  stunt again on the same turn, but at a cumulative -2 per
  attempt after the first.
  Failure means you fall down under or atop the obstacle but
  manage to avoid collision damage. Of course, falling “onto”
  flame or deadly lasers still hurts! Critical failure means you
  collide with the barrier, suffer collision damage (see Collisions
  and Falls, p. B430) if it’s solid, and end your turn lying down in
  front of it.
  MOVE AND ATTACK
  You can use this maneuver with any melee attack – bite,
  grapple, kick, shield bash, etc. – not just a strike with an empty
  hand or a melee weapon. If your attack delivers thrusting dam-
  age, you may substitute slam damage (HP ¥ velocity/100), if
  that would be better. For instance, a centaur with ST 18, HP
  18, and Move 12 thrusts for 1d+2 but slams for 2d, so her Move
  and Attack with a spear (thr+3 imp) would inflict 2d+3 imp.
  For extra realism, modify the defense limitations on Move
  and Attack as follows:
  Active Defense: If you attacked using an arm, you cannot
  use that arm to parry (if the attack involved a fist, elbow, or
  weapon) or block (if you used a shield or cloak). If you used
  any other body part (foot, head, knee, mouth, shin, etc.) to
  attack, you cannot dodge. You can use any other defense, but
  you cannot retreat. These restrictions take effect after you
  make your attack roll. If someone uses a Wait to interrupt your
  maneuver before then, you may defend normally and then fin-
  ish your maneuver.
  The GM should consider extending the -2 for “trying to do
  two things at once” to all success rolls except defense and
  resistance rolls against enemy attacks. For instance, it would
  modify DX rolls to evade or to keep someone from evading you
  (see Evading, p. B368), Fast-Draw rolls, rolls to stay standing
  after suffering knockback (see Knockback, p. B378), and Sense
  rolls to notice something in combat.
  Most melee attack options (e.g., hit location) are compati-
  ble with Move and Attack. Assess penalties for these before
  applying the effective skill limit of 9. Rapid Strike and
  Combinations aren’t allowed, however. Neither is Deceptive
  Attack, unless you’re making an attack that removes the skill
  cap (such as a slam or a cinematic technique like Flying Jump
  Kick), as it requires a final effective skill of at least 10. Certain
  uses of extra effort in combat are also forbidden, including
  Flurry of Blows, Mighty Blows, and Giant Step.
  This maneuver is unfavorable in realistic melee combat due
  to its penalties and limits. In cinematic games, special tech-
  niques exist that make it more attractive.
  Acrobatic Attack
  You can use any of the special tricks described under
  Acrobatic Movement (pp. 105-106) as the movement portion
  of a Move and Attack. The benefits and drawbacks of Move
  and Attack “stack” with those of your acrobatic feat. You
  have an additional -2 on both your attack roll and any roll
  required to pull off the stunt – the price of doing two things
  at once!
  Example: Manfred wishes to swing 10 yards on a rope
  and cut down one of the Black Duke’s bodyguards with his
  saber as he passes. Consulting Swinging (pp. 105-106), he
  sees that a 10-yard swing requires an Acrobatics roll at -4,
  which becomes -6 with the extra -2 for an Acrobatic Attack.
  His attack has the usual -4 for Move and Attack, plus anoth-
  er -2 for his stunt; it, too, is at -6. Since this is a Move and
  Attack, Manfred’s adjusted attack roll cannot exceed 9, and
  he cannot parry or retreat afterward . . . and thanks to his
  swing, his next dodge counts as an Acrobatic Dodge, but he
  could end up in the wrong spot or even fall down.
  When creating a technique based on Acrobatic Attack,
  you must specify the particular acrobatic movement option
  it uses. Its basic default is -6: -4 for Move and Attack plus an
  extra -2 for Acrobatic Attack. Add an extra -1 to ignore the
  skill cap of 9. Remember that all rolls for the movement por-
  tion of the technique are at -2.
  Flying Attack
  Somewhat less risky than an Acrobatic Attack is a Flying
  Attack: a Move and Attack with a jump for extra distance
  (not to avoid an obstacle, evade a foe, etc.) just before the
  attack. You must run, then jump, and then attack. You can-
  not change the order; you need an uninterrupted run to
  build momentum for the jump, and a successful jump to
  attack.
  First, run as far as you plan to. This can be any distance
  up to your full Move. In fact, this option gives little benefit
  unless you run your full Move!
  Next, make a running broad jump. This requires a DX or
  Jumping roll. Success gives extra movement equal to your
  jumping distance at the end of your run. Add the bonus for
  running, but halve the final distance for jumping in combat.
  Your jump carries you in the direction you were running.
  Failure means you fall down and you turn ends; you cannot
  attack. See Jumping (p. B352) for details.
  Finally, launch your attack. You can attack anyone you
  can reach from your landing point. This is at -5 instead of
  the usual -4 for Move and Attack. The usual restrictions on
  Move and Attack still apply, such as the maximum adjusted
  skill of 9.
  Many cinematic techniques are Flying Attacks. These
  often time the jump to improve damage, and focus so
  sharply on offense that they lack the usual skill cap on Move
  and Attack. See Creating New Techniques (pp. 89-95) to learn
  how to design techniques like this. Such moves have dire
  consequences if they fail, though – the attacker is so com-
  mitted to attacking that he needs a successful hit to brake!
  For an example, see Flying Jump Kick or Flying Lunge
  (pp. 83-84).
  COMBAT
  107
  
  WAIT
  Wait requires you to name a particular event and declare
  your response in advance. The event can be as general or as
  specific as you wish. You could specify, “I’ll Attack Otto with
  my rapier if he steps into reach on my right and utters so
  much as one word.” However, it would be equally legitimate
  to declare, “I’ll Attack Otto with my rapier if he steps into
  reach,” or, “I’ll use my rapier to Attack the first enemy who
  steps into reach.”
  Your response must be more specific. You must name the
  maneuver and weapon you plan to use; e.g., “I’ll Attack with
  my main-gauche” or “I’ll All-Out Attack (Strong) with my
  rapier.” You don’t have to name particular combat options or
  techniques, though; you can decide these when you act. For
  instance, when you Attack with your rapier, you could choose
  to disarm, stab to the vitals, make a Rapid Strike, etc.
  The new maneuvers Committed Attack (pp. 99-100) and
  Defensive Attack (p. 100) are both valid responses. If you
  choose Committed Attack, you must specify in advance
  whether it will be Determined or Strong.
  Stop Hits
  It has often been in vogue among swordsmen to attack an
  opponent as he attacks or prepares to attack, the idea being
  to stop his blow and hit him while he’s committed to attack-
  ing. There are many variations on this tactic, known as
  “attack on preparation,” “stop cut,” “stop thrust,” and “time
  thrust.” Such gambits aren’t limited to swordplay; Bruce Lee
  (pp. 24-25) was an advocate of the “intercepting fist.” For
  game purposes, the collective term for these moves is Stop
  Hit – if only to distinguish them from the “stop thrust” on p. -
  B366.
  To try a Stop Hit, take a Wait and declare that you intend
  to attack your foe. Instead of simply attacking first, which
  allows him to parry and continue with his attack, you attack
  into his attack in an effort to hit him while he’s on the offen-
  sive and less able to defend. Since you’re on the offensive, too,
  this is a gamble: your skill against his.
  You and your opponent both roll to hit normally. If you
  both miss, nothing happens. If one of you hits and the other
  doesn’t, the struck fighter defends at -1 . . . or at -3 if he tries
  to parry with the weapon he used to attack. If you both hit,
  the one with the largest margin of success defends normally
  while the other has the penalty above – but in a tie, you both
  suffer this penalty!
  You can do this with an unbalanced weapon (one with a
  “U” in its Parry statistic) or even one that becomes unready
  after an attack – and if you do, you can try to parry your foe’s
  weapon. This is because your Stop Hit and parry are a single
  move, not two distinct actions. You cannot parry after your
  Stop Hit, however.
  See Counterattack (p. 70) and Riposte (pp. 124-125) for
  two related ways to take advantage of an attacker.
  Cascading Waits
  When multiple fighters trigger Wait maneuvers simulta-
  neously – or nearly so – it’s crucial to know who goes first. This
  can arise in many situations, the most common of which are:
  • One combatant’s actions trigger another’s Wait, his
  response triggers somebody else’s Wait . . . and so on.
  • Two or more fighters with Waits wish to attack one
  another.
  • More than one person with a Wait wishes to affect the
  same target (grab an object, count coup, etc.).
  The GM could rule, “He who shouts first, acts first,” but
  that would be unfair to timid players who play aggressive
  fighters. This is a roleplaying game, after all! Below is a 
  fairer method.
  First, determine which of the waiting parties wishes to
  commit to action immediately. The only choices here – for PC
  and NPC alike – are “I proceed” or “I continue to wait.” No
  qualifiers are allowed!
  Then roll a Quick Contest. Each fighter rolls against the
  score he intends to use: DX to grab an object or activate a
  simple control (e.g., press a button), a combat skill to attack,
  a DX-based roll against a technical skill to operate complex
  controls quickly, etc. Not everyone needs to use the same kind
  of skill. For instance, if one convict is trying to stab another,
  his would-be target is so close that he can grab the knife, and
  a guard is standing by a button that will close a door between
  the prisoners – and all three have a Wait – the first would
  make a Knife roll, the second, a Wrestling roll, and the third,
  a DX roll.
  Modifiers: +1 for Combat Reflexes; a bonus equal to Basic
  Speed (drop all fractions); +2 for fighters who needn’t move
  at all, +0 for those who need only take a single step, or -1 per
  yard of distance for those who must move further (to All-Out
  Attack).
  Those who succeed act in order of decreasing margin of
  success, then those who fail act in order of increasing margin
  of failure. Tied fighters act truly simultaneously; if they attack
  one another, they cannot parry with the weapons they’re
  using to attack! If a faster fighter’s action renders that of a
  slower fighter impossible, the slower one loses his action (and
  his Wait).
  If, at any time during the sequence of actions determined
  by this Quick Contest, the conditions become right to trigger
  the Wait of a previously uninvolved fighter, he can try to inter-
  rupt – but this isn’t automatic! He rolls exactly as above, but
  with an extra -2 for jumping in late. He enters the sequence
  where his margin of success or failure indicates. If this is
  before the person he’s trying to interrupt, he successfully
  interrupts him. If not, he just has to wait and risk losing his
  action if it becomes impossible.
  Enhanced Time Sense: If one or more of those involved has
  the Enhanced Time Sense advantage (p. B52), resolve their
  actions first using the method above. Then settle things for
  those without this trait. Individuals with ETS and a Wait can
  interrupt those who lack ETS at any time.
  108
  COMBAT
  A good martial artist does not
  become tense – but ready. Not 
  thinking, yet not dreaming. Ready for
  whatever may come.
  – Bruce Lee
  
  ADDITIONAL COMBAT OPTIONS
  COMBAT
  109
  A “combat option” is a tactic that a fighter can use in
  conjunction with more than one maneuver (e.g., Deceptive
  Attack, p. B369) or active defense (e.g., Retreat, p. B377). It
  doesn’t necessarily have any connection to specific tech-
  niques; then again, it might form the basis of a technique or
  be available only when performing certain techniques. The
  GM chooses the options allowed in his campaign. They can
  spice up combat by giving warriors more choices . . . but the
  modifiers and conditions they add can also slow down com-
  bat, which is a steep price to pay in a cinematic game.
  MELEE ATTACK OPTIONS
  These options apply only in melee combat. Most specifi-
  cally affect unarmed or melee weapon attacks made as part
  of an All-Out Attack, Attack, Committed Attack, Defensive
  Attack, or Move and Attack maneuver, or feints made dur-
  ing these maneuvers or a Feint maneuver. A few options –
  notably Defensive Grip (see below) and Reversed Grip
  (p. 111-112) – also have effects on other maneuvers or on
  active defenses.
  Combinations
  Martial artists can learn a class of multiple-attack tech-
  niques called “Combinations” (p. 80). These constitute a
  special case of Rapid Strike (p. B370), which makes them
  compatible with All-Out Attack, Attack, Committed Attack,
  and Defensive Attack, but not with Move and Attack. The
  chosen maneuver modifies all applicable elements of the
  Combination: All-Out Attack (Strong) gives +2 damage with
  all strikes, Committed Attack (Determined) gives +2 to hit
  with all attacks, and so on.
  Regardless of skill or speed, a fighter can use only one
  Combination per maneuver. If he does, he can’t execute a
  Rapid Strike or Dual-Weapon Attack (p. B417) as part of the
  same maneuver. For more on the interaction between rules
  that let a warrior use a single maneuver to attack more than
  once, see Multiple Attacks (pp. 126-128).
  A feint at the end of the maneuver immediately previous
  to the one that delivers the Combination lowers the target’s
  defenses against the whole thing. The same is true for the
  feint portion of All-Out Attack (Feint) when the ensuing
  attack is a Combination. If using Riposte (pp. 124-125), a
  Combination counts as a single attack. The target’s defense
  reduction applies against all parts of it, but note that only
  one active defense suffers the full penalty and it generally
  takes more than one defense to stop a Combination.
  Any or all parts of a Combination can be Deceptive
  Attacks (p. B369) or Telegraphic Attacks (p. 113). These
  options modify the attack and defense rolls to resolve the
  affected portion(s) of the technique only. A fighter can mix
  and match; for instance, he could start a three-attack
  Combination with a Deceptive Attack, follow with an
  unmodified attack, and then finish with a Telegraphic
  Attack.
  The viability of each attack after the first in a
  Combination depends on how well the preceding attacks do.
  If the attacker misses with one of these – or if his foe makes
  a successful active defense against it – his target gets +3 on
  rolls to avoid the remainder of the Combination. This bonus
  applies equally to active defenses and to rolls against ST,
  DX, or skill for attacks that use Quick Contests.
  If a later attack requires a successful earlier attack to pro-
  ceed, the “setup” must work for the fighter to attempt the
  “follow-up”! If it doesn’t – for whatever reason – the rest of
  the Combination is forfeit. Common situations include:
  •Attacks with limited reach. If a Combination involves an
  attack with fixed reach, that attack can only work if the pre-
  ceding ones leave the target in range. In particular, if a close-
  combat strike like a punch or a Knee Strike follows an
  attack that hurls the victim one or more yards away – most
  often a shove, throw, or strike that inflicts knockback – the
  Combination ends if the attacker can’t step to deliver the
  short-ranged attack.
  •Holds, locks, throws, and disarms using grappling skills.
  Combinations that include such attacks require a successful
  grab or grapple, and cannot proceed without it.
  • Strikes that require a prone target. A Combination that
  directs a Knee Drop, Stamp Kick, or similar attack against
  the target’s upper body can only proceed if an earlier attack
  puts the victim on the ground. It might specifically set up
  such a move using a throw, takedown, or Sweep . . . but
  many realistic Combinations end with a strike like this on
  the off chance that an earlier blow knocks down the target
  by pushing him off-balance (see Knockback, p. B378) or
  injuring him (see Knockdown and Stunning, p. B420).
  A Combination doesn’t preclude movement by the
  attacker. He may make full use of any movement his maneu-
  ver permits. He can intersperse this between the elements of
  his Combination however he sees fit, although some maneu-
  vers limit his options (e.g., All-Out Attack allows only for-
  ward movement). He needn’t specify this when he learns his
  technique, as realistic Combinations take into account that
  some movement is inevitable in combat. This freedom does-
  n’t extend to the order of attacks, which is always fixed.
  The target may retreat after any element of the
  Combination, gaining a bonus to his active defenses against
  that attack and all that follow. This is gradual movement –
  not a sudden lurch, like knockback – and doesn’t take him
  out of reach of the remaining attacks. Treat the distance
  between attacker and defender as constant unless the
  attacker steps or the defender suffers knockback, a throw,
  etc. If using tactical combat, move a retreating defender
  back a hex only after resolving the effects of the entire
  Combination.
  Defensive Grip
  A fighter with at least two hands and a one- or two-
  handed melee weapon can use a “strong” two-handed grip
  that sacrifices side-to-side movement for frontal defense. To
  assume or relinquish a Defensive Grip requires a Ready
  maneuver (see Ready, p. 101-104).
  
  110
  COMBAT
  These rules address minute differences between melee
  weapons. They’re highly optional. Use them only if you
  want subtle distinctions influencing your battles!
  Swing vs. Thrust
  Swung weapons enjoy superior damage because they
  take extra time to apply ST through a long arc, increasing
  momentum. This makes swings slower than thrusts.
  When using Who Draws First? (p. 103) and Cascading
  Waits (p. 108), combatants must declare in advance
  whether they plan to thrust or swing. Those who intend to
  swing get -1 in these Quick Contests. When using Stop
  Hits (p. 108), fighters making swings subtract 1 from their
  margin of success to see who gets the defense penalty.
  Weapon Weight
  A weapon’s weight and balance affect reaction time in
  two ways.
  Relative Weapon Weight: How heavy the weapon feels.
  When using Who Draws First?, Cascading Waits, or Stop
  Hits, each fighter has a modifier for his weapon:
  User’s ST under weapon’s ST statistic: -1 per point of
  difference
  Bare hands: +2 (or +0; see below)
  User’s ST at least 1.5 times weapon’s ST statistic: +1
  User’s ST at least twice weapon’s ST statistic: +2
  User’s ST three or more times weapon’s ST statistic: +3
  Unbalanced weapon (“U” in its Parry statistic): -1
  Apply this to the Quick Contest or margin of success
  just like the swing penalty in Swing vs. Thrust. It replaces
  the -1 for having the heavier weapon in Who Draws First?
  This modifier affects two other situations. Bare hands
  get +0, not +2, in these cases.
  • Add it to skill when making or resisting a feint. It’s
  easier to flip a relatively light weapon to a new attack or
  defense position.
  •Adjust the -4 penalty per parry after the first in a turn
  (p. B376) by this amount – a bonus offsets it, a penalty
  worsens it. Trained by a Master or Weapon Master halves
  the total penalty (round against the defender). Use this
  rule instead of halving the penalty for fencing weapons.
  Absolute Weapon Weight: How heavy the weapon actu-
  ally is. A heavy weapon or an unbalanced one with its
  weight concentrated in the head is beneficial here. Use
  these modifiers:
  Bare hands: +0
  Balanced weapon weighing 1.5 lbs. or less: -2
  Balanced weapon weighing more than 1.5 lbs., less
  than 3 lbs.: -1
  Balanced weapon weighing 3 lbs. or more: +0
  Unbalanced weapon: +1
  This adjustment plays two roles:
  •Add it to skill when making or resisting a Beat.
  • Add twice this modifier to parries against flails,
  cumulative with the basic -4. Use this rule instead of for-
  bidding fencing weapons to parry flails outright.
  Weapon Length
  A weapon’s Reach statistic is an approximation. “C”
  describes anything under 1 yard long, “1” covers lengths
  between 1 yard and just under 2 yards, and so on. Two
  weapons with identical Reach could differ in length by 1
  or 2 feet! It’s possible to categorize weapons relative to
  other weapons with the same Reach:
  Extremely Long: Bill, dueling polearms (all), eku,
  glaive, halberd, heavy spear, horse-cutter (any), long
  spear, long staff, naginata, pollaxe, quarterstaff, rope dart,
  spear, trident.
  Very Long: Chain whip, flail, great axe, greatsword,
  javelin, kusari, kusarigama, kusarijutte, lajatang, maul,
  monk’s spade, scythe, short spear, sodegarami, tetsubo,
  three-part staff, urumi, warhammer, whip.
  Long: Bastard sword, estoc, gada, katana, longsword,
  rapier (any).
  Medium: Axe, backsword, bokken, broadsword, caval-
  ry saber, dao, jian, jo, large falchion, late katana, light
  club, mace, mensurschläger, morningstar, pick.
  Short: Baton, bola perdida, bolas, cutlass, dusack, fal-
  chion, hatchet, hook sword, jutte, kick, knobbed club,
  kukri, life-preserver, long knife, nunchaku, qian kun ri yue
  dao, saber, sai, shortsword, sickle, small axe, small fal-
  chion, small mace, smallsword (any), tonfa, weighted
  scarf.
  Very Short: Balisong, bite, dagger (any), deer antlers,
  elbow, katar (any), knee, knife, knife-wheel, main-gauche,
  punch, shield bash, short baton, slashing wheel, stiletto,
  straight razor.
  For instance, a greatsword and a rapier both have
  Reach 2, but a greatsword is longer.
  When using Who Draws First? in a standoff between
  fighters with weapons of identical Reach, the -1 for the
  longer weapon goes to the individual who has the longer
  weapon on this progression. It takes longer to draw a
  greatsword than a rapier!
  When weapons are already out, length is an advantage.
  In a Cascading Waits or Stop Hits situation, ties go to who-
  ever has the longest Reach. If Reach is tied, they go to the
  longest weapon on the scale above. A rapier is at a disad-
  vantage to beat a greatsword to a hit.
  If length doesn’t break the tie, thrusts come before
  swings. If that doesn’t break the tie, the lightest weapon
  goes first. If that, too, is a tie, the fighters really do act
  simultaneously.
  A Matter of Inches
  
  A warrior using a Defensive Grip has his weapon firmly
  in front of him in two hands. He holds a two-handed
  weapon, like a staff, across his body. For any weapon, this
  grip gives +1 to parry attacks from the front but an extra -1
  to parry attacks from the side (for a net -3; see Defending
  Against Attacks from the Side, p. B390).
  If using a one-handed weapon, Defensive Grip involves
  placing a second hand on the weapon. This hand must be
  empty. The extra hand makes it awkward to use normal one-
  handed strikes but adds power: -2 to attack rolls, +1 to dam-
  age. Treat the weapon as two-handed for all purposes. When
  using this grip with a fencing weapon (a weapon with “F” in
  its Parry statistic), it becomes possible to parry flails at the
  usual penalties.
  If using a two-handed weapon, Defensive Grip involves
  moving one hand forward to “choke” the weapon or grip it
  by the ricasso. This effectively reinforces the weapon, giving
  -1 to odds of breakage. It also greatly narrows the possible
  arc of a swing, giving -2 to hit with a Wild Swing (for a net
  -7; see Wild Swings, p. B388) and less power with swinging
  attacks: -2 damage or -1 damage per die, whichever is worse.
  Treat a weapon that can be used one- or two-handed –
  such as a bastard sword or a spear – as two-handed for this
  purpose.
  A warrior with a sword of any kind can instead opt
  to place a hand just behind the tip, as part of his
  Ready to a Defensive Grip or using a later Ready.
  The rules above apply for everything except reach
  and damage: regardless of the sword, reach drops
  to C (“close combat only”) and damage becomes
  thrust impaling – or thrust crushing, if blunt.
  Swung attacks are impossible. This allows superior
  point control, removing -2 from the penalty to tar-
  get chinks in armor, cumulative with any similar
  benefit the weapon grants.
  A fighter using a Defensive Grip can select any
  maneuver – even All-Out Attack (but not the Long
  option) or Committed Attack. Deceptive Attack
  (p. B369), Rapid Strike (p. B370), Telegraphic
  Attack (p. 113), and Tip Slash (p. 113) likewise
  remain viable.
  Pummeling
  You can strike with the pommel or hilt of any
  fencing weapon or sword, or with the butt of a
  reach C or 1 melee weapon. Roll against DX-1,
  Brawling-1, or Karate-1 to hit. You may substitute
  Hammer Fist with a one-handed weapon or Two-
  Handed Punch with a two-handed one, if better.
  Use full DX, Boxing, Brawling, or Karate skill to
  punch with a tonfa or with a sword that sports a
  knuckle guard (backsword, cutlass, etc.). Reach is
  always C. In all cases, damage is thrust crushing
  (like brass knuckles) plus skill bonuses, +1 if using
  two hands.
  Reversed Grip
  A fighter with a reach C, 1, or 2 thrusting
  weapon (typically a knife, spear, or sword) can
  invert his weapon and use an “ice-pick grip,” the
  weapon extending along his arm rather than as an extension
  from it. Switching into or out of this Reversed Grip 
  normally calls for a Ready maneuver; see Ready (pp. 101-
  104). This has several combat effects.
  Most weapons have less reach when reversed. A reach C
  weapon remains reach C. A reach 1 weapon is still reach 1
  when striking to the rear, but can only attack at reach C to
  the front or sides (although this allows it to function as a
  close-combat weapon). A reach 2 weapon functions as reach
  1 for all purposes – half its length is in front of the wielder,
  the other half is behind him. Longer weapons are too awk-
  ward to reverse.
  This grip favors stabbing, but its reduced reach and over-
  all awkwardness make swung attacks and parries less effec-
  tive. Thrusting attacks get +1 damage. Swinging attacks are
  at -2 damage or -1 damage per die, whichever is worse.
  Parries with the weapon are at -2.
  Brawling and Karate parries are possible when wielding
  a reach C or 1 weapon this way. The defender parries with
  the weapon resting along his forearm. A failed parry lets the
  attacker choose to hit his original target or the weapon (the
  arm would be struck if it weren’t for the weapon; see
  p. B377). This special parry is at only -1 – or at no penalty if
  using a tonfa (p. 225), which is designed for it.
  COMBAT
  111
  What Is . . . a Deceptive Attack?
  As stated on p. B369, a Deceptive Attack can represent “any
  number of advanced fighting techniques.” This doesn’t mean
  “techniques” in the sense of Chapter 3, although some of those
  techniques penalize the target’s defenses. In fact, one can deliv-
  er almost any attack using any technique in a deceptive way.
  Common deceptions include:
  •Change-up. The attacker waits for his target to commit to a
  defense and then abruptly alters his attack vector (or his attack!)
  to avoid it; e.g., starting a rapier thrust to the throat so that the
  defender will move to protect his upper body, and then dropping
  the sword point to the gut at the last moment. Unlike using
  Rapid Strike to feint and attack, this is one fluid motion – which
  is why it uses one die roll. The logic behind the penalty is simi-
  lar, though: the attacker is performing a lot of action in relative-
  ly little time.
  •Radical angle of attack. The attacker angles his blow so that
  it passes over, under, or around the defender’s guard; e.g., stab-
  bing upward with a dagger held low, swinging an axe wide so
  that it comes in behind a shield, or moving in close and looping
  a punch outside the victim’s field of vision. The awkwardness of
  the angle explains the attacker’s penalty.
  •Sheer speed. The attacker strikes so swiftly that the defend-
  er has little time to respond. The penalty on the attack roll
  reflects the difficulty of aiming a fast-moving attack. The “secret
  techniques” of many masters are simply ordinary techniques
  combined with this kind of Deceptive Attack. Bruce Lee (pp. 24-
  25) was famous for this!
  Which option you use is a “special effect” – it has no effect on
  game play. In a combat-heavy game, though, describing your
  Deceptive Attacks is an important part of roleplaying. The GM
  may award character points accordingly.
  
  When striking to the front or sides, a reversed weapon
  can make its usual thrusting or swinging attacks, subject to
  the damage modifiers above. Since the attacker’s body part-
  ly conceals the weapon, Deceptive Attacks and feints are
  more effective: if either succeeds, add an extra -1 to the tar-
  get’s defense penalty.
  The user can also strike with the butt of his weapon. If its
  effective reach is C, treat this as Pummeling (p. 111). If effec-
  tive reach is 1, this is an attack using weapon skill. The butt
  of a crushing weapon (e.g., a staff) inflicts its full thrusting
  damage. Other weapons do their usual thrusting damage at
  -1, converted to crushing. Butt strikes don’t enjoy the bonus
  thrusting damage or improved Deceptive Attacks and feints
  noted above.
  When striking to the rear, a reversed weapon can only
  make thrusting attacks with its tip, but still at +1 to damage
  for Reversed Grip. These attacks otherwise obey the usual
  rules for a Wild Swing (p. B388) or a Back Strike (p. 67).
  This grip is most useful for knives, which are neither
  long-ranged nor ideal for cutting and parrying in the first
  place. Many knife fighters prefer this grip. It’s also effective
  with a tonfa. Swordsmen rarely use this grip except to strike
  enemies in close combat.
  Shin Kicks
  Kicking with a shin instead of with a foot is an option for
  Jam, Kicking, and Spinning Kick – but not for other kicks,
  or against someone who’s behind you or lying down. Skill
  and damage don’t change. You get +1 damage for rigid leg
  armor, not for boots. Hurting Yourself (p. B379) applies if
  you strike any DR. If your opponent parries such a kick and
  inflicts damage, it affects your leg, not your foot.
  This move is most effective if you have the advantage
  Striker (Crushing; Limb, Shin, -20%). Damage is then at +1
  per die and you only hurt yourself if you kick DR 3+. See
  Striker (p. 47).
  Shoves with Weapons
  You can use a shield or any rigid weapon with reach 1+
  (not a kusari, whip, etc.) to shove a foe. Resolve this as
  explained for Shove (p. B372), but roll against weapon skill
  to hit. “Damage” is thrust crushing, at -1 per die if using a
  one-handed weapon or shield, plus the weapon’s highest
  Reach or shield’s Defense Bonus. As usual, double this to
  find knockback.
  With a long weapon, you can simultaneously shove two
  nearby foes; see Slams with Long Weapons (p. 112) for
  allowed weapons and targets. Both attacks are at -4 to hit.
  Roll knockback-only damage as above but apply the basic
  roll to each target instead of twice that amount to just one
  of them.
  Slams with Long Weapons
  A pole held across the body is useful for knocking people
  over in a slam. This move – called “cross-checking” in ice
  hockey – is a variation on the shield rush (p. B372) for long
  weapons. Only reach 2+ weapons can do this, and only when
  ready in a two-handed grip. This usually limits it to Polearm,
  Spear, Staff, Two-Handed Axe/Mace, and Two-Handed Flail
  weapons, but Two-Handed Sword weapons can also slam
  when held in a Defensive Grip. To charge and strike with the
  end of a weapon, see Move and Attack (p. 107).
  Resolve this attack as explained under Slam (p. B371),
  but roll against weapon skill to hit. (This represents keeping
  the weapon on target as you rush – a historically accurate
  part of training with long weapons!) If you hit, add your
  weapon’s highest Reach to your regular slam damage. Your
  weapon takes damage instead of you, but you still fall down
  if your opponent rolls twice your damage or more.
  Using a long pole makes two options available that aren’t
  possible with ordinary slams and shield rushes. First, you
  can target the neck, at the standard -5 to hit. This has no spe-
  cial effect on the slam but gives you the favorable modifiers
  for crushing damage to the neck.
  Second, you can run between two opponents who are no
  further apart than the reach of your weapon (adjacent if
  reach 2, with up to a yard of empty space between them if
  reach 3) and slam them both. Roll separately at -4 to hit each
  foe; this is a variation on Dual-Weapon Attack (p. B417).
  Determine damage normally, adding Reach as above, but
  make a single damage roll and divide it by two. This is the
  damage to each foe – even if you hit just one. Work out who
  knocks down whom separately for each attack. You have
  two chances to fall. Only a big, fast fighter with a heavy
  weapon is likely to knock down two men!
  Striking at Shields
  You can attack a shield, cloak, or buckler much as you
  would a weapon. Use Striking at Weapons (pp. B400-401)
  with the following modifications.
  If the shield is strapped to your adversary’s arm, you can
  only strike to damage it; you can’t knock it from his grasp.
  The penalty to hit is the usual -4 to attack a reach 1 melee
  weapon, but add a bonus equal to the shield or cloak’s
  Defense Bonus (DB). This gives -3 to hit a light or small
  shield, or a light cloak; -2 to hit a medium shield or a heavy
  cloak; or -1 to hit a large shield.
  If your opponent is using a cloak or hand-held buckler –
  that is, anything that uses the Cloak or Shield (Buckler) skill
  – you can strike to disarm, if you prefer. Use the penalty
  above, but all weapons (even fencing weapons) suffer an
  extra -2 to hit.
  Your victim may dodge or block (but not parry) your
  attack. Retreating gives its usual bonus. His DB doesn’t add
  to his defense roll, however. A shield or cloak’s DB rates its
  tendency to get in the way, and he’s trying to get it out of the
  way or turn it so that the blow slides off.
  Resolve damage to shields and cloaks according to
  Damage to Shields (p. B484); see Shields (p. B287) for DR
  and HP. In a disarm attempt against a cloak or buckler, roll
  the usual Quick Contest. Neither fighter receives any modi-
  fier for weapon type.
  Grabbing Shields
  You can also attempt to grab a shield or cloak. This
  requires at least one empty hand. Roll against DX or a grap-
  pling skill to hit – but instead of the usual -4 to grab a
  weapon hand (see Grabbing, p. B370), roll at -4 plus the
  shield or cloak’s DB. Your opponent can use any active
  defense; he can parry your hand with a weapon.
  112
  COMBAT
  
  A successful attack means you’ve grabbed the shield or
  cloak. Until your victim breaks free or you let him go, he can-
  not block or add his DB to his defenses. He may attempt to
  break free on his turn; see Break Free (p. B371). If so, you’re at
  the usual +5 if you used both hands. He gets +4 if his shield is
  strapped to his arm.
  Telegraphic Attack
  You can carefully line up an attack in combat much as you
  would during a stress-free practice session, gaining the +4 for
  routine skill use discussed on p. B171. Such an attack is often
  termed “telegraphic” because it transmits your intentions to
  your foe. This makes it easy to avoid: all active defenses
  against a Telegraphic Attack are at +2!
  A Telegraphic Attack is the opposite of a Deceptive Attack
  (p. B369) and you cannot combine the two. Likewise, you can-
  not use a Telegraphic Attack as a Riposte (pp. 124-125) and it
  gains no benefit from an earlier feint. The +4 to hit doesn’t
  “stack” with the bonus for Evaluate, either. You can combine
  it with all other combat options.
  There’s also a restriction on the results of a Telegraphic
  Attack: the +4 to hit doesn’t affect your chance of a critical hit.
  Use your skill before the bonus to determine this. For instance,
  if you had skill 11 and the +4 made it 15, you would roll a crit-
  ical hit on 3-4, not on 3-5; if you had skill 15 and the +4 gave
  you 19, you would score a critical hit on a roll of 3-5, not 3-6.
  Use this option when you must attack at a penalty but All-
  Out Attack (Determined) or Committed Attack (Determined)
  would be too risky. Fighters most often use Telegraphic Attack
  to offset the -3 for Combat Art or Sport skills in combat (ath-
  letes often have good accuracy but little subtlety), shock penal-
  ties, and penalties for attacks that are at the edge of their skill
  level (e.g., for specific hit locations) . . . and to strike from
  behind!
  Tip Slash
  If your weapon can thrust for impaling damage, you can
  instead swing it so that the tip pierces and rips across your tar-
  get laterally. This is called a Tip Slash. Treat it as a cutting
  attack for all purposes: wounding modifiers, Injury Tolerance,
  etc. It can be useful when impaling damage doesn’t affect your
  target much!
  A Tip Slash is an attack at full skill, distinct from other
  attacks listed on the weapon table. For the purpose of Targeted
  Attacks (p. 68) and Combinations (p. 80), it’s a different basic
  attack from “Thrust” or “Swing.” Cutting damage equals the
  weapon’s impaling damage, at -2. Weapon quality affects this
  normally. Where the rules distinguish between thrusts and
  swings (e.g., parrying unarmed), a Tip Slash is a swing, despite
  using thrust damage.
  A Tip Slash uses the weapon’s current maximum reach. If
  holding the weapon in a grip that permits two or more differ-
  ent attacks, use the longest reach. Parry and ST are unaffected.
  Examples: A Tip Slash using a dagger (thrust-1 impaling)
  inflicts thrust-3 cutting at reach C. A Tip Slash with a fine-
  quality rapier (thrust+2 impaling) does thrust cutting at reach
  2. A Tip Slash with a long spear held in two hands (thrust+3
  impaling) delivers thrust+1 cutting at reach 2 or 3, depending
  on how you hold it.
  COMBAT
  113
  Untrained Fighters
  Untrained fighters are a danger to themselves . . .
  and often to their allies, too! These optional rules
  simultaneously make such combatants less pre-
  dictable and limit their choices. They’re realistic but
  add extra complexity.
  Fear
  Combat is frightening to the unprepared. At the
  start of hostilities – when “slow” time starts and com-
  batants start acting turn-by-turn (see Time During
  Adventures, p. B497) – those with neither combat
  skills nor Combat Reflexes must make a Fright Check
  (p. B360). Apply the usual +5 for the “heat of battle”
  and any bonus for a successful Leadership roll by the
  group’s leader (see p. B204). The GM may rule that
  those who fail simply drop their weapons and flee
  instead of rolling on the Fright Check Table.
  “Coin Toss” Option
  If someone with neither combat skills nor Combat
  Reflexes passes his Fright Check, he may elect to
  back off (a series of Move maneuvers) instead of turn-
  ing his back to the foe and fleeing. If he chooses to
  fight, though, roll 1d at the start of his turn:
  1-3 – He attacks the nearest foe that poses a danger
  – to him, a Dependent, an Ally, an adventuring
  companion, or a bystander, in that order. To off-
  set his lack of skill, he makes an All-Out Attack
  (Determined) without realizing it!
  4-6 – He decides to protect himself. He uses All-Out
  Defense (Increased Dodge) to move away from
  the nearest foe. If he has a ready weapon or
  shield, he may select Increased Parry or
  Increased Block instead.
  Roll again each turn!
  Limited Maneuver Selection
  Untrained fighters have a narrower tactical
  palette than skilled martial artists. Only combatants
  with at least DX level in a melee combat skill (1 point
  if Easy, 2 points if Average, or 4 points if Hard) can
  choose a Committed Attack, Defensive Attack, or
  Feint maneuver, or exercise combat options such as
  Deceptive Attack, Defensive Grip, and Rapid Strike.
  Exception: Anyone can attempt a Telegraphic Attack.
  Unskilled fighters are more likely to choose this
  option!
  Combat Art or Sport Fighters
  Those who know only Combat Art or Sport skills
  might count as “untrained.” Actual combat skills
  default to their Art/Sport analogs at -3, so a fighter
  who has only an Art/Sport skill needs DX+3 level (8
  points if Easy, 12 points if Average, or 16 points if
  Hard) to choose the maneuvers and options above.
  
  CLOSE-COMBAT OPTIONS
  These expanded rules apply mainly in close combat – that
  is, for melee combat at ranges under a
  yard (reach C). For more information,
  see Close Combat (p. B391).
  All-Out and Committed
  Attacks When Grappling
  All-Out and Committed Attacks
  compromise your defenses against
  grapples as well as against strikes. They
  also make it easier for an opponent to
  follow up his grapple with a takedown,
  pin, or other close-combat move.
  If you make an All-Out Attack, you’re
  truly defenseless. You automatically lose
  any Contest to avoid a close-combat
  attack following a grapple. This includes
  all takedowns, pins, throws from 
  locks, and grappling techniques that
  “attack” using a Quick Contest (e.g.,
  Handcuffing). You still get a ST or HT
  roll to resist injury from strangling, Arm
  Lock, Neck Snap, Wrench Limb, etc.
  If you make a Committed Attack, the
  -2 to active defenses also applies to your
  rolls to avoid takedowns, pins, etc.
  Otherwise, you function normally
  against actions that follow a grapple.
  Neither 
  All-Out 
  Attack 
  nor
  Committed Attack prevents you from rolling to keep someone
  you’ve grappled from breaking free, though, or gives a penalty
  to such a roll. That isn’t a defense roll!
  Your actions after grappling or being grappled – including
  your own attempts to break free – require you to choose an
  Attack, All-Out Attack, or Committed Attack maneuver. They
  aren’t compatible with Defensive Attack and aren’t free
  actions. If you make an All-Out Attack (AOA) or Committed
  Attack (CA), you’re subject to the effects above and use the fol-
  lowing special rules:
  Determined: You may use this option to get +2 (CA) or +4
  (AOA) to a DX-based roll (DX or a DX-based skill or technique)
  for the purpose of a takedown, lock, or hold. You cannot apply
  this bonus to a ST-based roll – but see the Strong option,
  below.
  Double: You may use AOA (Double) to try two grappling
  moves, subject to the restrictions under Grappling and
  Multiple Attacks (p. 128).
  Feint: You may use AOA (Feint) to make a feint or a Beat
  against a grappled foe before trying Arm Lock, Judo Throw, or
  another grappling attack that allows an active defense. You
  can also use AOA (Feint) on the turn after you parry to make
  a feint or a Beat and then attempt such an attack, if it’s one that
  can follow a parry. AOA (Feint) is pointless if no active defense
  is involved; e.g., with break free, strangle, or pin.
  Long: AOA (Long) isn’t an option in close combat.
  Strong: You may use this option to get +1 (CA) or +2 (AOA)
  to a ST-based roll (ST or a ST-based technique) for a takedown
  or pin, to strangle or otherwise injure a foe, or to break free. For
  techniques that base injury on thrust or swing damage as
  opposed to on a margin of victory, apply the bonus directly to
  damage.
  See Actions After a Grapple (p. B370) and Actions After Being
  Grappled (p. B371) for further details.
  Close Combat and Body Morphology
  The combat rules in the Basic Set, while generic, occasion-
  ally assume an upright humanoid with two arms, hands, legs,
  and feet (or equivalent body parts). Traits that alter your body
  away from this norm change how certain rules work – espe-
  cially for grapples, pins, and close-combat techniques!
  Below are notes on the combat effects of selected physio-
  logical traits. Anything not mentioned here either has no appre-
  ciable effect or uses the rules for the traits it includes (e.g.,
  Quadriplegic combines Lame and No Fine Manipulators). In
  general, if a body part is missing, you can’t use techniques that
  require it and are immune to enemy techniques that target it.
  Extra Arms
  see p. B53
  If you can bring more than two arms to bear on a foe, each
  arm after the second gives +2 to hit with a grapple (but not with
  follow-up techniques), to prevent your victim from breaking
  free (of grapples, pins, locks, etc.), and to break free yourself.
  Each hand after the first two gives +2 ST to choke or strangle,
  too. If you have more arms than your opponent – the exact
  number is irrelevant – you get +3 to pin him or resist his pin
  attempts. You only receive these bonuses for arms of regular
  length or better.
  Special modifiers can give additional effects:
  Extra-Flexible: Such arms are immune to injury from Arm
  Lock (which only counts as an ordinary grapple) but not
  Wrench Arm. They also get +2 on the DX roll required to ready
  a weapon in close combat (p. B391).
  Foot Manipulators: You can use these limbs to meet the
  requirements of any rule that calls for arms or legs – but you
  can never use a limb as both an arm and a leg at the same time.
  Decide how you’re using it at the start of your turn.
  No Physical Attack: In addition to being unable to strike,
  these arms cannot grapple, pin, choke, etc., and don’t give the
  close-combat bonuses above. They’re still valid targets for
  enemy techniques that target arms!
  Short: These arms never give the close-combat bonuses
  above. If you use only Short arms for a close-combat task, all
  rolls are at -2 regardless of how many arms you have.
  Weapon Mount: As No Physical Attack, except that Arm
  Lock is ineffective against the limb – it only counts as an ordi-
  nary grapple. Wrench Arm works normally.
  Extra Legs
  see p. B54
  The number of legs a foe must grapple to keep you from
  walking, kicking, etc., equals the number of crippled legs
  needed to make you fall. If he restrains fewer legs and you
  have more than twice his ST, you can walk – just lower Move
  by the usual amount for a small number of crippled legs.
  114
  COMBAT
  Makhila
  
  Example: If you had six legs, a weak enemy grappling one
  leg would merely reduce your Move by 20% – he’d have to
  grapple four legs to immobilize you!
  In addition, each leg past two gives +1 to resist enemy
  attempts to knock you over (e.g., takedown or Sweep) and
  to the roll to avoid falling after a missed kick. When you
  grapple using legs (see Using Your Legs, p. 79), each pair of
  legs after the first gives the bonuses specified under Extra
  Arms, above, per arm past the first two. If you have more
  legs than your foe has free hands, you get +3 to pin him by
  sitting on him (see Shifting Grapples and Freeing Hands,
  pp. 117-118). Finally, having four or more legs lets you
  attempt a pounce (p. B372).
  Extra Mouth
  see p. B55
  A mouth on your torso can bite someone who’s pinning
  you! A mouth elsewhere is immobilized only if a foe grap-
  ples the body part it’s attached to. For more on biting, see
  Teeth (see below).
  Horizontal
  see p. B139
  Your posture gives you +1 to strike or grapple the feet,
  legs, or groin of an upright foe whose Size Modifier is no
  more than one different from your own, but -1 to hit his
  neck, face, eye, or skull. For greater differences in SM, see
  Combat at Different Levels (p. B402).
  Your joints bend the wrong way for Backbreaker, Elbow
  Drop, Elbow Strike, Knee Drop, Knee Strike, Piledriver,
  Two-Handed Punch, and Uppercut. You can’t learn these
  techniques or attempt them at default. You can’t make a fly-
  ing tackle, either – but you can pounce if you have Extra
  Legs.
  Your kicking damage is at -1 per die unless you have
  Claws or make a Back Kick or Stamp Kick. However, you
  can really put your back into a Head Butt. Add +1 per die to
  your damage with this technique!
  Injury Tolerance
  see p. B60
  Diffuse fighters are immune to grapples, pins, locks, and
  so forth. Homogenous ones are susceptible to such things,
  but techniques that injure by tearing muscle and breaking
  bone – e.g., Arm Lock, Leg Lock, Neck Snap, Wrench Limb,
  and all throws from locks – cannot inflict damage.
  No Eyes prevents Eye-Gouging, Eye-Poke, Eye-Rake,
  etc., from causing blindness or special injury. No Neck ren-
  ders Choke Hold ineffective and means that neither Neck
  Snap nor a throw from a Head Lock can injure you. No
  Head protects completely against all of these attacks . . . but
  if you lack a head, you can’t make a Head Butt!
  COMBAT
  115
  A toothy mouth lets you bite in close combat. Roll
  against DX or Brawling to hit. You can either nip and let
  go or hold on and grapple your victim in addition to injur-
  ing him. Either is an attack that takes full hit location
  penalties – not halved for grappling – and inflicts thrust-1
  crushing damage. Brawling improves damage. The Teeth
  advantage (p. B91) can change damage type.
  Allowed hit locations for a bite and the effects of grap-
  pling with teeth depend on relative Size Modifier. These
  rules draw heavily on concepts explained in New Hit
  Locations (p. 137). Read that first!
  Your SM is no greater than your victim’s. You can’t bite
  his skull, spine, veins/arteries, or vitals. You can bite his
  face, neck, torso, or limbs, but you’ll merely nab a fold of
  flesh. This can only cripple a limb on critical hit results 7,
  8, 13, or 14. You can target a tendon within a limb at an
  extra -3. Handle this like an attack on a joint – it can crip-
  ple. You can also target and cripple an ear, nose, or
  extremity (or, at another -3, the tendons inside an extrem-
  ity). In all cases, a bite counts as a one-handed grapple for
  the purpose of strangling, breaking free, techniques, etc.
  On subsequent turns, you can worry. This counts as an
  attack but it always hits – simply roll biting damage each
  turn. Injury can’t exceed HP/4 to a nose, an ear, or the ten-
  dons in an extremity, or HP/3 to an extremity or the ten-
  dons in a limb. Keep rolling damage, though! Further
  attacks inflict full shock. Should total injury reach twice
  that needed to cripple a nose or an ear, you bite it off.
  Twice the amount to cripple a hand removes a finger (see
  Missing Digit, p. B144). You can’t remove an entire
  extremity or limb.
  Your SM exceeds your victim’s by +1 or +2. You can tar-
  get any hit location susceptible to your bite’s damage type,
  and can cripple or sever limbs. Treat grapples using your
  teeth as two-handed for the purpose of strangling, break-
  ing free, Neck Snap, and Wrench Limb, but as one-
  handed for all other purposes. Otherwise, use the rules
  above.
  Your SM exceeds your victim’s by +3 or more. Your maw
  can engulf his entire head or torso. This allows you to
  attack, worry at, and cripple any body part. If you bite and
  grapple the torso, you can attempt a pin on a standing
  foe. Success means he’s trapped helplessly in your jaws!
  Born Biters: Some creatures have elongated jaws built
  for biting – a zero-cost racial feature. They get +1 to +3 to
  effective SM only to determine how they bite. Apply the
  same bonus to rolls to hit their jaw or nose. A SM 0 rep-
  tile man with +3 SM for biting would bite as if he had SM
  +3, but enemies would target his jaw at only -3, his nose
  at -4. Those with any level of this feature suffer a nose hit
  on a roll of 1-2 on 1d when struck in the face.
  Biting Techniques: Targeted Attacks with teeth take the
  form “TA (Brawling Bite/Hit Location).” Neck Snap
  (Teeth) and Wrench Limb (Teeth) are distinct from the
  standard versions, and must be learned separately.
  Teeth
  
  Lame
  see p. B141
  If you’re standing, the penalties for Crippled Legs 
  (-3) and Missing Legs (-6) affect all of your DX-based
  rolls in close combat, and opponents get +3 in the
  Contest for any takedown, Sweep, or similar move
  intended to knock you down. None of this applies if
  you’re sitting, kneeling, or lying down – just use the
  usual penalties for your posture. You can attempt any
  technique at the above penalty, unless it requires more
  legs than you have (e.g., you can’t use Scissors Hold
  with one leg).
  If you’re Legless, you must fight from the ground at
  the usual penalties (-4 to attack, -3 to defend) and can’t
  do anything that requires legs, such as Knee Strike or
  any kick or leg-based grapple. Techniques that require
  you to drop to a sitting, kneeling, or prone posture
  (Backbreaker, Elbow Drop, Piledriver, etc.) are also
  impossible. An opponent with legs has an effective +1
  SM advantage over you, giving him +3 to pin you or
  resist your pins. You must use your arms for a pin,
  which denies certain options under Shifting Grapples
  and Freeing Hands (pp. 117-118). However, you’re
  immune to Leg Grapple, Leg Lock, Sweep, and similar
  attacks.
  No Fine Manipulators
  see p. B145
  No Fine Manipulators: You must “hug” to grapple,
  which is clumsy. Grapples, pins, and takedowns receive no
  penalty, but grappling techniques (notably Arm Lock,
  Backbreaker, Choke Hold, Head Lock, Leg Grapple, Leg
  Lock, and Piledriver) are at -4 unless they use only the legs,
  like Scissors Hold and everything under Using Your Legs
  (p. 79), or the teeth, like the Neck Snap (Teeth) and Wrench
  Limb (Teeth) options under Teeth (p. 115). You’re at -4 to
  make a Judo Throw. Shoves and most unarmed strikes take
  no penalty, but attacks that require fingers are impossible,
  which rules out strangling and choking with hands, grab-
  bing weapons, Eye-Poke, Finger Lock, Lethal Strike, and
  Pole-Vault Kick (you can’t grip the pole).
  No Manipulators: Your only close-combat attack options
  are a bite, slam (but not a flying tackle), Head Butt, or blow
  with a Striker. You can’t pin a foe, and an enemy who has
  any hands at all gets +3 to pin you. You can only break free
  by wriggling, at -4.
  Exception: Constriction Attack (p. B43) and Double-
  Jointed (p. B56) together enable grapples, takedowns, pins,
  chokes, locks, and breaking free at no penalty, using the
  torso – just like a python. Such attempts are equivalent to
  two-handed. You must learn body-only techniques separate-
  ly, like those for teeth.
  No Legs
  see p. B145
  Follow the rules for being Legless (see Lame, see above),
  except in these special cases:
  Aerial or Aquatic: You can fight from your native medium
  (air or water) at full skill; you don’t suffer the penalties for
  lying down. You can even plunge downward to bash a foe
  into the ground using Elbow Drop or Piledriver, if you have
  the necessary hands or elbows. Your SM must exceed your
  victim’s to pin him “hands free” by landing on him; treat this
  as sitting on him. You can’t make or be affected by any
  attack that requires legs or feet.
  Sessile: You can’t do anything that requires legs, a posture
  change, or so much as one step of moment. All you can do
  is strike and grapple with any arms or Strikers you have.
  However, you’re completely immune to takedowns, Sweep,
  Trip, etc.
  Slithers: As Legless, unless you have both Constriction
  Attack (p. B43) and Double-Jointed (p. B56). Then the
  exception under No Fine Manipulators (above) applies.
  One Arm and One Hand
  see p. B147
  Either disadvantage means that you can’t use two hands
  to grapple or to pin, making it easier for your victim to break
  free (p. B371). You’re also at half ST when you choke or
  strangle, and you have -1 damage per die if you shove. An
  opponent with two or more hands gets +3 to pin you or
  resist your pins. Techniques that normally require two
  hands are either much less effective for you or totally impos-
  sible; see The Sound of One Hand Grappling (see above).
  Note that while a handless arm can’t punch or grab, it
  can deliver an Elbow Drop or Elbow Strike.
  Spines
  see p. B88
  Those who use any kind of grapple, hold, lock, or pin on
  you take damage each turn until they let go. The same
  applies to anyone you pin, but not to enemies you grapple
  or restrain with a hold or lock that uses your arms or legs.
  116
  COMBAT
  The Sound of One Hand Grappling
  Most grappling techniques in Chapter 3 “require” two
  hands. In reality, there are one-handed variants of Arm Lock,
  Choke Hold, Head Lock, Leg Lock, Neck Snap, and Wrench
  Limb (but not Backbreaker, Piledriver, or Wrench Spine).
  DX-based rolls to initiate such moves are at -2, or at -4 if
  using the crook of one arm because the hand isn’t free. This
  is cumulative with any penalties in the technique description
  (e.g., the -1 to use Choke Hold from in front). DX-based rolls
  to inflict damage, including throws from locks (pp. 118-119),
  are at -4.
  ST-based effects use half ST, rounded down. This affects
  defaults (e.g., for Neck Snap), Quick Contests, and thrust
  and swing damage. When strangling, halve ST instead of
  applying the -5 on p. B370. Should a technique give a ST
  bonus – intrinsic or for using a weapon – add it after halving.
  If a technique offers a choice of rolls, always use the most
  favorable.
  If your victim tries to break free, you obviously can’t
  claim the +5 for using two hands when you’re using just one;
  see p. B371. Moreover, you don’t benefit from the technique’s
  innate bonuses to keep him from breaking free (e.g., +4 for
  Arm Lock) and he doesn’t suffer its special penalties (e.g., -1
  per repeated attempt for Arm Lock).
  
  Striker
  see p. B88
  A Striker cannot grapple, pin, or make holds, locks, or
  throws – it can only strike. It can parry (unless it has Cannot
  Parry) and even Sweep (p. 81). A crushing Striker can shove
  (p. B372) as effectively as an arm.
  To immobilize a Striker, an attacker must grapple it. The
  penalty for this is -1, just as for an arm or a leg. Arm Lock, Leg
  Grapple, Leg Lock, Wrench Arm, and Wrench Leg don’t work
  on Strikers, but martial artists on worlds with nonhuman
  species might know equivalent techniques for attacking
  Strikers. Each variant is a separate technique.
  Long Weapons in Close Combat
  You can try to strike with a non-close combat weapon (any-
  thing without a “C” in its Reach statistic) in close combat, but
  this is awkward. You must hold it out to one side, make “wrap”
  shots at your opponent’s back, swing at sharp angles, or thrust
  almost straight up or down. Still, sometimes it’s better than the
  alternative!
  A reach 1+ weapon in close combat gives a skill penalty
  equal to -4 times its longest reach in yards, regardless of the
  reach you were using it at. This is -4 for 1-yard weapons (most
  one-handed swords, flails, and impact weapons), -8 for 2-yard
  weapons (spears, staffs, short polearms, most two-handed
  flails and impact weapons, and longer swords – greatsword,
  katana, rapier, etc.), and -12 for 3-yard weapons (long spears
  and polearms). This lowers skill for all purposes – including
  making and resisting disarms and feints, and all armed strik-
  ing techniques – except those specifically excepted below.
  You can parry in close combat, but this is also at a penalty.
  Calculate Parry from your reduced skill. Thus, a weapon par-
  ries at -2 in close combat if reach 1, -4 if reach 2, or -6 if reach
  3. This doesn’t affect parries made as your foe enters close
  combat. Likewise, if you’re able to retreat out of close combat,
  you get your full Parry plus the usual retreat bonus.
  Thrusting damage is unchanged in close combat, but it’s
  hard to get in a good swing. Reduce swung damage by -1 per
  yard of your weapon’s maximum reach. For instance, a
  broadsword has -1 swinging damage; a two-handed sword, -2;
  and a halberd, -3. In addition, a reach 2 or 3 Polearm, Spear,
  or Two-Handed Axe/Mace weapon can only do quarterstaff
  damage with the haft (swing+2 crushing, less the reach penal-
  ty) unless you take a Ready maneuver to choke it around the
  head. It takes another Ready to prepare it for normal use after
  leaving close combat.
  These effects apply to all weapon use, offensive or defen-
  sive, while in close combat. It doesn’t matter whether your cur-
  rent target or attacker is in close combat with you! Just having
  someone in the way is enough to make things awkward.
  Exception: Pummeling (p. 111), grappling techniques
  (Armed Grapple, Bind Weapon, Choke Hold, etc.), and similar
  close combat-specific moves don’t suffer skill or damage penal-
  ties in close combat. See Defensive Grip (pp. 109-111) and
  Reversed Grip (pp. 111-112) for other ways to use long
  weapons in close without these penalties.
  More Actions After a Grapple
  These rules expand on Actions After a Grapple (p. B370).
  Bear Hugs
  If you’ve used two arms or two legs to grapple an oppo-
  nent’s torso, you can squeeze. For this to be effective, your Size
  Modifier must exceed your victim’s! Resolve this as an attempt
  to strangle; see Choke or Strangle (p. B370). If you lack
  Constriction Attack (p. B43), you’re at -5 in the Quick Contest.
  Using your legs gives the usual -2 DX and +2 ST (see Using
  Your Legs, p. 79). Victory inflicts crushing damage – but the
  torso lacks the neck’s ¥1.5 wounding modifier.
  You can try to crush the breath out of your victim without
  cracking his bones. Roll as above. Victory causes fatigue
  instead of crushing damage. The GM may permit you to inflict
  fatigue (not injury) on someone of your SM if he weighs no
  more than your BL¥4.
  Shifting Grapples and Freeing Hands
  These options let you change how you’re grappling or 
  pinning a foe:
  Add a Hand: If you’ve grappled or pinned a foe, you can ded-
  icate one or more additional hands to restraining him. This
  makes it easier to choke him and harder for him to break free,
  and lets you use techniques that require more hands. Adding
  hands is a free action at the start of your turn. The hands used
  must be empty. Once you commit a hand, you can’t use it for
  barehanded attacks until your next turn, when you can let go
  as a free action (see Release a Hand, see below).
  Release a Hand: If you’ve grappled or pinned a foe, releasing
  your grip with one or more hands – usually so that you can
  strike – is a free action on your turn. To maintain your grapple
  or pin, you must hold on with at least one hand (but see
  below). If you let go with all of your hands, your victim breaks
  free! One-handed locks and holds are less effective; see The
  Sound of One Hand Grappling (p. 116).
  Shift Grip: If you’ve grappled a foe, you may relocate your
  grip from its current hit location to a new one – typically to
  prepare for a technique that requires you to grapple a specific
  body part. This isn’t a free action; it counts as an attack. Roll a
  Quick Contest, with each fighter using the highest of DX or his
  best grappling skill. The fighter with the most free hands gets
  +3. The hit locations involved are irrelevant. If you win, your
  grip shifts to the desired location. On a tie, you’re still grap-
  pling the original body part. If you lose, your foe breaks free.
  If you don’t mind the extra turn and the chance of losing your
  grip, you can grapple the torso and shift grip to avoid hit loca-
  tion penalties.
  Sit on Him: If you’ve pinned a foe, you can restrain him by
  sitting on him. This shift counts as an attack. Roll a Quick
  Contest. Each contestant uses the highest of ST, DX, or his best
  grappling skill. The larger fighter gets +3 for every point by
  which his SM exceeds his enemy’s. Your victim gets +2 per
  arm after the first two. If you win, you free all of your hands
  and change posture to sitting. You may choose to sit on his
  upper body, in which case he can attack using legs, or on his
  lower body, in which case he can attack with one arm. All of
  his attacks suffer the usual -4 for lying down and -4 for being
  grappled. You have +5, not +10, against his break free
  attempts, as if using one hand. He’s otherwise pinned, and
  can’t move, change posture, etc., until he breaks free. On a tie,
  you keep the original pin. If you lose, your foe breaks free and
  rolls out from under you.
  COMBAT
  117
  
  Switch Arms for Legs: If you’ve used your arms to grapple
  a foe, you can attack to grapple him with your legs (see Using
  Your Legs, p. 79) and then let go with your arms as a free
  action – or vice versa. Defense While Grappling (pp. 121-122)
  affects enemy defenses against such follow-up grapples.
  Shoving People Around
  If you’ve grappled a foe and you’re both standing, you can
  try to use him as cover, make him walk, etc. This counts as
  an attack. Roll a Quick Contest, with each contestant using
  the highest of ST, DX, or his best grappling skill. If you have
  your rival in a lock or a hold, you may use your level with
  your grappling technique, get +3 no matter what you roll
  against, and gain your technique’s bonus for using a weapon
  (if any) – but since you’re using pain to force compliance, he
  has +3 for High Pain Threshold or -4 for Low Pain
  Threshold.
  If you win, you may move behind him (your facing
  changes), spin him to put his back to you (his facing
  changes), or force him to take a step in any direction with
  you – all without letting go. If he wins, he gets his margin of
  victory as a bonus if he tries to break free on his next turn.
  A tie means nothing happens.
  Throws from Locks
  If you have a standing enemy in an Arm Lock, Finger
  Lock, Head Lock, or Leg Lock – including a lower-body ver-
  sion (see Using Your Legs, p. 79) – you can throw him using
  the trapped body part as the axis of the throw. You can try
  this on any turn after the one during which you applied the
  lock. This counts as an attack but is resolved with a Quick
  Contest: your Judo or lock technique vs. your victim’s ST,
  DX, Breakfall, or best grappling skill. You may each take
  your pick; Breakfall isn’t always ideal (see below).
  If you win, you throw your opponent to the ground and
  twist the affected body part. This inflicts swing crushing
  damage. Wrestling adds its ST bonus as a damage bonus.
  Apply damage to the arm if an Arm Lock, hand if a Finger
  Lock, neck if a Head Lock, or leg if a Leg Lock.
  118
  COMBAT
  Grapples can set up vicious strikes. These tactics are
  realistic but complex. It’s the GM’s call whether to allow
  them.
  All-Out Grapple and Strike
  Martial artists and brawlers often grab opponents and
  pull them into thrusting attacks. Such strikes are power-
  ful and hard to avoid. Examples include yanking a head
  into a Knee Strike (famous in Bando and Muay Thai),
  throwing an Uppercut in a clinch (illegal but common in
  Boxing), and pulling someone onto a knife. The perks
  Clinch (p. 51) and Neck Control (p. 50) are handy here!
  This is an All-Out Attack (Double). Use the first attack
  to grapple your rival. If it works, he’ll suffer the standard
  defense penalties against the ensuing strike; see Defense
  While Grappling (pp. 121-122).
  Your second attack can be a strike with anything
  except the arm(s) used to grapple. This is a close-combat
  attack. If you use a weapon longer than reach C, see Long
  Weapons in Close Combat (p. 117).
  If the grapple works and you hit the grappled location
  with a thrusting attack, your strike gets the damage bonus
  for All-Out Attack (Strong). This also applies to blows to
  the groin, spine, or vitals if grappling the torso; the eye,
  jaw, or nose if grappling the head; or an artery or joint if
  grappling a location containing such a target. You may
  retain your grapple after striking or relinquish it
  immediately.
  Use these rules only on the turn when you initiate your
  grapple. You must All-Out Attack to grapple and receive
  bonus damage. To brutalize an adversary you grappled on
  an earlier turn, use All-Out Attack (Strong).
  Kiss the Wall (Carpet, Car Door, . . .)
  If you’ve used two hands to grapple a foe and you’re
  standing or kneeling, you can ram him into a wall or
  other massive object within a yard – or the ground, if he’s
  lying down. This isn’t a Judo Throw (p. 75), but an
  attempt to hold onto your victim and propel him using
  your own momentum.
  This is an attack rolled against DX, Brawling, Sumo
  Wrestling, or Wrestling. You can target any hit location
  but the feet, at full penalties. If your victim is lying down,
  you can only target his face or skull. Your opponent may
  either dodge or parry with a free hand, subject to Defense
  While Grappling (pp. 121-122).
  A successful attack inflicts thrust crushing damage, +1
  for a hard surface, plus your skill bonus. Treat the ST
  bonus for Sumo Wrestling or Wrestling as a damage
  bonus. A critical miss means you slip, take this damage to
  your face, and lose your grapple!
  Twofers
  You can knock two foes together! Use the rules above,
  with these changes:
  All-Out Grapple and Strike: As your initial grapple,
  make a Dual-Weapon Attack (-4) against adjacent foes in
  close combat. Both defend normally. If you grapple only
  one, your grapple counts but you can’t strike. If you grap-
  ple both, make a DX, Brawling, Sumo Wrestling, or
  Wrestling roll to ram them together. They may defend as
  usual. If both fail, you inflict thrust-1 crushing damage to
  the grappled location on each. The only damage bonus is
  +1 if you grapple two skulls and knock them together.
  Kiss the Wall: You may ram your grappled adversary
  into any hit location on an enemy within a yard. Use the
  worst hit location penalty; e.g., bashing a face (-5) into a
  leg (-2) gives -5. Your second opponent defends normally,
  although the incoming body counts as a weapon with
  weight equal to the first victim’s ST (p. B376). If either foe
  defends, nobody is hurt. If both fail, each takes thrust
  crushing damage, plus skill bonuses. The +1 for a hard
  surface applies only when ramming skulls together.
  Grab and Smash!
  
  If the defender wins or ties, he isn’t thrown. (Exception:
  If he used Breakfall to resist, he falls if he wins or ties but
  isn’t thrown for damage.) He’s still in the lock unless you
  rolled a critical failure. If he’s standing, you may try to throw
  him again on a later turn.
  See Neck Snap (p. 77) and Wrench (Limb) (p. 82) for
  alternative ways to torque body parts, and Judo Throw
  (p. 75) and Sacrifice Throw (pp. 78-79) for other throws.
  Pain in Close Combat
  Much of what occurs in close combat is about pain as
  much as injury. These optional rules let you simulate excru-
  ciating, joint-grinding action.
  Inflicting Pain with Locks
  When applying a grappling technique that lets you cause
  ongoing harm – Arm Lock, Choke Hold, Finger Lock, etc. –
  you may opt to cause pain. Roll normally, at the usual mod-
  ifiers, and note the FP or HP you would have inflicted.
  Instead of fatigue or injury, though, your victim suffers an
  affliction (p. B428): moderate pain at 2-3 points, severe pain
  at 4-5 points, terrible pain at 6-9 points, or agony at 10+
  points. Reroll each turn; the effects aren’t cumulative.
  To use a painful lock to force someone to move, see
  Shoving People Around (p. 118).
  Pain and Breaking Free
  Experienced fighters extol the virtues of injuring a rival
  grappler in order to distract him and break free (see Break
  Free, p. B371). This is realistic and effective . . . if you hit!
  Attacks are at -4 while grappled and can’t involve any body
  part or weapon that your foe is restraining.
  If your assailant is behind you – using a garrote, applying
  a Choke Hold, etc. – your options are limited. You can make
  a Wild Swing (p. B388) or a Back Strike (p. 67) with a
  weapon in a free hand; use Back Kick (p. 67) or Elbow Strike
  (p. 71); try a Stamp Kick (pp. 80-81) to his foot; or bite his
  arm or hand (see Teeth, p. 115). The penalties for these
  attacks and hit locations are cumulative with the -4 for being
  grappled.
  If you’re pinned, you can’t attack without an exotic
  advantage: Extra Mouth on your torso, Innate Attack from
  the eyes, etc.
  If your attack roll succeeds, your opponent can try any
  close-combat parry with a free hand; a Jam, if you kicked; a
  grappling skill parry with the arms he’s using to hold you; or
  a dodge. The last two options represent shoving you aside.
  If he fails, you inflict your usual damage.
  Killing him, knocking him out, or crippling the only limb
  he’s holding on with means you’re free! Crippling one of sev-
  eral limbs lowers his ST bonus to restrain you. Stunning
  him gives him -4 to prevent you from breaking free until he
  recovers.
  If you wound him, his shock penalty (-1 to -4) lowers his
  ST as well as his DX if you try to break free. However, the
  penalty vanishes before your next turn, so the only way to
  capitalize on it is to try to break free immediately. To do so,
  you must make two attacks – whether via All-Out Attack
  (Double), Extra Attack, or Rapid Strike. Your first attack is
  your attempt to wound your attacker; your second is your
  attempt to break free.
  These rules also apply if an ally wounds your attacker.
  All of this cuts both ways. If you’re injured, your shock
  penalty applies to your attack rolls and your ST rolls to
  break free! The same goes for pain penalties caused by an
  assailant who uses Inflicting Pain with Locks, above.
  Sprawling
  When an attacker tries a takedown (p. B370) or a tech-
  nique based on a takedown, you may opt to fall willingly in
  an attempt to achieve superior ground position. This is
  known as “sprawling.” It’s risky, but it’s useful against some-
  one you know is less adept than you are at Ground Fighting
  (p. 73).
  If you sprawl, you fall down – that is, your enemy’s take-
  down works automatically – but the Quick Contest still
  occurs and you roll at +3. If your rival wins, you simply fall.
  If he loses or ties, though, he falls, too – in tactical combat,
  you end up lying atop him in the same two hexes – and he
  loses any grapple he had on you.
  RANGED ATTACK OPTIONS
  These rules significantly enhance the “firepower” of
  muscle-powered ranged weapons. They describe feats that
  might be possible for extremely skilled realistic warriors, but
  the GM is free to reserve them for Weapon Masters.
  Quick-Shooting Bows
  Bows have RoF 1 and Shots 1(2). This means that an
  archer can normally loose an arrow every three seconds.
  Heroic bowmen – elves, legendary samurai, Merry Men, and
  so on – are traditionally capable of raining down arrows
  much more quickly than that! The GM of a cinematic cam-
  paign can use this next rule to enable such rates of fire.
  An archer who has already drawn an arrow can try to
  ready and shoot his bow in one smooth motion. This
  requires an Attack or All-Out Attack (Determined) maneu-
  ver – a Heroic Archer (p. 45) may instead choose Move and
  Attack – and calls for two Bow rolls at -6. If the bowman has
  the Heroic Archer advantage or a form of Weapon Master
  (pp. 48-49) that encompasses bows, halve the penalty to -3.
  If he has both, he’s at only -1! For anyone, All-Out Attack
  (Determined) adds +1 to both rolls.
  The first roll is to draw the bow. Success lets the archer
  ready his bow instantly and shoot at once. Failure means he
  readies his bow too slowly to attack this turn but can shoot
  at no special penalty on a later turn. Critical failure means
  he drops his bow! Whatever his roll, he’s defenseless if he
  chose All-Out Attack – and since a failure doesn’t permit a
  shot, it amounts to a Ready that leaves him without active
  defenses.
  The second roll is to shoot. This is only possible if the
  first roll succeeds. Treat this as an ordinary ranged attack,
  but with the extra penalty above.
  Successfully executed, this shaves a second off the usual
  two-second ready time for a bow. The archer takes a Ready
  maneuver to draw an arrow, and uses the Quick-Shooting
  option on the following turn to ready and shoot his bow. If
  he rolls well, he can shoot every other turn – as if his bow had
  RoF 1 and Shots 1(1).
  COMBAT
  119
  
  The archer can precede this feat with a Fast-Draw
  (Arrow) roll to ready an arrow instantly. Any failure means
  he drops the arrow (or the quiver; see p. B195) and spends
  his entire turn taking an unproductive Ready maneuver.
  Success readies an arrow and allows an immediate Quick-
  Shooting attempt. If the bowman makes all his rolls, he can
  shoot every turn. In effect, he has RoF 1 and Shots equal to
  his quiver’s capacity . . . and can rival many firearms!
  The GM may permit Quick-Shooting with other low-tech
  missile weapons that have RoF 1 and Shots 1(2). Simply
  change the skills required: Blowpipe-6 and Fast-Draw
  (Arrow) for blowpipes, Sling-6 and Fast-Draw (Stone) for
  slings, and so on.
  At the GM’s option, realistic archers can quick-shoot
  bows out of combat. There are real-life speed-shooting 
  competitions, after all. Use the rules as written. Doing this
  under fire is cinematic, though – apply an extra -4 to Bow and
  Fast-Draw rolls for this feat in combat in a realistic game.
  Rapid Strike with 
  Thrown Weapons
  Cinematic kung fu masters and ninja often hurl multiple
  throwing weapons with uncanny precision. To simulate this,
  the GM may wish to let Rapid Strike (p. B370) – including
  the cinematic version on p. 127 – work with thrown-weapon
  attacks. For instance, a warrior could toss two weapons at -
  6, three at -12, four at -18, and so on. Halve these penalties
  for Weapon Masters. Such a Rapid Strike can target multi-
  ple opponents, just like one made in melee combat.
  If the weapons weigh less than 1 lb. apiece
  (e.g., daggers or shuriken), the fighter can
  carry up to four in one hand, ready for throw-
  ing – but if he’s holding more than one, treat
  them as unready for melee combat. Each
  weapon rests between two fingers, not
  clutched in the fist, so the GM may let six-
  fingered races ready five weapons, limit four-
  fingered races to three, and so on. If the
  weapons weigh 1 lb. or more (e.g., large
  knives), it’s only possible to hold one at the
  ready, but it’s ready for all purposes.
  A warrior can carefully ready multiple
  small weapons – or a single large weapon – by
  taking one Ready maneuver per weapon.
  Alternatively, he may Fast-Draw his weapons,
  as described under Multiple Fast-Draw
  (p. 103). Any failed Fast-Draw roll ends his
  turn. If he has a ready weapon in each hand
  and knows the Quick-Swap perk (p. 51) for the
  one in his “off” hand, he can even throw the
  weapon in his master hand, snatch the other
  weapon with Quick-Swap, and throw it with
  his master hand as part of the same Rapid
  Strike.
  A fighter can mix and match weapons and
  means of readying. For instance, a ninja who
  wishes to hurl four shuriken could Fast-Draw
  all four or carefully ready some and Fast-Draw
  the rest. He could even throw the shuriken and
  then Fast-Draw or Quick-Swap a large knife
  and throw it. The thrower must declare how
  many attacks he intends to attempt before he
  starts. Use the Rapid Strike penalty for the
  number of attacks planned – even if a failed
  Fast-Draw roll or critical miss cuts things
  short.
  This is not the same as throwing a weapon
  with each hand, which is a Dual-Weapon
  Attack (p. B417), but a fighter holding multiple
  small weapons ready in each hand can throw
  them all! All attacks with one hand are a single
  Rapid Strike, with an extra -4 for Dual-
  Weapon Attack and a further -4 for attacks
  with the “off” hand.
  120
  COMBAT
  Rapid Fire with 
  Thrown Weapons
  A classic tactic of ninja and gadgeteers is to toss many tiny
  throwing weapons (caltrops, ball bearings, shuriken, etc.) at once,
  with the goal of hitting somebody with something. This is far less
  precise than Rapid Strike with Thrown Weapons (see above). Use the
  following special rules instead.
  The weapons used must be ready for throwing. It takes a turn to
  ready a fistful of tiny weapons from a handy container, or to ready
  the container itself. You can toss up to BL/50 lbs. of small, sharp
  items or BL/20 lbs. of small, blunt ones with one hand (use BL/20
  lbs. for all weapons in a cinematic campaign!), or launch up to BL/2
  lbs. of projectiles from a container – box, pouch, hollow staff, etc.
  This is a limit on the number of items you can throw for useful
  effect, not a measure of how many you can lift.
  Treat the entire collection of thrown weapons as a missile
  weapon with Acc 0, RoF and Shots equal to the number of items
  hurled, and Rcl 2. For four shots or less, Damage is at -1 per die rel-
  ative to a single weapon of that kind, and Range is 2/3 usual. For
  more than four shots, Damage is at -2 per die and range is 1/3 usual.
  Bulk is -2 for a fistful of weapons, -6 for any kind of container.
  Handle the throw as a rapid-fire missile attack; see Rapid Fire
  (p. B373). Roll against Throwing to hit, regardless of what you’re
  throwing. You can throw all the weapons at one target for a bonus
  to hit or use Spraying Fire (p. B409) to attack multiple foes. All-Out
  Attack (Suppression Fire) isn’t an option – that assumes a steady
  stream of fire, not a single burst of projectiles.
  If you know Throwing Art, you can roll against that skill to hit,
  and receive its usual bonuses to range and damage!
  Example: A comic-book ninja with ST 13 and Throwing-14 hurls
  a handful of shuriken at a foe 2 yards away. His BL is 34, so he could
  normally toss 34/50 = 0.68 lb. of sharp objects with one hand . . . but
  this is a cinematic game, so he can toss a full 34/20 = 1.7 lbs. of
  shuriken. Since a shuriken weighs 0.1 lb., his “fistful” consists of 17
  stars! For a ST 13 man, a shuriken normally has Damage 1d-1 cut,
  Range 6/13. Since there are more than four, this becomes Damage
  1d-3 cut, Range 2/4. The attack has Acc 0, RoF 17, and Rcl 2. The
  bonus for RoF 17 is +4 and the range modifier for 2 yards is 0, so
  the ninja needs 14 + 4 = 18 to hit. He rolls a 10, succeeding by 8.
  That’s four multiples of Rcl 2, so he hits with one star plus four
  extras, for a total of five.
  
  For instance, if our ninja had four shuriken in his right
  hand and two in his left, he could make two Rapid Strikes.
  His right-hand attacks would be at -18 for Rapid Strike and
  -4 for Dual-Weapon Attack: -22. His left-hand throws would
  have -6 for Rapid Strike, -4 for Dual-Weapon Attack, and -4
  for using the off hand: -14. Needless to say, he’ll want
  Weapon Master and Ambidexterity if he plans to do this
  often!
  These rules represents multiple, carefully targeted
  attacks directed at specific foes and hit locations. To toss
  fistfuls of tiny items haphazardly as one big attack, see
  Rapid Fire with Thrown Weapons (p. 120).
  Tricky Shooting
  Feints and Deceptive Attacks needn’t be limited to melee
  combat. The optional rules below let warriors who special-
  ize in Bow, Throwing Art, and so forth compete on an equal
  footing with hand-to-hand experts, if the GM wishes. This
  might be realistic – but the GM may reserve these options
  for cinematic games, restrict them to Heroic Archers and/or
  Weapon Masters, or simply forbid them. They can be used
  together or separately.
  Prediction Shots: Ranged combat involves “leading the
  target” – that is, tracking his motion and calculating where
  to shoot so that the projectile will intercept his path. Many
  archers and marksmen even claim to be able to read a tar-
  get’s body language, deduce his reaction to seeing a weapon
  pointed at him (or to the shot itself), and shoot where he’ll
  jump, duck, step, etc. To simulate such strategies, the GM
  may let fighters use Deceptive Attack (p. B369) with ranged
  weapons. Since this represents an attempt to put the shot
  where the target is most likely to dodge, and not the ploys
  used in melee combat (see What is . . . a Deceptive Attack?,
  p. 111), the defense penalty reduces Dodge but not Block or
  Parry. As usual for a Deceptive Attack, the attacker’s effective
  skill after all modifiers must be at least 10, which makes this
  option most useful at short range.
  Ranged Feints: The target of a ranged attack only gets an
  active defense if he’s aware of the shooter, because then he
  can read his adversary’s body language and guess when the
  shot will come. As just discussed, though, a shooter can read
  his target’s body language, too. This is identical to the situa-
  tion in melee combat but at longer range, and the GM may
  rule that a ranged attacker can feint (p. B365) – most often
  by faking a shot to draw the defender’s guard or by “aiming”
  at one target and then suddenly spinning to shoot at anoth-
  er. A feint at distance is only possible if the attacker could hit
  the target with his weapon and his victim is aware of him
  (an unaware mark simply gets no defense!). All modifiers
  that would apply to an actual attack also apply to the feint.
  When using this rule, those with ranged weapons can use
  All-Out Attack (Feint).
  ACTIVE DEFENSE OPTIONS
  Except as noted, these expanded rules apply during any
  maneuver that permits an active defense. Parry options
  require a ready melee weapon – or, for an unarmed parry, a
  hand that isn’t holding onto someone or something.
  Anything involving a retreat is only possible if you’re stand-
  ing or lying down, and aren’t stunned.
  Cross Parry
  If you have two ready melee weapons, you can commit
  both to a single parry. This is useful when your opponent has
  a two-handed weapon or one that’s so powerful or heavy
  that a one-handed parry would be risky. It often involves
  crossing weapons in an effort to catch the attacker’s weapon
  between them, which is why it’s called a Cross Parry.
  To attempt a Cross Parry, both hands must be able to
  parry. Work out what your Parry would be with either hand,
  applying all the usual modifiers – for weapon type (e.g., -1 if
  using a knife), number of previous parries with that
  weapon, and so on. Your Parry is the better of the two mod-
  ified scores, +2 for the extra support.
  For the purpose of Parrying Heavy Weapons (p. B376),
  treat this exactly as if it were a parry with a two-handed
  weapon that weighs as much as the two weapons combined.
  Effective quality is that of the lowest-quality weapon. If the
  rules indicate that a weapon breaks, it’s the lighter of the
  two; if they weigh the same, roll randomly. Remember that
  two-handed weapons can parry things that weigh up to
  twice BL without being swept aside.
  Example: A 2-lb. shortsword is normally susceptible to
  breakage against weapons that weigh 6 lbs. or more. Being
  one-handed, a weapon that weighs more than the user’s BL
  will sweep it aside. Crossed with a 1-lb. large knife, total
  weight would be 3 lbs. It would take a 9-lb. or heavier
  weapon to cause breakage – and if something did break, it
  would be the knife, not the expensive sword. Furthermore,
  this would let the defender parry weapons weighing up to
  2¥BL.
  A Cross Parry is always legal against a flail weapon or a
  kusari, even if it involves two fencing weapons. Apply the
  usual penalty for parrying such a weapon to the final Parry
  score. If you parry a kusari, the wielder may attempt a free
  Entangle as usual (p. B406), with success binding both of
  your weapons.
  The down side to a Cross Parry is that it ties up both
  weapons in a way that prevents you from using either for
  any further parries this turn. In addition, if you critically
  miss, the Critical Miss Table results affect both weapons!
  Supported Parry: If you have a ready melee weapon and
  an empty hand, and both can parry, you can put your hand
  on your weapon to support it as you parry. This simply adds
  +1 to your Parry with the weapon and lets you parry as if
  you had a two-handed weapon. No other benefits apply. You
  cannot use either hand to parry again this turn.
  Defense While Grappling
  A grappled fighter has -4 to DX (p. B370). This affects
  combat skills, giving -2 to Block and Parry – and a grappled
  limb can’t block or parry. Dodge is at -1, equivalent to the
  effect of -4 DX on Basic Speed (which isn’t reduced). If a
  technique gives a worse defense penalty (e.g., -4 for Arm
  Lock), use that instead. Finally, the victim can’t step or
  change posture while defending, so he can’t retreat or use
  Acrobatic Dodge.
  COMBAT
  121
  
  The grappler has no penalties. However, he can’t parry
  with a limb without releasing its hold on his victim. To
  retreat or use Acrobatic Dodge, he must let go with all of his
  limbs.
  Fencing Parries
  As explained under Parry (p. B269), a weapon with “F” in
  its Parry statistic uses the Fencing Weapons rules on p. B404.
  This doesn’t mean that it’s a European fencing blade – only
  that it’s light and responsive enough to benefit from stances
  similar to those used with such swords. The special rules for
  fencing parries are a function of these stances, and apply
  when wielding any weapon sufficiently well-balanced to use
  with the Main-Gauche, Rapier, Saber, or Smallsword skill.
  Most “fencing stances” present a reduced profile to an
  adversary in front of you, and place your weapon(s)
  between your body and your attacker. They generally
  include some combination of turning sideways, lining up
  your front and back legs perpendicular to the foe, and mak-
  ing a quarter turn to confront the enemy with two fencing
  weapons. These particulars have implications that the GM
  may wish to explore in a Martial Arts game, if he deems the
  added realism worth the extra bookkeeping:
  Multiple Parries: One benefit of such stances is that they
  permit short parries that redirect blows just enough for you
  to lean out of their path. These efficient movements don’t
  carry your weapon out of line, which means you suffer half
  the usual penalty for multiple parries; see Number of Parries
  (p. B376). This is realistic for frontal attacks, but attacks
  from the side require you to sweep your weapon out of line.
  If the GM is willing to keep track, then when counting mul-
  tiple parries, parries against attacks that don’t come from in
  front give the full penalty to future parries.
  Retreating: Fencing stances use leg placement that allows
  swift retreats, giving +3 instead of +1 when you retreat on a
  parry. Realistically, this benefit won’t apply when you Dive
  or when you retreat by rolling while lying down. In both
  cases, reduce the retreat bonus to the usual +1. The basic
  bonus is still +3 when you Sideslip or Slip, though – such
  moves are easier from these stances. For details, see Retreat
  Options (pp. 123-124).
  Encumbrance: Since a fencing parry is actually a rapid
  parry-and-dodge, factors that limit Dodge ought to affect
  Parry. Encumbrance penalizes Parry just as it does Dodge
  . . . and logically, Dodge penalties from maneuvers, tech-
  niques, and other combat options should also affect fencing
  parries (but not vice versa). For instance, if a foe successful-
  ly parries your kick and sets up a Riposte (pp. 124-125) that
  reduces your Dodge, the penalty affects your attempts to
  parry with fencing weapons, too.
  Parrying Flails: Fencing weapons’ inability to parry flails
  (see Flails, p. B405) isn’t a weakness of the fighting stances
  used but a peculiarity of specific weapons. Most rapiers,
  sabers, and smallswords are so tip-light that they can only
  parry massive swung weapons near the hilt. This lets a flail
  loop close enough to hit! To avoid this, reinforce the weapon
  with a Cross Parry (p. 121) or a Defensive Grip (pp. 109-111).
  Other weapons capable of a fencing parry lack this weak-
  ness. Any weapon that also works with a non-fencing skill –
  meaning any skill other than Main-Gauche, Rapier, Saber,
  or Smallsword – has a mass distribution that lets it parry
  flails at the standard -4. Examples include the short staff,
  which can use the Smallsword skill or the Shortsword skill
  (treat it as a baton), and any rapier heavy enough to use with
  the Broadsword skill.
  Limiting Dodges
  There’s no limit to the number of times you may dodge
  different attacks during your turn (see Dodging, p. B374).
  You can even try a dodge when attacked with a firearm, pro-
  vided you’re aware of your attacker. This doesn’t mean that
  you’re ducking multiple melee attacks and dodging bullets.
  It simply means that you’re moving unpredictably in com-
  bat, leading your adversaries to misjudge your position and
  miss some of the time. You’re only actively ducking blows if
  you try an Acrobatic Dodge, retreat, or dodge and drop. In
  situations where you’re moving but can’t dodge – against
  surprise attacks, after an All-Out Attack, after kicking with a
  Move and Attack, and so on – your movement is predictable
  and attackers can easily compensate for it.
  The two optional rules below make dodging less effective.
  They may or may not be realistic . . . but they make combat
  more deadly, which can contribute to a gritty feel that suits
  some realistic games. It’s strongly recommended that the
  GM exempt fighters with Trained by a Master or Weapon
  Master from these rules.
  122
  COMBAT
  What Is . . . a Parry?
  Martial artists usually use the term “parry” to
  describe a defense that redirects or deflects an attack
  without absorbing much of its energy. Intercepting
  an attack and safely dissipating its energy is called a
  “block.” In GURPS, these terms have different mean-
  ings. “Parry” refers to either kind of defense made
  with a weapon or a limb. “Block” describes either
  type of defense executed with a shield.
  Not every parry involves contact. A parry against
  an attack on your weapon or your hand represents
  yanking the target out of harm’s way, and Parrying
  Heavy Weapons (p. B376) doesn’t apply to the
  attempt.
  Not all parries involve limbs, either. If you parry a
  grappling technique (e.g., Judo Throw or Piledriver)
  using Boxing, Brawling, Judo, Karate, Sumo
  Wrestling, or Wrestling, you can opt to “counter” –
  twist or sprawl so that your adversary’s technique
  fails – rather than slap away your enemy’s hands.
  This doesn’t require a free hand. It resembles a
  dodge, but it’s a parry in game terms.
  Neither of the above parries can set up an Arm
  Lock, Judo Throw, or other grappling technique on
  your turn. You must use a hand and make contact to
  do that. When using a combat skill at its DX default
  or parrying unarmed at DX/2 + 3, your parry is a
  frantic, brute-force attempt to slap aside the attack,
  and always involves some contact.
  
  Limiting Multiple Dodges: The GM may prefer to regard
  each dodge as a deliberate attempt to avoid a particular
  attack. If so, it ought to be difficult to dodge many attacks
  in a short time – just as it’s harder to attempt more than one
  parry (p. B376) or block (see Multiple Blocks, see below). To
  simulate this, the GM may assess a cumulative -1 per dodge
  after the first in a turn. The first dodge has no penalty, but
  subsequent dodges are at -1, -2, -3, and so on.
  Restricted Dodge Against Firearms: The GM may feel that
  because beams and bullets reach their mark at high speed,
  before the target could move appreciably, dodging should
  be less effective against them. Optionally, if a fighter is
  aware of someone with a firearm (make a Vision roll if
  unsure) and selects All-Out Defense, Attack, Change
  Posture, Defensive Attack, Feint, Move, or Move and Attack
  on his turn, he may take “evasive movement” with respect
  to that one foe as a free action. If the specified gunman
  shoots at him before the start of his next turn, he may
  dodge. All of the usual modifiers apply. To claim the bonus
  for Acrobatic Dodge (p. B375), he must make his Acrobatics
  roll during his turn. To claim the bonus for Dodge and Drop
  (p. B377), he must dive prone at the end of his turn (this
  can be part of his free action). He can’t dodge firearms
  attacks from any enemy but the one he specified, evade
  more than one shooter, or declare his evasive movement
  after being attacked.
  Multiple Blocks
  The GM may want to allow fighters to block more than
  once per turn, by analogy with multiple parries with the
  same hand or weapon (see Number of Parries, p. B376).
  Since a shield is bulky and must be held in place for long
  enough to absorb the blow, this is more difficult than
  repeated parries – apply a cumulative -5 per block after the
  first. Thus, the first block is unpenalized but subsequent
  blocks are at -5, -10, -15, and so on. Those with the Weapon
  Master advantage halve these penalties and round in the
  negative direction (-3, -5, -8 . . .).
  Parries with Legs or Feet
  If you have two or more functional legs, you can try to
  ward off a blow to your lower body (feet, legs, or groin) by
  parrying with a foot or a leg instead of a hand or a weapon.
  Use your full Brawling or Karate Parry score. There’s no
  special penalty – although Brawling parries have the usual
  -3 against swung weapons – but there are several
  drawbacks:
  •As noted above, this parry is only effective against low-
  line attacks. It’s worthless against attacks above the waist.
  •You cannot retreat on the same turn you make a leg or
  foot parry. If you’ve already retreated, you cannot attempt
  such a parry. If you’ve already tried a parry like this, you
  cannot retreat – you must stay where you are.
  •On a failed parry against a weapon, your attacker may
  choose to hit his original target or the leg you parried with.
  If your leg suffers more than half your HP in injury, it’s
  automatically crippled (see Crippling Injury, p. B420) and
  you immediately fall down.
  You may attempt only one foot or leg parry per turn,
  regardless of skill. However, this is in addition to hand par-
  ries. You could theoretically parry once per hand and once
  with a foot before suffering penalties for multiple parries.
  While this parry looks like a kick, it doesn’t damage your
  foe. For a version that does, see Jam (pp. 74-75).
  Parrying with Two-Handed Weapons
  Many great Masters of Defence wrote of the virtues of
  long, two-handed weapons – notably bills, greatswords, bas-
  tard swords, and quarterstaffs – for fending off multiple
  adversaries. The heft and surface area of such weapons do
  make it feasible for a skilled warrior to angle his weapon to
  stop several attacks in rapid succession. Usually, he wards
  off distant blows in a manner that obstructs close-range
  ones, or trades reach for time by dealing with progressively
  more distant attackers one at a time as they approach.
  If the GM decides that such claims are true in his cam-
  paign, he might allow any ready Polearm, Spear, Staff, or
  Two-Handed Sword weapon that’s at least two yards long
  and wielded in two hands to use the following rules:
  Dual-Weapon Parry: A weapon like this can make a single
  parry at -1 to deflect both halves of a Dual-Weapon Attack
  (p. B417). Success wards off the two attacks. Critical success
  means the attacker must roll on the Critical Miss Table
  (p. B556) once for each weapon. On any failure, though,
  both blows hit!
  Multiple Parries: These weapons have half the usual
  penalties for parrying more than once in a turn (p. B376).
  Thus, successive parries in a turn are at a cumulative -2 per
  parry after the first – halved to -1 per parry for a Weapon
  Master! A Dual-Weapon Parry counts as a single parry for
  this purpose.
  Retreat Options
  As explained under Retreat (p. B377), once per turn, you
  can step away from any one attacker to get a bonus to all
  active defenses against his melee attacks. In tactical combat,
  this lets you step into any adjacent hex that’s further from
  your enemy than your starting hex.
  Moving away from your adversary is the safest and most
  effective option in reality, but not the only one. Generalizing
  the movement component of a defense to work more like a
  step (see Step, p. B368) opens up additional possibilities.
  You can combine any of these with an Acrobatic Dodge
  (p. B375).
  Dive: If you’re standing or kneeling, you may try to dive
  under a melee attack. This is similar to the “dodge and drop”
  used to avoid ranged attacks, but less effective: all your
  defenses against that attacker are at -1 plus your retreat
  bonus (+1 for most defenses; +3 for a dodge or a parry with
  Boxing, Judo, Karate, or a fencing skill). This leaves you
  prone – in tactical combat, you’re lying in your starting hex
  and the adjacent hex of your choice. Since you’re lying
  down, you have -3 to defend against future attackers! This is
  risky . . . but if you’re cornered and have allies nearby, a net
  +2 to Dodge now might be worth the gamble. You can also
  dive as a “spoiling measure” against an enemy who tries a
  takedown; see Sprawling (p. 119).
  COMBAT
  123
  
  Sideslip: If you’re standing, you can step aside without
  retreating in an effort to let the attack pass through your for-
  mer position. In tactical combat, you may move into any
  adjacent hex that’s the same distance from your attacker as
  your starting hex. All your defenses against that opponent
  are at -1 plus your retreat bonus (+1 or +3). This gives a net
  +0 to blocks and most parries. However, dodges and mobile
  parries end up at +2, making this option useful when you
  have a defense like that and don’t want to give ground to a
  foe with a longer weapon.
  Slip: If you’re standing, you can try to close the gap
  between you and your foe as you evade or deflect his attack.
  In tactical combat, you may step into any adjacent hex that’s
  closer to your assailant than your starting hex. You can step
  into close combat with him! Your defenses against that
  attacker are at -2 plus your retreat bonus (+1 or +3); thus,
  you have a net +1 at best, -1 at worst. Against a stop thrust
  (p. B366), add another -1. This tactic is for times when it’s
  actually more dangerous to keep your distance than to close
  with the enemy – such as when he has a pistol or a long
  weapon, especially if you’re unarmed.
  It may be possible to buy off the penalties for these
  options by improving special techniques. Such techniques
  should always come with risks. You have to trade off some-
  thing to defend at a bonus without giving ground! The
  most common drawback is increased injury from the
  incoming attack if the defense fails. See Defensive
  Techniques (pp. 91-92).
  Riposte
  A gambit popular with martial artists is a parry that car-
  ries the attacker’s weapon out of line or otherwise compro-
  mises his defenses, “setting up” a counterattack – or riposte
  – that exploits the opening. Executed correctly, the riposte is
  difficult to avoid. However, it often requires the defender to
  begin his attacking motion early and give up some of his
  own ability to defend. Thus, it can backfire spectacularly!
  124
  COMBAT
  The Basic Set treats unarmed combat favorably:
  there’s no “off” hand, Judo and Karate don’t have a 
  penalty to parry weapons, and you can’t hurt yourself
  unless you strike DR 3+ or your opponent
  uses a weapon to parry your attack. See
  Parrying (p. B376) and Hurting Yourself
  (p. B379) for details. This makes it
  unrealistically tempting to fight 
  barehanded against armed and
  armored foes.
  Below are optional rules that
  add risk to unarmed combat.
  They’re unsuitable for most games –
  even “realistic” martial-arts fiction
  tends to err on the side of a good
  story – and opposite in spirit from
  cinematic 
  rules 
  (see 
  Cinematic
  Combat, pp. 125-133). Still, the GM can
  use both kinds of rules in the same
  campaign, enforcing harsh realism for
  most fighters but ignoring it in favor
  of cinematic options for those with Trained by a Master
  or Weapon Master!
  Bruised Knuckles: Shock may vanish in a second (see
  Shock, p. B419), but injuries make it painful to strike with
  the hurt body part. Striking at full power with an injured
  body part inflicts the shock penalty for its accumulated
  wounds (maximum -4) as if wounded anew. You can
  avoid this by hitting with less force: take a damage penal-
  ty equal to the shock penalty. High Pain Threshold lets
  you ignore this; Low Pain Threshold means you must
  make a Will roll at this penalty or flinch and pull your
  punch anyway!
  Defense Limitations: Boxing, Judo, and Karate are at
  +3 to Parry on a retreat for reasons of mobility. As dis-
  cussed under Fencing Parries (p. 122), this reliance on
  footwork has its drawbacks. Reduce the +3 to +1 when
  retreating by diving or rolling instead of by stepping. As
  well, apply Dodge penalties due to maneuvers,
  techniques, combat options, and enemy
  action to Parry for these skills.
  Low-Line Parries: A standing man has 
  -2 to parry an attack on his legs or feet if
  using a hand or a reach C weapon. Leg
  and foot parries aren’t penalized (see
  Parries with Legs or Feet, p. 123).
  Parrying Weapons: Unarmed combat
  skills – including Judo and Karate –
  parry weapons, swung or otherwise, at 
  -3. Failure by 3 or less means the parry
  still “succeeds” in the sense that you got
  your limb in the way. The attacker hits
  the parrying limb instead of his intended
  target, and rolls his usual damage. In close
  combat (only), ignore this drawback 
  for Judo and Karate parries vs. rigid
  crushing weapons – clubs, sticks, etc.
  Striking Bone: The shins and skull give their owner DR
  0 and DR 2, respectively, but are tougher than this sug-
  gests. When you strike the skull with any unarmed attack,
  Hurting Yourself applies. If you strike the leg using a shin
  kick (p. 112), roll 1d. On a 1 – or on 1-3, if your foe tried
  and failed a leg parry – you knock shins. Apply Hurting
  Yourself unless you have the advantage Striker (Crushing;
  Limb, Shin, -20%).
  Strong and Weak Hands: Most unarmed fighters are
  markedly more capable with one hand than the other.
  When using the “off” hand, you have the usual -4 to skill
  (and therefore -2 to Parry) and -2 to ST (giving -1 to
  punching damage). In campaigns that use this rule, 
  Off-Hand Weapon Training becomes a Style Perk for all
  barehanded striking arts, and it and Ambidexterity
  (p. B39) eliminate both penalties.
  Harsh Realism for Unarmed Fighters
  Kusarigama
  
  To set up a Riposte, declare that you wish to do so before
  you parry. Choose a penalty to your Parry score – the larger
  the penalty, the greater your focus on the counterattack.
  This cannot reduce your Parry, before all other modifiers
  except Enhanced Parry, below 8.
  Then add the remaining modifiers and try to parry the
  attack. You can retreat – but if your foe steps back after
  attacking, you might end up too far away for a Riposte.
  Success means you parry and set up a Riposte. If your
  first attack next turn uses your parrying weapon against the
  foe you parried, one of his active defenses against it suffers
  the penalty you accepted on your parry. If you parried his
  hand or weapon, reduce his Parry with that hand (with
  either hand, if his attack used two hands). If you parried his
  shield, lower his Block. If you parried an unarmed attack
  other than a hand strike (bite, kick, slam, etc.), reduce his
  Dodge. Apply half this penalty (drop fractions) to any other
  defense he attempts against your attack – including rolls to
  resist grappling moves that use Quick Contests instead of
  active defenses (e.g., takedowns).
  Failure means you’re hit, as for any failed parry. Your
  attempt gives you no special benefits – although you can still
  attack your foe on your next turn, if his attack leaves you in
  any shape to do so.
  Example: Harry the Good and Black Odo are dueling
  with broadswords and medium shields. Harry has
  Broadsword-16 and Enhanced Parry 1, for a Parry of 12.
  Odo attacks Harry with his sword and Harry decides to
  attempt a Riposte. Odo being his mortal enemy, Harry goes
  for broke and takes the maximum penalty: -4, which drops
  his Parry to 8. With +1 for Combat Reflexes and +2 for his
  shield’s DB, his final Parry is 11. He succeeds, warding off
  Odo’s attack. This allows him to Riposte with his sword (not
  a shield bash, kick, etc.) on his turn. He does so and suc-
  ceeds! If Odo tries to parry with his sword, he has the same
  penalty Harry did, or -4. If he attempts a dodge or block, he
  has half this penalty, or -2.
  A Riposte is most effective when you’re more skilled than
  your foe, when you have many defensive bonuses (Combat
  Reflexes, shield, weapon with a Parry bonus, etc.), or when
  your target is already compromised – e.g., kneeling or on
  bad footing.
  The active defense penalties from Riposte and from
  feinting are cumulative. If on your turn you successfully
  feint a foe, and on his turn he attacks and you parry at a
  penalty, then you can Riposte on your next turn, forcing him
  to defend with penalties for both the feint and the Riposte.
  This takes two turns and offers many opportunities for fail-
  ure . . . but when it works, it’s devastating!
  You cannot combine Deceptive Attack and Riposte,
  though. A Riposte is a Deceptive Attack – just one where
  you’re taking a defensive risk instead of an offensive one.
  Unbalanced Parries
  As discussed under Parry (p. B269), a weapon that has a
  “U” in its Parry statistic is unbalanced. You cannot parry
  with it after using it to attack – although you can parry with
  another weapon, or dodge or block. Likewise, if you use it to
  parry an attack during a Wait, you cannot use your Wait to
  attack with that weapon later on in the same turn.
  Being unbalanced has nothing to do with becoming
  unready after an attack or a parry – that only happens to
  weapons with “‡” next to their ST statistic. It just means that
  the weapon has distinct offensive and defensive stances:
  attacking carries the weapon out of line for defending, and
  vice versa. Rules that allow you to attack or parry multiple
  times per turn work normally. You just can’t attack and
  parry.
  This does make it tricky to execute Riposte (pp. 124-125).
  You must parry to do this – and since you can’t parry after
  you’ve attacked, you must forgo attacking with your weapon
  for an entire turn, use it to parry an attack, and Riposte on
  your next turn. This makes the option less spontaneous than
  it is with a balanced weapon like a sword or a staff . . . which
  is realistic.
  A Defensive Attack (p. 100) does allow a parry after an
  attack with such a weapon, and is an important exception to
  these rules.
  COMBAT
  125
  CINEMATIC COMBAT
  Fiction usually depicts combat dramatically, as either a
  heroic contest or a violent ballet. Often the bias is subtle,
  with the storyteller extending the benefit of the doubt to
  barely possible feats but otherwise hewing to reality. This is
  typical of the gossip of real-world martial artists when they
  relate tales of how their style pushes the limits! At the other
  end of the spectrum are epics that pit the superhuman tech-
  niques and unlikely weapons of the heroes against those of
  the villains, with little regard for physical laws.
  Termed “cinematic” because it’s most familiar to us from
  the movies, this dramatic approach isn’t unique to the silver
  screen. This is the world of heroes from earliest myth and
  legend, battling armies, monsters, and gods; swashbucklers
  from romantic novels, dueling all comers to certain victory;
  comic-book ninja and commandos, using sheer skill to
  make up for small numbers; and masked wrestlers on tele-
  vision, taking hard hits from the top rope and still walking
  away from the bout.
  In campaigns in this vein, the GM should consider using
  most or all of the optional rules in this chapter that aren’t
  strictly unrealistic but that are possibly optimistic. These fall
  into two main categories:
  •Rules that speed up actions or make extra actions pos-
  sible (or easier), such as Quick Sheathing (p. 102), Multiple
  Fast-Draw (p. 103), Quick-Shooting Bows (pp. 119-120),
  Rapid Fire with Thrown Weapons (p. 120), Rapid Strike with
  Thrown Weapons (pp. 120-121), Multiple Blocks (p. 123), and
  Parrying with Two-Handed Weapons (p. 123).
  
  • Rules that make fighters more mobile – especially if
  they involve acrobatics! These include Acrobatic Stand
  (p. 98), Feints Using Non-Combat Skills (p. 101), Acrobatic
  Movement (pp. 105-107), Acrobatic Attack (p. 107), Flying
  Attack (p. 107), and Retreat Options (pp. 123-124).
  None of these options is absolutely cinematic. Used con-
  servatively, they might even be realistic. Nevertheless, a
  campaign that features a large proportion of these rules will
  feel cinematic, while one that omits most of them won’t –
  regardless of the GM’s intent!
  Some optional rules offer additional detail
  that doesn’t suit a fast-and-loose cinematic game,
  the worst offenders being Postures, Hit
  Locations, and Techniques (pp. 89-99), Fast-Draw
  from Odd Positions (pp. 103-104), A Matter of
  Inches
  (p.
  110), Close Combat and Body
  Morphology (pp. 114-117), More Actions After a
  Grapple (pp. 117-119), and Fencing Parries
  (p. 122). Harsh Realism for Unarmed Fighters
  (p. 124) and Limiting Dodges (pp. 122-123) are
  meant for realistic characters, and would ruin
  the fun of cinematic warriors. Finally, Untrained
  Fighters (p. 113) doesn’t suit PCs (even untrained
  ones) in a cinematic campaign – although it’s a
  good option for “cannon fodder” NPCs!
  Below are additional rules that can help build
  a cinematic feel. Except for Multiple Attacks,
  which appears here because it refers to several
  superhuman advantages, most of these are strict-
  ly cinematic. Use them in a realistic campaign at
  your peril!
  MULTIPLE ATTACKS
  Multiple attacks by the same fighter in a sin-
  gle turn almost define cinematic combat,
  although they can occur even in realistic cam-
  paigns. These guidelines help explain how the
  many options for multiple attacks interact. They
  apply to all attacks, but focus on melee combat;
  see Ranged Attack Options (pp. 119-121) for 
  additional rules for rapid ranged attacks.
  Each combatant – however numerous his
  limbs and whatever his weaponry – starts with
  one attack per All-Out Attack, Attack, Committed
  Attack, Defensive Attack, or Move and Attack
  maneuver, and many normally select only one of
  those maneuvers per turn. Three situations mod-
  ify these basic assumptions:
  Altered Time Rate (p. B38): Each level of the
  Altered Time Rate advantage bestows one addi-
  tional maneuver per turn – not just an extra
  attack! The remaining rules in this section apply
  separately
  to each All-Out Attack, Attack,
  Committed Attack, Defensive Attack, or Move
  and Attack maneuver chosen.
  Extra Attack (p. B53): Each level of the Extra
  Attack advantage gives one additional attack per
  All-Out Attack, Attack, Committed Attack,
  Defensive Attack, or Move and Attack maneuver.
  Extra Attack benefits only those maneuvers. For instance,
  someone with Extra Attack 2 could use Attack to make three
  attacks instead of one; if he also had Altered Time Rate 1, he
  could choose two Attack maneuvers and make three attacks
  with each.
  All-Out Attack (p. B365): Selecting All-Out Attack
  (Double) lets a warrior add one attack to his usual number,
  with that maneuver only. If he has Extra Attacks, he still
  adds one attack – he doesn’t double his attacks! All-Out
  Attack (Determined), (Long), and (Strong) give no extra
  126
  COMBAT
  Faster Combat
  You can run extremely detailed fights using Martial Arts and
  the Basic Set, but most gamers find quicker combats more fun!
  Below are tips on how to speed up battle. They’re advice, not rules
  – the GM should use only the suggestions that suit his gaming
  group.
  • Limit options. Let the players choose only those options that
  suit the kind of game you’re running: realistic or cinematic, empha-
  sizing unarmed martial arts or weapon styles, etc. Politely but firm-
  ly forbid the rest.
  • Encourage options that lower defenses. Deceptive Attacks,
  feints, Ripostes, and Stop Hits add complexity . . . but reduced
  defenses increase the odds that a blow will land and end the fight.
  This keeps battles from taking forever because nobody ever fails a
  defense roll.
  • Make a “cheat sheet.” List modifiers and page numbers for all
  the optional rules you intend to use. An index card is ideal for this
  – and doubles as a handy bookmark for a page of frequently used
  rules.
  • Work out everything in advance. Somewhere on the character
  sheet of each PC or important NPC, note such things as allowed
  movement, modified skill, and damage with attacks; jumping dis-
  tance; slam damage at full Move; and crippling thresholds (damage
  over HP/2 and HP/3).
  • Require speedy decisions. Tell each player to have his actions
  ready when his turn comes. If he doesn’t, he must take some
  “default” action agreed upon in advance: All-Out Defense, Do
  Nothing, repeat his previous action, etc. “My PC is a kung fu mas-
  ter! He’d know what to do!” doesn’t hold water. A second is still a
  second, even for a kung fu master. There’s plenty of time to weigh
  options while others are taking their turns.
  • Encourage “trademark moves.” Have each player work out a
  few “standard operating procedures” in the form of an entire turn’s
  worth of actions calculated in advance; e.g., “Committed Attack
  (Strong) and Rapid Strike: thrust to the vitals at skill 13, then a
  Deceptive swing to the torso for -2 defenses at skill 12.” These are
  good “default” actions for the player who can’t make up his mind!
  •Hold players responsible for remembering options. If you let the
  players use a specialized rule, make it their job to remember its
  details and location. If they can’t remember the rule, their charac-
  ters decide not to use the tactic.
  • Have major wounds end fights. An NPC should flee or surren-
  der if he takes a major wound (or crippling wound), unless he has
  a serious mental problem like Berserk. Don’t keep going until
  everyone on one side is unconscious or dead. It takes forever and
  isn’t especially realistic or cinematic.
  
  attacks, but their benefits apply to all attacks with that
  maneuver. For those with Altered Time Rate, the effects of All-
  Out Attack don’t carry over to later maneuvers; for instance,
  a super who chooses All-Out Attack (Double) and then Attack
  would get one extra attack with his All-Out Attack but only
  the usual number of attacks with his Attack.
  Attacks can involve any combination of unrestrained body
  parts (hands, feet, Strikers, etc.) and ready weapons.
  Weapons that become unready after an attack can strike only
  once. Kicks are at -2 unless improved via a technique. Attacks
  with the “off” hand are at -4 for those without Ambidexterity
  (p. B39) or Off-Hand Weapon Training (p. 50).
  Once per All-Out Attack, Attack, Committed Attack,
  Defensive Attack, or Move and Attack maneuver, a fighter
  who desires more attacks may trade one (and only one) of his
  attacks for one of these special options:
  Rapid Strike (p. B370): Unless he took Move and Attack, a
  warrior can split one of his melee attacks into two attacks
  with the same weapon or two unarmed attacks, at an extra -
  6. Those with Trained by a Master or Weapon Master take
  half the penalty, and may be able to attempt three or more
  attacks; see Rapid Strike (below).
  Combination (p. 80): A martial artist who has studied a
  Combination can substitute it for an ordinary Rapid Strike.
  Otherwise, treat this as a Rapid Strike.
  Dual-Weapon Attack (p. B417): A fighter with two ready
  weapons in different hands can use one of his attacks to
  attack with both weapons at once. These two attacks are at an
  extra -4, but the Dual-Weapon Attack (p. 83) technique lets
  cinematic martial artists reduce this penalty. This option is
  allowed for two unarmed attacks with different hands.
  Rapid Strike
  In a cinematic campaign – especially a chambara or wuxia
  one – the GM may wish to allow more than two attacks with
  a Rapid Strike (p. B370). If so, the penalty becomes -6 per
  extra attack: -6 for two attacks, -12 for three, -18 for four, and
  so on. This applies to all the attacks; it doesn’t accumulate
  gradually. For instance, three attacks would all be at -12.
  Individuals with Trained by a Master or Weapon Master
  may halve this penalty; e.g., a Weapon Master could make
  four attacks at -9. In addition, the GM may rule that only
  those who have these advantages can attempt three or more
  attacks with a Rapid Strike.
  The GM is free to cap the maximum number of attacks
  possible with a Rapid Strike. However, this rule is fairly self-
  limiting: a hero could attempt 10 attacks . . . but even with
  Weapon Master, he would be at -27! To ensure that only
  skilled warriors can make large numbers of attacks, simply
  limit adjusted skill to 12.
  Feints and Multiple Attacks
  A fighter can trade melee attacks for feints (see Feint,
  p. B365) on a one-for-one basis. Modifiers for maneuvers and
  attack options do affect skill for this purpose; e.g., a feint dur-
  ing a Rapid Strike is at -6. A warrior can use Move and Attack
  to “Move and Feint,” but at -4 and with a skill limit of 9, it’s
  self-defeating.
  A feint that precedes attacks on the same subject during
  the same maneuver affects the victim’s defenses against those
  attacks; thus, All-Out Attack (Feint) is no different from using
  All-Out Attack (Double) to feint and attack the same target. If
  the attacker uses the last attack of a maneuver to feint a foe,
  its benefits apply to attacks against that opponent during his
  next maneuver. This maneuver will nearly always occur on his
  next turn – but after one turn, the feint is no longer effective.
  It’s “legal” but not terribly effective to attempt multiple
  feints against the same enemy in the space of a single maneu-
  ver. Only the most recent feint applies, even if it wasn’t the best
  one. It’s possible to “undo” a good feint with a lousy one!
  A feint never unreadies a weapon, even if an attack would.
  Multiple Targets
  A fighter who has two or more melee attacks with a given
  maneuver can use them to attack or feint multiple foes. He
  can alternate between opponents in any order he wishes –
  but each full yard (hex, on a battle map) he skips between
  targets “wastes” one attack. Thus, it’s most efficient to attack
  adjacent adversaries from right to left or left to right, strik-
  ing each enemy in succession.
  COMBAT
  127
  What Is . . . a Rapid Strike?
  A Rapid Strike (p. B370) is normally two distinct
  attacks – one after the other – but it doesn’t have to
  be. It might instead be a single motion that connects
  more than once: a punch with an elbow behind it, a
  sword cut calculated to hit two legs at once, a knee to
  the groin that ends with a stamp to the foot, and so
  on. Since the two blows don’t hit the same location at
  the same time, this is just a “special effect.” The tar-
  get may defend normally against each attack, and has
  his full DR against both.
  Other Rapid Strikes consist of a blow with a
  vicious follow-up. The target still gets normal defens-
  es and DR against this. For instance, a knife thrust
  followed by a cut could represent stabbing and then
  tearing. The victim might twist so that the knife slides
  out (dodge), use his shield to shove you away (block),
  or restrain your wrist (parry). His armor DR would
  affect the second attack – despite the knife being
  inside his armor – because you have to rip through
  him and his armor. Similar logic applies to a stamp-
  and-grind with the heel, chop-and-draw with a
  sword, a grapple that nabs one arm and pulls it
  across the body to trap the other, and so on.
  The GM should permit anything that applies on a
  per-attack basis – poison or magical flame on a blade,
  Innate Attack with Aura, and so on – to work once per
  attack, not just once per Rapid Strike. Simply assume
  that the target is exposed for longer or over a greater
  proportion of his body.
  Because such interpretations have no game
  effects, you may take dramatic license when describ-
  ing a Rapid Strike. This is good roleplaying!
  
  Example 1: An attacker with two attacks can only attack
  adjacent targets (in adjoining hexes, on a map). If he tried to
  attack two opponents with a gap between them, he’d lose an
  attack . . . and be back to just one attack.
  Example 2: Someone who has three attacks and two
  adjacent opponents could make two attacks on one foe and
  one on the other, in any order. If his enemies were one full
  yard apart, he could only attack each of them once – skip-
  ping a yard would use up an attack. If he had a third adver-
  sary adjacent to the first two, he could opt to attack each of
  them once, moving from left to right or right to left.
  Skipping the one in the middle would be like fighting two
  people a yard apart, and cost him one attack.
  When executing a technique specifically designed to
  engage multiple opponents, its special rules always super-
  sede this general rule. For examples, see Grand Disarm
  (p. 84) and Whirlwind Attack (p. 88).
  Grappling and Multiple Attacks
  Any grappling move that counts as an attack is permitted
  as part of a multiple attack sequence during a maneuver.
  You must usually attempt different actions (takedown and
  pin, kick and break free, break free and grapple, etc.). You
  can’t make repeated attempts at a takedown, pin, or lock; try
  to injure an opponent repeatedly through strangling or an
  Arm Lock, Neck Snap, etc.; or take multiple shots at break-
  ing free. However, you can try the same move against dif-
  ferent body parts or opponents, grapple and attempt an
  instant follow-up, or – if making an attack that must follow
  a parry, such as Arm Lock – insert attacks between the parry
  and the follow-up. For instance, if you parried using Judo
  and then made two attacks, you could feint and then use
  Arm Lock.
  CHAMBARA FIGHTING
  Japanese chambara movies and Hong Kong wuxia films
  use wires and camera angles to create the illusion of war-
  riors catapulting through the air, battling while balanced on
  bamboo canes or telephone wires, leaping from rooftop to
  treetop, and generally ignoring gravity. Traditionally, fight-
  ers in these tales aren’t comic-book superheroes, capable of
  flight and telekinesis. They’re just so skilled at the martial
  arts that they can perform the most fantastic feats from
  martial-arts legend.
  The rules below make it possible to simulate this kind of
  action. They make no effort to be realistic! Only use them in
  highly cinematic campaigns – and only for combatants who
  have either Trained by a Master or Weapon Master. Even in
  the most over-the-top movies, only true masters can perform
  these stunts.
  Chambara Movement
  Mighty leaps and acrobatic flips almost define the genre.
  In a chambara campaign, a fighter with Trained by a Master
  or Weapon Master and both Acrobatics and Jumping at DX
  level or better may leap his full jumping distance in combat,
  contrary to Jumping During Combat (p. B352). Work out
  high- and broad-jump distance – for standing and running
  jumps – and record it on the character sheet to avoid having
  to figure it out in play. This greatly benefits Flying Attacks
  (p. 107) and evading by jumping (see Evading, p. 105).
  The GM should allow Acrobatic Stand (p. 98) and
  Acrobatic Movement (pp. 105-107), and halve all penalties
  for these stunts (rounding in the negative direction). For
  instance, the penalty for Acrobatic Stand becomes -3. In the
  case of multiple, cumulative penalties, find the final penalty
  and halve the total.
  Chambara Attacks
  A trademark of chambara fighting is attacking on the
  move, striking foes on all sides. In a chambara campaign,
  the GM should use the expanded rules for Rapid Strike
  (p. 127) to let martial artists attack as often as their skill
  allows.
  A chambara fighter with more than one melee attack
  thanks to Extra Attack or All-Out Attack (Double) can
  “trade” some of these for extra steps on a one-for-one basis.
  He can insert steps anywhere in his attack sequence – even
  in the middle of a Combination, Dual-Weapon Attack, or
  Rapid Strike (none of which can be traded for steps).
  Example: Serena has Extra Attack 1, giving her two basic
  attacks. Taking an Attack maneuver, she converts one into a
  Rapid Strike for three attacks at -6 apiece (-12, halved for
  Trained by a Master). She trades the other for a step. With
  the basic step allowed on an Attack, she gets two steps. She
  elects to attack, step, attack, step, and attack again!
  Naturally, chambara fighters can use both Flying Attack
  (p. 107) and Acrobatic Attack (p. 107). When making an
  Acrobatic Attack, add the -2 to Acrobatics to any penalty for
  a specific stunt and then halve it as usual. Also halve the -2
  to attack, making it -1, just like a Flying Attack. The GM
  should invent suitable techniques to capitalize on this.
  There are three main varieties:
  • Acrobatic attacks that let the hero buy off the -4 to hit
  for a Move and Attack and -1 for an Acrobatic Attack, and
  ignore the skill limit of 9 when doing so. These have a basic
  default of -6.
  128
  COMBAT
  Other Multiple Actions
  The Multiple Attacks rules apply only to the All-
  Out Attack, Attack, Committed Attack, Defensive
  Attack, and Move and Attack maneuvers. A fighter
  can “trade” attacks for feints, but he can’t sacrifice
  attacks to perform tasks covered by other maneuvers.
  He cannot make multiple posture changes with
  Change Posture (but see Acrobatic Stand, p. 98),
  hastily Ready an unready weapon (but he can draw
  several weapons; see Multiple Fast-Draw, p. 103),
  count his turn as more than one second of
  Concentrate, or Aim or Evaluate on a turn when he
  attacks. Exception: Individuals with Altered Time
  Rate can do all of these things by taking suitable
  maneuvers on their turn!
  
  • Flying attacks that permit the fighter to eliminate the 
  -4 to hit for a Move and Attack and -1 for a Flying Attack, and
  bypass the skill limit of 9. These also have a default of -6.
  •Spinning attacks that allow the martial artist to reduce
  the -5 to hit for a Wild Swing and avoid the usual skill cap
  of 9. These, too, default at -6.
  See Creating New Techniques (pp. 89-95) for details. The
  benefits of these techniques are not “free” to everybody with
  Trained by a Master or Weapon Master. However, warriors
  with one of these advantages, Acrobatics and Jumping at
  DX, and at least a point in an offensive technique may
  attempt an “acrobatic,” “flying,” or “spinning” version of
  their technique at default (-6), with benefits as described
  above.
  Chambara Defenses
  Retreating great distances by flipping and leaping is the
  definitive chambara defense! In chambara campaigns,
  those with Trained by a Master or Weapon Master should
  have access to the expanded rules under Retreat Options
  (pp. 123-124), even if other fighters do not, and all of the fol-
  lowing options:
  • They get +3 to all active defenses when they retreat –
  including blocks and parries that would normally get only 
  +1.
  •They may retreat more than once, and more than a yard
  at a time, up to a distance equal to their Move each turn.
  These retreats get the usual +3, but there’s a cumulative -1
  per retreat after the first. Any retreat that exceeds one step is
  at an extra -1 per yard. For instance, a Move 7 fighter could
  retreat 3 yards at +0 (+3 for retreating, -3 for 3 yards), 1 yard
  two times at +2 and +1 (the basic +3, -1 and -2 for the second
  and third retreat), and finally 2 yards at -2 (+3, -2 for 2 yards,
  -3 for the fourth retreat).
  • They can use Acrobatics to enhance any defense, not
  just Dodge. Treat this just like Acrobatic Dodge (p. B375),
  except that it also works with Block and Parry. Any number
  of defenses can be acrobatic, at a cumulative -1 to
  Acrobatics per defense after the first.
  Another feature of chambara movies is that attacks from
  behind don’t surprise veteran warriors! A fighter with
  Combat Reflexes and Trained by a Master or Weapon
  Master can sense such an attack. It counts as coming from
  the side – not the rear – exactly like a “runaround” attack
  (p. B391), giving the defender -2 to active defenses.
  Practitioners of any style can learn the Timed Defense tech-
  nique (p. 89) to buy off even this penalty.
  Lastly, the GM should permit all options that enable or
  enhance multiple blocks and parries – notably Multiple
  Blocks (p. 123) and the two special rules under Parrying with
  Two-Handed Weapons (p. 123). All chambara fighters should
  be allowed to learn Dual-Weapon Defense (p. 83), too,
  regardless of their style.
  Special Feats for Cinematic Skills
  Three cinematic skills are essential in chambara cam-
  paigns: Flying Leap (p. B196), Light Walk (p. B205), and
  Lizard Climb (pp. 61-62). These have all their usual func-
  tions, plus a few additional ones.
  Flying Leap
  A triple-powered leap is sometimes overkill in combat. A
  jump that merely doubles jumping distance – and ST, for a
  Drop Kick, Flying Jump Kick, etc. – is at +5 to skill.
  Wuxia movies simulate flying leaps by suspending actors
  from wires, giving such jumps a lazy, floating appearance
  instead of an aggressive, ballistic one. Within the story, the
  explanation is often “lightening the body.” If you leap like
  this, you still have double or triple your jumping distance –
  but use only your normal jumping distance to work out your
  Move in a slam, and your unmodified ST for a Drop Kick,
  Flying Jump Kick, etc. This kind of jump is at +5 to skill.
  These modifiers only cancel out penalties for hasty use of
  the skill – they never give a net bonus. You can combine the
  two options for +10 to skill. This negates the -10 to use the
  skill instantly and permits a jump for double distance with
  no bonuses to ST or slam damage, which is still very useful
  when evading or making a Flying Attack.
  Flying Leap costs the usual 1 FP per use with these
  options, but since they’re both less exhausting than full-
  powered use, success by 5+ means there’s no FP cost at all!
  Light Walk
  You can use Light Walk to move across almost any frag-
  ile or flimsy surface without falling through, including a
  glass skylight (no modifier), tent (-2), hanging laundry (-4),
  dense hedge (-6), or canopy of leaves at treetop height (-8).
  Roll once per turn. This is a free action. Success lets you
  take your turn normally. Failure means you start to fall. You
  can still act, but you should probably use your turn to grab
  something!
  Light Walk also allows feats of balance. This is much eas-
  ier than walking on thin ice or treetops, because it’s actual-
  ly possible in real life! All such attempts are at +8, plus the
  Size Modifier for the thickness of whatever you’re trying to
  stand on (see p. B550). For instance, a 1” rail (-11 for thick-
  ness) would require a roll at -3. Once again, roll every turn.
  You can even try to leap up and land on an enemy’s
  weapon! This requires an Attack maneuver and is all you
  can do that turn. Roll against Light Walk to hit, at the stan-
  dard penalty for weapon size. Treat failure as a missed kick.
  Success means you hit. Your foe can try any active defense
  – he may injure your foot if he parries (see p. B376) – but if
  he fails, you’re standing on his weapon! He cannot use it to
  attack or parry. He can take a Ready maneuver to dump
  you off (roll vs. Light Walk to land; failure indicates a fall),
  but this unreadies his weapon. If he chooses to fight with
  another weapon, kick, etc., he’s at -4 to hit.
  In all cases, if you’re knocked back (see Knockback,
  p. B378), apply the penalty for the surface you’re balancing
  on to your roll to stay standing. You may use the highest of
  DX, Acrobatics, Judo, or Light Walk. Perfect Balance gives
  its usual +4. If you fail, you fall through or off the surface!
  Lizard Climb
  You can use this skill for movement in combat. Each
  yard of movement along a wall costs +1 movement point;
  see Movement Point Costs (p. B387). You can grab walls and
  let go multiple times in the space of a turn, but you must
  make a new skill roll each time you cling to a wall, with fail-
  ure meaning a fall that ends your turn.
  COMBAT
  129
  
  You can end a jump stuck to a wall that’s within reach
  of your leap. To do so, make a Lizard Climb roll when you
  land.
  If you’re against a flat surface, with enough room to
  climb at least half your height, you can try a Lizard Climb
  roll to retreat upward as part of an active defense. Apply
  the usual skill modifiers; for instance, if you leave hands
  free to parry or block, you’ll have -2 per extremity less
  than four dedicated to the climb. Success gives a further
  +1 to your retreat bonus, making it +4; critical success
  means your defense succeeds automatically! Failure or
  critical failure means the defense fails or critically fails.
  Some common stunts seen in wuxia movies combine
  Lizard Climb with Light Walk. For instance, running up
  a bent bamboo cane, about 3” across, would require a
  Lizard Climb roll (at +2 for bark, +2 for a slope, but -4
  for both hands free) and a Light Walk roll (at +8 for a
  feat of balance but -8 for a 3” cane), with failure on
  either indicating a fall.
  130
  COMBAT
  An important part of martial-arts mythology, especial-
  ly in cinematic settings, is that “martial artist” is as much
  a mindset as it is a skill set. These optional rules address
  this philosophy.
  The Contest of Wills
  In martial-arts films and samurai legends, entire bat-
  tles are fought in the mind. The warriors lock eyes, and
  then one suddenly breaks eye contact and walks away,
  beaten . . . or charges, knowing that he’s doomed.
  To initiate a Contest of Wills, the challenger must
  Concentrate and lock eyes with his opponent. If his foe
  accepts the challenge, he must take a Concentrate maneu-
  ver as well. If he rejects it, he must make a Will roll to
  avoid being drawn in anyway. Success means he can take
  his turn normally and cannot be challenged again this
  combat.
  Once the Contest begins, roll a Regular Contest of Will
  each turn. Either fighter may substitute Intimidation or
  Mental Strength for Will, if better.
  Modifiers: Fearlessness; +5 each for Indomitable and
  Unfazeable; the better fighter gets +1 per three levels by
  which his best combat skill exceeds his opponent’s.
  Reputation can go either way. For instance, -2 for being a
  ruthless killer would give +2, but +2 for being merciful
  might give -2. In some settings, Status and other reaction
  modifiers apply.
  Roll once per turn until somebody wins. Find the win-
  ner’s margin of victory as if this were a Quick Contest and
  make a reaction roll for the loser, applying the margin as
  a bonus. Use the “potential combat situation” results on
  the Reaction Table (p. B560). If this drives the loser to
  attack, he has the winner’s margin of victory as a penalty
  to his attack rolls!
  This rule is for PCs and major NPCs. See Fear and
  Martial Artists (below) for a way to demoralize thugs.
  Concentration and the Martial Arts
  Losing your cool can mean losing the fight! If a 
  martial artist fails his self-control roll for a mental 
  disadvantage that would distract him (GM’s opinion), he
  fights at -2 to DX. This includes submitting to Bad
  Temper in any fight, Lecherousness when facing a sexy
  foe, etc., but not things like Berserk and Bloodlust.
  Fear and Martial Artists
  Fear can be a killer, too. A failed Fright Check
  (p. B360) is likely to stun the victim and make him easy
  prey. The GM may require Fright Checks from combat-
  ants who suffer dismemberment (p. B421) or lose an
  eye to an Eye-Pluck (p. 72), a nose or an ear to Pressure
  Secrets (p. 59), or any body part to a bite (see Teeth,
  p. 115). While most Fright Checks in combat are at +5
  for the heat of battle, those for gruesome injuries are
  not!
  Heroic PCs can use Intimidation (p. B202) on minor
  NPCs. The GM may want to quantify the +1 to +4 for
  displays of strength as +1 per five of their number the
  NPCs know the heroes have defeated, to a maximum of
  +4. This doesn’t have to be in the same fight! It affects
  soldiers who hear tales from buddies who survived the
  last battle, thugs who see the heroes emerge unscathed
  from a room guarded by a dozen of their comrades, etc.
  Reputation is another important modifier; see The
  Contest of Wills (above). Enough bonuses make even
  default skill (Will-5) effective!
  Faking It
  To convincingly fake martial-arts skill based on what
  you’ve seen in demos and movies, make a DX-based
  Performance roll. Success means your audience
  believes you! This lets you attempt Intimidation using
  the rules for specious intimidation. Critical success
  means you pass yourself off as a master, which may
  have minor social benefits.
  To portray the martial arts on stage or screen, roll
  against Stage Combat (p. B222). This defaults to
  Combat Art/Sport skills at -2, and to combat skills and
  Performance at -3. For scenes involving multiple per-
  formers, roll against the lowest of the worst performer’s
  skill and the choreographer’s Fight Choreography skill
  (p. B198).
  Such tricks provide no combat benefits and are
  unlikely to fool real martial artists! Against a trained
  fighter, treat these rolls as Quick Contests. He gets an
  IQ-based roll against his best combat, Combat Art, or
  Combat Sport skill. You must win to convince him
  you’re the real thing.
  Mind Games
  
  EXTRA EFFORT IN COMBAT
  The GM may regard Extra Effort in Combat (p. B357) as
  a natural fit to a cinematic Martial Arts game. And it is! The
  decision as to who may use those rules will influence the
  campaign’s overall flavor, though.
  If only individuals with Trained by a Master or Weapon
  Master can employ extra effort, and if the PCs have those
  advantages while “cannon fodder” NPCs do not, then com-
  bat will move quickly. The masters can spend FP to buy a
  decisive edge over their adversaries and defeat several times
  their number. This suits games in the action-movie spirit:
  the heroes emerge from battle tired but victorious after
  defeating vast hordes of inferior foes!
  If both sides have special advantages and can use extra
  effort, then battles may last a long time. Skill being equal, if
  one side uses extra effort, then the other must do the same
  to compete . . . and a Feverish Defense standoff between
  expert fighters results in few fight-stopping hits. This is in
  keeping with showdowns between masters in martial-arts
  fiction. While fine for dramatic finales, it’s a little boring as
  standard fare.
  If anyone – even the man on the street – can draw on
  extra effort, then masters may conserve their energy. They
  can make multiple accurate attacks without extra effort, and
  have abilities that enhance defense and damage. They’ll
  force mundane foes to use extra effort to keep up, thereby
  wearing down their enemies to the point where they’re easy
  prey. This supports the myth that true masters make fight-
  ing look effortless. It’s also a fair way to prevent PCs with
  special advantages from outclassing those without, keeping
  combat fun and interesting for everyone.
  Existing Options
  The extra-effort options on p. B357 generally work as
  written with the rules in this chapter, but a few notes are in
  order:
  Feverish Defense: This is incompatible with Committed
  Attack (pp. 99-100) as well as with All-Out Attack. The +2 to
  one defense roll “stacks” with the +1 for Defensive Attack
  (p. 100) or +2 for All-Out Defense (Increased Defense). All of
  these bonuses are cumulative with the +1 to parry frontal
  attacks with Defensive Grip (pp. 109-111).
  By using all of these options and retreating, a fighter can
  buy a lot of time. This can slow down combat. To keep
  things dramatic, the GM may rule that only combatants in
  the throes of mental disadvantages can go to such extremes.
  For instance, a hero with Sense of Duty could sacrifice him-
  self in a retreating battle down a narrow corridor as his
  allies escape, or a villain with Cowardice could clutch his
  rapier in both hands and be beaten back to the wall, to col-
  lapse in exhaustion rather than shed blood.
  Flurry of Blows: This is “legal” for any number of attacks
  made with a Rapid Strike during an All-Out Attack, Attack,
  Committed Attack, or Defensive Attack. The attacker can
  buy this benefit for some or all of his blows. The cost is 1 FP
  per attack. Those with Trained by a Master or Weapon
  Master halve the penalty again (drop all fractions). For
  instance, a Weapon Master making a Rapid Strike for four
  attacks would have a basic -18, halved to -9 for his advan-
  tage. He could use Flurry of Blows to be at only -4 for one,
  two, three, or all four attacks. This would cost him 1-4 FP.
  Mighty Blows: This is exclusively an option for Attack; it
  doesn’t work with All-Out Attack, Committed Attack,
  Defensive Attack, or Move and Attack – or with techniques
  based on these maneuvers. It is compatible with techniques
  that allow bonus damage on a regular Attack. A fighter with
  multiple attacks thanks to Extra Attack, Dual-Weapon
  Attack, Rapid Strike, or a Combination may apply this to
  more than one attack, but the cost is 1 FP per attack.
  New Options
  These options obey the ground rules given on p. B357.
  You must declare that you’re using extra effort – and spend
  FP – before you roll the dice. Critical failure causes 1 HP of
  injury in addition to any other results.
  Giant Step: If you take an Attack or Defensive Attack
  maneuver, you can spend 1 FP for one extra step. You’re
  buying mobility similar to All-Out Attack, Committed
  Attack, or Move and Attack without the drawbacks, and can-
  not combine this option with those maneuvers. You may
  take your extra step before or after you attack; you can step,
  attack, and step again. When using Chambara Attacks
  (pp. 128-129), this extra step work identically to steps gained
  from sacrificing attacks, and you can combine the two.
  Critical failure on the attack causes 1 HP of injury to the leg
  (not the weapon arm), as if dodging.
  Great Lunge: If you make an Attack, Committed Attack,
  or Move and Attack in melee combat, you can spend 1 FP to
  get the effects of an All-Out Attack (Long) (pp. 97-98) with-
  out sacrificing your defenses. These include +1 reach, -2
  damage or -1 damage per die with swinging attacks, and the
  option to drop into a crouch. This is incompatible with
  Defensive Grip, and with the All-Out Attack and Defensive
  Attack maneuvers.
  Heroic Charge: If you make a Move and Attack, you can
  spend 1 FP to ignore both its skill penalty and its effective
  skill cap in melee combat. If you do a Flying Attack (p. 107)
  or Acrobatic Attack (p. 107), the extra -1 or -2 to hit still
  applies. Likewise, you’re still subject to defensive penalties
  (no parry or retreat). Chambara fighters may spend 1 FP to
  ignore the -6 default penalty for attempting the “acrobatic”
  or “flying” version of a technique.
  Rapid Recovery: If you attack with an unbalanced
  weapon (one with “U” in its Parry statistic) during an Attack
  maneuver or with any weapon using Move and Attack, and
  a foe later attacks you, you can spend 1 FP to parry with that
  weapon. You must spend the FP before you try your first
  parry – but unless this parry critically fails, the weapon can
  continue to parry afterward, at the usual penalties. In effect,
  you’ve returned the weapon to its guard position. This is one
  of the benefits of Defensive Attack; there’s no point in taking
  this option with that maneuver.
  You may use no more than one offensive option (Flurry
  of Blows, Giant Step, Great Lunge, Heroic Charge, or
  Mighty Blows) and one defensive option (Feverish Defense
  or Rapid Recovery) per turn.
  COMBAT
  131
  
  MORE CINEMATIC
  COMBAT RULES
  The unrealistic Cinematic Combat Rules (p. B417) – par-
  ticularly Cannon Fodder, Flesh Wounds, Melee Etiquette, and
  TV Action Violence – are extremely appropriate for a
  chambara-style or Hollywood action-movie game. Some
  gamers might find them too silly for a serious campaign,
  though – even one that uses many other cinematic options.
  Below are further thoughts in this vein. Not all are rules! A
  few are advice to the GM on how to roleplay NPC adversaries.
  Unarmed Etiquette
  Weapons and shields can’t parry or block unarmed
  attacks. This applies to PCs and NPCs alike. Against an
  unarmed foe, it may be necessary to discard weapons to sur-
  vive – a weapon in each hand leaves only dodges against
  unarmed strikes! This reflects how swordfights work in some
  movies: fighters never use a blade to stop an unarmed attack
  painfully. Unarmed defenses that injure – Aggressive Parry
  and Jam – aren’t affected.
  Gun Control Law
  If the PCs don’t have firearms of their own, ordinary thugs
  won’t use guns except to threaten them. When the thugs
  attack, they’ll use bare hands or melee weapons as well.
  “Name” adversaries (a crack sniper hired to kill the PCs, the
  boss’ right-hand man, etc.) may use firearms, but won’t
  defend against attacks intended to disarm them.
  Imperial Stormtrooper 
  Marksmanship Academy
  If the Gun Control Law is broken, the bad guys won’t hit
  with the first shot (or shots, if using rapid fire). This always
  lands close enough that the PCs know they’re under fire, but
  never does any damage. The GM may extend this protection
  for multiple turns if the PCs are using Acrobatic Movement
  (pp. 105-107) to get away instead of fighting!
  Shaking It Off
  A PC can undo the effects of a failed HT roll to avoid
  knockdown or unconsciousness by spending 1 FP immedi-
  ately after he fails the roll. He feels woozy (the lost FP), but he
  shakes it off and stays standing. This is useful against knock-
  down by a 1-HP blow to the head or vitals that Flesh Wounds
  cannot affect (it always lets 1 HP through, which might still
  cause knockdown), and to weather attacks that TV Action
  Violence won’t avert (such as unarmed blows to the torso and
  explosions that allow no defense roll).
  Shout It Out!
  In some comedic martial-arts films, fighters loudly name
  each move from a hidden style before they execute it.
  Attackers don’t merely use “Death Palm,” “Dragon’s Claw,” or
  “Eagle’s Beak” . . . they shout it out. These attacks are sup-
  posedly unstoppable except by potent defenses – but merely
  knowing a counter isn’t enough. The defender must shout out
  his move, too!
  To simulate this, the GM may let players make up style
  names and buy Style Familiarity (p. 49) with these fictitious
  styles at the standard point cost. Each perk represents an
  entire body of hidden moves. The person who named the
  style must describe the general “flavor” of its moves; e.g.,
  “Monkey King style is inspired by the monkey’s agility and
  cunning.”
  A fighter can exploit such a Style Familiarity in two ways.
  He can shout out the name of an attack before launching it,
  giving the target -1 to defend against it, or he can call out the
  name of a defense, gaining +1 to his defense roll. If the attack-
  er announces his attack (“Cobra Fist!”) and the defender
  names his defense (“Snake Charmer!”), the modifiers cancel
  out.
  These attacks and defenses aren’t actual techniques like
  those in Chapter 3 but names the player makes up on the spot
  in keeping with the spirit of his fictional style. For instance,
  the Monkey King fighter might defeat a “Crane Style” defense
  with a “Monkey Snatches Fish from Bird” strike. The actual
  moves can be standard techniques – even ordinary attacks
  and parries. The martial artist uses his secret training to
  enhance them, naming them aloud to channel his chi.
  A warrior can shout out only one technique – offensive or
  defensive – per style per battle. Once he has used a move from
  a secret style, it won’t catch his foes off-guard again. If he has
  several special Style Familiarities, each represents a different
  body of hidden teachings that he can use in the same battle.
  Opponents might not be surprised by another Monkey King
  attack – but they won’t expect a Righteous Southern Fire
  move! Reset the count in the next fight, even against the same
  adversaries. In the movies, old rivals always bring new tricks
  to a rematch.
  The GM might wish to limit martial artists to one such
  Style Familiarity per full 50 character points they have, to
  ensure that experienced masters know more secrets than
  young Turks. He can also introduce special moves that have
  only one specific counter . . . in which case the PCs must
  develop it on their own or find an instructor who can teach it
  (an excellent time for The Training Sequence, p. 147).
  Proxy Fighting
  A staple of humorous martial-arts movies is the martial
  artist who fights indirectly using items found around the bat-
  tlefield. He doesn’t wield these objects as improvised weapons
  – he uses them as “proxies” through which he can deliver his
  usual techniques! For instance, he might deliver a Jump Kick
  by leaping up and kicking a typewriter at a foe, grapple anoth-
  er enemy by slamming a door on him, and parry an attack by
  spinning an office chair into his assailant’s path.
  A fighter can only use an object this way if nobody else is
  holding onto it, its weight doesn’t exceed his Basic Lift (use
  1/10 the weight of a suspended or rolling item, such as a door
  or a cart), and it can move to reach the desired target or block
  the incoming blow. If all these conditions are true, the martial
  artist can use any of his normal techniques at -4. When
  punching or kicking an object at someone out of reach, add
  the usual range penalty (see p. B550). Rather than bog down
  combat with math, assume that maximum range is ST/2
  (round up).
  A skilled martial artist can also use people this way – tra-
  ditionally, young disciples, hapless sidekicks, or adversaries.
  132
  COMBAT
  
  For this to work, the master’s best melee combat skill
  (armed or unarmed) must exceed his victim’s. He can either
  knock his proxy’s body into other people or grab his unwit-
  ting ally and manipulate him like a giant puppet. In either
  case, if the proxy is armed, the controller can use the
  weapon (at default, if he lacks the necessary skill).
  If the master merely wishes to slap another person into
  his foe, his proxy must be within his reach and his intended
  target must be within his proxy’s reach. The proxy’s facing is
  unimportant. The controller may attack his proxy with any
  strike (not a grapple) at an extra -4 plus the penal-
  ty to hit the “borrowed” body part: -2 for an arm
  or a leg, -5 for the head. If he hits and his
  proxy fails to defend, the proxy is unharmed
  but the commandeered body part strikes the
  desired target exactly as if the master had
  landed his technique directly.
  To use someone else as a puppet requires
  a successful grapple with both hands from
  behind. The martial artist puts his hands on
  his proxy’s arms, positions his legs behind the
  other person’s legs, and so on. This takes a full
  turn.
  On each later turn, determine whether the
  grappled proxy is willing or unwilling. A willing
  proxy must be conscious and take a Do
  Nothing maneuver on his turn (he can still
  shout and make big eyes). An unwilling proxy is
  anyone able to protest being used this way, most often an
  enemy. An unwilling proxy may try to break free as usual on
  his turn. Someone who is stunned – e.g., a wounded foe or
  a mentally stunned passerby – counts as willing!
  The master cannot use a grappled proxy to perform any
  maneuver that requires more than a step or any technique
  that requires a jump. In a chambara game, he cannot use
  the special mobility rules. Otherwise, he can use all of his
  usual attacks and defenses. For a willing proxy, all rolls are
  at -4; for an unwilling one, the penalty equals the proxy’s
  ST/2 (round up) but is always at least -4.
  When attacking, damage is unchanged in all cases.
  There’s no bonus for working through a heavy object or a
  strong person, and no penalty for using a light object or a
  weak person. (Unrealistic? Yes, but this is a silly rule!) If the
  target parries an attack in a way that would damage the
  attacker, any damage is to the proxy.
  When defending, success stops the incoming blow as
  usual. Objects simply get in the way, although the GM may
  rule that the attack destroys a fragile object. People “parry”
  blows with their limbs or weapons, or “dodge” by being
  pulled aside. Failure means the proxy is hit, not his
  controller.
  For obvious reasons, it’s best not to use your Dependent
  this way! However, a skilled-but-frail master might fight
  through his clumsy-but-hardy student – and any fighter
  might find it handy to use one of his nemesis’ henchmen as
  a human shield.
  Bullet Time
  At the GM’s option, a player may spend 3 bonus charac-
  ter points to stop time for his PC in combat. He can do this
  at any time – even between an enemy’s attack roll with a gun
  and the targets’ dodge rolls or bullets’ damage rolls, hence
  the name of the rule. The one thing this can’t interrupt is
  death. If a failed HT roll means the PC is dead, he’s dead; the
  player can’t stop time to get a dying action.
  Entering Bullet Time gives the hero one turn to do any-
  thing that he could do with a normal turn. After that, ordi-
  nary time resumes and the GM assesses the outcome of the
  fighter’s actions. The player cannot spend more points to
  buy multiple, consecutive turns of stopped time.
  Possible effects include:
  • All-Out Attack, Attack, Committed
  Attack, Defensive Attack, and Move
  and Attack let him attack one or
  more foes, as his abilities allow. He
  rolls to hit normally. His targets are
  defenseless. The GM determines
  damage effects (knockback, knock-
  down, etc.) and applies them imme-
  diately when time returns to nor-
  mal, before anything else occurs.
  • Attack maneuvers also let him
  pluck arrows, bullets, etc., out of the
  air. The player may specify how
  close he lets them come before he
  stops time. It takes a DX roll and an
  attack to grab each projectile.
  Snatched weapons have no momen-
  tum upon returning to normal time, and cannot injure
  anyone.
  • Concentrate lets him activate or deactivate a special
  ability, operate controls, etc., so that the ability or machine
  will be “on” (or “off”) when normal time resumes.
  •Move or Change Posture means that when time speeds
  back up, he’ll be in his new location or posture.
  • Ready allows him to draw an item, open a door, etc.
  When normal time resumes, the item is ready in his hand,
  the door is open, and so on.
  In all cases, if he moves so much as a step during Bullet
  Time, all “paused” melee or missile attacks on him auto-
  matically miss when time starts again. If he moves between
  a weapon and its intended victim, the attack hits him when
  normal time resumes, although he may defend normally. If
  his actions move another person into the path of a sus-
  pended attack, it hits that person instead – but the victim
  may defend himself.
  During Bullet Time, everything but the PC who initiated
  the change freezes . . . from his perspective. He sees every-
  one else paused in mid-step, bullets and arrows hanging in
  air, hand grenades trapped between ticks of the clock, and
  so on. He and any items he’s carrying are the only things
  that move. Everyone else sees him move in a blur.
  Bullet Time is similar to Player Guidance (p. B347) in that
  it lets players use unspent points to purchase game-world
  effects, but the effects are more dramatic. It’s designed to
  simulate video games and “sci-fi wuxia” movies. It’s inap-
  propriate for campaigns based on traditional chambara or
  wuxia films, or quasi-realistic action movies. Even in games
  where it is suitable, the GM should limit it to combatants
  with Enhanced Time Sense, Trained by a Master, or Weapon
  Master.
  COMBAT
  133
  Sais
  
  TOURNAMENT COMBAT
  134
  COMBAT
  Not all combat is in deadly earnest. In modern times,
  most martial-arts battles take place in the bloodless, often
  contact-free environment of the tournament. Even in
  bygone eras, when martial arts served a deadly purpose day
  in and day out, tournaments were popular. Tournament
  combat sometimes served a judicial, religious, or social role,
  and entire martial arts with few military or self-defense
  applications existed for tournament battle.
  ROLEPLAYING
  TOURNAMENTS
  There are two ways to resolve tournaments and competi-
  tions. One is to game them out as regular combat, with each
  fighter taking his normal actions on a one-second time scale.
  The other is to use one of the abbreviated methods below,
  which are designed to answer the questions “Who won?”
  and “What happened to the competitors?”
  Quick Contest Method
  The simplest way to resolve a tournament is with a
  Contest (p. B348) between the fighters. Roll a Quick Contest
  of combat, Combat Art, or Combat Sport skills; the exact
  skills involved depend on the type of competition (see
  Competition Types, pp. 134-135). The winner of the Contest
  wins the match. This is useful when you only need to know
  who won. It works best for non-contact or light-contact
  events, or full-contact events where injury is rare (e.g.,
  Kendo or Judo).
  This method can be used to resolve “death match” tour-
  naments, though – most often those involving NPCs. In this
  case, if the winning competitor fails his skill roll in the
  Contest, he takes a full-force hit from his opponent’s best
  attack to a random hit location. This represents an injury
  suffered in the course of the match. The loser also suffers
  these consequences, even if his skill roll succeeds. If a con-
  testant critically fails, roll three attacks in this manner. No
  defense rolls are allowed. Even if the fighter won, he suffered
  to do so!
  A winning fighter may be victorious but suffer severe or
  even fatal injury. This isn’t unrealistic. One Olympic
  Pankration match in ancient Greece was won posthumous-
  ly – the winner was mortally wounded but forced his rival to
  submit before he expired!
  For especially dramatic competitions, use this method
  round-by-round or point-by-point. Award the winning fight-
  er the round or a point. Total up the number of winning
  rounds or points for each competitor to determine the
  winner.
  Detailed Method
  Use this option to resolve competitions in round-by-
  round detail without playing out each second. For instance,
  a boxing round is three minutes long. Played out a turn at a
  time, this would be 180 seconds of combat! Not only is that
  too long to game out, it’s unheard of for fighters to be active
  for every single second of a match. Realistically, each fighter
  will spend most of the round circling, evaluating and prob-
  ing his opponent. These rules provide a snapshot of the
  “action” while allowing for round-by-round drama.
  When using this method, fights consist of lulls, during
  which the contenders rest and circle, and flurries, when
  exchanges of blows take place. The GM should roll secretly
  for the length of flurries and lulls; realistically, fighters don’t
  know how much of an opening they have to press the action.
  This also adds tension as a close fight nears its end without
  a decision.
  Each round starts with an initial lull lasting 4d seconds.
  Then roll 2d to determine the length of the first flurry, 4d for
  the next lull . . . and so on, until the round ends. During a
  flurry, play out combat normally using the rules in the Basic
  Set. If both parties retreat, step out of each other’s reach, or
  Do Nothing, an early lull occurs (roll 4d for duration). The
  fighters step back to take a breath, are separated by the ref-
  eree (if there is one), or otherwise disengage. During a lull,
  fighters may Change Posture, Do Nothing, Evaluate, Move,
  Ready, or take appropriate free actions.
  A fighter may also attempt to extend a flurry by pressing
  the fight. If both sides wish to press, the action continues for
  another 2d seconds without the need for a roll. If only one
  competitor wishes to press, roll a Quick Contest of Tactics. If
  the pressing fighter wins, the flurry continues for seconds
  equal to his margin of victory. Otherwise, a lull begins
  immediately.
  Assess fatigue after each round – or after every two to
  three minutes, if the contest doesn’t have rounds. Use the
  costs under Fighting a Battle (p. B426). Always deduct FP
  spent on Extra Effort in Combat (p. 131) immediately,
  though.
  These rules allow fighters to battle for fairly realistic peri-
  ods of time. The GM may wish to lengthen or shorten lulls
  and flurries, depending on the contest. Bare-knuckle boxing
  matches sometimes took dozens of multiple-minute rounds,
  with the action coming fast and furious for brief periods, fol-
  lowed by long lulls of little action or extended clinching. For
  these types of matches, roll only one flurry per round.
  Pressing to extend a flurry may be the only way to score a
  victory against a reluctant foe, and a wily fighter may be able
  to stay in the ring with a tougher foe . . . if he can survive the
  flurries!
  COMPETITION TYPES
  The world has seen many different types of tournament
  combat. The examples below are merely the most common
  forms.
  Sport Competitions
  Demonstrations: These tournaments are a show of the
  competitors’ artistic form and control. Each performs one or
  more kata, drills, or forms. Judging is point-based. Use
  Combat Art skills to resolve such competitions.
  
  Non-Contact: In these tournaments, fighters throw full-
  force blows at each other but must stop just prior to touch-
  ing the target. This prevents injury except in rare cases (a
  critical failure). Judges stationed around the ring or square
  judge the effectiveness of attacks. Points are scored for prop-
  er techniques aimed at specific targets. Typically, play halts
  after each “hit” so that the judges can score. Then the fight-
  ers return to their start positions. Non-contact contests use
  either Combat Art or Combat Sport skills.
  Light Contact: Light-contact bouts are similar to non-
  contact ones, but some physical contact occurs and fighters
  must pull their blows to avoid inflicting injury. Alternatively,
  blows are dealt with some force, but armor, padded gloves,
  or (for weapon competitions) specially designed weapons
  prevent serious injury; for details, see Training Equipment
  (pp. 232-234). Non-striking sport styles like Greco-Roman
  Wrestling and Judo, which forbid holds that can cause
  injury, are also light contact. Use Combat Sport skills to
  resolve these matches.
  Full Contact: In full-contact bouts, fighters exchange full-
  strength blows. Because of the risk of injury, such tourna-
  ments are rarely unprotected. Most use padding and armor,
  as well as gloves and foot coverings designed to soften
  blows. They often restrict “legal” targets, too. For example,
  competitive Tae Kwon Do only scores points for techniques
  that hit hard enough to move the target, but limits kicks to
  above the waist and punches to the torso, and encases com-
  petitors in padded chest and head protectors. Full-contact
  competitions are common in non-striking styles, which usu-
  ally only forbid holds prone to causing injury (choke holds,
  damaging arm locks, etc.). Muay Thai, Lethwei, and
  Kyokushin “knockdown” tournaments (which forbid only
  punches to the head) are unprotected full contact, while
  Kendo and Tae Kwon Do are protected full contact.
  Protected contests use Combat Sport; unprotected matches
  use actual combat skills.
  No Holds Barred: These tournaments are full-contact
  matches with few (or none) of the niceties mentioned above.
  Despite the name, some tactics – usually choke holds, hair
  pulling, and attacks to the eyes – are barred for legal and
  safety reasons. Mixed martial arts competitions, ancient
  Greek Pankration matches, and early Sumo tournaments
  are no holds barred. Use standard combat skills to resolve
  such bouts.
  Other Competitions
  Some varieties of tournament combat are less “friendly”
  than even the most brutal sporting matches . . .
  Judicial Combat
  Many societies, especially those of medieval Europe,
  allowed for trial by combat (p. B508). The fighting was in
  earnest. Witnesses regarded the winner as having been
  judged innocent – and the loser, guilty – by God.
  Judicial combat often had many rules. For example, if a
  man faced a woman, he would fight from a waist-deep hole
  armed with a club, and she would have a shield and a mace
  with which to subdue her handicapped foe. Knights typical-
  ly faced each other with matched weapons in a small ring or
  square, and fought until one party was slain or incapacitat-
  ed, or surrendered. Pollaxes were common for knightly con-
  tests, as was the ahlspiess (p. 212).
  Some fighters made careers as paid stand-ins for
  aggrieved parties; see Duelist (p. 34). This could backfire, as
  the practice was often illegal. One such English fighter had
  a foot cut off as a judicial punishment for selling the use of
  his sword arm!
  Use actual combat to game out judicial contests, not the
  abbreviated methods under Roleplaying Tournaments
  (p. 134).
  Melees and Jousting
  Medieval Europe also featured tournaments to allow
  knights to practice their combat skills and demonstrate
  their valor off the field of battle. Melees pitted a mass of
  knights against each other on a field. Combat was nearly as
  violent as actual warfare, and injuries and fatalities could
  result.
  In jousts, knights practiced their skill with horse and
  lance. Competitors often used heavier armor than they
  would wear in battle, fought with blunt-tipped lances
  designed to shatter on impact, and were separated by a rail
  to prevent horses from colliding. Even with these protec-
  tions, deaths occurred. The best target to hit to knock an
  opponent down was the visor, which didn’t always prevent
  lethal lance shards from penetrating. Falls from horseback
  could also prove deadly, especially if the knight was tram-
  pled. Geoffrey of Brittany died in this way in 1186, which let
  John Lackland take the English throne in 1199 – a pivotal
  event in Western history.
  Use combat skills (and possibly actual combat) to resolve
  early competitions. Later in history, Combat Sport skills –
  notably Lance Sport – are more appropriate.
  Religious Combat
  Tournaments may be held to honor the gods or spirits, or
  to promote a religious philosophy. A modern example is
  Sumo, which still has Shinto ritual deeply embedded in its
  customs and rules. Some faiths regard bloodshed in reli-
  gious combat to be an ill omen – but in certain settings
  (especially fictional or fantasy worlds) blood may be
  required for the tournament to be deemed a success!
  COMBAT
  135
  
  INJURY AND RECOVERY
  136
  COMBAT
  Injury is an important part of a Martial Arts campaign,
  since it’s a likely consequence of fighting, even in a tourna-
  ment. Below are several variations on the rules for injury
  and recovery in Chapter 14 of the Basic Set. They’re intend-
  ed for humans, goblins, cat girls, and similar living beings –
  not for undead, robots, and other entities with exotic abili-
  ties such as Injury Tolerance.
  REALISTIC INJURY
  These rules are for GMs who want combat to be painful,
  gory, and deadly. They’re most suitable for grittily realistic
  campaigns. They don’t suit cinematic games at all . . . the
  GM should instead use Cinematic Combat Rules (p. B417)
  and More Cinematic Combat Rules (pp. 132-133) to let
  heroes avoid death and maiming, and possibly some of the
  options under Cinematic Injury (p. 139).
  Partial Injuries
  When injury occurs, there’s an immediate burst of pain
  and then adrenaline kicks in to compensate. Shock (p. B419)
  represents this kind of short-term pain. Eventually, though,
  the adrenaline wears off and the wound starts to hurt. Use
  this optional rule to model the effects of such long-term
  pain.
  You can ignore the effects of a non-crippling injury for
  2¥HT seconds. After that, you start to suffer impairment.
  The precise effects depend on the severity and location of the
  wound, as indicated below. Use the worst applicable result.
  High Pain Threshold halves these DX penalties, rounding in
  your favor (e.g., -1 becomes no penalty at all). Low Pain
  Threshold multiplies them by 1.5, rounding against you
  (e.g., -1 becomes -2).
  Arm
  Injury up to HP/5: -1 DX for any action involving that
  arm, including two-handed tasks.
  Injury over HP/5, up to HP/3: -3 DX.
  Injury over HP/3, up to HP/2: The arm is almost broken.
  It hurts so much that you must make a Will roll to use it. Roll
  at +3 for High Pain Threshold or -4 for Low Pain Threshold.
  Success lets you act at -5 DX; failure indicates you Do
  Nothing!
  Injury over HP/2: Cripples the arm.
  Leg
  Injury up to HP/5: -1 DX to kick with the injured leg.
  Kicking with the good leg is at -1 if standing – you must sup-
  port your body with the injured leg – but at no penalty if
  lying down.
  Injury over HP/5, up to HP/3: -3 DX to kick with the
  injured leg. If standing, kicking with the good leg is at -1, but
  any roll to avoid falling is at -3. If lying down, there’s no
  penalty to use the good leg. Dodge is at -1 and Move is 80%
  normal if standing.
  Injury over HP/3, up to HP/2: Your injured leg hurts so
  much that you must make a Will roll to kick with it, at +3 for
  High Pain Threshold or -4 for Low Pain Threshold. Success
  lets you kick at -5 DX; failure means you Do Nothing. You
  cannot kick with the good leg from a standing posture – your
  wounded leg won’t support your weight – but you can use it
  as usual if lying down. Dodge is at -2 and Move is 50% nor-
  mal if standing.
  Injury over HP/2: Cripples the leg.
  Hand or Foot
  Hand and foot injuries don’t give a DX penalty, but they
  hurt if you use the wounded extremity to strike. Use the
  “Bruised Knuckles” rule under Harsh Realism for Unarmed
  Fighters (p. 124).
  Torso
  Injury over 1/3 HP: -1 to DX for all purposes.
  Injury over 1/2 HP: -2 to DX, Move is 80% normal.
  Injury over 2/3 HP: -3 to DX, Move is 50% normal (the
  usual penalty for having less than 1/3 your HP remaining).
  Extreme Dismemberment
  If a cutting attack would sever the leg or foot of someone
  who’s standing or lying down, or the arm or hand of a fight-
  er who’s grappling or using two hands to wield a weapon, it
  might cut through the target body part and strike the other
  hand, arm, leg, or foot! To see if this occurs, roll damage nor-
  mally, subtract DR, and multiply by 1.5 for a cutting attack.
  If the resulting injury exceeds that required for dismember-
  ment (see p. B421), the attacker may elect to carry his attack
  through to the other limb or extremity.
  To do this, the attacker must make a weapon skill roll to
  guide his weapon to its new target. Roll against the effective
  skill of the initial attack at -1. Success means the second
  limb or extremity is hit. The victim gets no active defense (he
  has already failed to avoid this attack) and the attacker does-
  n’t reroll damage – use the original damage roll. Apply an
  effective DR equal to the new target’s DR, plus the DR of the
  severed body part, plus HP/2 if that was a limb or HP/3 if it
  was an extremity (round up).
  Example: Leif swings his greatsword (2d+3 cutting) at the
  arm of a mercenary who is wielding a spear in two hands.
  Leif’s skill is 15 and the arm is at -2 to hit, so his effective skill
  is 13. His attack roll succeeds and his opponent fails to parry
  – a hit! Leif rolls 12 points of damage. Subtracting DR 2 for
  his foe’s armor leaves 10 points of damage. The cutting mod-
  ifier converts this to 15 points of injury. The spearman has
  11 HP, so Leif must inflict 6 HP (injury over HP/2) to cripple
  the arm. Twice that, or 12 HP, hacks it off . . . so the arm
  comes off.
  But Leif caused 15 points of injury, so he may opt to cut
  through to the other arm at -1 to his original attack roll, or
  12. He succeeds, his target receives no defense, and the dam-
  age roll is the original 12. The effective DR of the second arm
  is its own DR 2, plus the severed arm’s DR 2, plus 6 HP for
  sliced meat and bone. This comes to DR 10, so 2 points of
  cutting damage penetrate. This deals 3 points of injury to the
  spearman’s other arm!
  
  New Hit Locations
  Martial artists fond of surgical precision in combat, espe-
  cially those buying Targeted Attacks (p.
  68) and
  Combinations (p. 80), won’t always be happy with the options
  under Hit Location (p. B398). The GM may allow them to tar-
  get a few additional hit locations.
  Some blows to these new locations count as major
  wounds, causing HT rolls to avoid knockdown and stunning
  – see Major Wounds and Knockdown and Stunning (p. B420).
  Crippling injuries always count as major wounds and render
  the body part useless. For recovery times, see Duration of
  Crippling Injuries (p. B422). Actual dismemberment (p. B421)
  is permanent!
  These rules assume a square hit on the body part. Hits to
  the surrounding hit location often overlap these targets, but
  only a direct hit gets the special effects below.
  Injury Tolerance may render some locations nonexistent:
  joints, spine, and veins and arteries for Diffuse or
  Homogenous; veins/arteries for No Blood; ear, jaw, and nose
  for No Head; and veins/arteries in the neck for No Neck.
  Disadvantages may have similar effects. Invertebrate removes
  the spine; No Legs means no joints or veins/arteries in the
  legs, either; and No Manipulators eliminates joints and
  veins/arteries in all limbs.
  Ear (-7): A fighter who can attack his foe’s face or skull
  can specifically target an ear instead. Treat this as a face hit
  except when making a cutting attack specifically to slice off
  the ear. In that case, injury over HP/4 is lost but has no 
  special effect . . . but twice this amount removes the ear. This
  is a major wound, but without the -5 to knockdown rolls for
  a face hit. Missing ears (one or both) permanently reduce
  Appearance by a level. A miss by 1 hits the torso. To use a
  cupped hand to concuss the ear and cause deafness, see Ear
  Clap (p. 70).
  Jaw (-6): The jaw is part of the face and only valid as a sep-
  arate target from in front. Treat a hit as an ordinary face hit,
  except that a crushing blow gives the victim an extra -1 to
  knockdown rolls. A miss by 1 hits the torso.
  Joints (-5 or -7): Limbs and extremities contain vulnerable
  joints that an attacker can target with a crushing, cutting,
  piercing, or tight-beam burning attack. The roll to hit has an
  extra -3: -5 for an arm or a leg, -7 for a hand or a foot. This
  allows crippling with injury over HP/3 (not HP/2) for a limb,
  or injury over HP/4 (not HP/3) for an extremity. Excess injury
  is lost. Dismemberment still requires twice the injury needed
  to cripple the whole body part – not just the joint. HT rolls to
  recover from crippling joint injuries are at -2. A miss by 1 hits
  the limb or extremity, but not the joint.
  Nose (-7): The nose is part of the face, and a valid target
  only from the front. Treat a hit as a face hit, but injury over
  HP/4 breaks the nose. This counts as a major wound to the
  face and mangles the nose – the victim has No Sense of
  Smell/Taste (p. B146) until the injury heals. It’s possible to
  angle a cutting attack to lop off the nose, in which case crip-
  pling injury counts as an ordinary major wound (no -5 to
  knockdown for the face) and injury in excess of this is lost.
  However, twice this amount takes off the nose, which reduces
  Appearance by two levels permanently. In all cases, a miss by
  1 hits the torso.
  Spine (-8): The spine (in the torso) is a hard target – nar-
  row, bony, and buried in meat – but injury there can end a
  fight. Crushing, cutting, impaling, piercing, and tight-beam
  burning attacks from behind can target the spine. The verte-
  brae provide an additional DR 3. Use the wounding modifiers
  for the torso, but any hit for enough injury to inflict a shock
  penalty requires a knockdown roll, at -5 if a major wound.
  Injury in excess of HP cripples the spine. This causes auto-
  matic knockdown and stunning, plus all the effects of Bad
  Back (Severe) (p. B123) and Lame (Paraplegic) (p. B141).
  Roll twice after the fight to recover, once to avoid gaining
  each of these disadvantages on a lasting or permanent basis!
  A miss by 1 hits the torso.
  Veins and Arteries (-5 or -8): A fighter with a cutting, impal-
  ing, piercing, or tight-beam burning weapon can target a major
  blood vessel in the neck (jugular vein or carotid artery), arm
  (brachial artery), or leg (femoral artery). The attack has an
  extra -3: -5 for a limb, -8 for the neck. The sudden blood loss
  increases the wounding modifier for that hit location by 0.5;
  e.g., a cutting attack gets ¥2 instead of ¥1.5 against a limb, or
  ¥2.5 instead of ¥2 for the neck. Since the intent is to start
  bleeding – not to destroy bone and muscle – ignore crippling
  effects and damage limits for limbs. Realistically, such
  injuries can cause almost instant unconsciousness, with
  death coming in seconds. The GM may rule that Mortal
  Wounds (p. B423) doesn’t apply and that any failed HT roll to
  avoid death means the victim collapses and bleeds out mess-
  ily. This is a “special effect” of dying from a vein or artery hit.
  A miss by 1 hits the neck, arm, or leg, as appropriate.
  Notes for Existing Hit Locations
  For greater consistency when using this level of detail,
  alter the hit locations in the Basic Set as follows. The GM
  may reserve extra die rolls for randomly targeted attacks.
  Arms and Legs: On any arm or leg hit, roll 1d. On a 1, a cut-
  ting, impaling, piercing, or tight-beam burning attack hits a
  vein/artery, while a crushing attack hits a joint.
  Face: On a hit from in front, roll 1d. A 1 means a skull hit
  if the attack was impaling, piercing, or tight-beam burning, a
  nose hit otherwise. When attacking from behind, the face is
  at -7 to hit, not -5.
  Hands and Feet: On any hand or foot hit with a crushing,
  cutting, piercing, or tight-beam burning attack, roll 1d. On a 1,
  the attack hits a joint.
  Neck: On any neck hit with a cutting, impaling, piercing, or
  tight-beam burning attack, roll 1d. On a 1, it hits a vein/artery.
  Also roll 1d for crushing attacks from behind; a 1 indicates a
  spine hit. Crippling the spine this far up – a “broken neck” –
  causes Quadriplegic (p. B150), not merely Lame (Paraplegic).
  This occurs automatically if Neck Snap (p. 77) or a throw
  from a Head Lock (p. 74) inflicts injury over HP to the neck!
  Skull: When attacking from behind, the skull is at -5 to hit,
  not -7.
  Torso: On a hit with a crushing, impaling, piercing, or tight-
  beam burning attack, roll 1d. On a 1, it hits the vitals. Also roll
  1d for a cutting blow from behind; a 1 indicates a spine hit.
  Vitals: Crushing attacks can target the “vitals” – e.g., the
  solar plexus from in front or the kidneys from behind – at -3.
  Wounding modifier is only ¥1, but shock requires a HT roll
  for knockdown, at -5 if a major wound.
  COMBAT
  137
  
  Severe Bleeding
  Realistic campaigns should probably use the optional
  Bleeding rules on p. B420. In gritty games, the GM might
  also want to use the rules below for severe injuries. Where
  these indicate a penalty to bleeding rolls, this is cumulative
  with the usual -1 per 5 HP of injury. For greater deadliness,
  add the penalties for multiple injuries and use the highest
  applicable rate of blood loss.
  Dismemberment: Destroying a body part causes profuse
  bleeding. Bleeding rolls are at an extra -1 to HT for a super-
  ficial loss (ear, nose, etc.), -2 for an extremity, or -3 for a
  limb. Add another -1 for an extremity or limb actually sev-
  ered by cutting damage. For a limb, make bleeding rolls
  every 30 seconds – not once per minute – regardless of how
  it was lost. In all cases, once HP lost to bleeding equal the
  injury needed to cripple the body part, revert to using the
  normal bleeding rules.
  Neck: Cutting, impaling, and piercing attacks to the neck
  can cause severe blood loss even if they don’t hit veins or
  arteries. Make bleeding rolls every 30 seconds, at -2.
  Skull or Eye: Bleeding due to a cutting, impaling, piercing,
  or tight-beam burning attack to the skull – directly or via an
  eye – reduces blood flow to the brain. The amount of blood
  might not be especially large but any blood loss is severe;
  lasting harm occurs in only a short time. Make bleeding
  rolls every 30 seconds.
  Veins and Arteries: Bleeding rolls are at -3 – or at -4 if the
  injury was due to a cutting attack. Make bleeding rolls every
  30 seconds. This assumes a severe but not automatically
  lethal cut. See New Hit Locations (above) for the “instant
  death” due to bleeding.
  Vitals: Internal bleeding from injuries to vital organs is
  usually fatal without surgery. Make bleeding rolls every 30
  seconds, and roll at -4.
  Bandaging Severe Wounds
  A minute’s work with bandages won’t stop really severe
  bleeding. Optionally, apply the total penalty to bleeding rolls
  – for both the size and location of the wounds – to First Aid
  rolls made to halt bleeding (see Bandaging, p. B424). To
  staunch bleeding from the skull, eye, neck, vitals, or veins
  and arteries, make a Surgery roll at the same penalties; First
  Aid won’t suffice.
  Lasting and Permanent Injuries
  Lost HP represent blood loss and general trauma, but
  some hit locations have more enduring effects. Wounds to
  limbs and extremities can cripple (see Effects of Crippling
  Injury, p. B421). New Hit Locations (p. 137) gives rules for
  severed ears and noses, and for crippling injury to the joints
  and spine. Since these effects are the primary reason to
  strike such body parts in combat, they belong in any cam-
  paign that allows fighters to target these hit locations in the
  first place.
  At the GM’s option, severe internal injuries can cause
  lasting or permanent infirmity, too. These effects take
  time to show up – but when they do, they can end an
  adventuring career. Thus, it’s probably a good idea to
  reserve them for realistic historical and military games,
  horror campaigns, and so on, where a “war wound” or
  slow decline is in-genre.
  On a major wound (injury over HP/2) to the neck, skull,
  veins/arteries, or vitals, roll 3d on the appropriate table to see
  whether there is any effect beyond lost HP. If there is, make
  a HT roll to determine whether the condition is temporary,
  lasting, or permanent, just as per Duration of Crippling
  Injuries (p. B422). Rapid Healing (p. B79) has its usual
  effects.
  Neck Wounds Table
  Roll 3d. Death from a cutting attack means partial or
  complete decapitation. Those attempting magical or tech-
  nological resuscitation must first reattach the head!
  3 – Respiratory or circulatory problems, giving -1 HT.
  Critical failure on the recovery roll means delayed death
  by aneurysm. Treat this as Terminally Ill (Up to two
  years); see p. B158.
  4, 5 – Stroke resulting in brain damage. Roll on the Skull
  Wounds Table for effects.
  6, 7 – Severe neurological damage, resulting in Numb
  (p. B146).
  8-13 – No special effect.
  14, 15 – Damage to the throat, resulting in Disturbing Voice
  (p. B132) – or Cannot Speak (p. B125), if injured to -HP
  or worse.
  16, 17 – As 4, 5.
  18 – Severely reduced neck mobility, giving -1 DX.
  Skull Wounds Table
  Roll 3d. Death from a skull injury means the brain is
  destroyed, preventing ultra-tech “brain reading.”
  3 – Widespread neurological damage, giving Epilepsy
  (p. B136).
  4 – General cognitive impairment, giving -1 IQ.
  5 – Damage to the prefrontal cortex, giving Low Empathy
  (p. B142).
  138
  COMBAT
  How GURPS Works: 
  “Stun” vs. “Real” Injury
  A common misconception is that barehanded
  combat inflicts “stun” injury that somehow differs
  from “real” injury caused by weapons. This is untrue
  in real life and in GURPS. A punch or a kick rarely
  bleeds much, giving the illusion of lesser harm – but
  if it sends a man to the ground, breaks his arm, or
  knocks him out, it inflicts genuine, tissue-destroying
  damage. Being crushing, a fist or a foot might lack
  the wounding modifier of a cutting, piercing, or
  impaling weapon, but it has the same potential to
  maim or kill as a crushing weapon. Realistic PCs
  trading kicks and arm locks should understand that
  while it takes longer to dish out 20 HP, the injuries
  are as deadly as 20 HP lost to stabs and bullets, and
  won’t heal any faster. Cinematic PCs often have
  access to abilities that mitigate this.
  
  6 – Damage to the temporal lobes, giving Partial Amnesia
  (p. B123) – or Total Amnesia, if injured to -HP or worse.
  7 – Damage to the parietal lobe, giving Dyslexia (p. B134).
  8 – Damage to the cerebellum, giving slurred speech. Treat this
  as Stuttering (p. B157).
  9 – Damage to the occipital lobes, giving Bad Sight (p. B123).
  Critical failure on the recovery roll means Blindness
  (p. B124)!
  10, 11 – No special effect.
  12 – Ruptured eardrums or damage to the temporal lobe, giv-
  ing Hard of Hearing (p. B138). Critical failure on the recov-
  ery roll means full Deafness (p. B129).
  13 – Damage to the cerebellum, giving a level of Ham-Fisted
  (p. B138) – or two levels, if injured to -HP or worse.
  14 – Widespread brain damage, giving Neurological Disorder
  (Mild). See p. B144.
  15 – Brain stem damage that impairs reaction time (“startle
  response”), giving -1 Basic Speed.
  16 – Severe damage to the cerebellum, giving -1 DX.
  17 – As 14, but Neurological Disorder (Severe).
  18 – As 14, but Neurological Disorder (Crippling).
  Veins and Arteries Wounds Table
  Roll 3d. Death from such a wound means the victim
  “bleeds out.” This is messy and obvious, makes ordinary resus-
  citation impossible, and tends to disappoint vampires.
  3 – Circulatory damage, giving -1 HT. Critical failure on the
  recovery roll means delayed death resulting from
  aneurysm. Treat this as Terminally Ill (Up to two years); see
  p. B158.
  4, 5 – For an artery in the arm or leg, lack of blood flow crip-
  ples the limb; treat this as a crippled limb. For a vein/artery
  in the neck, roll on the Neck Wounds Table instead.
  6, 7 – Circulatory damage, giving one level of Easy to Kill
  (p. B134) plus one extra level if injured to -HP, two extra
  levels at -2¥HP, and so on.
  8-13 – No special effect.
  14, 15 – A severe tear that counts as Wounded (p. B162). This
  can become permanent, like any other crippling injury.
  16, 17 – As 4, 5.
  18 – A blood clot travels to the brain and causes a stroke. Roll
  on the Skull Wounds Table for effects.
  Vitals Wounds Table
  Roll 3d. At the GM’s option, death from such a wound
  means an instantly lethal blow to the heart!
  3 – Severely weakened vital organ(s), giving -1 HT. Critical
  failure on the recovery roll means eventual death due to
  organ failure. Treat this as Terminally Ill (Up to two
  years); see p. B158.
  4 – Stabbing pains in the chest or abdomen that count as
  Chronic Pain (p. B126). The GM assesses effects worth
  roughly -1 point per lost HP. For instance, 21 HP of injury
  might cause Chronic Pain (Agonizing; 4 hours; 9 or less)
  [-22].
  5 – Damage to the kidneys, liver, pancreas, or other organs,
  resulting in Restricted Diet (p. B151). The special diet
  amounts to a “very common” item.
  6 – Shock to the immune system, giving one level of
  Susceptible to Disease (p. B158) plus one extra level if
  injured to -HP, two extra levels at -2¥HP, and so on.
  7 – Reduced cardiovascular fitness, giving -1 FP plus an
  extra -1 FP if injured to -HP, -2 FP at -2¥HP, and so on.
  8 – Weakened heart, giving one level of Easy to Kill
  (p. B134) plus one extra level if injured to -HP, two extra
  levels at -2¥HP, and so on.
  9-12 – No special effect.
  13 – A deep hole that counts as Wounded (p. B162). If this
  becomes permanent, it may be deliberate (a result of sur-
  gery) or the result of incomplete healing.
  14 – General damage to the vital organs, leading to Slow
  Healing 1 (p. B155).
  15 – Severely reduced cardiovascular health, giving Unfit
  (p. B160) – or Very Unfit, if injured to -4¥HP or worse.
  16 – Chronic health problems that require daily care. Treat
  as Maintenance (Physician; 1 person; Daily); see p. B142.
  17 – As 16, but requires care three times per day. Treat as
  Maintenance (Physician; 1 person; Three times daily).
  18 – As 16, but requires constant life support. Treat as
  Maintenance (Physician; 1 person; Constant).
  CINEMATIC INJURY
  Characters in martial-arts films commonly have an unre-
  alistic capacity for surviving brutal punishment. In some
  tales, the hero takes a beating, then gets a second wind and
  wins the fight. In others, fighters are simply hurt less by
  fists, feet, etc., than by blades, bullets, fire, and poison. Flesh
  Wounds (p. B417) can simulate the first type of “realism.”
  Exotic advantages offer other ways to handle both
  situations.
  Regeneration is an excellent alternative for second
  winds. Damage Resistance, Injury Tolerance, and piles of
  HP are handy for warriors who can absorb massive damage.
  See Advantages (pp. 42-53) and Extra Hit Points (p. 49) for
  discussions of these traits in Martial Arts campaigns, and
  Desirable Advantages (p. 43) for some related traits.
  The GM decides who can possess these capabilities. He
  might make them available only to those with Trained by a
  Master or Weapon Master. He might make them options or
  mandatory “campaign advantages” for all PCs and impor-
  tant NPCs. It’s even possible to give everyone in the game
  world such traits – at least in a silly game. If so, the GM
  should consider applying the advantages’ effects without
  charging points. If everybody is super-tough, it isn’t an
  advantage worth noting.
  COMBAT
  139
  Royal Odysseus pondered if he
  should hit him with all he had and
  drop the man dead on the spot, or
  only spar, with force enough to
  knock him down.
  – Homer, The Odyssey
  
  Del Duque’s cape swirled dramatically as he sized up the
  henchmen that El Asesino Oscuro had thrown in his path.
  The tattooed Japanese with no neck grunted. “We’re gonna
  find out what you look like without the mask.”
  “Monsieur might have noticed,” the Frenchman comment-
  ed, swiping at the air with his cane, “that this isn’t a lucha
  libre match.”
  “Louis, Jin, and me, we’re here to break a few bones, puta,”
  spat the tall one Del Duque knew only as Leonardo, punctu-
  ating his words with a swift kick.
  Behind his mask, Del Duque smiled. Sumotori, savateur,
  capoeirista . . . these would be easy. He had come expecting
  ninja!
  “Martial arts” describes a huge variety of disciplines with
  many different objectives and philosophies (such as those
  discussed in External vs. Internal, Hard vs. Soft, p. 162). It
  can be hard to tell where one art ends and another begins,
  but in general, a “martial art” or “style” is any body of fight-
  ing methods and tactics – aesthetic, competitive, or com-
  bative in focus – taught together for long enough to acquire
  a distinct identity. In Martial Arts, these terms are often
  synonymous with “school” or even “master,” and occasion-
  ally refer to a collection of schools – even rivals – that teach
  the same abilities in game terms.
  This means that if a single set of skills and techniques
  describes a whole collection of related traditions, Martial
  Arts treats them as one style – although the entry for that
  style discusses its history and variants. Conversely, if sever-
  al traditions with identical origins teach different skills and
  techniques – common when a venerable style diverges to
  serve multiple, incompatible purposes – they get separate
  entries. The most common schism is that between a style’s
  “combat” forms and other forms; see Do vs. Jutsu (p. 148).
  140
  STYLES
  CHAPTER FIVE
  STYLES
  
  Martial Arts distinguishes styles on the basis of abilities
  in order to provide another tool for individualizing charac-
  ters – another roleplaying “hook.” Each player can pick the
  style that suits his vision of his PC and be certain that this
  selection influences his options on the battlefield. The cho-
  sen style sets aside his PC’s actions from those of PCs who
  practice other styles, thus ensuring that each hero is dis-
  tinctive even in combat, where dice and rules often threaten
  to eclipse roleplaying.
  To ensure that there are plenty of choices, this chapter
  describes many different styles – some defunct, some cur-
  rent, and some fictional. The GM is free to modify these to
  suit his game and his view of the martial arts. In a realistic
  campaign, nearly any combination of believable abilities is
  supportable; the world is full of hybrid styles and breakaway
  schools. In a cinematic campaign, all that matters is that
  each style offers an interesting set of cinematic abilities so
  that players can use it to create fun and memorable PCs!
  STYLES
  141
  COMPONENTS OF A STYLE
  In game terms, the tactics and methods of a style are a
  collection of skills, techniques, and perks. Some of these
  components represent the style’s most basic principles,
  taught to all students. A martial artist must buy all such
  required elements to qualify for lessons that teach the style’s
  more advanced moves, which aren’t mandatory.
  The next few sections explain how a martial artist must
  spend points acquired though training at his style (for
  details on point costs and learning times, see Buying a Style,
  pp. 146-148). This means his starting points plus points
  earned by studying at his school, unless the GM rules oth-
  erwise. He can spend points awarded during adventures
  however he wishes, within the limits set by Adding and
  Improving Skills and Techniques (p. B292). He can even
  learn his style’s advanced elements by studying another style
  that treats them as basic . . . although his master might dis-
  approve!
  Not all styles have every component discussed below.
  Some consist of core skills without techniques. Others offer
  no perks. Many lack cinematic abilities. If a style omits any
  of these items, it’s intentional.
  SKILLS
  A style’s skills are its irreducible core. They represent the
  majority of any student’s training. The most important skills
  are of course combat skills: weapon skills for armed styles;
  Boxing, Brawling, and Karate for unarmed striking styles;
  Judo, Sumo Wrestling, and Wrestling for unarmed grap-
  pling styles; and a mixture of these for well-rounded styles.
  Non-combat skills may show up as well, and say a lot
  about the style’s character. Arts with a strong sports element
  require Games. Styles for mounted warriors include Riding.
  Very formal styles incorporate Savoir-Faire (Dojo). Some
  traditional martial arts claim to be a path to enlightenment,
  and teach Meditation, Philosophy, or Theology.
  To learn a style and qualify to buy any of its other com-
  ponents, a student must spend at least a point on each skill
  under “Skills” (but not those under “Cinematic Skills” or
  “Optional Traits”). This is figured into style cost.
  Cinematic Skills
  A style often carries a body of legend . . . tales of feats that
  true masters can perform. These are its cinematic skills, and
  represent a heroic exaggeration of its teachings. Not every
  style includes cinematic skills. Modern “scientific” styles
  developed for military, police, or sporting purposes are too
  young to have much of a mythology – and their no-nonsense
  instructors tend to shoot down improbable claims.
  A martial artist must spend at least a point on each of his
  style’s mundane skills and buy its Style Familiarity (p. 49)
  before he can learn his style’s cinematic skills. Thus, in a
  Martial Arts game, the prerequisites of these skills are the
  usual ones (see Cinematic Abilities and Prerequisites, see left)
  plus the basic components of an appropriate style.
  TECHNIQUES
  Each style lists the techniques that students can improve
  via study at any orthodox school of that art – or even with-
  out instruction, if they earn enough points during an adven-
  ture – once they’ve bought Style Familiarity and spent a
  point on each of the style’s skills. Anyone may attempt any
  technique that defaults to any of his skills. If it doesn’t
  appear as part of a style he knows, though, raising it above
  default requires outside instruction.
  Cinematic Abilities
  and Prerequisites
  Heroic Archer, Trained by a Master, and Weapon
  Master are explicitly listed as optional traits only for
  styles for which they’re extraordinarily appropriate. A
  student of any style must possess one of these traits
  in order to learn cinematic skills, though – these
  advantages are prerequisites for such skills. A martial
  artist who lacks such an advantage must learn it (see
  Learning Secret Martial-Arts Techniques, p. B293)
  before he can have cinematic skills that depend on it.
  The GM decides whether the master who taught him
  his mundane abilities can provide this training.
  Cinematic skills may have mundane skills as pre-
  requisites, too. If these aren’t part of the style, the stu-
  dent is expected to venture outside his school, learn
  the necessary skills, and return. The absence of
  extracurricular skills from the style doesn’t make
  them any less necessary.
  Attempts to improve a style’s cinematic techniques
  are subject to the same rules.
  
  The GM may ease this restriction, but enforcing it has its
  benefits. For one thing, it gives combat a roleplaying dimen-
  sion, with each fighter having his own “repertoire” of
  moves. It also makes it easier for players to remember the
  techniques available to them, as it’s simpler to learn the
  game effects of a handful of techniques than those of every
  possible technique – especially for players who lack person-
  al martial-arts experience and have trouble visualizing
  what’s going on.
  A martial artist doesn’t have to spend points on any of his
  style’s techniques. They’re always optional. In game terms,
  raising one or two techniques per skill above default – pos-
  sibly to their maximum – is a good investment. It’s an inex-
  pensive way to enjoy a higher effective combat skill in some
  specialized situations. This is realistic. Martial artists who
  have learned a style’s basics (its skills) do tend to specialize
  in a few favorite moves.
  However, a martial artist who wishes to improve more
  than a couple of techniques for a skill is better off raising the
  skill. He’ll need a lot of time and points to improve his skill
  to the point where his default with a technique equals a spe-
  cialist’s level . . . but when he’s done, he’ll be a formidable
  foe. This, too, is realistic. In the long term, a well-rounded
  fighter will be more successful, because he’ll have more
  tools in his toolbox.
  Cinematic Techniques
  A style’s cinematic techniques are the least-realistic tech-
  niques commonly attributed to it. They’re separated from
  regular techniques only because they’re more appropriate
  for cinematic campaigns than for realistic ones. To improve
  them, a martial artist must have Trained by a Master or
  Weapon Master, Style Familiarity, and at least a point in
  each of the style’s mundane skills. Any martial artist can
  attempt his style’s cinematic techniques at default, however.
  PERKS
  Most styles include a few useful bits of knowledge that,
  once taught, change the way a martial artist views and prac-
  tices his art. There’s a clear difference in thinking “before”
  and “after” learning each of these things. Many of them
  seem obvious once learned – but most aren’t! Unlike skills
  and techniques, you either know these secrets or you don’t.
  Once you do, you work them into your exercises and your
  grasp of them improves in tandem with your skills; you
  don’t study them independently.
  In game terms, these are martial arts-related perks. They
  come in two varieties, both acquired just like skills and tech-
  niques. See Chapter 2 for much more information.
  Style Familiarity
  Each style has its own Style Familiarity perk. This repre-
  sents rote memorization of the art’s stances and movements.
  It has little to do with performing such moves – that’s skill. It
  simply makes it possible to recognize those forms well
  enough that they won’t come as a complete surprise. In
  game terms, a fighter with Style Familiarity ignores -1 in
  defense penalties from feints and Deceptive Attacks by co-
  stylists. Any martial artist who “knows” a style should have
  its Style Familiarity. Some stripped-down self-defense schools
  omit this . . . with negative consequences.
  To learn a style and be able to buy its Style Perks and cin-
  ematic skills and techniques, a student must buy its Style
  Familiarity perk. This is figured into style cost.
  Style Perks
  Improvements to combat skills and techniques corre-
  spond primarily to increases in accuracy. Not all advanced
  martial-arts classes have this goal in mind, however. Some
  teach how to fight under adverse conditions, eliminating
  penalties rather than providing bonuses. Others show stu-
  dents new, unorthodox applications of lessons they’ve already
  learned. Familiarization with another style – with the goal of
  imparting the tools to adapt its techniques – is common, too.
  Unusual exercise regimens intended to toughen body parts or
  develop other physical advantages are yet another possibility.
  Each form of special training corresponds to a special
  perk called a “Style Perk.” An exceptional time investment in
  learning the style’s more mainstream components is the
  surest path to Style Perks. A student with Style Familiarity
  may buy one Style Perk per full 10 points he has in that style’s
  techniques and required skills. A martial artist never has to
  learn Style Perks. The training they represent isn’t universal,
  and is optional even when offered.
  OPTIONAL TRAITS
  The components discussed so far are things taught by
  almost every school of a style. Some are more common than
  others; many are optional. However, the GM should make
  them available to PCs who meet the prerequisites and receive
  instruction in the style, unless there’s a good setting-related
  reason to forbid this.
  142
  STYLES
  Wax on, right hand. Wax off, left hand. Wax on, wax off. 
  Breathe in through nose, out the mouth. Wax on, wax off. 
  Don’t forget to breathe, very important.
  – Miyagi, The Karate Kid
  
  Items listed under “Optional Traits” are less cut-and-dried.
  They aren’t so much components of the style as they are ele-
  ments frequently associated with it. Possibilities include extra
  “entrance requirements” enforced by demanding masters;
  prerequisites for instruction in the art’s more mainstream
  teachings at certain schools; advanced training; and conse-
  quences of training. Where left unspecified, such details are
  up to the GM.
  Advantages
  Optional advantages are most often either traits that
  would lead somebody to study and succeed at the style
  or learnable advantages (p. B294) taught only at par-
  ticular schools. More rarely, they’re entrance require-
  ments for exceptionally strict schools. See Desirable
  Advantages (p. 43) for many suitable examples. A few
  traits bear special mention:
  Cultural Familiarity: Martial artists might have no
  choice but to travel abroad if they wish to study certain
  styles. Even if they learn at home, a martial art from a
  foreign land might encourage or even pressure them to
  become familiar with the art, food, music, and values
  of its background culture. This is especially true when
  the master hails from that culture! Any of these situa-
  tions could justify Cultural Familiarity (p. B23).
  Languages: As noted for Cultural Familiarity, those
  who study foreign styles might end up immersed in
  foreign ways. This definitely includes Languages
  (p. B23). A given master or school might refuse to
  instruct students in any language but that of the style’s
  homeland, because only that tongue has a vocabulary
  capable of properly explaining the style’s moves . . . or
  because the master speaks only that language!
  Unusual Abilities: The style’s teachings might even
  enable students to buy cinematic advantages:
  Enhanced Time Sense, Extra Attack, Innate Attack,
  etc. These are subject to the same prerequisites as cin-
  ematic skills. See Chapter 2 for many examples.
  Disadvantages
  Optional disadvantages are a mixture of traits that
  might influence a martial artist to pick this style over
  another, pledges required of new students at strict
  schools (most of which are self-imposed mental dis-
  advantages; see p. B121), and side effects of training.
  A particular disadvantage can fall into more than one
  category. For instance, someone might elect to study
  Sumo because he’s Fat . . . or end up Fat after prac-
  ticing Sumo and eating the diet it prescribes. See
  Common Disadvantages (p. 53) for possibilities.
  Skills
  Optional skills fall into three categories:
  •Skills that only some masters regard as “basic.” If
  the GM rules that an optional skill works this way, it
  goes on the main skill list for that school and adds a
  point to style cost.
  • Skills that all students of the style are encouraged to
  study in order to gain a fuller understanding of the style.
  These are never necessary for the skilled practice of the style.
  •Skills reserved for advanced students. These play a sim-
  ilar role to techniques, Style Perks, and cinematic skills:
  they’re never required, but martial artists who wish to learn
  them must first buy Style Familiarity and put a point into
  each of the style’s basic skills.
  The GM decides which niche each optional skill
  occupies.
  STYLES
  143
  Style vs. Style
  A source of perpetual debate in the martial-arts world is
  the question “Which styles are better than what others?” The
  reality – which GURPS tries to model – is that almost any
  martial art can make a capable fighter out of somebody with
  suitable physical, mental, and emotional potential . . . but
  some styles do so more readily than others.
  Not all styles are created equal – some truly are superior for
  certain purposes. Styles created for combat turn out apt fight-
  ers but rarely graceful kata performers or tournament win-
  ners. Dedicated sports styles produce contenders who per-
  form better under controlled conditions than in a “street
  fight.” And styles optimized for fitness and relaxation rarely
  train warriors or champs, but are more likely than other styles
  to have a positive effect on the average person’s health.
  There is no “best” or “ultimate” style, though. Styles are
  good for what they’re designed for. Judo, Tae Kwon Do, and
  Karate were designed as sports. Their practitioners focus on
  competition – although some become tough fighters. On the
  other hand, a Jeet Kune Do, MCMAP, or Krav Maga stylist
  learns to fight. He’d probably lose badly in a kata competition
  or a light-contact match scored on proper form, but pit him
  against an assailant in a dark alley and the result would be
  quite different. Mixed martial arts (p. 189) attempt to bridge
  this gap, training martial artists for full-contact matches but
  sharply limiting the use of techniques that are effective but
  likely to inflict crippling injury.
  In a cinematic game, all bets are off. A realistic combat
  style might churn out capable warriors . . . but these would
  face easy defeat at the hands of disciples of more artistic styles
  with working chi powers. Sports styles might be every bit as
  effective in a deadly fight as in the ring. And the most “peace-
  ful” arts might teach techniques capable of defeating any foe!
  School vs. School
  It’s rare for every school of a style to teach in an identical
  fashion – or even to profess a uniform style. Some belong to
  large federations that attempt to dictate a standardized cur-
  riculum. Others are independent, however, or part of a loose
  group that doesn’t try to enforce standards.
  The GM can use this to justify modifying a style for the stu-
  dents of a specific school or master. He should be generous in
  allowing players to request changes to styles – within limits.
  Players who desire custom-designed styles should refer to
  Creating New Styles (p. 146) instead.
  
  CHOOSING A STYLE
  144
  STYLES
  Every would-be student asks, “Which style should I
  study?” The answer depends in part on that to a more fun-
  damental question: “What do I want to do?” Possibilities
  include getting in shape, competing, fending off muggers,
  fighting crime, and killing enemy soldiers. It’s tempting to
  select a style whose history and reputation seem compatible
  with your objectives, but it’s crucial to realize that the goals
  of the school you choose, and of its teachers, are far more
  important than the style itself. The police academy and
  YWCA anti-rape program might both teach “karate” – and
  even share instructors – but you can be sure that the two
  courses are very different!
  The short answer, then, is that nearly any style will do –
  if your instructor puts the right “spin” on it. Pick a style
  that’s common in your game world . . . or one you’ve heard
  of in real life . . . or simply one that sounds interesting. It
  really doesn’t matter, as long as your choice isn’t too out-
  landish (e.g., Yabusame – horse archery – isn’t practical for
  self-defense!). Then modify the style’s training with the
  “lens” below that best matches your goals. All of these style
  variations, being practical, automatically exclude cinematic
  skills and techniques.
  Military: Start with any non-military style and spend an
  extra point on each of Knife and Spear. If the style includes
  Combat Art/Sport, Games, or Savoir-Faire (Dojo), make
  these skills optional – although services that encourage
  competition might teach Combat Sport or Games. Add
  Retain Weapon for Knife, Pistol, and Rifle to the style’s tech-
  niques. Remove any “fancy” technique that would be diffi-
  cult to teach usefully in a few weeks of training; this
  includes any Average technique with a default penalty of -5
  or worse and any Hard technique with a default of -4 or
  worse. The result is a no-nonsense variation on the local
  fighting style. In affluent nations, recruits might learn a ded-
  icated military style instead; see Styles for Soldiers (p. 145).
  Police: Start with any style and spend two extra points:
  one on Judo or Wrestling, one on Shortsword or Tonfa.
  Combat Art/Sport, Games, and Savoir-Faire (Dojo) become
  optional skills – officers may learn them on their own time.
  Some instructors integrate Guns (Pistol), Guns (Shotgun),
  and Liquid Projector (Sprayer) into the training. Add
  Handcuffing and Retain Weapon (with any weapon your
  department issues) to the style’s techniques. Omit Average
  techniques with a default penalty of -5 or worse and Hard
  In some game worlds, Style vs. Style (p. 143) is hokum.
  There is an “ultimate” style (or styles – some settings have
  several), and it’s the wellspring of all other martial arts.
  Other styles are merely aspects of the True Way. The ulti-
  mate style is the True Way.
  Trained by a Master is always a prerequisite for learn-
  ing an ultimate style. By definition, anyone who knows
  the ultimate source of the martial arts is a master!
  Weapon Master is suitable for an armed ultimate style –
  although most ultimate styles profess that “a true master
  needs no weapons” and provide the ability to back up the
  claim. Those trained in an ultimate style are familiar with
  every style derived from it and must purchase a 20-point
  Unusual Background that counts as Style Familiarity
  with all styles.
  An ultimate style contains all techniques and all of the
  skills from which they default, as well as all cinematic
  skills. It may also contain a few “invincible” or “unstop-
  pable” moves with ludicrously steep default penalties;
  design these using Creating New Techniques (p. 89-95). It
  sometimes contains Combat Art and Sport versions of its
  combat skills, but a master can usually get by on defaults
  from his extraordinarily high combat skills. The GM
  might even consider using Wildcard Skills for Styles
  (p. 60).
  Fictional ultimate styles include Sumito (from Steven
  Perry’s “Matador Series”) and Sinanju (from Warren
  Murphy and Richard Sapir’s Destroyer books). Some peo-
  ple claim that certain real-world styles are ultimate styles.
  T’ai Chi Chuan (pp. 200-201), Shaolin Kung Fu (p. 194),
  Ninjutsu (see Ninja and Ninjutsu, p. 202), and Te (pp. 169-
  170) would all work as the basis for an ultimate style. So
  would Pankration (pp. 188-189), which some speculate
  came to India with Alexander the Great and went on to
  China. In all cases, use the details below and ignore the
  entry for the style’s realistic version (which might still
  exist for use by lesser martial artists).
  Ultimate Combat
  9 points
  Skills: Acrobatics; Breath Control; Judo; Jumping;
  Karate; Parry Missile Weapons; Sumo Wrestling;
  Wrestling.
  Techniques: All.
  Cinematic Skills: Blind Fighting; Body Control;
  Breaking Blow; Flying Leap; Hypnotic Hands;
  Immovable Stance; Invisibility Art; Kiai; Light Walk;
  Lizard Climb; Mental Strength; Power Blow; Precognitive
  Parry; Pressure Points; Pressure Secrets; Push;
  Sensitivity; Throwing Art; Zen Archery.
  Cinematic Techniques: All.
  Perks: Skill Adaptation (Brawling techniques default
  to Karate); Style Adaptation (All); any cinematic Style
  Perk; any Style Perk from a style descended from the ulti-
  mate style (GM chooses).
  Optional Traits: Altered Time Rate; Ambidexterity;
  Combat Reflexes; Enhanced Time Sense; Extra Attack;
  Weapon Master.
  Ultimate Styles
  
  techniques with a default of -4 or worse. The specifics of
  weapons training and techniques depend on the jurisdiction
  and the individual instructor.
  Self-Defense: Buy any style without its Style Familiarity
  perk. Keep all of its skills. Hard techniques, Style Perks, and
  optional traits aren’t taught. Training seldom exceeds a point
  in Judo and/or Karate, and perhaps a point in a few of the
  style’s Average techniques (Arm Lock, Elbow Strike, and
  Knee Strike are popular) – although modern women’s self-
  defense courses might add Eye-Rake, Targeted Attack
  (Karate Kick/Leg), and similar Hard techniques for discour-
  aging stronger assailants. Those without previous training
  typically find self-defense lessons stressful, so Quick Learning
  Under Pressure (p. B292) applies when learning in play. Once
  per class, roll for each skill and, when the skills are known,
  each technique. Improvement past the first point in each of
  these things requires the usual 200 hours a point.
  Street: Streetfighters typically rely on Brawling and Melee
  Weapon skills, but some train. Choose any style and spend
  an extra point on Brawling if it lacks striking skills or on
  Wrestling if it has no grappling skills. Put another point into
  a Melee Weapon skill of your choice – typically Axe/Mace (for
  wrenches and pipes), Flail (for chains), or Knife. Remove
  Combat Art/Sport, Games, and Savoir-Faire (Dojo) skills.
  The GM, playing the role of the instructor, should add a sin-
  gle unorthodox technique (such as Head Butt) or Style Perk
  (often Clinch or Improvised Weapons) to the style. Optional
  traits are usually ignored.
  Trained by a Fraud: You learned from a fraud or a con-
  artist. He might have been well-meaning but incompetent; a
  grifter selling a fake art; or a businessman who put fees for
  memberships, belts, and tests ahead of solid instruction.
  Regardless of your teacher’s motives, your training is showy
  but useless. Replace all of the style’s skills with Combat Art
  versions of its combat skills. Techniques don’t change, but
  the GM should add one or more worthless techniques (see
  Useless Techniques, p. 95). You may also have a Delusion
  (pp. 53-54). Overconfidence is appropriate, too: you believe
  that your skills are as effective as your instructor claims,
  which could get you into deep trouble . . .
  Lenses are entirely optional. Purists, historical warriors,
  and cinematic heroes should probably learn “traditional”
  styles as written. If you do choose a lens, though, it’s best to
  apply it to a style with goals that complement it. In all cases,
  it’s helpful to know which arts favor what uses. The next few
  sections loosely categorize styles by purpose.
  SELF-DEFENSE
  One can learn almost any style for “self-defense,” but
  some styles are more suitable than others. Today, these are
  generally unarmed styles, both because most people don’t go
  armed at all times and because there are legal consequences
  to using a weapon in self-defense. In earlier times – or in
  rougher areas – weapons might be more common. Those
  concerned with self-defense in such situations tend to learn
  armed styles (or simply carry firearms!).
  Common styles for self-defense include Aikijutsu
  (p. 149), Hapkido (p. 161), Karate (pp. 169-172), Krav Maga
  (p. 183), and Tae Kwon Do (p. 200) – with or without 
  the “Self-Defense” lens. Short-course self-defense training 
  typically has the lens. However, some students show up seek-
  ing self-defense lessons, enjoy the experience, and stay to learn
  the entire style.
  STYLES FOR COPS
  Police fall somewhere between civilians seeking self-
  defense lessons and soldiers seeking weapons training.
  Soldiers learn to kill. Civilians train to ward off attackers with
  minimal harm – and minimal legal consequences! Police gen-
  erally have restrictions on the amount of force they can use
  but enjoy greater latitude than civilians.
  Police styles favor techniques that can physically control or
  incapacitate an opponent without inflicting injury. Even soci-
  eties that presume “guilty until proven innocent” tend to prize
  capture over killing. These goals differ from those of military
  styles, which seek to disable the opponent without regard to
  his safety.
  Tokugawa-era Japanese police trained in Taihojutsu
  (p. 201); modern Japanese officers train in Aikido (p. 149),
  Judo (p. 166), and/or Kendo (p. 175). In the U.S., the style
  depends on the department. Examples include Aikido (p. 149),
  Boxing (pp. 152-153), Brazilian Jiu-jitsu (pp. 167-168),
  Hapkido (p. 161), and Karate (pp. 169-172) . . . and it’s com-
  mon for American lawmen to be dedicated students of other
  styles on their own time.
  STYLES FOR SOLDIERS
  Military styles – unlike those for self-defense or law
  enforcement – don’t concern themselves with the opponent’s
  safety. The goal is to incapacitate the target expediently and by
  the best available means. In recent centuries, this has most
  often meant using a firearm.
  Historically, emphasis on the martial arts increased with
  troop quality. Peasants and irregulars rarely received any
  martial-arts instruction, while professional soldiers learned a
  combat style. The nobility and other elite warriors – those with
  ample time to train and the economic means to do so con-
  stantly – learned complex styles or even multiple styles. This is
  still true today: elite special-operations forces generally enjoy
  superior training.
  Near the start of the 20th century, most soldiers learned lit-
  tle more than a series of set attacks and responses. Genuine
  styles soon emerged, emphasizing a few broadly useful tech-
  niques and plenty of aggressiveness. Dedicated military styles
  include Fairbairn (pp. 182-183) and MCMAP (pp. 183-185).
  The versions of Krav Maga (p. 183) and Sambo (p. 185) given
  in Martial Arts are “combat” forms of those arts, taught main-
  ly to troops. Some services use stripped-down Brazilian Jiu-
  jitsu (pp. 167-168), or forms of Judo (p. 166) or Jujutsu
  (pp. 166-168). Most troops learn bayonet fighting, too; use
  Jukenjutsu (p. 197) to represent all such training.
  STREETFIGHTING
  “Streetfighting” systems are generally simpler and more
  direct than other martial arts. They eschew fancy techniques,
  kata, and art or sport forms in favor of what works in a fight,
  and openly accept “dirty” techniques such as shots to the groin
  or eyes (see Go for the Eyes!, p. 72). Practicality trumps attrac-
  tiveness and legality.
  STYLES
  145
  
  Some styles were born “stripped down” for use on the
  street: Krav Maga (p. 183) is a streetfighting system and Jeet
  Kune Do (pp. 164-165) is – in the words of Bruce Lee, its cre-
  ator – “scientific streetfighting.” However, nearly every mod-
  ern style claims some degree of street utility. The more
  combat-oriented the style, the less modification it needs for
  this to be true. Omitting forms, kata, belts, and similar 
  formalities is widely regarded as being a necessary step. 
  A student of even the most artistic style can become a street-
  fighter – it just requires extreme dedication and training.
  Streetfighting styles also include ad hoc “prison” or
  “prison yard” styles. These have a relatively small body of
  techniques; they only retain what works. Weapons, if any,
  are improvised. Emphasis is on quickly eliminating the
  opponent before the guards see who did what to whom.
  146
  STYLES
  BUYING A STYLE
  Buying a style is a simple matter of purchasing its indi-
  vidual elements at their usual point costs, subject to the
  rules under Components of a Style (pp. 141-143). Since a
  style’s basic components are typically taught together, and
  are prerequisites for its advanced abilities, it’s useful to
  know their minimum cost. This is the “style cost,” which
  appears at the start of each style entry.
  Style cost is a point for Style Familiarity plus an addi-
  tional point per basic, mundane skill. It always equals the
  number of skills in the style, plus one. Cinematic and
  optional skills only increase style cost if the GM deems them
  “required training” in his campaign. No other traits ever
  influence style cost.
  For game purposes, a martial artist doesn’t “know” a
  style until he buys all of its basic components by spending
  points equal to style cost. He can always spend more; style
  cost is the minimum investment to unlock the style’s
  advanced abilities. The next few sections discuss different
  ways of making this investment.
  STYLES BOUGHT DURING
  CHARACTER CREATION
  A newly created martial artist who’s supposed to “know”
  a style should possess all of the traits included in its style
  cost. If he has these things, he can enter play with points in
  the style’s techniques, cinematic skills (as long as he meets
  their other prerequisites), and Style Perks (one per 10 points
  in the style’s skills and techniques). He may also purchase
  any optional abilities that the GM has set aside for the style’s
  advanced students.
  LEARNING NEW STYLES
  DURING PLAY
  A PC can learn a new style during the course of the game.
  As a rule, he must have a teacher; therefore, his first task is
  to find an instructor. Depending on the campaign and the
  This chapter presents many historical styles and a few
  non-historical ones. It doesn’t have space for every histor-
  ical style, though – and fictional worlds need original
  styles. These are good reasons to design new styles.
  GM-Developed Styles
  The GM has free rein to develop new styles. The only
  hard-and-fast rule is that a style needs a unifying philoso-
  phy – even if it’s only “defeat all foes in total combat” – or
  it will feel like a haphazard group of skills and techniques,
  tossed together on a whim. In particular, look out for
  techniques and skills that don’t mix well. For instance, the
  aesthetics of Karate Art are at odds with the pragmatism
  of Head Butt, and Breath Control and Combat Art/Sport
  would seem impractical next to Melee Weapon skills in a
  style intended for soldiers.
  A useful method of generating new styles is simply to
  rename existing ones – perhaps Martian Kung Fu is just
  Wushu with a different name. Another option is to modify
  a style with one of the lenses under Choosing a Style
  (pp. 144-146) or a GM-created lens. Yet another is to 
  modify an existing style to suit the peculiarities of a 
  nonhuman race; e.g., Dwarven Ogre-Slayers learn Sumo
  but add Brawling to its skills and Head Butt and TA (Head
  Butt/Groin) to its techniques.
  Player-Developed Styles
  A player might want his PC to develop a custom style
  in play – whether a “self-defense” version of an existing
  style for quickly training NPCs or fellow PCs, or a whole
  new style that will cement his place in history. That’s fine!
  There’s no harm in letting a player select combat skills,
  techniques, and perks that his PC knows, call them a
  style, and formalize it by spending a point on Style
  Familiarity. Multiple PCs can even pool abilities by teach-
  ing each other. Anyone who wants credit as a cofounder
  must know all of the style’s abilities, though; “the guy who
  taught Judo to the founder” doesn’t count.
  A player might also wish to create styles out of play, for
  his PC to learn or to add color to the game world. This is
  riskier. The GM must ensure that the player isn’t trying to
  design an “ultimate style” or “the style with every tech-
  nique I want an excuse to learn.” Such styles should also
  be in tune with the setting’s history and flavor.
  Creating New Styles
  
  style, this might be as simple as opening the Yellow Pages or
  as complex as a quest!
  Once the PC has a teacher, he may spend character
  points on the abilities of the new style, starting with its
  required components. He must put at least a point into each
  basic skill he doesn’t already know and then buy Style
  Familiarity. After spending points equal to style cost, he may
  acquire advanced abilities if he wishes.
  The student can earn the points for his new style via
  study (see Improvement Through Study, p. B292) or on an
  adventure that exercises suitable skills. Either way, the most
  realistic rate of learning is a point per 200 hours of super-
  vised lessons and practice. For a cinematic alternative, see
  The Training Sequence (see above).
  COMBINING STYLES
  Every style has flaws. Striking styles are vulnerable to
  limb captures by grapplers. Grappling styles – especially
  ground-fighting ones – aren’t ideal for fighting multiple
  aggressors. Unarmed styles are weak against weapons.
  Weapons training is worthless without a weapon. Hand-to-
  hand styles can’t fend off ranged weapons. And so on.
  One way to patch these holes is to learn a style that aims
  to be truly comprehensive, but such breadth implies a mas-
  sive time investment by the student. The more common
  solution is to learn multiple styles. For instance, Muay Thai
  (pp. 185-186) stresses striking over grappling, while
  Brazilian Jiu-jitsu (pp. 167-168) emphasizes grappling but
  teaches few strikes . . . and a martial artist who learned both
  would be a formidable unarmed fighter.
  STYLES
  147
  In a realistic game, learning a new style involves study-
  ing with a teacher (see Learning New Styles During Play,
  pp. 146-147). Training is a common theme in cinematic
  stories, too, but traditionally occurs far faster than
  Improvement Through Study (p. B292) allows – never mind
  the glacial pace of Learning Secret Martial-Arts Techniques
  (p. B293). Cinematic heroes learn entire styles in mere days
  or weeks! Movies help suspend disbelief by inserting a
  “training sequence.” This is a series of brief scenes – a mon-
  tage – depicting the hero’s steady improvement and sug-
  gesting a lot of time and effort. It always ends in time for
  the hero to win the big tournament or defeat the bad guys
  (whose plans were conveniently on hold).
  This optional rule describes such a training sequence
  in game terms. It’s for cinematic games where the PCs
  lack the downtime for realistic training – and for any
  gaming group that regards Time Use Sheets (p. B499) as
  boring accounting. It isn’t just for martial arts. The GM
  may use a training sequence whenever the PCs have a few
  days to learn from a great master: musical skills from
  Apollo, spells from an archmage, and so on.
  There are two criteria for a training sequence:
  1. A legendary master. The teacher must be a true mas-
  ter of his art. He must have level 20+ with the skills being
  taught and level 12+ with the Teaching skill. Moreover, he
  must possess a special advantage that represents his
  “spark.” For martial arts, this is Trained by a Master or
  Weapon Master. It might be Magery 3+ for magic, the
  Spirit meta-trait for shamanic rituals, and so on. Details
  are up to the GM, who should choose requirements that
  suit his campaign.
  2. An exceptional student. A new martial artist must
  have no attribute below racial average (10 for a human),
  and at least two that are two or more levels above this
  (12+ for a human). The GM may allow Reawakened or a
  suitable Destiny to substitute; he might even require such
  a trait. A skilled martial artist adding a new style must
  know all the skills of another style at level 16+. If he’s try-
  ing to add cinematic skills or techniques, he also needs
  Trained by a Master or Weapon Master. Vary this as need-
  ed; for instance, a wizard might need IQ four levels above
  average and related spells (or the Thaumatology skill) at
  16+.
  If both conditions are met, choose a training time and
  roll against the master’s Teaching skill.
  Modifiers: The Teaching modifiers on p. B224; the
  bonuses under Equipment Modifiers (p. B345) for lavish
  training facilities, but never a penalty for poor (or no)
  equipment; the modifiers under Time Spent (p. B346) for
  training periods shorter or longer than a full week (-9 for
  a day, -7 for a weekend, +2 for a month, or +4 for a sea-
  son).
  Success doesn’t give the students points but enables
  them to spend earned points on any perks, skills, or tech-
  niques the master teaches, to a maximum of points equal
  to the margin of success. Students with Eidetic Memory
  add five points to this limit; those with Photographic
  Memory add 10. Those who have the Laziness disadvan-
  tage halve the final limit. Critical success means each stu-
  dent also gains a free point, which he must spend on the
  abilities his master taught.
  Failure means the students learn nothing. On a critical
  failure, they also suffer training injuries. When the train-
  ing sequence ends, apply the instructor’s most damaging
  attack to a random hit location for each student, as if he
  had struck them!
  This rule works best when the heroes have the chance
  to earn points during game sessions building up to an
  important tournament or showdown, or on a quest for a
  legendary master. Just before the adventure’s finale, the
  GM cuts to the training sequence, describes the lessons
  and exercises, rolls the dice, and lets the players spend
  points. Then regular game time resumes and the heroes
  can use their new abilities to compete, confront their
  enemy, or pass their “final exam.”
  The Training Sequence
  
  A PC who starts with several styles must buy each style as
  described in Styles Bought During Character Creation (p. 146).
  He must pay the full style cost for each style, even if they have
  overlapping skills. This represents the minimum investment
  in time and effort to learn those styles.
  However, the martial artist doesn’t have to buy duplicate
  skills multiple times. If he already possesses some of a style’s
  components, for whatever reason, these do satisfy his styles’
  requirements. For instance, if he knows three styles that
  include Karate, he need only buy Karate once – not three
  times! If this means that the sum of the style costs for his
  styles exceeds the points he actually needs to meet the basic
  requirements of those styles, he can spent the “excess” points
  on any component(s) of those styles.
  Example: Maj. Milstein learns Krav Maga (p. 183) and
  Sambo (p. 185). Krav Maga has a style cost of 3 points, for
  Style Familiarity (Krav Maga), Karate, and Wrestling. Sambo
  has a style cost of 4 points, for Style Familiarity (Sambo),
  Judo, Karate, and Wrestling. Maj. Milstein must spend 7
  points – but Karate and Wrestling overlap, so he can spend
  the 2 points this “saves” him on any component of either style.
  He puts them into the Leg Lock technique from Sambo.
  The same rules apply to second and later styles learned in
  play. The student doesn’t “know” a new style until he spends
  points equal to its cost, as described in Learning New Styles
  During Play (pp. 146-147). If he already knows some of the
  basic components of the new style, though, he can use points
  that would normally go toward those things to buy other ele-
  ments of that style or any overlapping one.
  148
  STYLES
  HISTORICAL AND
  MODERN STYLES
  Below is a selection of historical and modern martial
  arts. It’s only a small sampling, highlighting widely known
  or interesting styles. There are hundreds if not thousands of
  styles – and many have numerous sub-schools or regional or
  ethnic variants, or looked quite different at various points
  during their history.
  Style Origin
  Every style has an “origin story.” For recent styles, this is
  mundane historical record. For traditional styles, it’s often
  mythical and unverifiable, laced with tales of mystical or
  divine influence. For instance, many Japanese ryuha claim
  as their origin an enlightening vision that
  inspired the founder to develop new
  tactics. Dozens of kung fu styles trace
  their genesis to the Shaolin Temple;
  others supposedly mimic the move-
  ments of animals. Ancient cultures
  often held that the gods themselves
  taught mortals the first fighting arts!
  The truth is usually more pedestri-
  an. Many styles emerged from much
  earlier ones whose origins are lost to
  history. Modern styles that trace their
  lineage to ancient times often derive
  more from other modern styles than
  from their supposed ancient heritage.
  For instance, modern Pankration styles
  are based largely on Jujutsu and
  Wrestling, and have no direct connec-
  tion to ancient Greece. Similarly, Tae
  Kwon Do claims to be an amalgama-
  tion of multiple Korean styles but owes
  a lot to modern Karate, from which it
  borrowed its ranking system and kata.
  For each style, Martial Arts gives
  the most common origin story and the
  historically verifiable facts, where these
  differ. In a cinematic campaign, leg-
  endary origins might be true. Such a
  game is also likely to have “ultimate
  styles” that spawned all other styles (see
  Ultimate Styles, p. 144).
  Do vs. Jutsu
  Traditional Japanese martial arts have names ending in either -do, mean-
  ing “way,” or -jutsu, meaning “art.” In theory, a style with a -do name is artis-
  tic, and emphasizes self-development or physical exercise under controlled
  conditions. A -jutsu ending denotes a style that focuses on techniques with
  practical applications in lethal combat, practiced under rigorous circum-
  stances. Thus, “Aikijutsu” is a variety of combat grappling while “Aikido” is
  a form of spiritual enlightenment through martial training. Most modern
  schools follow this naming practice.
  The distinction isn’t rigid, though. Some schools that offer -do forms
  teach skills intended for combat, while certain schools of -jutsu forms
  instruct students in sportive or artistic styles. For example, Yoshinkan Aikido
  teaches the Tokyo Metropolitan Riot Police course – a one-year black-belt
  program of harsh training and grueling practice under realistic conditions –
  alongside its regular curriculum. On the other hand, modern Naginatajutsu
  schools restrict targets, and use wooden naginata for kata, bamboo-tipped
  naginata for competition, and kendo armor . . . all despite the -jutsu suffix.
  Confusing matters further is the fact that some non-Japanese schools
  have adopted these suffixes, teaching Muay Thai Do or even T’ai Chi Jutsu.
  Not all instances of “do” refer to the Japanese word, either. The Korean art
  of Tae Kwon Do is a sport but isn’t a “do” form, and Bruce Lee’s Jeet Kune
  Do most definitely isn’t an art or sport form!
  Martial Arts takes the stance that, in general, -do forms teach Combat Art
  or Sport skills while -jutsu forms offer combat skills. If there’s any doubt,
  Martial Arts assumes the combat form simply because GURPS is an adven-
  ture game and Art/Sport skills aren’t very useful in the deadly situations that
  adventurers get into!
  
  When creating a new style, the GM should
  consider fabricating an origin story. This can
  be prosaic (like the origin of Jeet Kune Do) or
  seated in myth and legend (like the tales of the
  Shaolin Temple). In settings with strong fan-
  tastic or supernatural elements, many styles
  might truly be wisdom from the gods! Cultists
  trained in the sanity-blasting art of Cthulhu
  Ryu would be frightening indeed.
  Style Variations
  These style write-ups are merely guidelines.
  Not every school adheres rigidly to its style’s
  traditional teachings or to a curriculum sanc-
  tioned by widely recognized masters. Some
  offer heavily modified styles. Others just bor-
  row a name; for instance, a “karate” academy
  might teach a Korean striking art and a “jujut-
  su” instructor might give lessons in some style
  of Judo or Wrestling.
  Sport Forms: Where a style has both combat
  and sport forms, the sport form appears in a
  nearby box unless it’s the style’s main version.
  AIKIJUTSU
  2 points
  Aikijutsu (also called Aikijujutsu) was the
  grappling art of the Japanese bushi. Samurai
  used its techniques when disarmed, and to sub-
  due foes in situations where using weapons
  was forbidden – such as in the presence of one’s
  lord. Famous schools include Daito-ryu
  Aikijujutsu and Ueshiba Morihei’s Aikijutsu. At
  least one school claiming to date from the 11th
  century still exists today.
  Aikijutsu assumes that the enemy will
  resist, and doesn’t wait for him to take the ini-
  tiative. Stylists use few All-Out or Committed
  Attacks, and prefer to avoid directly con-
  fronting force with force. A typical move is to
  grapple the opponent, throw him, and then
  place him in a painful or crippling lock. Some
  schools teach fighters to attack or feint to pro-
  voke a reaction, and then take advantage of the
  foe’s movement to grapple or throw him. These schools would
  add the Karate skill and Feint (Karate) technique, or teach
  Jujutsu (pp. 166-168) alongside Aikijutsu.
  Historical Aikijutsu schools, especially prior to the
  Tokugawa era, assumed that both attacker and defender
  would be armored. They taught techniques for grappling,
  locking, and disarming an armored opponent on uneven
  ground. Even modern schools routinely teach how to defend
  against swords, staves, and knives. Faced with an armed
  adversary, a stylist would let him attack, then use Disarming
  or Arm Lock to take away his weapon or cripple his limb.
  Japanese culture regarded rising to one’s feet in the pres-
  ence of one’s lord as rude, so a samurai would learn to grapple
  with and disarm an assailant attempting to harm his lord
  without rising from his knees. For this reason, Aikijutsu teach-
  es techniques for use while kneeling.
  Skills: Judo.
  Techniques: Arm Lock; Breakfall; Disarming (Judo);
  Ground Fighting (Judo); Low Fighting (Judo); Trip.
  Cinematic Skills: Immovable Stance; Mental Strength;
  Pressure Points; Push.
  Cinematic Techniques: Hand-Clap Parry; Roll with Blow.
  Perks: Armor Familiarity; Power Grappling; Sure-Footed
  (Uneven).
  Optional Traits
  Advantages: Combat Reflexes; Forceful Chi; Language
  (Japanese).
  Disadvantages: Code of Honor (Bushido); Duty (To lord).
  Skills:
  Broadsword; 
  Karate; 
  Savoir-Faire 
  (Dojo);
  Shortsword; Staff; Theology (Shinto).
  Techniques: Finger Lock.
  STYLES
  149
  Aikido
  3 points
  Ueshiba Morihei founded Aikido in 1920s Japan as a more peaceful,
  artistic version of Aikijutsu. Its goals are spiritual development and finding
  inner harmony, but it has also become popular for self-defense. While O-
  Sensei (as Ueshiba is known) emphasized the development of the spirit
  and ki, some schools focus on the mechanics of locks and throws.
  Aikido’s main technique is the throw. Aikido throws describe a circular
  motion. The attacker (called the uke in training) flows with the defender’s
  movement, assisting the throw and using Breakfall to land safely. Needless
  to say, this makes Aikido’s throws less useful in a real fight than those of a
  style that trains against resisting opponents. Stylists don’t regard this as an
  obstacle to the art’s development, but it does limit Aikido’s self-defense
  value.
  Some Aikido schools don’t assume an unresisting foe. A notable exam-
  ple is the Tokyo Metropolitan Riot Police course taught by the Yoshinkan
  Aikido school in Tokyo, Japan. Such teachings are sometimes termed
  “hard” Aikido. Even these schools teach artistic techniques and expect
  cooperation between uke and defender, though. To represent “hard”
  Aikido, add the Judo skill.
  A few Aikido schools add strikes (atemi) to distract or “soften” the foe
  – and often to finish him once he’s down! Use the style under Aikijutsu
  (see left) for this, with the addition of Karate.
  Ueshiba was said to be capable of almost superhuman feats of skill,
  including the ability to dodge bullets with ease. In a cinematic game, these
  might be a set of secret techniques passed on to exceptional students.
  Skills: Judo Art; Savoir-Faire (Dojo).
  Techniques: Acrobatic Stand; Arm Lock; Breakfall; Finger Lock;
  Ground Fighting (Judo Art); Low Fighting (Judo Art).
  Cinematic Skills: Immovable Stance; Invisibility Art; Mental Strength;
  Pressure Points; Push.
  Cinematic Techniques: Dual-Weapon Attack (Judo Art); Roll with Blow.
  Perks: Power Grappling; Skill Adaptation (Acrobatic Stand defaults to
  Judo Art).
  Optional Traits
  Advantages: Cultural Familiarity (Japan); Enhanced Dodge; Inner
  Balance; Language (Japanese).
  Disadvantages: Delusions.
  Skills: Breath Control; Judo; Knife Art; Staff Art; Theology (Omoto);
  Two-Handed Sword Art.
  
  ARMATURA
  6 points
  Armatura was the fighting style of the Roman legions
  during the 1st through 3rd centuries A.D., when they were a
  professional army. The legions’ armament dates to the 4th
  century B.C., however, and this style might have its roots in
  that period. The basic forms taught to legionaries, auxil-
  iaries, and marines were similar – although the various
  arms emphasized different weapons. In many cities, young
  men of the upper and middle classes took instruction in mil-
  itary combat as a matter of pride. They, too, learned
  Armatura – but from professional instructors, sometimes
  brought in from gladiatorial schools.
  Legionaries carried two pila (throwable spears). They
  would hurl one or both while the enemy was at a distance,
  and then engage with shield and pilum if holding ground,
  shield and gladius (sword) if assaulting. They trained to lead
  with their shield and use it offensively to shield bash or
  shove the enemy; Beats (pp. 100-101) with the shield were
  common. They also learned to minimize the disadvantages
  of their large shield, stabbing around it while using it for
  cover. Defensive Attacks (jabbing thrusts) were routine.
  More aggressive attacks – but only rarely Committed
  Attacks – generally followed up a successful shove or Beat.
  Parries were less common than blocks.
  Auxiliary infantry learned a similar style but carried dif-
  ferent equipment. Replace Shortsword with Broadsword
  and make Thrown Weapon (Spear) optional. All Roman
  troops prided themselves on their knowledge of dirty tricks.
  It would be reasonable to add a variety of unsporting tech-
  niques to any version of the style.
  The Roman legions were a prosaic bunch; there are few
  tales of legendary feats of arms. However, given the great
  store Roman writers put by the stamina and bravery of their
  troops, cinematic legionaries might merit high FP, several
  levels of Fearlessness, and the Immovable Stance skill.
  Enhanced Block, and the skills Kiai (for the barritus battle
  cry) and Power Blow, also fit.
  All Roman soldiers of the mid-to-late Empire probably
  learned Armatura. It became less common toward the end
  of the Empire – as auxiliaries became an increasingly large
  part of the Roman forces, it grew harder to find the neces-
  sary training. Armatura is also useful as the basis for styles
  for troops armed like Roman legionaries in fantasy worlds.
  Skills: Hiking; Shield; Shortsword; Spear; Thrown
  Weapon (Spear).
  Techniques: Feint (Shield or Shortsword); Retain
  Weapon 
  (Shortsword 
  or 
  Spear); 
  Targeted 
  Attack
  (Shortsword Thrust/Vitals).
  Cinematic Skills: Immovable Stance; Kiai; Power Blow.
  Perks: Naval Training, for marines; Shield-Wall Training;
  Teamwork (Armatura).
  Optional Traits
  Secondary Characteristics: Improved FP.
  Advantages:
  Combat Reflexes; Enhanced Block;
  Fearlessness; Fit.
  Disadvantages: Duty; Stubbornness.
  Skills: Axe/Mace; Brawling; Riding (Horse); Swimming;
  Wrestling. Auxiliaries might have Bow or Sling. All but the
  greenest of legionaries should know Soldier/TL2, which
  includes training at building forts quickly. Their supervisors
  would have Engineer/TL2 (Combat).
  ARMATURA EQUESTRIS
  6 points
  The cavalrymen of the Roman Empire combined the
  military traditions of various subject peoples into a highly
  effective martial art. Their composite style blended standoff
  tactics (every soldier had to be proficient with either the
  javelin or the bow) with hand-to-hand techniques. Training
  included horsemanship. Some troops even learned how to
  cross bodies of water with their mounts while still in
  formation.
  Roman horsemen wielded a medium shield of light con-
  struction in a mobile blocking style, and strove to keep the
  enemy on their shield side. The majority relied on the spear
  and the javelin as weapons, but riders often had training
  with the thrusting broadsword (similar to that of auxiliary
  infantry) and some troops were mounted archers.
  Cavalrymen thrust the spear downward rather than couch-
  ing it like a lance. When tossing the javelin, they sometimes
  hurled it end-over-end instead of in a flat trajectory, to bet-
  ter slip around a defender’s shield – a kind of Deceptive
  Attack (see Tricky Shooting, p. 121).
  Armatura Equestris survived through much of the Dark
  Ages. Other European cavalry of the period used a similar
  style with heavier armor and longer spears, as did Byzantine
  horsemen. The latter favored the bow while Western forces
  preferred the javelin.
  There are few legends of amazing abilities among the
  Roman cavalry. However, they sometimes claimed incredi-
  ble skill both as riders and with their weapons. One left an
  epitaph commemorating how he shot an arrow into the air
  and then split it in two with a second arrow before it hit the
  ground . . . while on horseback . . . while his mount was
  swimming the Danube! Heroic Archer and the Zen Archery
  skill would fit heroes of this caliber.
  The traits below assume a bow-armed cavalryman. For
  a javelin-equipped horseman, replace Bow with Thrown
  Weapon (Spear) and Horse Archery with Mounted
  Shooting (Thrown Spear/Horse). Some cavalrymen were
  recruited from the infantry; these should have the training
  under Armatura (see above), too. Armatura Equestris suits
  realistic “Knights of King Arthur.” For the abilities of 
  legendary Arthurian knights, see Knightly Mounted Combat
  (pp. 175-177).
  Skills: Bow; Broadsword; Riding (Horse); Shield; Spear.
  Techniques: Cavalry Training (Broadsword or Spear);
  Combat Riding; Hands-Free Riding; Horse Archery; Quick
  Mount.
  Cinematic Skills: Zen Archery.
  Perks: Strongbow; Sure-Footed (Water).
  Optional Traits
  Advantages: Animal Empathy; Combat Reflexes; Heroic
  Archer.
  Disadvantages: Duty; Overconfidence; Stubbornness.
  Skills: Axe/Mace; Brawling; Fast-Draw (Arrow); Knife;
  Swimming; Wrestling.
  150
  STYLES
  
  BAJUTSU
  3 points
  Bajutsu was the traditional Japanese art of horseman-
  ship. It taught the horseman how to control his mount. He
  had to study fighting from his mount separately. Other cul-
  tures that employed cavalry took a similar approach and
  had identical styles. Riders trained in Bajutsu or its equiva-
  lent should study an armed style separately or merge its
  techniques with those of Bajutsu via the Style Adaptation
  perk. For candidate styles, see Armatura Equestris (p. 150),
  Furusiyya (pp. 159-161), Knightly Mounted Combat (pp. 175-
  177), and Yabusame (p. 181).
  Cinematic Bajutsu masters often have fantastic mounts
  and/or high levels of Animal Friend. They can also learn
  unique specialties of certain cinematic skills that enable
  them to augment their mount’s abilities. These skills can’t
  exceed the horseman’s Riding skill, and work on the horse –
  not the rider.
  Skills: Animal Handling (Equines); Riding (Horse).
  Techniques: Combat Riding; Hands-Free Riding; Quick
  Mount; Staying Seated.
  Cinematic Skills: Flying Leap (Horse); Immovable Stance
  (Horse); Light Walk (Horse).
  Perks: Style Adaptation (Any mounted style).
  Optional Traits
  Advantages: Ally (Mount); Animal Empathy; Animal
  Friend; Signature Gear (Mount); Speak With Animals
  (Horses, -80%).
  Disadvantages: Sense of Duty (Animals).
  Skills: Acrobatics; Savoir-Faire (Dojo).
  Techniques: Cavalry Training; Horse Archery; Mounted
  Shooting.
  BANDO
  Bando is one of a range of Burmese martial arts that fall
  under the umbrella term Thaing. Prior to World War II,
  there were nine regional Bando styles. After WWII, most of
  these merged into ABA Bando, which is now common
  worldwide. This style appears below, along with the rarer
  Kachin Bando.
  Bando is famous for its many animal forms, each of
  which represents an aspect of the style. Only the master’s
  family learns the full style. This helps keep the style “pure”
  and prevents outsiders from learning all of the master’s
  tricks.
  All Bando styles practice physical toughening techniques
  such as striking tree trunks, heavy bags, or other hard
  objects. Physical fitness is emphasized – as is heedlessness
  of death.
  ABA Bando
  4 points
  Dr. Maung Gyi – son of one of the men who developed
  Bando after World War II – introduced Bando to the U.S. in
  1959, formed the American Bando Association (ABA), and
  founded its namesake style. ABA Bando is a powerful style
  meant for self-defense and combat situations. The ABA
  describes it as the “Jeep of martial arts”: practical and reli-
  able, but free of frills.
  Stylists are known for their aggressiveness. Attacks are
  fast and continuous, aimed at overwhelming and defeating
  the foe. Rapid Strike and All-Out Attack (Double) are very
  common as the practitioner rains down blows on his adver-
  sary. He’ll attack the legs in order to disable his opponent,
  and then switch his attention to the skull, face, and body to
  finish him. The goal is a rapid and decisive victory. The pre-
  cise methodology depends on the fighter’s animal form.
  Deer emphasizes flight and escape, snake focuses more on
  grapples and chokes, boar prefers a full-bore, head-on
  attack heedless of injury, and so on; see Bando Animal
  Forms (see above).
  ABA Bando has a belt system like that of the Japanese
  martial arts, and students also wear the gi. Many techniques
  are adaptations from non-Burmese systems. This makes the
  system more eclectic and flexible but subjects it to claims
  that it’s “watered down.” Instruction in ABA Bando is avail-
  able worldwide.
  Skills: Judo; Karate; Savoir-Faire (Dojo).
  Techniques: Aggressive Parry (Karate); Arm Lock;
  Counterattack (Karate); Elbow Strike; Hammer Fist; Head
  Butt; Head Lock; Knee Strike; Stamp Kick.
  Cinematic Skills: Breaking Blow; Mental Strength; Power
  Blow.
  Cinematic Techniques: Roll with Blow.
  STYLES
  151
  Bando Animal
  Forms
  Bando contains various animal forms, the exact
  number of which depends on the specific school.
  There are typically 12 in ABA Bando (boar, bull,
  cobra, deer, eagle, monkey, paddy bird, panther,
  python, scorpion, tiger, and viper) and 16 in Kachin
  Bando (barking deer, boar, bull, cobra, crocodile,
  eagle, monkey, paddy bird, panther, python, scorpi-
  on, sun bear, tiger, viper, white elephant, and white
  rhino). These forms aren’t sub-styles! They describe
  the personality, tactics, and favored techniques of the
  fighter – not of Bando itself. They also differ from
  kung fu animal forms, which aim to replicate the ani-
  mal’s tactics.
  The lineage holder and his immediate family train
  in all of Bando’s techniques and skills. Outsiders,
  even trusted students, learn only the small subset of
  moves appropriate to their animal form. This makes
  them effective fighters . . . but they lack the gamut of
  skills necessary to defeat the lineage holder and his
  family. A student who wishes to learn the full style
  must persuade his master to part with a family secret
  – or to let him join the family.
  The GM may wish to treat each animal form as a
  separate Style Familiarity – e.g., Style Familiarity
  (Kachin Bando, Bull Form) – and reserve the full ver-
  sion – e.g., Style Familiarity (Kachin Bando) – for the
  lineage holder and his family.
  
  Perks: Iron Legs; Power Grappling; Special Exercises
  (Striker, Crushing with Limb, Shin); Style Adaptation (Any
  modern style).
  Optional Traits
  Advantages: Fearlessness; Fit; High Pain Threshold.
  Disadvantages: Bloodlust.
  Skills: Knife; Philosophy (Buddhism); Smallsword; Whip;
  Wrestling.
  Kachin Bando
  3 points
  Kachin Bando is a fighting style of the Jingpaw, or “men
  of the hills” – a northern Burmese people famous for their
  guerrilla campaigns against the Japanese in World War II.
  History credits them with killing more than 10,000 Japanese
  soldiers while losing only a few hundred men. “Kachin” is a
  Burmese term meaning “savage,” sometimes used by out-
  siders to describe the Jingpaw. Strong animists, their Bando
  has 16 animal forms.
  Kachin Bando incorporates many Naban (wrestling)
  moves. These include “bottom riding” techniques very similar
  to the guard of Brazilian Jiu-jitsu. The style respects no rules
  in true combat; it uses biting, eye-gouging, raking with the
  fingernails, and other “dirty” techniques. Advanced students
  may learn Banshay (p. 176) or just a few weapons, such as the
  knife and kukri.
  Kachin Bando is an aggressive style aimed at quickly dis-
  abling or killing the enemy. Stylists throw shin kicks to the
  legs to cripple the foe, or to the head to knock him out, and
  often aim vicious hand strikes at the head and neck. If the
  fight goes to the ground, the fighter is likely to apply a Choke
  Hold, Leg Lock, or Arm Lock – using his hands or legs – to kill
  or incapacitate his opponent. Feints aren’t common, while
  full-bore attacks are; a Committed Attack (Strong) or even
  All-Out Attack (Strong) with a punch, kick, or Knee Strike is
  a favorite way to knock out the enemy. Defenses are similarly
  hard: the Bando man likes to use Jam against kicks and
  Aggressive Parry (often with the elbow) to stop punches.
  Students usually start by learning Lethwei (p. 186). Once
  they have a firm grounding in that art – and possibly after
  proving themselves in a few fights – they graduate to Bando
  lessons. Schools outside of Burma sometimes teach the full
  style from the outset, since Lethwei contests are less common
  than mixed martial arts fights and self-defense applications.
  Cinematic Kachin Bando stylists should focus on brutal
  “hard” techniques rather than on chi abilities. As the Jingpaw
  are animists, spirit magic might suit a cinematic master – but
  the optional advantages below are more fitting than chi pow-
  ers or magic.
  Kachin Bando remains obscure today. Northern
  Myanmar is difficult to access and in a constant state of low-
  level rebellion, while there are few instructors outside the
  region. The style is taught in the Eastern U.S., however.
  Kachin Bando has no ranking system, uniform, or
  association.
  Skills: Karate; Wrestling.
  Techniques: Aggressive Parry; Arm Lock; Choke Hold;
  Elbow Strike; Eye-Gouging; Eye-Rake; Ground Fighting
  (Karate or Wrestling); Hammer Fist; Head Butt; Jam;
  Kicking; Knee Strike; Leg Lock; Low Fighting (Karate or
  Wrestling); Lower-Body Arm Lock; Lower-Body Leg Lock;
  Push Kick; Triangle Choke.
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Roll with Blow; Timed Defense.
  Perks: Biting Mastery; Iron Legs; Neck Control (Karate);
  Power Grappling; Special Exercises (Striker, Crushing with
  Limb, Shin); Style Adaptation (Lethwei).
  Optional Traits
  Secondary Characteristics: Improved FP and HP.
  Advantages: Combat Reflexes; Damage Resistance (Tough
  Skin, -40%); Fearlessness; Fit or Very Fit; Hard to Subdue;
  High Pain Threshold; Striking ST.
  Disadvantages: Bloodlust; Overconfidence.
  Skills: Axe/Mace; Judo; Knife; Shortsword.
  BOXING
  4 points
  This is the modern sport of boxing. It developed out of
  bare-knuckle and no-holds-barred matches in the 19th cen-
  tury, but it has deeper roots: the ancient Greeks boxed in the
  Olympics and the Romans featured boxing in their arenas.
  Historically, most matches were bare-knuckle – although
  the ancient Greeks and Romans wore the myrmex (p. 220)
  or cestus (p. 214) to inflict more damage! Before modern
  times, matches weren’t timed; victory was by either submis-
  sion or incapacitation.
  Modern boxing stresses footwork, hand speed, and strik-
  ing power. Permissible targets are the front of the torso
  above the waist, the head, and the arms – but only the head
  and torso count for scoring. It’s illegal to grapple, kick, or
  indeed strike with anything but the knuckles of the hand.
  Boxers wear padded gloves to protect their hands. Because
  gloved hands rarely get hurt punching the skull, there’s a
  heavy emphasis on head blows. Severe head trauma can
  occur from prolonged bouts (or prolonged careers!) and
  deaths in the ring occur every year. Today’s matches typical-
  ly have 10 to 12 three-minute rounds, but 15 rounds or even
  unlimited rounds were common in the past.
  Boxing rewards defensive tactics and guarded move-
  ment. In game terms, boxers stick to Defensive Attack (the
  jab), Feint, Wait, and Evaluate until an opening presents
  itself for an Attack. This goes on until one contender is worn
  down, stunned, or otherwise vulnerable – then his opponent
  delivers a Committed Attack or even an All-Out Attack to
  finish the bout. Move and Attack is deprecated in favor of
  more cautious movement, and All-Out Attack is rare except
  to finish a beaten adversary.
  Special 
  tricks 
  and 
  techniques 
  are 
  common.
  Combinations (p. 80) are a favorite, the classic “one-two”
  being a straight left-hand punch followed instantly by a
  straight right-hand punch. Boxers learn to lean into the
  ropes that border the ring to absorb some of the force of
  punches (cinematic boxers might be able to roll with a
  punch anywhere, not just in the ring). Dirty tricks – blows to
  the vitals or groin, “accidental” head butts, and even goug-
  ing the eyes with the thumb – can cost you points or get you
  disqualified, but sneaky (or desperate!) boxers employ them
  nonetheless.
  152
  STYLES
  
  Boxing is a sport, but boxers hit hard and practice with
  full contact. All should learn the Boxing skill – although
  Boxing Sport is appropriate for amateur bouts, exhibitions,
  and purely point-based tournaments. Boxers who cross-
  train to become kickboxers or train to fight outside the ring
  commonly learn Low-Line Defense.
  “Roadwork” – jogging and running – has been part of
  boxers’ training since at least the time of ancient Greece.
  The Running skill isn’t mandatory, but a PC boxer would
  need a good explanation for a trainer or gym that didn’t
  expect him to run! Roadwork is the standard way to build
  up the stamina and overall fitness that are crucial for 
  boxers. Improving endurance, strength, and staying power
  is at least as important as developing technique. The GM
  should let boxers who do train like this increase ST, DX, and
  HT, provided they have the points.
  Boxers are legendary for their agility and ability to take
  punishment without serious harm – perhaps because they’re
  so fit and train in conditions that match their competitive
  arena. The optional traits below reflect this. Higher-than-
  usual HP and Basic Speed, and even low levels of Striking
  Strength, might be realistic. The GMs should certainly per-
  mit cinematic boxers to possess such traits, as well as DR
  (Ablative, -80%) so they can take shots without feeling it.
  Skills:
  Boxing; Boxing Sport; Games
  (Boxing).
  Techniques: Counterattack (Boxing); Feint
  (Boxing); Targeted Attack (Boxing Punch/Face);
  Targeted Attack (Boxing Uppercut/Face);
  Uppercut.
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Roll with Blow.
  Perks:
  Clinch (Boxing); Neck Control
  (Boxing); Special Exercises (DR with Ablative);
  Special Exercises (Striking ST +1); Unusual
  Training (Roll with Blow, Only against the
  ropes).
  Optional Traits
  Attributes: Reduced IQ (too many head
  blows!).
  Secondary Characteristics: Improved Basic
  Speed and HP.
  Advantages: Fit or Very Fit; Hard to Subdue;
  High Pain Threshold; Striking ST.
  Disadvantages: Reduced Appearance.
  Skills: Running; Savoir-Faire (Gym).
  Techniques: Low-Line Defense (Boxing).
  CAPOEIRA
  4 points
  Capoeira is an acrobatic martial art devel-
  oped in Brazil by African slaves imported by the
  Portuguese. Its exact origins are unclear, but it
  seems to have grown out of a fusion of fighting
  arts from several parts of Africa. Savate
  (pp. 193-194) might have influenced it as well.
  In any event, Capoeira has existed in some form
  since the 16th century, although it has become
  more organized and visible in recent times.
  Dance is a traditional form of practice and
  demonstration in African martial arts. Capoeira
  inherited this trait. Tradition claims that its
  dances enabled slaves to practice their art under
  the nose of unwitting overseers. Whatever the
  truth, dance and Capoeira are closely linked.
  Musical instruments – notably the berimbau (a
  bow-like stringed instrument) and drums – are
  a fixture at the Capoeira jogo (match), and
  strikes occur within the context of the rhythm
  and beat.
  STYLES
  153
  The Sweet Science
  Before the ring and gloves, boxing was a sport of the ancient
  Greeks. It never disappeared – although from the Middle Ages until
  about the Napoleonic period, fighters used the Brawling skill as often
  as the Boxing skill, and brute strength generally garnered more admi-
  ration than technique. Certain tactics common to ancient and mod-
  ern boxing, such as sidestepping and slipping, fell into disuse.
  Ancient Greek Boxing
  3 points
  In ancient Greece, boxing was a brutal Olympic sport. Fighters
  wore little or no hand protection, but sometimes donned the myrmex
  or cestus to dish out more punishment. Only the head and torso were
  legal targets. Bouts could result in serious injury or maiming. All of
  this (along with the style traits below) applies equally to Roman box-
  ers. Many Greek boxers trained in Pankration (pp. 188-189), too.
  Such athletes should learn that style instead but add Style Familiarity
  (Boxing) and Games (Boxing) to reflect participation in both sports.
  Skills: Boxing; Games (Boxing).
  Techniques: As Boxing (pp. 152-153), but add Exotic Hand Strike
  (Boxing).
  Perks: Skill Adaptation (Exotic Hand Strike defaults to Boxing);
  Special Exercises (DR with Ablative); Special Exercises (Striking ST
  +1).
  Bare-Knuckle Boxing
  3 points
  Before being codified as a sport, boxing was an often-illegal con-
  test with few rules. Ground techniques were forbidden, but fighters
  used standing grapples, chokes, and all manner of blows prohibited
  in modern matches. Many cultures have some form of stand-up,
  bare-knuckle contest. This style with the “Street” lens (p. 38) can 
  represent the techniques used in underground “boxing clubs” and
  back-alley brawling.
  Skills: Boxing; Wrestling.
  Techniques: As Boxing (pp. 152-153), but add Head Butt.
  Perks: As Boxing, but replace Clinch with Skill Adaptation (Head
  Butt defaults to Boxing).
  Optional Traits
  Secondary Characteristics: Improved FP, as matches have no time
  limit and frequently go on for hours.
  
  Capoeira fighters claim that slaves could do the style’s
  athletic kicks – especially its signature handstand kicks –
  while chained at both wrists and ankles. This might be opti-
  mistic but it’s in-genre for a cinematic game. A trained
  mestre (master or teacher) could certainly defend himself
  once freed! Thus, Capoeira let escaped slaves
  protect themselves from recapture.
  Capoeira stylists are in constant motion,
  mixing high-line strikes with low-line
  sweeps in a flowing series of attacks. Kicks
  make frequent use of Deceptive Attack, for
  kicks coming out of acrobatic moves, and
  Telegraphic Attack, for showy, easily spot-
  ted kicks. Fighters commonly alternate
  between Committed Attack and All-Out
  Defense (Increased Dodge). A handstand
  kick – executed by standing on one or both
  hands and then kicking out with the feet –
  is an All-Out Attack (Strong) with one foot or
  an All-Out Attack (Double) with two. Because
  acrobatic moves are so fundamental to the
  style, practitioners may learn the Acrobatic
  Kicks perk as soon as they have a point in Acrobatics
  (instead of the usual 10 points in skills and techniques).
  Groundwork and defense are also important. Stylists use
  Sweep to take a foe to the floor and Scissors Hold to grap-
  ple a vulnerable adversary. They dodge more often than they
  parry, making frequent use of retreats and Acrobatic Dodge.
  Early forms of Capoeira were taught informally, without
  an established curriculum or ranks. Fighters typically
  learned it from fellow slaves – or later, on the street – and
  honed their skills by putting the lessons to practical use.
  These “schools” also trained with such easily found
  weapons as knives, machetes, razors, and sticks. Dirty fight-
  ing tactics were common, especially holding razors between
  the toes (requires the style’s unique Razor Kicks perk and
  inflicts thrust-1 cutting) and throwing dirt in the eyes. This
  variety of Capoeira still exists on the streets in certain
  places.
  Modern schools often mix Capoeira with Karate, Jujutsu,
  and other Asian martial arts. Some have ranking systems
  with colored cordões (cords, worn as belts), fairly uniform
  clothing, and kata-like drills. An academia of this kind might
  place more emphasis on jogo and sportive play, and teach
  Karate Art and Wrestling Sport instead of combat skills –
  although this isn’t universally true. Students rarely get train-
  ing in weapons other than sticks, which are used in a dance-
  like drill to make music (add Smallsword Art).
  Cinematic mestres should definitely have actual combat
  skills and weapons training! Any cinematic ability that
  improves leaping and dodging is suitable, as is the
  Springing Attack technique.
  Skills: Acrobatics; Karate; Wrestling.
  Techniques: Acrobatic Stand; Axe Kick; Back Kick; Ear
  Clap; Feint (Karate); Hammer Fist; Head Butt; Jump Kick;
  Kicking; Scissors Hold; Spinning Kick; Sweep (Karate).
  Cinematic Skills: Flying Leap; Power Blow.
  Cinematic Techniques: Roll with Blow; Springing Attack.
  Perks: Acrobatic Feints; Acrobatic Kicks; Razor Kicks;
  Technique Mastery (Kicking).
  Optional Traits
  Advantages: Enhanced Dodge; High Pain Threshold;
  Language (Portuguese); Musical Ability, especially in sport
  and art forms.
  Disadvantages: Bloodlust; Overconfidence; Reputation
  (Uses dirty tricks).
  Skills:
  Dancing; 
  Knife; 
  Musical
  Instrument (Berimbau and others);
  Savoir-Faire 
  (Dojo); 
  Shortsword;
  Singing; Smallsword.
  CHIN NA
  2 points
  Traditional Chinese kung fu has four
  parts: kicking, punching, grappling, and
  seizing vital points. Chin Na (roughly,
  “seize and control”) – also called “Chin
  Na Kung Fu” – is a term for the last two
  aspects. It’s a truly ancient art. Grappling
  has been part of China’s martial tradition
  since before written record, and joint-
  manipulation and locking techniques are equally old.
  Martial artists typically learn Chin Na as part of one or
  more other Chinese styles, most of which describe their
  joint-locking methods as “Chin Na.” Chin Na is also the sub-
  ject of many texts on its own, however, and remains remark-
  ably consistent across styles that teach it. It’s sometimes
  taught independently, to students from many arts. For game
  purposes, it qualifies as its own style.
  Chin Na aims to control and defeat the opponent by
  manipulating joints and activating pressure points. It
  regards painful locks that force the victim to submit without
  permanent injury as merciful, as its methods can cripple or
  kill! The Chin Na practitioner attempts to get a hold on his
  adversary – usually by making a parry that sets up an Arm
  Lock or Finger Lock. In a life-or-death struggle, he’ll use
  more harmful techniques. He might even act offensively,
  grappling his enemy in order to use locks and throws. Fully
  offensive postures such as All-Out and Committed Attack
  are uncommon, though.
  Chin Na is often taught alongside traditional healing and
  first aid. Students are expected to be able to use their knowl-
  edge to heal as well as to harm. Cinematic practitioners can
  utilize their extensive knowledge of pressure points to kill or
  to heal, and might become inured to pain thanks to endless
  practice with their sifu.
  Skills: Judo.
  Techniques: Arm Lock; Choke Hold; Finger Lock; Head
  Lock; Leg Grapple; Trip.
  Cinematic Skills: Pressure Points; Pressure Secrets.
  Cinematic Techniques: Pressure-Point Strike.
  Perks: Technique Mastery (Arm Lock); Technique
  Mastery (Finger Lock); Unusual Training (Pressure Points).
  Optional Traits
  Advantages: High Pain Threshold; Language (Chinese).
  Disadvantages: Pacifism (Cannot Kill).
  Skills:
  Esoteric Medicine; First Aid; Philosophy
  (Buddhism or Taoism); Physiology; Savoir-Faire (Dojo).
  154
  STYLES
  Knobbed Club
  
  DAGGER FIGHTING
  3 points
  This knife-fighting style is based on medieval and
  Renaissance European martial arts but differs little from
  Asian, African, and ancient Roman arts. It would fit into
  almost any setting “as is.” Likewise, while “dagger” historical-
  ly described a fairly specific weapon (see Chapter 6), Dagger
  Fighting works with any of the fighting knives used worldwide
  for streetfighting and personal defense, and as auxiliary
  weapons in dueling and warfare – singly or in pairs.
  Practitioners typically favor larger blades, however.
  Most schools taught both the “sword” grip (the normal
  grip) and the “ice pick” grip (see Reversed Grip, pp. 111-112).
  Dagger fighters learned to switch rapidly between grips to take
  full advantage of the fluid mix of knife work and grappling
  that characterizes a knife fight. Tactics emphasized feints, dis-
  arms (barehanded and by slashing hands and arms), and
  direct attacks. “Spinning” techniques – for instance, turning
  one’s back on an advancing enemy in order to drive one’s knife
  backward and into him – weren’t unknown.
  The dagger fighter prefers to circle his foe, feinting, jab-
  bing, and watching for any weakness or opportunity. This is a
  series of Wait, Evaluate, Feint, and Defensive Attack maneu-
  vers. He’ll move in for the kill only when his adversary is vul-
  nerable – injured, feinted, etc. Multiple, darting attacks are
  more likely than a single powerful blow, and the fighter might
  deliver several potentially lethal blows to ensure that his
  enemy dies quickly enough to be unable to return the favor.
  Most attacks target the arm or hand to disarm, or the neck
  or vitals to kill. Stylists do stab but often prefer the cut, simply
  because a slash at arm’s length offers superior reach. Single-
  knife schools also grapple using the empty hand (often known
  as the “live hand”). Moves include grabbing the opponent’s
  weapon and grappling his weapon arm in order to break it or
  render his weapon harmless, usually after a parry.
  As martial arts go, Dagger Fighting comes with few
  improbable claims. A couple of cinematic skills fit the style,
  though. Hypnotic Hands suits the complex rhythms of knife
  work, while Power Blow would let low-damage knives deal
  powerful blows that could instantly cripple limbs or kill.
  Modern knife-fighting schools are remarkably similar to
  historical ones but tend to replace the emphasis on parrying
  larger weapons (such as swords) with gun-disarming tech-
  niques. It’s difficult to find training in serious knife-fighting in
  realistic conditions outside of military and covert-ops circles.
  Moreover, it’s often illegal to carry a weapon-length knife, and
  using even a legal one can mean trouble with the law! This last
  matter isn’t a modern phenomenon. Even in historical settings
  where everyone carried and used knives as tools, ordinary cit-
  izens often regarded skilled knife-fighters as desperados or
  criminals.
  In any era, many knife-fighters learn another style as well
  – either armed or unarmed.
  Skills: Knife; Wrestling.
  Techniques: Arm Lock (Knife or Wrestling); Armed Grapple
  (Knife); Back Strike (Knife); Choke Hold (Knife); Feint
  (Knife); Retain Weapon (Knife); Reverse Grip (Knife);
  Spinning Strike (Knife).
  Cinematic Skills: Hypnotic Hands; Power Blow.
  Cinematic Techniques: Dual-Weapon Attack (Knife or
  Wrestling); Fighting While Seated (Knife).
  Perks: Off-Hand Weapon Training (Knife); Quick-Swap
  (Knife).
  Optional Traits
  Advantages: Ambidexterity.
  Disadvantages: Reputation (Thug).
  Skills: Brawling; Fast-Draw (Knife); Main-Gauche; Thrown
  Weapon (Knife).
  Techniques: Disarming.
  ESCRIMA
  4 points
  Escrima is likely the best-known martial art of the
  Philippines. Famous as a stick- and knife-fighting style, it
  includes unarmed techniques as well. The notes below apply
  not only to Escrima but also to the related styles Kali and
  Arnis, and to the numerous variations on all three arts.
  “Escrima” and “Arnis” are bastardizations of the Spanish
  terms esgrima (fencing) and arnes (harness, short for “harness
  of the hand”), but the styles don’t derive from Spanish fencing.
  The true origin of Escrima is unclear, but some sources date it
  to at least 1521, when natives armed with sticks and bows
  fought with Ferdinand Magellan’s expedition and slew
  Magellan. Local folklore – and the simple nature of the style’s
  weapons – point to an even longer history.
  Escrima training starts with sticks made of fire-hardened
  rattan, palm, or ebony. Later training adds knives (used in
  both normal and “ice pick” grips) and – in some schools –
  machetes. Empty-hand movements are based on stick and
  knife techniques, and every unarmed motion is amplified
  when a weapon is in hand. The guro (master) decides when
  the student is ready to graduate from sticks, to blades, and
  finally to empty hands. Escrimadors (as Escrima stylists are
  known) also learn a number of locks and holds, using the stick
  as a lever to disarm, immobilize, or choke the opponent.
  STYLES
  155
  “Kung Fu”
  “Kung fu” is a Chinese term for “hard work” or
  “good effort.” Originally applied to any endeavor, it has
  become synonymous with the martial arts. Kung fu
  isn’t a specific style. It’s a blanket term for all Chinese
  martial arts. The uninformed often misapply it to
  other fighting arts, though – much as they do “karate.”
  Many of the styles in this chapter are forms of kung
  fu: Chin Na (p. 154), Hsing I Chuan (pp. 162-163),
  Hung Gar (p. 163), Pa Kua Chuan (pp. 187-188), Pak
  Hok (p. 188), Praying Mantis (pp. 191-192), Shaolin
  Kung Fu (p. 194), T’ai Chi Chuan (pp. 200-201), Wing
  Chun (pp. 203-204), and Wushu (pp. 206-207). Kuntao
  (pp. 178-179) is a variety of kung fu taught in
  Indonesia. Other styles drew heavily on kung fu during
  their development, including Jeet Kune Do (pp. 164-
  165), Kajukenbo (p. 168), and Kempo (pp. 172-173).
  There are hundreds if not thousands of kung fu styles
  and sub-styles!
  
  Escrimadors prefer the Defensive Attack and Attack
  maneuvers to Committed Attack and All-Out Attack. They’ll
  often attack the enemy several times in rapid succession –
  the style accepts that a foe rarely falls to a single technique
  – and skilled fighters will employ Rapid Strikes. Kicks tend
  to be low-line Defensive Attacks. Movement is “triangular,”
  with the fighter moving between the points of an imaginary
  triangle rather than straight forward or back. This is true
  both on the offensive (attacks tend to be indirect) and on the
  defensive (the Sideslip retreat option is more common than
  the Slip or simple retreat).
  Escrima is aggressive. It always assumes that the foe is
  armed, and escrimadors learn to parry an opponent’s
  weapons and counterattack swiftly. Emphasis is on attacks
  to the arms, hands, and legs rather than to the body, the goal
  being to disarm or cripple the foe before he can injure the
  escrimador – a strategy sometimes called “defanging the
  snake.” The stylist finishes disarmed or weakened adver-
  saries with attacks to the vitals, neck, and skull, or using a
  lock or choke. Even the style’s defenses work toward these
  goals, with Aggressive Parry being typical. Traditional par-
  rying surfaces are the elbows, knees, and shins – not the
  forearms and legs.
  In addition to the above, early escrimadors learned to
  use bows and shields, throw knives, and render first aid.
  They often studied tactics for fighting in small groups or
  against multiple foes. These skills are optional, but a histor-
  ically accurate escrimador would know them all!
  Modern Escrima schools sometimes limit training to
  stickfighting in light-contact, heavy-padding bouts.
  Students of such schools wouldn’t learn Karate or Main-
  Gauche, and should replace Smallsword with Smallsword
  Sport, making style cost 2 points. This isn’t universal – plen-
  ty of schools emphasize real contact, minimal protection,
  and harsh training. A few also add the balisong (p. 212) and
  techniques to draw it quickly.
  Breakaway schools – famously, Dog Brothers Martial
  Arts in the U.S. – add ground techniques from Brazilian Jiu-
  jitsu, as well as additional locks and holds. Such schools
  teach attacks off standing grapples. One such tactic is to
  parry and Slip to close with the opponent, and then grapple
  him and seek a stick-assisted Choke Hold. Schools like this
  add Wrestling, Ground Fighting (Wrestling), and Ground
  Fighting (Smallsword). Style cost becomes 5 points.
  Escrima incorporates several subsystems for using two
  weapons at once, including sinawali (two sticks), espada y
  daga (sword/stick and knife), and daga y daga (knife and
  knife). Even in a realistic game, escrimadors may learn an
  Unusual Training perk that lets them improve Dual-Weapon
  Attack. Both attacks must be directed at a single foe.
  Skills: Karate; Main-Gauche; Smallsword.
  Techniques: Aggressive Parry (Karate); Arm Lock
  (Smallsword); Armed Grapple (Smallsword); Choke Hold
  (Smallsword); Disarming (Smallsword); Elbow Strike; Feint
  (Main-Gauche or Smallsword); Knee Strike; Targeted Attack
  (Main-Gauche Swing/Arm); Targeted Attack (Main-Gauche
  Swing/Hand); Targeted Attack (Smallsword Swing/Arm);
  Targeted Attack (Smallsword Swing/Hand).
  Cinematic Skills: Mental Strength; Power Blow; Pressure
  Points.
  Cinematic Techniques: Dual-Weapon Attack (Main-
  Gauche 
  or 
  Smallsword); 
  Dual-Weapon 
  Defense
  (Smallsword).
  Perks: Off-Hand Weapon Training (Main-Gauche or
  Smallsword); Unusual Training (Dual-Weapon Attack, Both
  attacks must target the same foe); Weapon Adaptation
  (Shortsword to Smallsword).
  Optional Traits
  Advantages: Ambidexterity; Combat Reflexes.
  Disadvantages: Berserk (see Berserk and the Martial Arts,
  p. 179); Bloodlust.
  Skills: Bow; Boxing; Fast-Draw (Balisong, Knife, or
  Sword); First Aid; Judo; Savoir-Faire (Dojo); Shield; Staff;
  Tactics; Thrown Weapon (Knife); Wrestling.
  FENCING STYLES
  Like “kung fu” and “karate,” “fencing” describes an entire
  spectrum of martial arts. In GURPS, it refers to any of the
  many sword styles built around the fencing skills (p. B208):
  Rapier, Saber, and Smallsword – and sometimes Main-
  Gauche. Some historical masters were willing to mix and
  match weapons, unarmed techniques, and tactics to suit
  their personal taste. Others dedicated themselves to a single
  weapon.
  Below is a sampling of some major schools of fencing. In
  each case, there were many minor variations. In a campaign
  set in an appropriate era, the GM may require a separate
  Style Familiarity for each master’s teachings!
  Italian School
  5 points
  Italian fencing originated in the 16th and 17th centuries,
  and revolved around the teachings of such masters as
  Camillo Agrippa, Ridolfo Capo Ferro, and Girard Thibault.
  The main weapon was the rapier, with a knife, a cloak, or
  occasionally a second rapier (the two constituting “a case of
  rapiers”) held in the off hand. The Italian School empha-
  sized counterattacks in “one time,” meaning a combination
  defense/riposte instead of a parry-and-counterattack
  rhythm. This strategy sacrificed some defensive surety for a
  chance to strike back.
  Fighters of this school make extensive use of the Riposte
  (pp. 124-125), and follow up this gambit with an Attack or
  even a Committed Attack, but only rarely with a Defensive
  Attack. Italian stylists seek to counter the foe quickly, forgo-
  ing some defense for a good offense. Defensively, Italian
  School fencers are more likely to dodge, or to parry with a
  secondary weapon, than to parry with their main blade
  while pressing the attack. This aggressive counterattacking
  can get a fencer in trouble; the Overconfidence disadvantage
  definitely fits!
  Grappling was very much a part of the style. Some
  schools taught throws in addition to grapples and locks, and
  even instructed students in catching an incoming blade with
  the off hand. Such schools would substitute Judo for
  Wrestling.
  Cinematic fencers frequently augment this style with
  Acrobatics and Jumping to gain additional mobility. They
  156
  STYLES
  
  often have access to a body of amazing techniques with which
  to defeat lesser foes, including the legendary flying lunge and
  mastery of two-weapon fighting. Weapon Master (Rapier and
  Main-Gauche) is indispensable!
  Italian masters often trained students in weapons of war as
  well. The broadsword, longsword, two-handed sword, and
  pike were standard military weapons of the age, and more use-
  ful than a rapier against armor or when fighting in formation.
  Skills: Main-Gauche; Rapier; Shield (Buckler); Wrestling.
  Techniques: Bind Weapon (Main-Gauche or Rapier);
  Counterattack (Rapier); Disarming (Main-Gauche or
  Rapier); Feint (Main-Gauche or Rapier); Targeted Attack
  (Main-Gauche Thrust/Vitals); Targeted Attack (Rapier
  Thrust/Face); Targeted Attack (Rapier Thrust/Neck);
  Targeted Attack (Rapier Thrust/Vitals).
  Cinematic Skills: Flying Leap.
  Cinematic Techniques: Dual-Weapon Attack (Main-
  Gauche or Rapier); Dual-Weapon Defense (Main-Gauche or
  Rapier); Flying Lunge (Rapier); Grand Disarm (Rapier);
  Hand Catch; Initial Carving (Rapier).
  Perks: Off-Hand Weapon Training (Rapier); Technique
  Adaptation (Counterattack).
  Optional Traits
  Advantages: Ambidexterity; Combat Reflexes; Enhanced
  Dodge.
  Disadvantages: Overconfidence.
  Skills: Acrobatics; Broadsword; Cloak; Jumping; Rapier
  Art; Savoir-Faire; Spear; Two-Handed Sword.
  STYLES
  157
  Stickfighting is one of the most ancient forms of com-
  bat – only slightly more recent than unarmed grappling
  and striking. A primitive ancestor of man armed with a
  thighbone and an Escrima guro doing sinawali with rattan
  sticks are both stickfighters; Escrima is but one of hun-
  dreds of stickfighting styles known to the world through-
  out history. Adventurers will encounter stickfighting
  across Africa, Asia, Europe (Ireland, Portugal, Russia . . .),
  and the Americas, from prehistoric times to the present
  day.
  African Stickfighting
  2 points
  Sub-Saharan Africa has a rich stickfighting tradition.
  Some styles use a stick grasped in the middle as a parry-
  ing stick and another stick gripped at the end to strike.
  Such styles sometimes use a weapon much closer to a
  knobbed club (p. 219) for striking – add Axe/Mace for the
  primary stick, making style cost 3 points, and use
  Smallsword for the off-hand parrying stick. (Irish shille-
  lagh fighting uses similar tactics: attacks are with a
  knobbed club, parries are with a shorter stick in the off
  hand.)
  Skills: Smallsword.
  Techniques: As Escrima (pp. 155-156), but remove all
  Karate and Main-Gauche techniques. For styles with
  Axe/Mace, any technique listed for Smallsword is also
  available for Axe/Mace.
  Optional Traits
  Advantages: Ambidexterity.
  Skills: Brawling.
  La Canne de Combat
  2 points
  French cane fighting emerged during the Napoleonic
  period, when wearing swords was banned within Paris’
  city limits. Parisians switched to canes and wielded them
  with sword techniques. Some schools used a crook-topped
  cane as long as 5 1/2 feet; these schools would replace
  Smallsword with Staff and add the Hook (Staff) and
  Sweep (Staff) techniques. This style was often taught in
  conjunction with Savate (pp. 193-194).
  Modern French cane-fighting schools teach double-
  cane techniques, as well as Knife (for the bowie knife and
  straight razor), Shortsword (for the cutlass), Staff, and
  Whip. Some add firearms training, too.
  The style used with the German dusack (p. 215) would
  be similar; simply replace Smallsword with Shortsword.
  Martial artists who prefer long, narrow canes would
  replace Smallsword with Rapier. In both cases, adjust the
  techniques to match the master skill.
  Skills: Smallsword.
  Techniques:
  Disarming 
  (Smallsword); 
  Feint
  (Smallsword).
  Optional Traits
  Advantages: Ambidexterity.
  Techniques: Dual-Weapon Attack (Smallsword).
  Victorian Singlestick
  2 points
  The sport of singlestick originated in 18th- and 19th-
  century Britain and America. Based on saber and
  broadsword practice, participants would carry a single
  stick, with the other hand either held or tied behind the
  back. American president Teddy Roosevelt was an enthu-
  siastic singlestick player. Singlestick also influenced the
  Sikh sport of gatka, or sword-dancing. Gatka practitioners
  should add the Dancing and Stage Combat skills, making
  style cost 4 points.
  Skills: Broadsword Sport.
  Techniques: Feint (Broadsword Sport).
  Optional Traits
  Skills: Games (Singlestick).
  Stickfighting
  
  La Verdadera Destreza
  4 points
  La Verdadera Destreza (“The True Skill”) was the Spanish
  school of swordsmanship. It was a civilian art. In fact, the
  Spanish were among the first to recognize that military and
  civilian swordfighting were distinctly different. It developed
  as a method of dueling and satisfying the demands of honor
  – a testament to the Spanish sensitivity to honor.
  The stances and techniques of La Verdadera Destreza
  drew heavily from mathematics and science, and stylists –
  diestro – studied Classical geometry and natural philosophy
  in addition to the sword. The ideal diestro remained cool
  and detached, projecting dignity and grace. He avoided
  excessive motion and “vulgarity” in form or technique in
  favor of efficient, geometry-based movements. He learned to
  watch his opponent and “read” his stance in order to
  respond at the best moment. The diestro also maintained
  blade-to-blade contact as much as possible in order to sense
  his adversary’s intent from his blade. Masters were said to
  be able to use these methods to fight effectively even in the
  dark!
  La Verdadera Destreza emphasizes reaction to the oppo-
  nent’s opening. The diestro stands erect, point toward the
  enemy, awaiting the perfect moment to strike. He attacks
  only when he achieves desvio: redirection of (or possibly
  indifference to) his foe’s weapon. Thus, the style’s signature
  moves are the Evaluate and Wait maneuvers. When the
  adversary launches an attack that leaves him vulnerable, the
  diestro parries and then follows up with a Counterattack to
  a vital location. He eschews the similar but riskier Riposte
  (pp. 124-125).
  The style also teaches disarms and counters to disarms,
  and how to fight with either hand – indeed, some stylists
  learn to fight with two rapiers simultaneously. Unarmed
  techniques aren’t part of the style. The diestro defeats his
  foes using his blade, not by wrestling.
  In a cinematic game, the sensitivity and poise of the die-
  stro suggest several special abilities. The style is also well-
  suited to Weapon Master (Rapier). Cinematic stylists won’t
  be flashy fencers like those in the movies. Instead, they’ll be
  extremely composed, unflappable, and imperturbable in the
  face of the enemy.
  Skills:
  Expert 
  Skill 
  (Natural 
  Philosophy);
  Mathematics/TL2 (Pure); Rapier.
  Techniques: Bind Weapon (Rapier); Counterattack
  (Rapier); Disarming (Rapier); Feint (Rapier); Retain
  Weapon (Rapier); Targeted Attack (Rapier Thrust/Face);
  Targeted Attack (Rapier Thrust/Neck); Targeted Attack
  (Rapier Thrust/Vitals).
  Cinematic Skills: Blind Fighting; Light Walk; Mental
  Strength; Precognitive Parry.
  Cinematic Techniques: Dual-Weapon Attack (Rapier);
  Dual-Weapon Defense (Rapier); Initial Carving (Rapier).
  Perks: Chi Resistance (Kiai); Off-Hand Weapon Training
  (Rapier); Sure-Footed (Uneven).
  Optional Traits
  Advantages: Combat Reflexes; Danger Sense; Enhanced
  Parry (Rapier); Unfazeable; Weapon Master (Rapier).
  Disadvantages:
  Code 
  of 
  Honor 
  (Spanish);
  Overconfidence.
  Skills: Body Language; Cloak; Main-Gauche; Philosophy
  (Hermetic); Rapier Art or Sport; Savoir-Faire.
  Perks: Weapon Bond.
  Transitional French School
  4 points
  Thanks to gunpowder, the popularity of armor continued
  its decline in the years after the Italian School (p. 156)
  appeared. Heavy armor-piercing weapons, in turn, also
  became less common. The rapiers of the time capitalized on
  the prevalence of light weapons and armor by becoming
  shorter and lighter.
  In France, a fencing style soon emerged to take advan-
  tage of this. The heyday of this “Transitional French School”
  was between 1640 and 1720 – a period known today as the
  Transitional Era – when fencers widely regarded it as a
  superior way to use a rapier. Its masters taught that the
  sword alone was the basis of both offense and defense, and
  did away with defensive weapons such as the cloak and
  main-gauche. Its importance faded with the early 18th-
  century development of the smallsword and the rise of
  schools that favored it (see French Smallsword, p. 159).
  A fencer of this style usually starts the fight on the defen-
  sive. He favors Evaluate and Wait until he parries and cre-
  ates an opening, and then opens his own offensive with a
  Counterattack. Deceptive Attacks are common, typically in
  the form of a glide along the opponent’s blade. However, the
  rapierist might also attempt extremely aggressive (and
  risky!) attacks, such as an All-Out Attack (Long) ending in a
  crouch – a floor lunge – to attack a distant foe, or a two-step
  Committed Attack (Determined) to press an adversary who’s
  giving ground.
  Cinematic masters of this style are much like those of the
  later French Smallsword style. They’re highly mobile,
  attempting acrobatic techniques, great leaps, and fantastic
  lunges. High DX, Basic Speed, and Acrobatics are common,
  and Perfect Balance is extremely useful for running along
  banisters and landing after chandelier swings!
  Historically, this style gave equal weight to elegance of
  execution and effectiveness of technique, and some masters
  taught methods that were more artistic than practical. For
  these, eliminate Rapier but retain Rapier Art. Such salons
  were a great place to learn both secret techniques (p. 86)
  and useless techniques (p. 95). Most schools took their train-
  ing seriously, though, and prepared students for deadly
  duels.
  Skills: Games (Sport Rapier); Rapier; Rapier Art.
  Techniques: Bind Weapon (Rapier); Close Combat
  (Rapier); Counterattack (Rapier); Disarming (Rapier); Feint
  (Rapier); Retain Weapon (Rapier).
  158
  STYLES
  What noise is this? Give me my
  long sword, ho!
  – Capulet, Romeo and Juliet
  
  Cinematic Skills: Flying Leap.
  Cinematic Techniques: Flying Lunge (Rapier); Initial
  Carving (Rapier).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed.
  Advantages: Enhanced Parry (Rapier); Perfect Balance;
  Status; Wealth.
  Disadvantages: Code of Honor (Gentleman’s); Delusion
  (“My style is inherently superior to all others.”);
  Overconfidence.
  Skills:
  Acrobatics; Broadsword; Jumping; Main-
  Gauche; Savoir-Faire; Shield Art (Buckler); Two-Handed
  Sword Art.
  French Smallsword
  4 points
  French Smallsword represented the apex of the fencing
  arms race. As fencers placed increasing emphasis on the
  riposte, they sought progressively shorter blades to give
  them greater speed and maneuverability. The result was
  the smallsword: a short, stiff thrusting blade. The atten-
  dant fencing style became a gentleman’s martial art, with
  the riposte and elegant form as its core values. Proponents
  claimed that its defensive techniques applied to all combat
  – not just to smallsword fencing. Such claims resemble
  those of an “ultimate style” (see Ultimate Styles, p. 144). In
  a cinematic game, smallsword fencing might indeed hold
  all of the secrets of combat!
  French Smallsword’s signature tactic is the Riposte
  (pp. 124-125): a parry and counterattack “in one time.”
  Disarms are also routine; a stylist might parry his enemy’s
  blade, whip it from his grasp, and then dispatch his
  unarmed victim. Some fighters even attempt this as an All-
  Out Attack (Double) – but should it fail, the would-be pred-
  ator is likely to end up prey. Smallsword fencers often use
  All-Out Attack (Long) to lunge at a distant foe, typically
  stabbing but occasionally making a Tip Slash (p. 113).
  Advanced students learn to grapple, but the aim is always
  to ward off the opponent’s attack and run him through.
  Cinematic masters of this style are fluid, elegant, and
  acrobatic. The Jumping and Acrobatics skills are as com-
  mon as Enhanced Parry. Swashbucklers might swing from
  chandeliers, slide down banisters, and disarm half a dozen
  foes with a single sweep of the blade. They’re blindingly
  fast and incredibly agile, and able to use their prodigious
  defensive abilities with any weapon. High DX and Basic
  Speed are a must!
  This style was common from the early 18th century
  until about 1830. Its main weapon was the smallsword,
  but masters were still expected to train students in the cav-
  alry saber and sometimes the cutlass. Smallsword fencing
  was significantly more artistic than the rapier styles it
  replaced. While it was a functional martial art, many stu-
  dents learned an overly artistic form . . . yet believed in its
  utter invincibility. Such students would often know secret
  techniques (p. 86) or useless techniques (p. 95).
  Skills: 
  Games 
  (Sport 
  Fencing); 
  Smallsword;
  Smallsword Art.
  Techniques: Bind Weapon (Smallsword); Close Combat
  (Smallsword); 
  Disarming 
  (Smallsword); 
  Feint
  (Smallsword); Retain Weapon (Smallsword); Targeted
  Attack (Smallsword Thrust/Vitals).
  Cinematic Skills: Flying Leap.
  Cinematic Techniques: Flying Lunge (Smallsword);
  Grand Disarm (Smallsword); Initial Carving (Smallsword).
  Perks:
  Quick-Sheathe 
  (Sword); 
  Quick-Swap
  (Smallsword).
  Optional Traits
  Advantages: Enhanced Parry (All); Perfect Balance;
  Status; Wealth.
  Disadvantages: Code of Honor (Gentleman’s); Delusion
  (“My style is inherently superior to all others”);
  Overconfidence.
  Skills:
  Acrobatics; Broadsword; Broadsword Art;
  Jumping; Main-Gauche; Main-Gauche Art; Riding (Horse);
  Savoir-Faire; Shortsword; Shortsword Art; Staff Art; Two-
  Handed Sword Art; Wrestling.
  FURUSIYYA
  5 points
  Furusiyya was the combat horsemanship style of the
  Mamluks, slave soldiers trained from childhood. It evolved
  out of earlier tactics used widely by Muslim armies.
  Manuals surviving from the 13th century detail the Mamluk
  version, but researchers believe that Furusiyya was essen-
  tially identical across the Islamic world. The practitioners of
  Furusiyya – like their contemporaries, the elite knights of
  Europe – regarded their combat skills as a fine art. Not all
  Muslim warriors received such extensive training, but their
  basic skills were similar.
  Contrary to longstanding myth, Islamic horsemen wore
  armor – sometimes more than their Christian opponents.
  However, the training and tactics of Furusiyya prepared
  them better for the role of light cavalry. The style depended
  heavily on the bow and spear held two-handed, although
  fighters did use the small shield in close quarters.
  Furusiyya’s weapons also included such exotica as fire
  siphons, naphtha grenades, and crossbows that launched
  primitive Molotov cocktails. Like many exotic weapons,
  such things were probably less effective than bows and
  spears (or else everyone would have used them!). In a cine-
  matic campaign, though, the GM should let stylists use
  these devices to good effect.
  Those trained in Furusiyya learn a fast-paced, fluid style
  of combat. They keep their distance from the enemy and
  engage the foe only on ground of their choosing. Mounted,
  they alternate between raining down arrows and swooping
  in using the spear. The bow always precedes the spear
  against uninjured, prepared opponents. When closing with
  the spear, stylists use Evaluate to look for an opening. The
  attack itself is two-handed and overhand – often a
  Committed Attack (Strong) or an All-Out Attack (Strong).
  Furusiyya fighters also use the broadsword, emphasizing
  the cutting stroke. Some use two swords in a double-blade
  style. This is only somewhat cinematic. Even in a realistic
  game, it’s possible to use one blade to Beat (pp. 100-101) and
  the other to strike a blow as part of a Dual-Weapon Attack.
  STYLES
  159
  
  Cinematic stylists routinely brandish two swords, launch
  devastating spear thrusts, and make incredible long-
  distance bow shots from horseback. Legends of Furusiyya-
  trained warriors emphasize their speed and accuracy, not
  mythical abilities. Heroic Archer is very appropriate.
  The Mamluks of Egypt practiced Furusiyya until the
  early 19th century; Mamluk cavalry fought Napoleon at the
  Battle of the Pyramids. Its heyday was during the 13th-
  century Crusades. Finding a Furusiyya teacher shouldn’t be
  difficult for Muslim PCs. Non-Islamic warriors are probably
  out of luck . . . although some auxiliaries in Crusader armies
  – the mostly Christian, mostly locally born turcopoles –
  trained to fight in the same manner.
  Skills: Bow; Broadsword; Riding (Horse); Spear.
  Techniques: Cavalry Training (Broadsword or Spear);
  Combat Riding; Hands-Free Riding; Horse Archery; Quick
  Mount; Targeted Attack (Broadsword Swing/Neck);
  Targeted Attack (Spear Thrust/Vitals).
  Cinematic Skills: Zen Archery.
  160
  STYLES
  Sport fencing largely eliminates moves that are dan-
  gerous to one’s opponent. The point is to test skill – not to
  kill one’s adversary – so sport styles favor safety and struc-
  ture over the rough-and-tumble of combat fencing. For
  instance, sport fencers rarely swing their weapons; even
  saber cuts are powered by wrist and fingers, not hip and
  shoulder, making them faster but reducing the odds of
  injury. Matches take place on a strip and emphasize lin-
  ear movement . . . unlike duels of the past, which took
  place wherever honor demanded. Further distinguishing
  sport fencing from combat are such rules as “right of
  way” and “priority,” which determine which hits count
  and which fencer can attack, and in what manner.
  In game terms, sport fencers don’t use the Strong
  option for All-Out or Committed Attack. The Determined,
  Feint, and Long versions are quite common, however. The
  Deceptive Attack and Riposte combat options see exten-
  sive use, too.
  Cinematic sport fencers aren’t bound by these restric-
  tions. The GM ought to let such PCs learn combat and
  Combat Sport skills, and give them access to the full
  range of maneuvers and combat options. Their tech-
  niques should work as well in battle as on the strip.
  Below are several sport-fencing styles. Schläger is less
  common than the others and uses a bare blade; injury
  determines the victor.
  Épée
  3 points
  Épée uses a sporting version of the rapier. Only thrust-
  ing attacks can score but the entire body is a valid target.
  No “right of way” rules apply.
  Skills: Games (Epee Fencing); Rapier Sport.
  Techniques: Counterattack (Rapier Sport); Feint
  (Rapier Sport).
  Optional Traits
  Advantages: Enhanced Parry (Rapier).
  Foil
  3 points
  The foil (p. 215) was developed in the late 19th centu-
  ry as a practice blade. Épée fencers often learn Foil as an
  introduction to fencing, but it is a full-fledged sport of its
  own. The only valid target in Foil is the torso. Thrusts
  only count if you have “right of way,” which lasts from the
  start of your attack until your opponent successfully par-
  ries and ripostes, giving him the right of way.
  Skills: Games (Foil Fencing); Smallsword Sport.
  Techniques: Counterattack (Smallsword Sport); Feint
  (Smallsword Sport).
  Optional Traits
  Advantages: Enhanced Parry (Smallsword).
  Saber
  3 points
  Saber fencing developed from cavalry sword practice.
  Since cutting attacks are very effective from horseback,
  Saber includes both cuts and thrusts. Valid targets are the
  body above the hip line. “Right of way” applies in Saber
  just as in Foil.
  Skills: Games (Saber Fencing); Saber Sport.
  Techniques: Counterattack (Saber Sport); Feint (Saber
  Sport).
  Optional Traits
  Advantages: Enhanced Parry (Saber).
  Schläger
  3 points
  Schläger (or Mensur) is the form of “academic” sword-
  play used as a test of personal quality by German frater-
  nities since the late 18th century. It still has its adherents.
  It uses the sharp-edged mensurschläger (p. 220).
  Participants don goggles and wrap the head and neck to
  prevent serious injury. They then trade Defensive Attacks,
  slashing at the face – the only valid target – until someone
  is cut deeply enough to bleed. This frequently scars, and
  some fighters participate expressly to gain a dueling scar
  as a badge of honor!
  Skills: Broadsword Sport; Games (Schläger Fencing).
  Techniques: Feint (Broadsword Sport); Targeted
  Attack (Broadsword Cut/Face).
  Optional Traits
  Advantages: Enhanced Parry (Broadsword).
  Disadvantages: Distinctive Features (Dueling scars).
  Sport Fencing
  
  Cinematic 
  Techniques: 
  Dual-Weapon 
  Attack
  (Broadsword).
  Perks: Off-Hand Weapon Training (Broadsword);
  Strongbow; Unusual Training (Dual-Weapon Attack, Both
  attacks must target the same foe).
  Optional Traits
  Advantages: Enhanced Parry (Any); Heroic Archer.
  Disadvantages: Disciplines of Faith; Impulsiveness;
  Overconfidence.
  Skills: Animal Handling; Axe/Mace; Brawling; Crossbow;
  Fast-Draw (Arrow); Liquid Projector (Flamethrower);
  Shield; Throwing.
  HAPKIDO
  5 points
  Hapkido (“Way of Coordinated Power”) is a Korean mar-
  tial art developed during the 1950s. Its founder learned
  Aikijutsu (p. 149) in Japan, and combined it with Judo
  (p. 166) and Korean striking arts on returning home. One of
  his students later named the resulting style. Hapkido incor-
  porates strikes, throws, and joint locks, as well as weapons
  training for advanced students. It uses a colored belt system
  similar to that of Tae Kwon Do (p. 200). Despite its recent
  origins, the style has spread rapidly; it isn’t difficult to find a
  Hapkido school in Korea, Europe, or North America.
  Three main principles guide Hapkido methodology. The
  Circle Principle states that all techniques are round and
  cyclical, each feeding off the results of the previous one. The
  River Principle says that the style must conform to the cir-
  cumstances but unleash power in a sudden torrent, like a
  river. The Influence Principle holds that the martial artist
  should use movements that influence his opponent to make
  responses that he can anticipate and counter. The idea is to
  make one’s adversary do most of the work that leads to his
  defeat.
  Stylists use locks, throws, and strikes, separately and in
  combination. They often let the opponent strike first, neu-
  tralize his attack, and then counter it. A counter to a high
  kick might be a Leg Grapple followed by a Sweep or a take-
  down; a counter to a punch might be a parry followed by an
  Arm Lock and/or a Judo Throw. The martial artist some-
  times follows the victim of a throw to the ground to apply a
  Choke Hold. It’s also common to mix in kicks and punches;
  for instance, after an Arm Lock and before a Judo Throw.
  Hapkido includes spectacular kicking techniques, too:
  jumping kicks, kicks thrown from a kneeling posture at a
  foe behind, and high kicks. Many of these follow a success-
  ful Arm Lock, to ensure that the target won’t be able to
  defend effectively.
  Hapkido weapons include the short staff, sword (often a
  bokken), and jutte. Many masters reserve training in these
  for higher-ranking students. However, even beginners learn
  defenses against such weapons.
  Hapkido is young, but like many arts it claims a heritage
  that includes ancient styles. The cinematic skills and tech-
  niques below are those that match the legends of these
  “ancestor” martial arts, as well as the stories surrounding
  the style’s founder and his most important students. Masters
  are said to have great control of their minds – and some-
  times those of their students, even at great distances . . .
  Skills: Judo; Karate; Karate Sport; Savoir-Faire (Dojo).
  Techniques: Arm Lock; Back Kick; Breakfall; Choke
  Hold; Head Lock; Jump Kick; Kicking; Leg Grapple; Leg
  Lock; Spinning Kick; Sweep (Judo or Karate).
  Cinematic Skills: Breaking Blow; Flying Leap; Power
  Blow.
  Cinematic Techniques: Flying Jump Kick; Roll with Blow.
  Perks: Back Kick possible from kneeling without posture
  penalty.
  Optional Traits
  Advantages: Language (Korean); Telepathy Talent.
  Disadvantages: Overconfidence.
  Skills: Broadsword; Jitte/Sai; Knife; Staff.
  HOPLOMACHIA
  5 points
  Hoplomachia was the armed combat style of the ancient
  Greek city-states. Most citizens learned only the spear and
  shield, but dedicated warriors studied the entire art. The
  style outlasted the citizen armies, and was common among
  professional soldiers and mercenaries alike. For an earlier
  style suitable for “heroic” Greek warriors, see Heroic Spear
  Fighting (p. 196).
  Hoplomachoi (as practitioners were known) lead with
  their medium shield, often held out at an angle in front of
  the body or even horizontally, rim pointed toward the
  enemy. They use shield bashes, Beats (pp. 100-101) with
  the shield, and shoves to render the foe more vulnerable
  before bringing the spear into play. Favorite targets for the
  spear are the less-armored neck and face. Defensively, styl-
  ists prefer to block with the shield rather than parry with
  the spear. Close in, hoplomachoi make aggressive use of
  the spiked spear butt or resort to a sword – typically a
  shortsword but occasionally a broadsword. A common tac-
  tic is to grapple an adversary in order to drive the sword or
  butt spike into him.
  STYLES
  161
  
  Practitioners of Hoplomachia often acted as
  teachers, offering their services to young men
  seeking training in the style as well as in unarmed
  combat styles; see Pankration (pp. 188-189) and
  Ancient Greek Boxing (p. 153). Greek society was
  divided on their status: some thought them essen-
  tial to a city’s military strength while others
  regarded them as dangerous men of doubtful
  morals. Indeed, a number of philosophers agued
  that this kind of training was detrimental to a sol-
  dier because it taught him how to defend himself
  rather than to rely on his comrades in a firm bat-
  tle line. Whatever the prevailing view, a teacher
  would not be difficult to find in ancient Greece.
  Skills: Shield; Shortsword; Spear; Wrestling.
  Techniques: Close Combat (Shortsword);
  Feint (Shield); Spinning Strike (Spear);
  Targeted Attack (Spear Thrust/Face); Targeted
  Attack (Spear Thrust/Neck).
  Cinematic Skills: Immovable Stance; Push,
  used with shield.
  Perks: Grip Mastery (Spear); Naval Training,
  for elite epibatai, or marines, aboard triremes;
  Teamwork (Hoplomachia).
  Optional Traits
  Advantages:
  Combat Reflexes; Cultural
  Familiarity (Ancient Greece); Enhanced Block;
  Language (Ancient Greek).
  Disadvantages: Duty (Polis); Reputation
  (Dangerous man of doubtful morals); Sense of
  Duty (Polis).
  Skills:
  Boxing; Brawling; Broadsword;
  Hobby Skill (Feats of Strength); Running.
  HSING I CHUAN
  3 points
  Hsing I Chuan (also known as Hsing-yi or
  Xingyichuan) is one of China’s three main
  “internal,” or Taoist, styles. Unlike its sister arts
  Pa Kua Chuan (pp. 187-188) and T’ai Chi Chuan
  (pp. 200-201), Hsing I Chuan is linear and
  direct. Modern research traces its origins to a teacher in
  mid-17th century Shanghai, who developed it from spear
  techniques. However, legend attributes its invention to
  General Yue Fei in the Song Dynasty (960-1127), who creat-
  ed it as a style for army officers. Supposedly, masters passed
  down the art in secret until the mid-1600s, when it became
  widespread.
  Hsing I Chuan is organized around five “fists” (strikes)
  and 12 animal styles. The fists are named for the five tradi-
  tional Taoist elements and the type of strike used: water
  (“drilling”), wood (“penetrating”), earth (“crossing”), metal
  (“splitting”), and fire (“pounding”). This focus on strikes
  makes Hsing I Chuan unusual for an “internal” style. The
  style is linear and depends on very firm stances; Hsing I
  Chuan fighters are famously hard to budge. The stylist
  relaxes his body until the last instant, when he tenses to
  strike, defend, or throw. In training, forms are less common
  than two-person drills aimed at teaching the proper feel for
  combat.
  Hsing I Chuan is an offensive-minded martial art. Its
  normal stance is compact, faces the foe, and keeps the
  hands up to defend the vitals and face. Practitioners seek to
  attack first. If this is impossible, the stylist attempts to avoid
  his enemy’s attack and then launch an overwhelming coun-
  terattack into his assailant’s motion. The most common
  methods of doing so are the Counterattack technique and
  the Riposte option (pp. 124-125). Typical follow-ups to par-
  ries include Exotic Hand Strike (usually aimed at the torso),
  Sweep, and Arm Lock.
  Hsing I Chuan makes more use of the hands than the
  feet, and kicks are uncommon. The style also favors crip-
  pling and killing attacks over throws and merely painful
  locks. After injuring a foe with a lock, a Hsing I Chuan styl-
  ist releases his grip in order to free both hands for defense.
  Practitioners tend to favor a single, powerful attack over
  multiple strikes; a straightforward Attack or Committed
  Attack (Strong) is common, only rarely with the Rapid
  Strike option.
  162
  STYLES
  External vs. Internal,
  Hard vs. Soft
  Martial artists often distinguish between “external” and “internal”
  styles. External arts stress physical achievement and strong attacks.
  Internal ones emphasize spiritual development, and sometimes have
  deep philosophical underpinnings (e.g., in Taoism or Buddhism).
  This distinction originated in China, which traditionally sorted the
  martial arts into the Wudong schools (Taoism-based styles such as
  Hsing I Chuan, Pa Kua Chuan, and T’ai Chi Chuan), which were
  deemed “internal,” and the Shaolin schools (all other Chinese
  styles), which were identified as “external.”
  Another common way of classifying the martial arts is to dub
  them either “hard” or “soft.” Hard styles are those that meet force
  with force in an effort to overwhelm the opponent, while soft ones
  are those that yield to aggression and attempt to redirect the enemy’s
  force. Faced with an attacker, a hard school defends and then coun-
  terattacks – or even seizes the initiative and attempts to defeat the
  foe before he can attack. A soft stylist seeks to avoid confrontation,
  and responds with a throw, trip, or lock if attacked.
  The “external vs. internal” split is more legendary than actual. An
  external style might counsel spiritual development; for instance,
  Nito Ryu Kenjutsu (pp. 174-175) is solidly external but its creator
  wrote a deeply philosophical work on the martial arts: A Book of Five
  Rings. The “hard vs. soft” dichotomy is similarly idealized; few
  “hard” styles lack “soft” parries and retreats. And while external
  styles tend to be hard and internal ones tend to be soft, this isn’t uni-
  versal. Hsing I Chuan (see below) is hard and internal, while Judo
  (p. 166) and Wrestling (pp. 204-206) are soft and external. A single
  art might have elements from each of these four categories!
  Today, these terms describe a style’s methodology more than any-
  thing else. “Hard” is another way of saying that the art makes heavy
  use of striking (Boxing, Brawling, Karate, and Melee Weapon skills),
  as exemplified by Boxing (pp. 152-153), Jeet Kune Do (pp. 164-165),
  Karate (pp. 169-172), Wing Chun (pp. 203-204), and most armed
  styles. “Soft” suggests a preference for grappling (Judo, Sumo
  Wrestling, and Wrestling skills); Aikido (p. 149), Chin Na (p. 154), Pa
  Kua Chuan (pp. 187-188), and T’ai Chi Chuan (pp. 200-201) are good
  examples. “External” and “internal” are used the same way by every-
  one but purists.
  
  Hsing I Chuan formerly used many weapons, including
  the spear, staff, various edged swords, the hook sword, and
  the halberd. Modern schools often omit weapons training.
  Advanced students sometimes still learn these traditional
  weapons, though.
  Cinematic Hsing I Chuan masters are said to be unmov-
  able after settling into a stance, capable of defeating foes
  with a shout, and able to sense danger as it approaches.
  They often perfect Power Blow in order to deliver body-
  shattering strikes.
  Hsing I Chuan and Pa Kua Chuan share a history. Past
  masters of these arts befriended one another and exchanged
  techniques and forms. Students of one style often train in
  the other, and some forms of each school are amalgama-
  tions of both. Hsing I Chuan schools aren’t common, but
  there are instructors worldwide.
  Skills: Judo; Karate.
  Techniques: Arm Lock; Counterattack (Karate); Exotic
  Hand Strike; Sweep (Judo or Karate); Trip.
  Cinematic Skills: Breaking Blow; Immovable Stance;
  Kiai; Mental Strength; Power Blow; Pressure Points;
  Pressure Secrets; Sensitivity.
  Cinematic Techniques: Lethal Strike; Pressure-Point
  Strike; Springing Attack; Timed Defense.
  Perks: Style Adaptation (Pa Kua Chuan); Technique
  Adaptation (Counterattack).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: Danger Sense; Enhanced Parry (Bare
  Hands).
  Disadvantages: Bloodlust.
  Skills: Breath Control; Broadsword; Polearm; Savoir-
  Faire (Dojo); Shortsword; Spear; Staff.
  HUNG GAR KUNG FU
  (TIGER-CRANE STYLE)
  4 points
  Legend has it that one of the Five Masters who survived
  the burning of the Shaolin Temple in the 17th century
  passed along his kung fu skills to fellow rebels against the
  Manchu in the form of Hung Gar. Later, one of the style’s
  most famous practitioners – Chinese folk hero Wong Fei-
  Hung (p. 22) – created the tiger-crane variation described
  below. The actual history is hard to verify. Hung Gar cer-
  tainly existed in Wong Fei-Hung’s time, as he built upon an
  existing system rather than inventing his own. It might
  stretch back as far as the 17th century, but that’s conjecture.
  Today, Hung Gar is taught worldwide. It isn’t difficult to find
  a master, but the style has a reputation for extremely stren-
  uous apprenticeships.
  There are many forms of Hung Gar, but all include the
  tiger as the basic animal form. Tiger-crane combines the
  physical power and courage of the tiger with the committed
  strikes, deceptive movements, and counterattacks of the
  crane (see Pak Hok, p. 188). Hung Gar is a southern Chinese
  style, and emphasizes firm stances, close-in tactics, low-line
  kicks, and high-line punches. It teaches fighters to use both
  hands equally, to fight armed and unarmed, and to keep
  their balance on slippery planks and rocking boats. Students
  study deep breathing and remain in deep stances for long
  periods of time in order to learn to hold firm against a foe.
  Stylists prefer to use Aggressive Parry to ward off attacks,
  and then follow immediately with a Counterattack. This
  counter is very strong and often a Committed Attack or even
  an All-Out Attack. The style’s teachings consider evasion less
  important than the ability to withstand attacks and counter
  them in place.
  Hung Gar also has an armed component. Masters some-
  times reserve this training for advanced students. Weapon
  forms include staff, spear, broadsword, paired broadswords,
  paired butterfly swords, whip, polearm, knife, and double
  whip.
  Hung Gar holds chi development in high regard, as its
  deep breathing and strong stances suggest. Thus, cinematic
  masters should be capable of great feats. They should also
  be strong, fit, and possess remarkable patience and
  endurance. Exceptional physical abilities – including high
  ST, HT, and FP – are as likely as chi powers.
  Skills: Breath Control; Karate; Philosophy (Buddhism).
  Techniques: Aggressive Parry (Karate); Counterattack
  (Karate); Exotic Hand Strike; Hammer Fist; Jam; Stamp
  Kick.
  Cinematic Skills: Body Control; Immovable Stance;
  Power Blow; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Pressure-Point Strike.
  Perks: Iron Body Parts (Any); Naval Training; Off-Hand
  Weapon Training (Any); Sure-Footed (Slippery).
  Optional Traits
  Secondary Characteristics: Improved FP and HP.
  Advantages: Ambidexterity; Fit or Very Fit; Language
  (Cantonese); Striking ST.
  Disadvantages: Overconfidence.
  Skills: Broadsword; Judo; Knife; Polearm; Shortsword;
  Spear; Staff; Whip.
  Techniques:
  Dual-Weapon 
  Attack 
  (Broadsword,
  Shortsword, or Whip).
  HWA RANG DO
  5 points
  Hwa Rang Do (HRD) is a Korean art with ties to the
  fighting and healing techniques of the Hwarang (p. 14). It’s
  said to have originated from um yang kwan (“hard and soft
  together”), martial skills influenced by 1,500 years of
  Korean history. The modern style known as Hwa Rang Do
  was founded in Seoul in 1960, by Dr. Joo Bang Lee. It isn’t
  simply a fighting style; black sash-ranked students learn
  healing and philosophy, and study chi and meditation inten-
  sively. HRD is most common in the U.S., South Korea, and
  Europe, but there are schools worldwide.
  Hwa Rang Do combines striking and grappling, and
  mixes these unarmed techniques with weapons training.
  Strikes are both linear and circular. Grappling includes
  throws and submission holds, often in conjunction with
  pressure-point activation.
  STYLES
  163
  
  Hwa Rang Do stylists prefer to open a fight with punches
  and kicks in an attempt to disable or injure the foe. The spin-
  ning kick is one of the style’s signature moves, and is per-
  formed jumping, standing, kneeling, and as a leg sweep –
  most often as a Committed Attack (Determined). After injur-
  ing his opponent or successfully parrying an attack, the HRD
  stylist closes in to grapple, seeking to finish the fight with an
  Arm Lock, Judo Throw, takedown, or choke. Fighters train to
  move smoothly into and out of grappling range, using strikes
  and grapples interchangeably.
  Even low-ranked students learn weapons; PCs who study
  HRD should start buying weapon skills immediately.
  Standard weapons are the sang-jyel-bong (nunchaku), staff,
  spear, broadsword, knife, and short staff. Optional weapons
  training is extensive, and includes the baton and bow. HRD
  schools also encourage parallel training in Kumdo (Korean
  Kendo – use the rules for Kendo, p. 175). At advanced levels,
  weapons training mixes takedowns, sweeps, and strikes.
  Hwa Rang Do has a large body of legendary abilities. The
  extensive study of chi and practice of chi-based feats make it
  especially powerful in a cinematic campaign. Legends attrib-
  ute body- and mind-control powers, telepathy, and secret
  pressure-point techniques to masters – and note that training
  in such matters is part of the curriculum for high-level black
  sashes even today.
  Skills: Judo; Karate; Karate Sport; Savoir-Faire (Dojo).
  Techniques:
  Arm 
  Lock; 
  Back 
  Kick; 
  Breakfall;
  Counterattack (Karate); Disarming (Judo); Exotic Hand
  Strike; Head Lock; Jump Kick; Kicking; Spinning Kick;
  Sweep (Karate).
  Cinematic Skills: Body Control; Breaking Blow; Power
  Blow; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Pressure-Point Strike.
  Perks: Chi Resistance (Any); Spinning Kick takes no pos-
  ture penalty; Unusual Training (Breaking Blow, Only vs. well-
  braced objects out of combat).
  Optional Traits
  Advantages: Fit or Very Fit; Language (Korean); Telepathy
  Talent.
  Disadvantages: Overconfidence.
  Skills:
  Breath Control; Broadsword Art; Esoteric
  Medicine; First Aid; Flail; Judo Art; Karate Art; Knife;
  Meditation; Shortsword; Smallsword; Spear; Staff; Two-
  Handed Sword Art.
  JEET KUNE DO
  3 points
  In 1967, Bruce Lee (pp. 24-25) founded Jeet Kune Do
  (JKD) in California. He welcomed all students who could
  meet his high standards of training. In describing his art, Lee
  said, “Jeet Kune Do is a process, not a goal; a means but not
  an end, a constant movement rather than an established stat-
  ic pattern.” In other words, Lee didn’t consider JKD to be a
  style – although this didn’t prevent fiction, movies, and
  schools from representing it as one after his death. JKD is
  taught worldwide today. How it’s taught varies greatly; see
  The Tao of Jeet Kune Do (see box).
  Jeet Kune Do rejects the aesthetic and spiritual consider-
  ations of traditional martial arts. Lee believed that those
  styles were incomplete and restrictive, and placed too much
  emphasis on set patterns. JKD emphasizes spontaneity; it’s a
  set of tools for engineering a flexible response to any violent
  situation. Anything that works is acceptable: grappling,
  throwing, striking, ear twisting, biting. JKD favors direct
  attack and instant counterattack over traditional “defend-
  then-counter” approaches. It also demands rigorous physical
  training – a legacy of its founder’s obsession with fitness and
  the great demands his art makes of its practitioners.
  Jeet Kune Do fighters typically put their “power side”
  (dominant hand) forward. This is the opposite of what most
  styles counsel, including Boxing. Stress is on the attack, even
  when on the defensive; the Counterattack technique and the
  Riposte option (pp. 124-125) are favorite tactics. Deceptive
  Attacks stacked with feints are also common, as Lee was a
  great believer in “progressive indirect attacking”: throwing a
  series of strikes and using each attack to draw an opening for
  the next. JKD practitioners aim kicks at the legs to bring
  down the opponent, and hand strikes at the eyes, face, vitals,
  and groin.
  164
  STYLES
  The Tao of Jeet Kune Do
  Jeet Kune Do (JKD) is an evolving art. Bruce Lee
  himself felt that it wasn’t a style at all, but a process. He
  believed that even naming JKD might have been an
  error – it made it easier to mistake his process of explo-
  ration for a finished result.
  While Lee didn’t favor stagnation in the martial arts,
  he did believe that he had stripped his fighting style
  down to a core of simple, useful techniques applicable
  to all humans. Yet he also felt that martial arts were
  about “honestly expressing yourself,” and that each
  person would have to learn about him- or herself
  through the arts – not simply study another’s way. His
  paradoxical endorsement of both the individual need to
  explore and learn and the idea that all humans have the
  same tools to fight with led JKD to develop along two
  different paths after his death.
  Some schools teach a fairly rigid curriculum in an
  attempt to match Lee’s style as it was at the time of his
  death. They believe that one should not throw away
  Lee’s experience, teaching, and knowledge in favor of
  new developments. Other schools heavily add to and
  subtract from JKD, and maintain that the true lesson of
  JKD is that it must continue to grow. Ironically, both
  types of schools have often added additional tech-
  niques and skills to the JKD syllabus, while Lee saw
  JKD as a process of subtraction – like a sculptor remov-
  ing what’s unnecessary to depict his subject.
  With the GM’s permission, players should be able to
  add to or subtract from the techniques listed under Jeet
  Kune Do (p. 165) to represent the curriculum of their
  school. JKD/Escrima and JKD/grappling-style blends
  are especially common. Other schools may teach
  another style but import a few tools or techniques from
  JKD and use the JKD name. These schools should sim-
  ply add Style Adaptation (JKD) to their main style; they
  don’t teach the full version of JKD.
  
  If JKD has a signature attack, it’s the “straight blast.” This
  starts with a front-hand straight punch with the striker’s full
  body weight behind it – often a Committed Attack. It’s fre-
  quently used to intercept an attacker (see Stop Hits, p. 108).
  The opening blow is then followed by a series of Rapid
  Strikes to disrupt and overwhelm the victim.
  Lee built JKD from a number of styles. It draws heavily
  on Wing Chun (pp. 203-204), and also on Boxing (pp. 152-
  153), Escrima (pp. 155-156), fencing, other kung fu styles,
  and Lee’s own extensive experience and experimentation.
  He added spectacular high kicks for their cinematic impact,
  but primarily used low kicks in practice. The central philos-
  ophy of JKD was reduction – not addition. Lee experiment-
  ed with many techniques from other arts but only kept a
  tight core of broadly useful ones. JKD fighters don’t have a
  wide range of techniques but rather an extensive range of
  applications for the small set they practice. Recognizing his
  art’s stripped-down nature, Lee sometimes referred to JKD
  as “scientific streetfighting.”
  While Lee demonstrated his ability with weapons on
  film, JKD is an unarmed martial art. Nevertheless, some
  schools offer weapons training – and cinematic Bruce Lee
  clones should possess numerous weapon skills to better
  match his movie exploits! Lee also enjoyed tameshiwari, or
  breaking, but regarded it as an amusing stunt and not a
  combat skill. JKD is a combat style. No sport version exists,
  although Lee chose his moves on the set as much for how
  they looked as for how well they would work in a fight.
  Lee had little regard for the special powers that some tra-
  ditional martial-arts masters claimed. This didn’t prevent
  admirers from ascribing such abilities to him – a result of
  his charisma, skill, and fame. The cinematic components
  below reflect Lee’s exploits in the movies.
  Skills: Judo; Karate.
  Techniques: Counterattack (Karate); Ear Clap; Elbow
  Strike; Eye-Poke; Feint (Karate); Head Butt; Kicking; Knee
  Strike; Stamp Kick.
  Cinematic Skills: Power Blow; Pressure Points; Pressure
  Secrets; Push.
  Cinematic Techniques: Flying Jump Kick; Lethal Eye-
  Poke; Lethal Strike; Pressure-Point Strike.
  Perks: Biting Mastery; Style Adaptation (All); Technique
  Adaptation (Counterattack); Technique Adaptation (Feint).
  Optional Traits
  Advantages: Combat Reflexes; Fit or Very Fit.
  Disadvantages: Delusion (“Bruce could . . .”); Obsession
  (Perfect my martial art).
  Skills: Brawling; Flail; Running; Savoir-Faire (Dojo);
  Smallsword; Staff; Thrown Weapon (Shuriken); Wrestling.
  Techniques: Jump Kick.
  Perks: Off-Hand Weapon Training (Flail or Smallsword).
  STYLES
  165
  The stereotypical martial-arts uniform is the ubiqui-
  tous Japanese gi (slang for dogi). Worn by judoka and
  karateka, it consists of loose, string-drawn cotton pants
  and a wrap top, cinched with an obi (belt) denoting rank.
  The traditional gi is white, but many schools wear black,
  blue, or even multicolored gis – either for
  style (black became popular during the
  ninja-crazed 1980s) or for practical rea-
  sons (black doesn’t show stains!). Asian
  and Asian-derived styles often use the gi.
  Many other styles have trademark
  garb. Boxers wear shorts, sumotori wear
  a mawashi, wrestlers wear a singlet, and
  Tapak Sutji Pentjak Silat students wear
  a red uniform with yellow striping.
  There are countless other examples.
  Some Aikido, Aikijujutsu, and tradi-
  tional Japanese budo schools (teaching
  Kendo or Kyudo, for example) use the
  hakama, or split skirt. Worn over a nor-
  mal gi, this is split front and back to
  allow free movement of the legs.
  Kung fu schools often adopt the
  pajama-like silk shirt common in China,
  along with gi-like drawstring pants.
  These uniforms are likely to be brightly
  colored, not white or black. Most have
  sashes instead of belts.
  Mixed martial arts practitioners commonly wear
  shorts and gloves (women add a sport top) – the expected
  uniform in no-holds-barred matches. Typically, students
  train in shorts and t-shirts. Brazilian Jiu-jitsu stylists are
  a notable exception, usually training (and competing) in
  a gi, which they regard as an important part
  of their art.
  Modern schools emphasizing “street
  use” or self-defense often train in street
  clothes. Students of historical schools –
  especially in styles that teach skills
  meant for actual combat – also tend to
  wear day-to-day clothing, not a uni-
  form. This may be fairly uniform in
  nature, but such martial artists don’t
  change into special clothes to train!
  Uniforms in Combat: The crucial
  difference between fighting in and out
  of clothing – including uniforms and
  armor – is that nudity offers fewer
  handholds, making it easier to break
  free. If you’re naked or in a skin-tight
  outfit, you get +1 to break free. Increase
  this to +2 if sweaty (at least 1 FP lost to
  exertion or heat) or +3 if oiled (lasts for
  one fight and costs $2 per application).
  Elaborate garb, including traditional
  Japanese costume, has many hand-
  holds and gives -1.
  Martial-Arts Uniforms
  
  JUDO
  4 points
  Judo is a Japanese combative sport that focuses on grap-
  ples and throws. It was one of the first martial arts taught
  on a large scale in the West. It became popular in Europe in
  the 1920s and ’30s, and in America after World War II.
  Today, Judo is an Olympic sport that attracts competitors
  from around the world.
  While Judo evolved from Jujutsu (see below), it’s 
  definitely a sport. It concentrates on throws, not on locks or
  chokes, and has many modifications aimed at reducing the
  likelihood and severity of injuries. Judo doesn’t teach coun-
  ters to punches and kicks, either, and many moves that work
  well against another judoka (Judo player) on a mat would be
  dangerous at best in a real fight. Some schools use kata to
  walk through various throws and holds, and competitions
  often feature artistic displays of kata. Judo training isn’t gen-
  tle, though; competitive players use randori – a form of
  freestyle sparring – to prepare for matches.
  Judo was partly responsible for the Western myth that a
  small-but-skilled martial artist could defeat any foe, no mat-
  ter how large. In reality, many techniques legal in Judo
  matches depend as much on strength as on skill. Judo tour-
  naments have weight classes for a reason!
  If Judo has a body of larger-than-life lore, it’s the exotic
  techniques, strange abilities, and unlikely victories of weak
  over strong depicted in Western television and movies –
  notably in the 1960s – with no explanation other than “I
  know Judo!” Wildly inaccurate depictions sometimes even
  included “Judo strikes,” especially chops with the edge of
  the hand. The cinematic skills and techniques below assume
  that legends about the style’s founder and the movies’
  wildest claims are all true. Cinematic judoka should always
  buy Judo in addition to Judo Sport.
  Early Judo included a full repertoire of punches, kicks,
  and throws, and both standing and ground-fighting tech-
  niques. For this kind of Judo, use Jujutsu.
  Skills: Games (Judo); Judo Sport; Savoir-Faire (Dojo).
  Techniques: Arm Lock; Breakfall; Ground Fighting (Judo
  Sport).
  Cinematic Skills: Blind Fighting; Immovable Stance;
  Mental Strength; Power Blow; Pressure Points.
  Cinematic Techniques: Roll with Blow.
  Perks: Power Grappling; Technique Mastery (Judo
  Throw); Technique Mastery (Sacrifice Throw).
  Optional Traits
  Secondary Characteristics: Improved FP.
  Advantages: Fit or Very Fit; Hard to Subdue.
  Disadvantages: Delusions.
  Skills: Judo; Judo Art.
  Techniques: Choke Hold; Feint (Judo Sport).
  JUJUTSU
  Jujutsu originally referred to the unarmed fighting arts of
  Japan – and certain armed ones, too. Today, the term is com-
  monly associated with locks, holds, and throws. Like
  “karate” and “kung fu,” “jujutsu” is a broad label. It describes
  a variety of styles: ground-fighting schools that finish foes
  with chokes, stand-up throwing-and-locking styles, and strik-
  ing arts indistinguishable from Karate (pp. 169-172).
  “Jujutsu” no longer describes strictly Japanese styles,
  either. Brazilian Jiu-jitsu (pp. 167-168), for instance, origi-
  nated in South America after an expatriate Japanese instruc-
  tor introduced Judo (see left) and Jujutsu (see below) there.
  Several variants have been developed in the U.S., too.
  Below are two representative styles. See Aikijutsu (p. 149)
  and Aikido (p. 149) for some noteworthy forms of “jujutsu”
  that differ enough to merit separate treatment.
  Jujutsu
  3 points
  The style described below is a purely unarmed art; bushi
  would study it as part of a larger ryu (see Ryu, p. 12).
  Historical Jujutsu forms ranged from arts that focused on
  grapples and throws to “hard” styles that differed little from
  karate. This version is a mixed style that uses grappling and
  striking equally.
  Jujutsu is a very direct martial art. The fighter uses strikes
  to injure and weaken the enemy, followed by locks and
  throws to disable him or render him helpless. Kicks tend to
  be low-line. Other strikes target the vitals, neck, groin, and
  especially the face (a man in armor is usually least-armored
  there). Stylists train extensively at armored grappling tech-
  niques, known as kumi uchi. Locks, pins, and throws are
  much more effective than unarmed blows against an armor-
  clad adversary!
  Cinematic jujutsuka (Jujutsu fighters) use their knowl-
  edge of pressure points and vital areas to overcome their
  foes. They’re forceful and direct, using kiais and lethal
  attacks to stun and then slay opponents.
  Jujutsu styles often vary from the components listed
  below. Individual schools may add or subtract techniques.
  Today, Jujutsu usually omits weapons entirely, rarely if ever
  teaches tactics for use in armor, and emphasizes grappling
  over striking. Strikes are still a core tactic, but stylists use
  166
  STYLES
  The J-Word
  Jujutsu is the name of a traditional Japanese mar-
  tial art. It has seen several different transliterations
  over the centuries, but we favor “jujutsu” in Martial
  Arts. Many fighting styles – some only loosely con-
  nected Jujutsu (see below) – use variant spellings:
  jujitsu, jiu-jutsu, jiu-jitsu, and others. Whichever
  spelling one prefers in the Roman alphabet, all of
  these terms originate from the same kanji, or Chinese
  characters, in Japanese. Some specific usages:
  Jiu-jitsu: Used by the Gracie and Machado fami-
  lies for their Brazilian Jiu-jitsu styles, as well as by
  many American schools.
  Jiu-jutsu: A transliteration found in older sources
  but uncommon today.
  Jujutsu: The most common modern translitera-
  tion, used for the traditional art.
  
  them more to supplement or set up grapples than as primary
  attacks. Some modern schools still utilize weapons in train-
  ing, but mainly to teach how to defend against weapons, not
  how to use them.
  Skills: Judo; Karate.
  Techniques: Arm Lock; Back Kick; Disarming (Judo);
  Elbow Strike; Low Fighting (Judo or Karate); Targeted
  Attack (Karate Kick/Leg); Targeted Attack (Karate
  Punch/Face); Targeted Attack (Karate Punch/Neck).
  Cinematic Skills: Immovable Stance; Kiai; Mental
  Strength; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Hand-Clap Parry; Lethal Strike;
  Pressure-Point Strike.
  Perks: Armor Familiarity; Power Grappling; Sure-Footed
  (Uneven).
  Optional Traits
  Advantages: Combat Reflexes; Forceful Chi.
  Disadvantages: Duty.
  Skills:
  Broadsword; 
  Knife; 
  Savoir-Faire 
  (Dojo);
  Shortsword; Spear; Staff; Two-Handed Sword.
  Techniques: Ground Fighting (Judo or Karate).
  Brazilian Jiu-jitsu
  3 points
  The Gracie family developed Brazilian Jiu-jitsu (BJJ)
  during the early 20th century, after Japanese-born judoka
  and wrestler Maeda Mitsuyo taught them Judo and Jujutsu.
  Maeda and the Gracies created a style that emphasized
  ground fighting and technique over brute strength. The
  Gracies first exhibited their skills as part of a circus
  wrestling team, taking on fairground challengers. Over the
  decades, the Gracies stripped away techniques that they
  deemed inefficient and sharpened their focus on ne waza, or
  ground techniques.
  The Gracies became famous by issuing challenges to all
  comers, including world-champion boxers (none of whom
  accepted). They fought no-holds-barred matches called vale
  tudo (Portuguese for “anything goes”) to demonstrate their
  skills. In the early 1990s, an American form of vale tudo
  emerged – the “Ultimate Fighting Championship” – which
  gave the Gracies a venue in which to fight. They did well,
  with Royce Gracie capturing the first two titles and
  grappling-trained fighters dominating the UFC ever since.
  For more on no-holds-barred fighting, see Tournament
  Combat (pp. 134-135) and Mixed Martial Arts (p. 189).
  The Gracies – and their relatives, the Machado family –
  formed the core of BJJ. They later exported it to the U.S. and
  beyond. Other instructors have expanded the style, but at its
  heart it remains the ground fighting-heavy style of the
  Gracie family.
  Brazilian Jiu-jitsu’s philosophy is that most fights end up
  on the ground, so you might as well go there immediately
  and control the action once you hit the ground. BJJ stylists
  wait for an opening, and then “shoot” in and grapple (typi-
  cally an Attack or Committed Attack). They follow up with
  a takedown and then an Arm Lock, Choke Hold, or Leg
  Lock to force a submission. In a life-or-death struggle, a BJJ
  fighter would use a quick choke or a broken limb or two to
  disable his assailant.
  Some BJJ fighters like to set up submissions from the
  bottom, using the “guard” (lying face-up, with the adversary
  on top and usually between their legs). Others seek the
  “mount” (kneeling or crouching on an opponent who’s
  prone or lying face-up), fighting from the top and passing
  their rival’s guard. Stylists learn locks, chokes, and defenses
  for use in either situation. A few forms of BJJ add strikes, but
  it’s more common for BJJ practitioners to cross-train in
  another style if they desire striking skills. BJJ stylists are
  famously patient, often pinning a foe and slowly working
  into position for a fight-winning lock.
  STYLES
  167
  Bartitsu
  4 points
  Bartitsu was developed by E.W. Barton-Wright in
  the late 1890s. Barton-Wright based his style heavily
  on Jujutsu (pp. 166-168) but added moves from
  Boxing (pp. 152-153), no-holds-barred Wrestling
  (pp. 204-206), Victorian Singlestick (p. 157), and
  even fencing for good measure. The art became
  famous when Sir Arthur Conan Doyle revealed
  Sherlock Holmes to be a practitioner (and 
  misnamed it “Baritsu”).
  Barton-Wright turned to public exhibitions to
  attract students, disgusting and driving off his
  Japanese partner in the dubious venture. His demon-
  strations were as much about showmanship and feats
  of strength as actual fighting methods. He made
  grandiose claims of Bartitsu’s effectiveness against all
  opponents in all circumstances.
  Some of Bartitsu’s techniques were questionable
  and likely more dangerous to the user than to his
  opponent if done vigorously; the GM could add these
  as useless techniques (p. 95). Risky Committed and
  All-Out Attacks were common. Still, the core form
  was a combative Jujutsu style, and some of the added
  techniques were valuable to a pragmatic fighter. A styl-
  ist who can’t distinguish the dangerous moves from
  the functional ones would qualify for a Delusion!
  The components below assume a functional art. A
  harshly realistic take would replace all combat skills
  with Combat Sport skills. In our world, Bartitsu
  attracted few students, but in a cinematic Victorian
  setting it might be a thriving style with functional
  combat abilities and cinematic skills.
  Skills: Brawling; Hobby Skill (Feats of Strength);
  Judo.
  Techniques: Arm Lock; Head Butt; Head Lock;
  Knee Strike.
  Cinematic Skills: Immovable Stance; Power Blow;
  Push.
  Perks: Power Grappling.
  Optional Traits
  Advantages: Fearlessness.
  Disadvantages: Delusions; Overconfidence.
  Skills: Boxing; Broadsword; Cloak; Lifting;
  Performance; Running; Smallsword; Stage Combat;
  Wrestling.
  
  Brazilian Jiu-jitsu is a relatively new art without a mysti-
  cal background. Nevertheless, some cinematic skills fit the
  more hyperbolic descriptions of its effectiveness!
  Skills: Judo; Wrestling.
  Techniques: Arm Lock; Breakfall; Choke Hold; Ground
  Fighting (Judo or Wrestling); Leg Grapple; Leg Lock; Leg
  Throw; Low Fighting (Judo or Wrestling); Lower-Body Arm
  Lock; Lower-Body Head Lock; Lower-Body Leg Lock;
  Scissors Hold; Triangle Choke; Trip.
  Cinematic Skills: Blind Fighting; Pressure Points.
  Cinematic Techniques: Roll with Blow.
  Perks: Ground Guard; Power Grappling; Technique
  Adaptation (Ground Fighting); Technique Adaptation (Low
  Fighting).
  Optional Traits
  Secondary Characteristics: Improved FP.
  Advantages: Enhanced Dodge; Enhanced Parry (Bare
  Hands); Fit or Very Fit; Hard to Subdue; Language
  (Portuguese).
  Disadvantages:
  Bully; Overconfidence; Reputation
  (Always goes for the takedown after a grapple).
  Skills: Brawling; Karate; Savoir-Faire (Dojo).
  KAJUKENBO
  3 points
  Kajukenbo is a “fusion” martial art, founded in Hawaii in
  1947 by a mixed group of martial-arts instructors. They cre-
  ated a street-ready system to use in the bars and streets of
  the rough neighborhood in which they lived. The first class-
  es didn’t use padded floors or mats. Injuries were very com-
  mon among early students! By 1950, Kajukenbo had a
  dozen schools and had spread to the mainland. Today, it’s
  taught across America and Europe.
  “Kajukenbo” is an acronym describing its constituent
  arts: “ka” for (Korean) Karate, “ju” for Judo and Jujutsu,
  “ken” for Kenpo, and “bo” for Boxing – both Chinese
  (Chu’an-fa kung fu) and American. Several other systems –
  including native Hawaiian arts and Escrima – inform the
  style as well. The founders’ real-world experience in fre-
  quent street fights is also clearly visible in Kajukenbo’s
  teachings.
  Kajukenbo is truly a fusion of both techniques and tra-
  ditions. It uses the high-line kicks of Korean martial arts,
  the throws and grapples of Judo and Jujutsu, and the hand
  strikes of Kenpo, Chu’an-fa, and Boxing. Its low-line kicks
  also come from kung fu. It mixes Japanese and Chinese
  ranking systems: students progress through kyu and dan
  ranks, but upper dans wear red belts, not black ones.
  Teachers are called sifu. Despite its tough nature, it’s some-
  times known as a Christian martial art, as its founders
  stressed the importance of family and faith, and opened
  practice sessions with prayer.
  Kajukenbo is above all a streetfighting style. It uses
  Hammer Fist to prevent hand injury and low-line kicks to
  the legs and groin to avoid Leg Grapples. Deep stances are
  common, with the stylist planting his feet to avoid being
  moved out of position. Fighters practice freestyle follow-ups
  to finish a fallen adversary, including stomps and kicks to
  the vitals, head, kidneys, and spine of a foe curled up to ward
  off blows. They also learn to pile on attack after attack to finish
  an enemy who tries to flee.
  Kajukenbo teaches a full range of attacks but emphasizes
  aggressive ones. The stylist resorts to All-Out Defense or
  Defensive Attack only if he can’t find an opening, and once his
  enemy is injured or stunned, he rains down attacks using
  Committed Attack and All-Out Attack (often Double or Strong).
  Throws and locks follow parries, and aim to put the victim in
  a position for follow-up strikes; for instance, a grappled arm or
  leg immediately becomes the target of attacks intended to
  break it. Fighters use Exotic Hand Strike (in the form of clawed
  fingers) to gouge and rip foes after grabbing them.
  Kajukenbo also stresses “clearing” an area – that is, check-
  ing for remaining hostiles. This became part of the system after
  one of the founders defeated a foe in front of him in a barroom
  brawl . . . and was stabbed in the kidney from behind.
  Practitioners are taught to sidestep away from a fallen enemy
  and then step back while turning around, checking in all direc-
  tions for anyone who might want to backstab them. In game
  terms, Kajukenbo fighters should turn around and Wait after
  dispatching an adversary.
  Like many modern arts, Kajukenbo has no body of leg-
  endary techniques. It does have a lineage of other martial arts
  with such legends. The cinematic skills below reflect these par-
  ent styles.
  Several offshoot schools exist. Some are “softer” and rely
  more on parries followed by throws and locks. Others are hard
  styles. They’re all close enough for the components below to
  cover them.
  Skills: Judo; Karate.
  Techniques: Arm Lock; Elbow Strike; Exotic Hand Strike;
  Hammer Fist; Kicking; Leg Grapple; Stamp Kick; Sweep
  (Karate).
  Cinematic Skills: Immovable Stance; Power Blow.
  Cinematic Techniques: Lethal Kick; Timed Defense.
  Perks: Neck Control (Karate); Special Exercises (DR 1 with
  Tough Skin).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: Combat Reflexes; Danger Sense.
  Disadvantages: Bloodlust; Sense of Duty (Kajukenbo
  schools).
  Skills: Boxing; Brawling; Carousing; Observation; Savoir-
  Faire (Dojo); Streetwise; Wrestling.
  KALARIPAYIT
  14 points
  Kalaripayit – sometimes Kalaripayattu (“place of exercise
  training”) – is a term for the traditional weapon-and-wrestling
  form of Kerala, India. The art as practiced today dates to the
  9th century A.D., but India had similar forms of armed and
  unarmed combat long before that. Legend has it that the
  founder of the Kerala state also founded the first kalari (place)
  for teaching the fighting arts. It’s more probable that
  Kalaripayit evolved from the weapon and wrestling practices of
  the warriors of the local villages. Many sub-styles of Kalaripayit
  exist. These resemble the style presented here in most respects.
  168
  STYLES
  
  Kalaripayit starts with weapons training and phases in
  unarmed combat for advanced students. Before the begin-
  ner learns any combat skills, though, he must pre-
  pare mentally and physically with meditation,
  massage, and yoga-like poses intended to build
  strength and clear the mind. Only then is he
  taught the staff, muchan (baton), and otta
  (curved club). After several years, he progress-
  es to advanced weapons: knife, gada (two-
  handed mace), broadsword, shield, spear, and
  finally urumi (whip-sword). Before the advent
  of gunpowder, this list included the bow, too.
  Once the student masters these skills, he learns
  striking and grappling.
  Advanced fighters go on to study marma (see
  box): the art of using special strikes to particular
  vital points to kill enemies. Masters learn a series of mantras
  capable of affecting the world. When spoken, these words of
  power enhance the guru’s power, grant the abilities of
  totemic animals, heal, or smite foes. In a game where magic
  works, Kalaripayit masters are likely to be wizards who spe-
  cialize in the Body Control and Healing colleges, and in the
  shapeshifting spells of the Animal College. Mantras are one
  of the style’s deep secrets, taught to selected students; reveal-
  ing them is said to weaken their power.
  Kalaripayit teachings are closely tied to Hindu beliefs. In
  a historical campaign, only Hindu PCs are likely to receive
  training. Legend tells of several women who achieved great
  reputations as Kalaripayit instructors, so female stylists
  might well be historically accurate! In recent times, Indian
  expatriates have started teaching Kalaripayit in such places
  as the United Kingdom, making it available to anyone who
  cares to learn, Hindu or not.
  Skills: 
  Axe/Mace; 
  Broadsword; 
  Karate; 
  Knife;
  Meditation; Shield; Shortsword; Spear; Staff; Theology
  (Hinduism); Two-Handed Axe/Mace; Whip; Wrestling.
  Techniques: Arm Lock; Elbow Strike; Knee Strike; Low
  Fighting (Any).
  Cinematic Skills: Body Control; Mental Strength;
  Pressure Points; Pressure Secrets.
  Cinematic Techniques: Pressure-Point Strike; Roll with
  Blow.
  Perks: Unusual Training (Pressure Points).
  Optional Traits
  Advantages: Magery.
  Disadvantages: Duty (To instructor); Sense of Duty
  (India); Vow (Do not reveal the secret of the mantras).
  Skills: Esoteric Medicine; Physiology; Savoir-Faire
  (Dojo); spells.
  KARATE
  The term “karate” and most of the styles it describes are
  20th-century constructs. Regarded as the quintessential
  Japanese martial art, Karate is Okinawan in origin –
  Funakoshi Gichin (p. 23) brought it to Japan in the early
  20th century. In 1933, Japan recognized karate-do as an offi-
  cial martial-arts ryu (school). Its precursor was an art called
  Te, or “hand.” Te, in turn, owed much to the Chinese martial
  arts.
  Originally, the kanji characters for “karate” were those for
  “Chinese” and “hand.” In the 1920s, Funakoshi and his fellow
  sensei replaced the kanji for “Chinese”
  with that for “empty,” both pro-
  nounced “kara.” This changed
  “karate” from “Chinese hand” to
  “empty hand,” emphasizing use over
  origin. These early masters also
  adapted many Karate terms from
  Okinawan to Japanese.
  Karate – despite its practitioners’
  reputation in the popular mind – is a
  -do form. Its techniques are designed
  as much for safe sparring and kata as
  for combat utility. Karate can be effec-
  tive in a fight, but it’s primarily a sport.
  There are combat-oriented Karate schools that teach full-
  contact martial arts, but few dojos break free of the artistic kata
  and low-contact sparring which characterize the art.
  Below is a small sampling of important Karate styles, both
  Japanese and Okinawan. This list is far from exhaustive – there
  are dozens of other styles, and the instructors of many styles
  have developed further variations. Major styles not discussed
  here include Chito Ryu, Shito Ryu, Shorin Ryu, Uechi Ryu, and
  Wado Ryu. The GM can safely use the styles described here as
  guidelines when expressing these other arts in game terms.
  Te
  3 points
  The various forms of Te – sometimes called Di – were
  Karate’s Okinawan precursors, and included Naha Te, Shuri Te,
  and Tomari Te. Developed while weapons were banned, Te was
  strictly an unarmed art; for Okinawan weapons training, see
  Kobujutsu (p. 178). Te was brutal and combat-oriented. It was
  taught informally, had neither a ranking system nor a uniform,
  and made few distinctions between styles. The master taught
  techniques and kata at his discretion rather than in a set order.
  STYLES
  169
  Jutte
  Marma
  Marma is the Indian study of pressure points. It’s
  a closely guarded secret, passed along only to the
  most advanced students of Kalaripayit (pp. 168-169).
  Marma’s claims and methods are identical to those of
  other martial arts that use pressure points.
  Marma is a subset of Kalaripayit, not studied
  alone. Only Kalaripayit stylists can learn Pressure
  Points from a marma master. Furthermore, because
  marma teaches how to both heal and kill, stylists who
  study Pressure Points must learn Esoteric Medicine
  and Physiology, too.
  Some sources claim that marma techniques exist
  for tigers, elephants, and other animals. If the GM
  wishes, marma practitioners can avoid the penalties
  in Physiology Modifiers (p. B181) by buying a Style
  Perk for each animal they’ve studied. Veterinary is an
  appropriate optional skill for such characters.
  
  Te stresses deflecting an incoming attack and then
  launching a strong counterattack. The goal is to finish the
  fight with a single blow – either a killing punch or kick, or
  an incapacitating pressure-point strike. Stylists use
  Aggressive Parry to ward off an enemy’s attack, and then fol-
  low up with a disabling or lethal attack. Committed Attack
  (Strong) is common, and blows often target the vitals, neck,
  or skull.
  Many Te masters went on to found Karate schools, but
  almost none passed on pure Te. Today, training in Te is near-
  ly impossible to find – the GM could reasonably require a
  modern PC to have an Unusual Background if he wishes to
  know Te. This rarity makes Te an excellent “ultimate style”
  (see Ultimate Styles, p. 144).
  Skills: Judo; Karate.
  Techniques: Aggressive Parry; Back Kick; Counterattack
  (Karate); Elbow Strike; Exotic Hand Strike; Hammer Fist;
  Kicking; Knee Strike; Leg Grapple; Sweep (Karate);
  Targeted Attack (Karate Exotic Hand Strike/Vitals);
  Targeted Attack (Karate Kick/Vitals); Targeted Attack
  (Karate Punch/Neck).
  Cinematic Skills: Breaking Blow; Immovable Stance;
  Kiai; Mental Strength; Power Blow; Pressure Points;
  Pressure Secrets.
  Cinematic Techniques: Dual-Weapon Attack (Karate);
  Lethal Kick; Lethal Strike; Pressure-Point Strike; Targeted
  Attack (Lethal Kick/Vitals); Targeted Attack (Lethal
  Strike/Vitals).
  Perks: Iron Body Parts (Any); Special Exercises (Striking
  ST +1); Unusual Training (Breaking Blow, Only vs. well-
  braced objects out of combat).
  Optional Traits
  Advantages: Combat Reflexes; High Pain Threshold;
  Languages (Japanese, Okinawan).
  Disadvantages:
  Reduced 
  Appearance; 
  Unnatural
  Features (Gnarled knuckles from iron-hand training).
  Skills: Any weapon skill under Kobujutsu (p. 178); Parry
  Missile Weapons; Savoir-Faire (Dojo).
  Shotokan
  4 points
  Shotokan Ryu is the Karate school founded by
  Funakoshi Gichin (p. 23). It’s named for the pseudonym he
  used when writing poetry: Shoto (“Pine Wave”). Funakoshi
  led the relocation of Karate to Japan, and today his school
  is one of the world’s largest Karate organizations. Many
  Karate schools worldwide teach either Shotokan or a style
  based on it.
  In Shotokan as in most traditional Karate styles, the
  karateka learns to defend and then counterattack, and
  launches each technique with the intention of disabling his
  adversary in a single blow. At the start of the fight, he uses
  Evaluate to size up his foe or All-Out Defense to ensure a
  successful defense. After stopping the initial attack, he hits
  back with a strong blow, typically a punch or a kick aimed
  at the head, neck, or torso. Attacks to the limbs are less fre-
  quent. Shotokan uses a lot of feints, and an alternating
  series of Feints and Attacks – plus the rare All-Out Attack
  (Feint) – is a common rhythm, with the fighter stringing
  together techniques until his opponent fails to defend.
  Shotokan stresses kata and preset pattern drills.
  Freestyle sparring is uncommon. In competition, scoring is
  for techniques stopped just short of contact, and there are
  limits on the number of consecutive attacks that contenders
  can launch. However, the style retains much of its Te core.
  Students drill hard in its techniques, practicing them
  against makiwara (p. 233) and using them in tameshiwari
  (breaking). Thus, the art remains valid for self-defense.
  Funakoshi didn’t believe in chi powers and often
  debunked or refuted wilder claims about the martial arts.
  Nevertheless, after his death, some adherents attributed
  amazing capabilities to him. Cinematic Shotokan stylists
  might possess several chi abilities and be able to pull off
  such showy tricks as using tameshiwari against active,
  resisting foes.
  Funakoshi placed great emphasis on the peaceful nature
  of karate-do. Even when he recounted using Karate in cir-
  cumstances that most would deem justified self-defense, he
  felt that he had overreacted and used too much force.
  Karateka who emulate Funakoshi and adhere to his teach-
  ings might have Pacifism (Self-Defense Only).
  Skills: Karate; Karate Art; Savoir-Faire (Dojo).
  Techniques: Back Kick; Elbow Strike; Exotic Hand
  Strike; Feint (Karate); Hammer Fist; Jump Kick; Kicking;
  Knee Strike; Spinning Kick; Stamp Kick.
  Cinematic Skills: Breaking Blow; Immovable Stance;
  Kiai; Mental Strength; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Lethal Kick; Lethal Strike;
  Pressure-Point Strike.
  Perks: Clinch (Karate); Technique Adaptation (Feint);
  Unusual Training (Breaking Blow, Only vs. well-braced
  objects out of combat).
  Optional Traits
  Advantages: Language (Japanese); Reputation (Student
  of Funakoshi, from all karateka).
  Disadvantages: Pacifism (Self-Defense Only).
  Skills: Any weapon skill under Kobujutsu (p. 178); Games
  (Karate); Judo Sport; Karate Sport; Parry Missile Weapons.
  Goju Ryu
  5 points
  Chojun Miyagi founded Goju Ryu in the 1920s after
  studying under Higaonna Kanryu, a noted master of Naha
  Te and Chinese kung fu. Miyagi further pursued both Te and
  kung fu, and developed his own Karate style. He formally
  named it “goju,” or “hard and soft,” in 1927.
  Goju Ryu’s philosophical base is strongly linked to
  Chinese Taoism. Some of its kata originated with kung fu
  forms. The style heavily emphasizes deep-breathing tech-
  niques, slow kata done with surface muscle contraction, and
  strong stances.
  Goju Ryu stylists usually fight from a strong, defensive
  stance. They avoid meeting force with force; instead, they
  attempt to avoid the enemy’s attack and retaliate with a
  strong counter. Despite this, Goju Ryu’s strong stances and
  training at absorbing blows without shifting from a stance
  make it an effective linear style. Many of its parries are
  170
  STYLES
  
  meant to injure the attacker as much as defend. Like all
  Karate styles, Goju Ryu seeks to defeat the enemy with a sin-
  gle, decisive blow. Fighters make extensive use of the Wait
  and All-Out Defense maneuvers, and then strike back with
  an Attack or Committed Attack (Strong) aimed at a vital
  location.
  Today, Goju Ryu is widespread. However, many modern
  dojos – especially in the U.S. and Europe – have largely dis-
  carded its internal teachings and concentrate solely on its
  hard, external training. Schools often teach a variety of
  Okinawan weapons in addition to unarmed fighting.
  Skills: Breath Control; Karate; Karate Art; Savoir-Faire
  (Dojo).
  Techniques: Aggressive Parry; Back Kick; Elbow Strike;
  Exotic Hand Strike; Hammer Fist; Kicking; Knee Strike;
  Spinning Kick; Targeted Attack (Karate Exotic Hand
  Strike/Vitals); Targeted Attack (Karate Kick/Vitals).
  Cinematic Skills:
  Body Control; Breaking Blow;
  Immovable Stance; Kiai; Power Blow; Pressure Points;
  Pressure Secrets.
  Cinematic Techniques: Dual-Weapon Attack (Karate);
  Lethal Kick; Lethal Strike; Targeted Attack (Lethal
  Kick/Vitals); Targeted Attack (Lethal Strike/Vitals).
  Perks: Clinch (Karate); Iron Hands; Special Exercises
  (DR 1 with Tough Skin); Unusual Training (Breaking Blow,
  Only vs. well-braced objects out of combat).
  Optional Traits
  Advantages: Language (Japanese); High Pain Threshold.
  Disadvantages: Disciplines of Faith.
  Skills: Any weapon skill under Kobujutsu (p. 178); Games
  (Karate); Parry Missile Weapons.
  Isshinryu
  4 points
  Shimabuku Tatsuo, an expert in Shorin Ryu and Goju
  Ryu, founded Isshinryu (meaning “one heart, one mind”) in
  1954. A student of Chojun Miyagi, Shimabuku broke from
  his parent styles and formed his own after his teacher’s
  death. Many of the differences had to do with his personal
  philosophy, which he expected his students to learn and
  follow.
  Isshinryu diverges from most other Karate styles in
  action as well. The most visible distinction is that while
  karateka generally corkscrew their fist into the horizontal
  when punching, Isshinryu fighters keep their knuckles ver-
  tical. They throw shorter strikes, too, “snapping” out punch-
  es and then retracting them quickly. Other differences
  include less stress on high-line kicks in favor of kicks that
  aren’t as vulnerable to a Leg Grapple, and a preference for
  multiple, quick strikes over a single, disabling blow.
  Isshinryu karateka fight in close, and favor punches and
  short-range kicks over showier, longer-ranged attacks. They
  often use Combinations, Rapid Strikes, and Dual-Weapon
  Attacks. When kicking, they prefer targets below the waist.
  All of these strikes are more likely to be Defensive Attacks or
  Attacks than Committed Attacks or All-Out Attacks. Stylists
  usually use punches to fight their way out of a standing
  grapple.
  There are Isshinryu schools the world over. Finding an
  Isshinryu dojo in the U.S. isn’t difficult.
  Skills: Karate; Karate Art; Savoir-Faire (Dojo).
  Techniques: Aggressive Parry; Back Kick; Elbow Strike;
  Exotic Hand Strike; Feint (Karate); Hammer Fist; Kicking;
  Knee Strike; Spinning Kick.
  Cinematic Skills: Kiai; Mental Strength; Pressure Points;
  Pressure Secrets.
  Cinematic Techniques: Dual-Weapon Attack (Karate);
  Pressure-Point Strike.
  Perks: Clinch (Karate); Rapid Retraction (Punches);
  Unusual Training (Breaking Blow, Only vs. well-braced
  objects out of combat).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: Language (Japanese); Peripheral Vision.
  Disadvantages: Overconfidence.
  Skills: Any weapon skill under Kobujutsu (p. 178); Games
  (Karate); Judo.
  Techniques: Leg Grapple.
  Kyokushin
  4 points
  Mas Oyama (p. 24), a student of Funakoshi Gichin
  (p. 23), founded Kyokushin in the late 1950s. He greatly
  emphasized physical toughness and hissatsu: one shot, one
  kill. His style reflects this, and teaches a traditional “block
  hard, then counter” approach. Students learn to parry an
  incoming attack firmly and retaliate with a single strike
  capable of incapacitating the opponent. Alongside power
  they learn control. In training, they attack just short of their
  partner to avoid injury.
  Kyokushin stylists often use Committed Attack to follow
  up a successful parry. They target the head, neck, groin, and
  other vital areas to end the fight in a single blow. Punches to
  the skull typically use Hammer Fist. Fighters rarely retreat
  to avoid attacks. Rather than give ground, they punish their
  opponent with an Aggressive Parry and then follow it with a
  finishing technique – often an All-Out or Committed Attack
  (Strong).
  Kyokushin tournaments don’t allow punches to the head
  (kicks are allowed), so athletes who practice this style some-
  times leave their face poorly protected or don’t bother to
  strike the head. Another weakness is minimal grappling
  training. The usual response to a grapple is to seize the
  assailant – using plain DX or the Clinch perk – and batter
  him into letting go.
  Training in Kyokushin emphasizes tameshiwari (break-
  ing), full-force attacks, and “toughening” exercises that
  involve breaking objects over the student. Even in a realistic
  game, students can purchase Style Perks that increase their
  ability to dish out and take damage. In a cinematic cam-
  paign, advanced fighters have access to the fantastic abili-
  ties attributed to Mas Oyama. They’ll stand their ground in
  the face of any adversary (human or otherwise!) and smash
  down foes using a single strike – or merely shock them into
  submission with a well-timed kiai! Those interested in play-
  ing a PC like this need look no further than Mas Oyama’s
  own life for roleplaying tips.
  STYLES
  171
  
  Kyokushin attracted many students at its inception and is
  still widely taught today. Its full-contact sparring and tourna-
  ments, emphasis on tameshiwari competitions, and strenuous
  belt tests are well-known in martial-arts circles. These things
  have made the style famous for producing tough, contest-
  hardened martial artists. Kyokushin schools are found
  worldwide.
  Skills: Karate; Karate Sport; Savoir-Faire (Dojo).
  Techniques: Aggressive Parry; Axe Kick; Back Kick; Elbow
  Strike; Exotic Hand Strike; Hammer Fist; Head Butt; Jump
  Kick; Kicking; Knee Strike; Spinning Kick; Stamp Kick.
  Cinematic Skills: Breaking Blow; Immovable Stance; Kiai;
  Mental Strength; Power Blow; Pressure Points; Pressure
  Secrets.
  Cinematic Techniques: Lethal Kick; Lethal Strike; Pressure-
  Point Strike.
  Perks: Clinch (Karate); Iron Hands; Special Exercises (DR 1
  with Tough Skin); Special Exercises (Striking ST +1); Unusual
  Training (Breaking Blow, Only vs. well-braced objects out of
  combat).
  Optional Traits
  Advantages: Combat Reflexes; High Pain Threshold;
  Language (Japanese); Reputation (Kyokushin student, from
  all karateka).
  Disadvantages:
  Overconfidence; Reputation (Throws
  punches to the body, kicks to the head).
  Skills: Breath Control; Hobby Skill (Feats of Strength);
  Judo; Parry Missile Weapons.
  KEMPO
  7 points
  Kempo, sometimes spelled Kenpo, is a Japanese striking art
  with origins in China. In popular usage, “kempo” – like
  “karate” and “kung fu” – is occasionally a generic term for all
  Chinese and Japanese striking arts. Here it refers specifically
  to Shorinjikempo: the Shaolin Kung Fu-based style founded in
  1947 by Doshin So.
  Shorinjikempo teaches hard-style strikes similar to those of
  modern Karate (pp. 169-172) combined with soft-style grap-
  ples and throws akin to those of Aikijutsu (p. 149). It puts artis-
  tic kata on an equal footing with combat techniques and
  expects students to learn its underlying philosophy alongside
  its fighting methods. Doshin So founded Shorinjikempo to
  teach both martial arts and Buddhist philosophy, which he felt
  was lacking in postwar Japan. The goal of its training is to
  make the student a peaceful, better person in harmony with
  Buddhist principles.
  Unlike karateka, who usually twist their fist into the hori-
  zontal plane when punching, Kempo stylists throw vertical
  punches. Kempo shares Karate’s practice of aiming strikes at
  vital locations, however – indeed, cinematic masters often
  raise their Pressure Points skill to extraordinary levels. Kempo
  fighters train to parry their attacker and then counter with a
  punch, kick, or throw. A common follow-up to a grapple or a
  Judo parry is an Arm Lock, with the usual goal being not to
  injure the victim but to cause him pain and then exploit his
  shock by attempting an immediate throw or takedown.
  Practitioners integrate all of these responses seamlessly, flow-
  ing back and forth between striking and grappling as they
  counter their opponent’s actions.
  172
  STYLES
  Belts and Grading
  In the popular imagination, a “black belt” is a
  martial-arts master. In reality, not all black belts are
  masters and not all arts use colored belts – or have any
  ranking system. Even in styles that use belts, the black
  belt doesn’t mark the end of instruction: a black-belt
  student has mastered the basics and is ready for true
  apprenticeship. If his style is combative, he might be
  extremely tough. If his style is artistic, he might be less
  capable in a fight than the average brawler!
  A widespread origin myth for the black belt sug-
  gests that a novice received a white belt. When he had
  learned enough to be deemed a master, the belt would
  be so dirty that it was black. This is at best unverifiable.
  What is verifiable is that today’s familiar colored-
  belt system was invented for Judo (p. 166) by founder
  Jigoro Kano. The rankings in that system were: white
  (6th through 4th kyu), brown (3rd through 1st kyu),
  black (1st through 5th dan), red-and-white (6th
  through 8th dan), and solid red (9th and 10th dan).
  Later, 10th dan was changed to white. The rankings
  didn’t stop at 10th dan, but no one was ever promoted
  higher. In this system, one says the ranking’s number
  first, then its name; for instance, 4th kyu is yonkyu and
  4th dan is yondan. In English, “dan” becomes “degree”;
  e.g., a 10th dan is a “10th-degree black belt.” Kyu rank-
  ings are usually known only by color.
  When Te (pp. 169-170) came to Japan and became
  Karate, it adopted Judo’s ranking system. Funakoshi
  Gichin created the first karate-do black belts in 1924.
  Today, Karate (pp. 169-172) and Tae Kwon Do (p. 200)
  use similar systems, but with 10 kyu ranks and 10 dan
  ranks; belt colors vary considerably. Kendo (p. 175)
  doesn’t use belts, but has eight kyu and eight dan ranks.
  Chinese systems use sashes instead of belts, and the top
  color is red or gold. The only generalization one can
  make about other Asian styles is that the top and bot-
  tom ranks are black and white – usually. Outside Asia,
  sport styles typically have ranking systems based on
  belts or colored patches (e.g., Brazilian Jiu-jitsu and
  sport Sambo), fighting record (e.g., Boxing, Wrestling,
  and mixed martial arts), or a combination of the two
  (e.g., Savate).
  Things were quite different before modern times. In
  the Japanese arts, instructors in each ryu issued teach-
  ing certificates, awarding grades that denoted how
  advanced and respected the teacher was. The chosen
  head of the ryu held the highest rank. Chinese martial
  arts used a similar system, with a letter from an
  instructor testifying to his student’s skill. In historical
  Europe, the Masters of Defence (p. 17) had a grading
  system similar to that of trade guilds: “apprentice,”
  “journeyman,” and finally “master.” A would-be master
  had to acquit himself with any combination of
  weapons in a public test by other masters.
  A great many historical and modern arts have no
  formal ranking system. Each school ranks its students
  by seniority. Instructors either receive teaching permis-
  sion from their peers on an ad hoc basis or are entire-
  ly self-proclaimed.
  
  Shorinjikempo includes weapons training for very
  advanced students – although few actually receive it.
  Weapons include the staff, baton, and yawara (p. 226).
  Until recently, Kempo’s official symbol was the omote
  manji: a counterclockwise swastika traditionally used in
  Buddhism to denote the location of temples. Decades of dif-
  ficulty in persuading outsiders that this swastika was in no
  way connected to Nazism eventually took its toll, however.
  In 2005, Kempo changed its symbol to a pair of interlinked
  circles set in a four-pointed badge.
  Kempo schools vary greatly in their teachings. Some
  proffer kung fu variants modified to incorporate elements of
  Jujutsu (pp. 166-168) and Karate. Others teach Karate or
  kung fu forms that are only nominally Kempo. There are
  even Christian schools that offer a style very similar to
  Shorinjikempo but with Christian prayers replacing
  Buddhist rituals.
  Skills: Breath Control; Judo; Karate; Karate Art;
  Philosophy (Buddhism); Savoir-Faire (Dojo).
  Techniques: Arm Lock; Back Kick; Breakfall; Elbow
  Strike; Kicking; Knee Strike; Spinning Kick.
  Cinematic Skills: Body Control; Immovable Stance;
  Mental Strength; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Pressure-Point Strike.
  Perks: Special Setup (Karate Parry > Judo Throw).
  Optional Traits
  Advantages: Language (Japanese).
  Disadvantages: Disciplines of Faith; Pacifism (Self-
  Defense Only).
  Skills: Judo Art; Shortsword; Staff.
  KENJUTSU
  3 points
  Kenjutsu is the art of the Japanese longsword, or katana.
  The katana held a privileged place for the samurai class – it
  was said to house its owner’s soul. Its manufacture was a
  mystical ritual that combined metallurgical skill with a
  strong sense of aesthetics. It and the fighting methods used
  with it have become legendary.
  Samurai most often wielded the katana in two hands,
  and the style described here favors two-handed methods.
  The blade was balanced well enough for one-handed use,
  though, and there were schools that weighted one- and two-
  handed use more evenly. These would feature more
  Broadsword techniques.
  Kenjutsu places much emphasis on the cut. Fighters
  learn to thrust but usually use their sword for deep slashes.
  Likewise, while Kenjutsu teaches a full range of parries, it
  isn’t a defensive art. Stylists commonly make Committed
  and All-Out Attacks. The classic Kenjutsu tactic is to dash
  the opponent’s blade out of line with a Beat (pp. 100-101)
  and then finish him with a cut. Ultimately, Kenjutsu is a
  highly aggressive style.
  Kenjutsu training uses the bokken (wooden sword). This
  is safer than a bare blade, but severe injuries can – and did
  – occur during practice. Musashi Miyamoto (pp. 21-22) felt
  that the bokken was deadlier than the katana, and used it or
  improvised substitutes to fight lethal duels.
  When it comes to legends about weapons and their
  wielders’ abilities, the katana and Kenjutsu have few rivals.
  In a cinematic game, nearly any skill or technique that could
  conceivably work with a sword should be available to one
  ryu or another. A few schools reputedly taught how to throw
  either the katana or the wakizashi (shortsword) as a secret
  tactic of last resort!
  Secret methods needn’t be cinematic, however.
  Historically, Kenjutsu was only part of a particular ryu (see
  Ryu, p. 12). Warriors normally studied the katana alongside
  the other weapons in the samurai arsenal. Kenjutsu ryuha
  were unusually numerous, though – there were more than
  700 during the Tokugawa era! The differences between
  them were typically minute and only distinguishable by
  advanced practitioners, but many schools were rivals that
  keenly guarded secret techniques from one another. Thus, a
  realistic ryu would probably teach only a subset of the tech-
  niques from the extremely complete list below – stressing
  some moves over others – while possibly adding optional
  (“secret”) components.
  Today, Kenjutsu schools are extremely rare. Would-be
  students must typically seek out instruction in Japan. Kendo
  (p. 175) is far more common.
  Korean swordsmen use a weapon very similar to the
  katana, called the jang gum. Korean sword arts are nearly
  identical to Kenjutsu in game terms, and should use the
  components listed below. They’re less likely to offer Fast-
  Draw or techniques for two-sword fighting, though, and
  practitioners make jumping attacks (treat as Committed or
  All-Out Attacks) more often.
  Skills: Broadsword; Two-Handed Sword.
  Techniques: 
  Back 
  Strike 
  (Two-Handed 
  Sword);
  Counterattack (Two-Handed Sword); Feint (Broadsword or
  Two-Handed Sword); Targeted Attack (Two-Handed Sword
  Swing/Arm); Targeted Attack (Two-Handed Sword
  Swing/Neck); Targeted Attack (Two-Handed Sword
  Swing/Skull); Targeted Attack (Two-Handed Sword
  Thrust/Neck); Targeted Attack (Two-Handed Sword
  Thrust/Vitals).
  Cinematic Skills: Blind Fighting; Flying Leap; Immovable
  Stance; Kiai; Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Defense (Two-
  Handed Sword); Timed Defense (Two-Handed Sword);
  Whirlwind Attack (Two-Handed Sword).
  Perks: Grip Mastery (Katana).
  Optional Traits
  Advantages: Combat Reflexes; Language (Japanese);
  Weapon Master (Katana).
  Disadvantages: Code of Honor (Bushido); Duty.
  Skills: Armoury; Breath Control; Broadsword Art; Fast-
  Draw (Sword or Two-Handed Sword); Meditation;
  Philosophy 
  (Zen 
  Buddhism); 
  Savoir-Faire 
  (Dojo);
  Shortsword; Thrown Weapon (Sword); Two-Handed Sword
  Art.
  Techniques: Counterattack (Broadsword); Low Fighting
  (Broadsword or Two-Handed Sword); Reverse Grip (Two-
  Handed Sword).
  Perks: Weapon Bond.
  STYLES
  173
  
  Iaijutsu
  5 points
  Iaijutsu is the Japanese art of drawing a weapon and
  striking or parrying with it in a single motion. It rose to
  prominence during a period when samurai were routinely
  armed but not typically in combat. (In battle, they’d ready
  their weapons before engaging the enemy!) It fell into disfa-
  vor after “crossroad cuttings” – practicing Iaijutsu skills on
  convenient 
  passersby 
  – 
  became 
  common.
  Swordsmen often studied Iaijutsu alongside
  Kenjutsu (above) or Nito Ryu (below).
  Iaijutsuka (Iaijutsu stylists) focus on two
  sets of tactics. Defensively, they practice draw-
  ing the sword to fend off blows – especially sur-
  prise attacks. Offensively, they learn to draw
  and strike before their victim can react.
  The iaijutsuka doesn’t necessarily expect to
  win the fight with his initial strike. He remains
  poised to deliver second and later attacks
  should his foe survive the first one. After dis-
  patching his enemy, he composes himself while
  remaining wary; treat this as a Wait maneuver.
  Once it’s clear that no further threat remains, the
  iaijutsuka cleans his blade before sheathing it.
  The motion used to clean blood from the blade is called
  chiburi. This automatically follows many Iaijutsu moves,
  whether or not the iaijutsuka plans to sheathe his weapon.
  It can consist of a broad, swinging motion, a wrist snap, or
  spinning the sword. Flicking the blood of a fallen enemy
  from the blade used to cut him down can impress onlookers
  and surviving foes – roll a free Intimidation attempt! In cin-
  ematic and fantasy games, chiburi is also useful for remov-
  ing corrosive monster blood, incriminating poison, etc.
  Skills: Broadsword; Broadsword Art; Fast-Draw (Sword);
  Two-Handed Sword.
  Techniques: Back Strike (Broadsword or Two-Handed
  Sword); Low Fighting (Broadsword or Two-Handed
  Sword); Targeted Attack (Broadsword or Two-Handed
  Sword Swing/Arm); Targeted Attack (Broadsword or Two-
  Handed Sword Swing/Neck); Targeted Attack (Broadsword
  or Two-Handed Sword Swing/Skull); Targeted Attack
  (Broadsword or Two-Handed Sword Thrust/Neck); Targeted
  Attack (Broadsword or Two-Handed Sword Thrust/Vitals).
  Cinematic Skills: Mental Strength; Precognitive Parry.
  Cinematic Techniques: Springing Attack (Broadsword or
  Two-Handed Sword); Timed Defense (Broadsword or Two-
  Handed Sword).
  Perks: Grip Mastery (Katana); Quick-Sheathe (Sword);
  Shtick (Chiburi).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and
  Per.
  Advantages: Combat Reflexes; Danger Sense; Language
  (Japanese).
  Disadvantages: Reputation (For crossroad cutting).
  Skills: Meditation; Observation; Savoir-Faire (Dojo);
  Shortsword; Shortsword Art.
  Perks: Weapon Bond.
  Nito Ryu
  3 points
  Nito Ryu (“two swords school”) is a term used for Hyoho
  Niten Ichi Ryu, the Kenjutsu style founded by Musashi
  Miyamoto (pp. 21-22) in 17th-century Japan. Musashi felt
  that holding a sword in two hands restricted the wielder’s
  movements, limited his defensive and offensive options, and
  was impossible on horseback or when carrying a second
  weapon (such as a spear or bow) for battle.
  He developed a style that used the
  katana in one hand, freeing the other
  to use the wakizashi (shortsword)
  simultaneously or to hold another
  weapon. Although heavily identified
  with the sword, Musashi also learned
  to use the jitte (p. 217) from his fami-
  ly’s martial-arts training, and modern
  schools teach this to advanced
  students.
  Nito Ryu can be very aggressive,
  attacking with both blades at once or
  using them alternately to rain down
  blows. Stylists wield their weapons
  forcefully, using Committed Attack or
  even All-Out Attack (Double) to overwhelm their foe. When
  armed with two swords, they favor Dual-Weapon Attack –
  often using one blade to feint (or to Beat; see pp. 100-101)
  and the other to attack. Nito Ryu makes regular use of both
  weapons to fend off single-weapon attacks (see Cross Parry,
  p. 121), followed by a Counterattack. Overall, it eschews
  defensive tactics in favor of overpowering the foe.
  Musashi was known for his aggressiveness and his dis-
  dain for many of the trappings of the samurai. His impres-
  sive success record in mortal duels also gave him a reputa-
  tion for bloodthirstiness. Nito Ryu stylists may choose to
  duplicate their style founder’s less-praiseworthy traits as
  well as his skills.
  Skills: Broadsword; Shortsword.
  Techniques: Counterattack (Broadsword or Shortsword);
  Feint (Broadsword or Shortsword); Targeted Attack
  (Broadsword or Shortsword Swing/Arm); Targeted Attack
  (Broadsword or Shortsword Swing/Neck); Targeted Attack
  (Broadsword or Shortsword Swing/Skull); Targeted Attack
  (Broadsword or Shortsword Thrust/Neck); Targeted Attack
  (Broadsword or Shortsword Thrust/Vitals).
  Cinematic Skills: Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Attack (Broadsword
  or Shortsword); Dual-Weapon Defense (Broadsword or
  Shortsword); Timed Defense (Broadsword or Shortsword);
  Whirlwind Attack (Broadsword or Shortsword).
  Perks:
  Off-Hand Weapon Training (Shortsword);
  Unusual Training (Dual-Weapon Attack, Both attacks must
  target the same foe).
  Optional Traits
  Advantages: Ambidexterity; Combat Reflexes; Language
  (Japanese).
  174
  STYLES
  Gada
  
  Disadvantages: Bloodlust; Obsession
  (Perfect sword skills); Odious Personal
  Habit (Bad manners); Reputation (User
  of unconventional strategies).
  Skills: Breath Control; Broadsword
  Art; Fast-Draw (Sword); Jitte/Sai;
  Meditation; 
  Philosophy 
  (Zen
  Buddhism); Savoir-Faire (Dojo); Staff;
  Tactics; Two-Handed Sword.
  KNIGHTLY
  MOUNTED
  COMBAT
  Medieval European knights studied
  the martial arts intensively. From an
  early age, they practiced mounted and
  foot combat, alone and in groups. Their
  fighting styles evolved over time to keep
  up with increasingly heavy armor and
  larger mounts, and the weapons that
  accompanied those developments.
  Early Medieval
  6 points
  Following the demise of the Roman
  Empire, mounted warriors gradually
  came to dominate European warfare.
  These early knights were armed with
  the spear and the broadsword (which
  was both a status symbol and their
  main weapon). Stirrups were common,
  but the saddles of the time didn’t pro-
  vide 
  sufficient 
  support 
  for 
  true
  “couched lance” techniques. Protection
  consisted of mail armor and a medium
  or large shield.
  These early knights used the spear
  overhand – or, occasionally, couched
  under the right arm – to attack their
  enemies’ vulnerable face, neck, and
  vitals. When wielding the broadsword,
  they generally dealt overhand slashing
  blows, although thrusting attacks
  weren’t unknown. When using either
  weapon, they preferred to block with
  the shield rather than parry. Close in,
  they employed wrestling moves – both
  to prevent the enemy from using his
  weapons and to disable attackers when
  they were themselves disarmed.
  Legends of knightly combat often
  mention fierce battle cries that terrified
  lesser foes – a Western version of Kiai.
  Legends also tell of knights cleaving
  foes in half, killing horses with a single
  blow, and other feats worthy of Power
  Blow.
  STYLES
  175
  Kendo
  4 points
  Samurai disappointed with kata-only practice developed Kendo as a form
  of contact training less risky than sparring with bokken. Their efforts yielded
  specialized light armor, the shinai (split-bamboo sword), and rules intended to
  prevent injury while allowing contact.
  Kendo is a sport, not a combat form. Limited targets, light weapons, and
  strong protection contribute to the participants’ safety. Players may strike the
  protected face, neck, torso, and hands. In order to score, they must declare
  their target as they attack. They’re allowed to shove, but only sword blows
  score. Many Kendo moves would get you killed in a real swordfight.
  One Kendo variant – based on Nito Ryu (pp. 174-175) – uses two swords.
  Replace Two-Handed Sword Sport with Broadsword Sport and Shortsword
  Sport; change the techniques to match; add Dual-Weapon Attack
  (Broadsword Sport or Shortsword Sport) to cinematic techniques; and
  include Off-Hand Weapon Training (Shortsword Sport) and Unusual Training
  (Dual-Weapon Attack, Both attacks must target the same foe) as Style Perks.
  Style cost becomes 5 points. Players use Dual-Weapon Attack to feint and
  attack, since only one attack counts for scoring purposes. Striking twice can
  invalidate both scores!
  Kendo was briefly banned during the Allied Occupation of Japan, but was
  restored in 1947. Since the 1960s, it has become an international sport. Today,
  it’s widely popular in Japan, where it’s a common sport in school. Korea’s
  Kumdo is identical, but uses Korean etiquette and nomenclature.
  Skills: Games (Kendo); Savoir-Faire (Dojo); Two-Handed Sword Sport.
  Techniques: Feint (Two-Handed Sword Sport); Targeted Attack (Two-
  Handed Sword Sport Swing/Arm); Targeted Attack (Two-Handed Sword
  Sport Swing/Skull); Targeted Attack (Two-Handed Sword Sport Thrust/Neck).
  Cinematic Skills: Kiai; Immovable Stance; Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Defense (Two-Handed Sword Sport);
  Whirlwind Attack (Two-Handed Sword Sport).
  Optional Traits
  Advantages: Enhanced Parry (Two-Handed Sword).
  Disadvantages: Delusions.
  Skills: Breath Control; Meditation; Philosophy (Zen Buddhism);
  Shortsword Art; Two-Handed Sword Art.
  Iaido
  5 points
  Iaido is the -do form of Iaijutsu (p. 174). Like Kendo, it started life as a way
  to cope with the loss of combat conditions under which to practice. Unlike
  Kendo, it focuses on kata and drill, not free sparring. Stylists often use an
  unsharpened sword.
  Skills: Broadsword Art; Fast-Draw (Sword); Savoir-Faire (Dojo); Two-
  Handed Sword Art.
  Techniques: Low Fighting (Broadsword Art or Two-Handed Sword Art).
  Cinematic Skills: Mental Strength.
  Cinematic Techniques: Springing Attack (Broadsword Art or Two-Handed
  Sword Art).
  Perks: Grip Mastery (Katana); Quick-Sheathe (Sword); Shtick (Chiburi).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and Per.
  Advantages: Combat Reflexes.
  Disadvantages: Delusions.
  Skills: Meditation; Shortsword Art.
  
  This style is appropriate for knights during the years 600-
  1100. In later periods, it could represent the training of light
  cavalry from “backwater” or “tribal” provinces.
  Skills: Broadsword; Riding (Horse); Shield; Spear;
  Wrestling.
  Techniques: Cavalry Training (Broadsword or Spear);
  Combat Riding; Hands-Free Riding; Quick Mount; Retain
  Weapon (Spear); Staying Seated.
  Cinematic Skills: Kiai; Power Blow.
  Perks: Grip Mastery (Spear); Shield-Wall Training.
  Optional Traits
  Advantages: Combat Reflexes; Enhanced Block; Status;
  Wealth.
  Disadvantages: Code of Honor (Chivalry); Duty (To liege).
  Skills: Animal Handling; Axe/Mace; Bow; Brawling;
  Knife; Swimming; Thrown Weapon (Spear).
  High Medieval
  7 points
  Between the 12th and late 14th centuries, a different
  style of combat emerged. Knights of the High Middle Ages
  were still able foot combatants, but the emphasis shifted
  to horsemanship. The “couched” lance became the
  knight’s trademark attack. Those who fought this way
  resembled the stereotypical knights of fiction: still clad in
  mail, but soon adopting plate armors of increasing com-
  plexity, greathelms, and bright heraldic colors.
  High medieval knights led with the lance or sword
  hand rather than with the shield – which was medium,
  small, or totally absent. They avoided dismounted combat
  in favor of a charge with the couched lance. In addition to
  using the lance for shock action, they trained to use its
  head for a Tip Slash (p. 113).
  While they favored the lance, knights of this period
  also learned to fight using the broadsword, axe, and mace.
  The sword was their primary sidearm, used to both cut
  176
  STYLES
  Many cultures have styles that consist largely – if not
  solely – of collections of weapon skills. For examples, see
  Kobujutsu (p. 178) and Masters of Defence Weapon
  Training (p. 182). The armed styles below are equally
  noteworthy, if less-famous. The GM can create similar
  styles for Dark Ages warriors, Aztec knights, ancient sol-
  diery, and so on.
  Banshay
  7 points
  Banshay is the armed sub-style of Thaing (a blanket
  term for Burmese martial arts). It’s usually learned in
  conjunction with Bando (pp. 151-152). It includes the use
  of fist loads, sticks, batons (dhot), staffs, clubs, spears,
  shields, knives, machetes, kukris, swords (short through
  broad), axes, bows, crossbows, ropes, chains, belts,
  whips, shoes, and even clothes. Ancient legends are plen-
  tiful, such as that of Prince Sawthi of Burma, who slew
  four giant monsters after being trained by a hermit
  archery master.
  Skills: Broadsword; Knife; Shield; Shortsword; Spear;
  Staff.
  Techniques: As Kobujutsu (p. 178), but for the above
  weapon skills.
  Optional Traits
  Advantages:
  Combat Reflexes; Heroic Archer;
  Language (Burmese).
  Skills: Axe/Mace; Bow; Brawling; Crossbow; Kusari;
  Whip.
  Krabi Krabong
  8 points
  Krabi Krabong is a Thai combat style that dates back
  at least 400 years. Its earliest origins are unknown owing
  to the loss of written records in Thailand. However, it’s
  clear that Thailand’s royal bodyguards learned the art and
  that matches served as both spectator sport and training.
  Krabi Krabong teaches the daab song meu (twin short
  swords), krabi (saber), mae sun-sawk (twin tonfa-like
  clubs), ngao (polearm), and plong (staff). It also includes
  unarmed strikes, grapples, and throws. Unarmed blows
  often parallel those of Muay Thai (pp. 185-186) but are
  frequently reinforced with weapons – e.g., elbow strikes
  while using the mae sun-sawk – and many fighters learn
  Muay Thai alongside Krabi Krabong.
  Modern Krabi Krabong matches still involve real
  weapons. Competitors avoid hitting the opponent, how-
  ever, and instead strike his weapons or halt just short of
  impact. Injuries do occur but an injured fighter can con-
  tinue. The contenders’ endurance and display of skill
  determines victory. Competitive fighters should learn
  Combat Sport and combat versions of the style’s weapon
  skills – or only Combat Sport versions, if they’re strictly
  athletes.
  Skills: Judo; Karate; Polearm; Saber; Smallsword;
  Staff; Tonfa.
  Techniques: Back Kick; Elbow Strike; Feint (Polearm,
  Saber, Smallsword, or Staff); Kicking; Knee Strike; Sweep
  (Staff); Uppercut.
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Dual-Weapon Attack (Saber,
  Smallsword, or Tonfa).
  Perks: Style Adaptation (Muay Thai); Unusual
  Training (Dual-Weapon Attack, Both attacks must target
  the same foe); Weapon Adaptation (Shortsword to
  Smallsword).
  Optional Traits
  Advantages: Combat Reflexes; Language (Thai).
  Disadvantages: Crippling injuries.
  Skills: Games (Krabi Krabong); Shield.
  Armed Styles
  
  and thrust. The thrust was somewhat more common –
  and was often aimed at chinks in other knights’ heavy
  armor. Knights sometimes wielded their swords two-
  handed, and used Committed Attack (Strong) to defeat
  their opponents’ armor. Grappling skills were still stan-
  dard training.
  Myths of knightly prowess from this period always
  focus on the knights’ strength and fortitude. Cinematic
  knights can deliver blows capable of shearing an armored
  man in half. They can fight through incredible punish-
  ment – even eventually fatal injury – and when they final-
  ly drop, they always take enemies with them. Use
  Fearlessness, Hard to Kill, High Pain Threshold, and
  improved HP to help model this. Their great battle-oaths
  may cause foes (especially heathens or pagans) to flee in
  terror.
  Horsemanship was all-important for this style, and the
  necessary proficiency meant that training started at a
  young age. Wealth was also critically important. The
  weapons, armor, and mount that let the knight dominate
  the battlefield weren’t cheap!
  Skills: Axe/Mace; Broadsword; Lance; Riding (Horse);
  Shield; Wrestling.
  Techniques: 
  Cavalry 
  Training 
  (Axe/Mace 
  or
  Broadsword); Combat Riding; Staying Seated; Targeted
  Attack (Broadsword Thrust/Vitals); Targeted Attack
  (Broadsword Thrust/Vitals Chinks).
  Cinematic Skills: Kiai; Power Blow.
  Cinematic Techniques: Timed Defense (Axe/Mace or
  Broadsword).
  Perks: Technique Adaptation (Cavalry Training).
  Optional Traits
  Secondary Characteristics: Improved HP and Will.
  Advantages:
  Combat Reflexes; Enhanced Parry
  (Broadsword); Fearlessness; Hard to Kill; High Pain
  Threshold; Status; Wealth.
  Disadvantages: Code of Honor (Chivalry); Duty (To
  liege); Sense of Duty (To liege).
  Skills: Animal Handling; Bow; Brawling; Crossbow;
  Polearm; Shield (Buckler); Spear; Two-Handed Sword.
  Late Medieval
  5 points
  Knightly combat in the late 14th through 15th centuries
  was drastically different from earlier styles. Highly devel-
  oped armor and the relative uselessness of the lance against
  disciplined infantry forced knights to abandon their cher-
  ished heavy-cavalry role in favor of more versatile training
  in foot and mounted combat. They came to rely entirely on
  plate armor for protection, completely abandoning the
  shield in favor of two-handed, armor-piercing weapons.
  Mounted, the main weapon remained the lance,
  although the sword saw use. On foot, the knight either faced
  his opponent squarely or led with the off hand. His primary
  weapons were the thrusting bastard sword and dueling hal-
  berd – with the mace and pick favored as backup weapons
  for their deadliness and effectiveness against heavy armor.
  The knight normally held his sword or halberd in a
  Defensive Grip (pp. 109-111), but quickly shifted to a nor-
  mal grip to attack a vulnerable foe. “Trick” attacks – such as
  the Deceptive Attack option and Spinning Strike technique
  – were common. A typical finishing move was either an
  Attack or a Committed Attack (Strong) aimed at a vulnera-
  ble location such as the neck or vitals. Unarmed knights
  used refined grappling, throwing, and choking techniques.
  In all cases, foot combat stressed agility and speed in heavy
  armor. The knight’s survival depended on his ability to parry
  or dodge!
  Advanced fighters sometimes rounded out their training
  with knife-fighting skills. A few learned an entire dagger-
  fighting style; see Dagger Fighting (p. 155). Some knights
  also trained specifically with the pollaxe, adding the meth-
  ods of Pollaxe Fighting (p. 191) to this art.
  After the 15th century, this style became increasingly
  uncommon.
  Skills: Judo; Lance; Riding (Horse); and Polearm or Two-
  Handed Sword.
  Techniques: Cavalry Training (Any); Choke Hold
  (Polearm or Two-Handed Sword); Combat Riding;
  Counterattack (Polearm or Two-Handed Sword); Hook
  (Polearm); Spinning Strike (Polearm or Two-Handed
  Sword); Staying Seated; Sweep (Polearm); Targeted Attack
  (Two-Handed Sword Swing/Neck); Targeted Attack (Two-
  Handed Sword Thrust/Neck); Targeted Attack (Two-Handed
  Sword Thrust/Vitals); Targeted Attack (Two-Handed Sword
  Thrust/Vitals Chinks).
  Cinematic Skills: Kiai; Power Blow.
  Cinematic Techniques: Timed Defense (Any).
  Perks: Armor Familiarity (Judo); Grip Mastery (Polearm
  or Two-Handed Sword); Style Adaptation (Pollaxe Fighting).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed.
  Advantages: Combat Reflexes; Enhanced Parry (All);
  Status; Wealth.
  Disadvantages: Code of Honor (Chivalry); Duty (To liege).
  Skills:
  Animal 
  Handling; 
  Axe/Mace; 
  Brawling;
  Broadsword; Knife; Savoir-Faire; Shield; Spear; Staff.
  STYLES
  177
  For what man shall be able
  long in fight to stand up, either
  to revenge, or defend himself,
  having the veins, muscles,
  sinews of his hand, arm, 
  or leg clean cut asunder?
  – George Silver,
  Paradoxes of Defence
  
  KOBUJUTSU
  8 points
  “Kobujutsu” (or Kobudo) is a term for all Okinawan
  weapons training, military or civilian – although it occa-
  sionally describes ancient (pre-Meiji) martial arts in gener-
  al. According to some accounts, a 15th-century Okinawan
  king banned all weapons but ceremonial ones among civil-
  ians. Okinawans responded by learning to fight with
  weaponized versions of day-to-day tools, as well as by hon-
  ing their unarmed fighting arts (see Te, pp. 169-170). Later,
  Japanese invaders banned all weapons – ceremonial or oth-
  erwise – along with unarmed-combat training. All this did
  was drive the Okinawan martial arts underground and fur-
  ther encourage practitioners to disguise kata and weapon
  drills as dances.
  Okinawan military weapons included the bisento, bow,
  broadsword, crossbow, katana, knife, naginata, shortsword,
  and yari. Even the musket and pistol eventually entered the
  fold. Post-ban civilian weapons were the bo (staff), eku, jo,
  kama, kusarigama, nunchaku, rokushaku kama (kama-staff
  combination), sai, spear, tekko (brass knuckles), tonfa, and
  tuja, and such hidden weapons as the fan, pipe, and umbrel-
  la. Traditional Kobujutsu also covered the timbe, a form of
  buckler used both to block and to strike. For weapon
  descriptions, see Chapter 6.
  Given the number of weapons involved, it was rare for a
  school to offer training in everything. Most emphasized a
  few choice weapons. Thus, the style described here covers
  only the weapons most commonly associated with
  Kobujutsu. Traditionalists, Weapon Masters, instructors,
  and so on should still learn most or all of the listed weapon
  skills. The complete style would only be readily available in
  Okinawa, however!
  Like Karate, Kobujutsu seeks to deflect an incoming
  attack and then retaliate with a single crushing blow.
  Kobujutsuka (Kobujutsu stylists) commonly take the Wait
  maneuver and attack the enemy when he steps into range,
  or parry his attack and then counter with a blow aimed to
  finish him. Many strikes are Deceptive Attacks, because
  while they’re direct and linear, they’re also quick and diffi-
  cult to defend against. Stylists learn to fight against each
  weapon using any other.
  Today, “kobujutsu” often refers to training in the civilian
  weapons developed under the weapons ban. Some masters
  do still offer the complete art, but this is rare. Modern
  schools tend to focus on the kama, nunchaku, sai, staff,
  and/or tonfa. In many cases, these weapons are taught as
  part of a Karate style.
  Skills: Axe/Mace; Flail; Jitte/Sai; Savoir-Faire (Dojo);
  Staff; Tonfa; and at least one of Broadsword, Knife, Kusari,
  Polearm, Shield (Buckler), Shortsword, Spear, and Two-
  Handed Axe/Mace.
  Techniques: Disarming (Jitte/Sai); Feint (Any weapon
  skill in style); Reverse Grip (Axe/Mace or Jitte/Sai).
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Dual-Weapon Attack (Axe/Mace,
  Flail, Jitte/Sai, or Tonfa); Dual-Weapon Defense (Any
  weapon skill in style); Whirlwind Attack (Any weapon skill
  in style).
  Perks: Grip Mastery (Staff); Off-Hand Weapon Training
  (Any one-handed weapon skill in style); Technique
  Adaptation (Feint); Technique Adaptation (Whirlwind
  Attack).
  Optional Traits
  Advantages: Ambidexterity; Combat Reflexes; Enhanced
  Parry (All).
  Disadvantages:
  Obsession (Master all Okinawan
  weapons).
  Skills: Bow; Combat Art form of any weapon skill in
  style; Crossbow; Guns; any weapon skill above not learned
  initially.
  KUNTAO
  6 points
  “Kuntao” is an umbrella term for the martial arts of the
  ethnic Chinese in Indonesia and Malaysia. The name comes
  from the Chinese term chuan do (“way of the fist”) and
  describes Chinese kung fu that has been influenced by contact
  with Pentjak Silat (pp. 189-191) – Kuntao’s traditional rival.
  Like Pentjak Silat, Kuntao isn’t a style but a range of styles. The
  version given here is a “hard” variety. For softer forms, use the
  style components of Pa Kua Chuan (pp. 187-188) or T’ai Chi
  Chuan (pp. 200-201).
  Kuntao stresses hard strikes and speedy counterattacks.
  The emphasis is on punching, but the style also includes low-
  line and spinning kicks for use against foes caught off-guard
  or on the ground. Stylists learn to retract their punches quick-
  ly to counter Pentjak Silat practitioners’ attempts to grab
  incoming limbs, and study the Evade technique – and employ
  it often – to stay out of grappling range. They make frequent
  use of the Counterattack technique and the Riposte option
  (pp. 124-125) to exploit the openings that opponents leave in
  their defenses when attacking. On the defensive, Kuntao fight-
  ers often follow up parries with throws.
  Like its ancestor styles and its close neighbor, Pentjak Silat,
  Kuntao teaches many weapons. These include the
  broadsword, butterfly swords (usually paired), chain, hook
  sword, jian, lajatang, liangtjat (sharpened stick), sai, siangkam,
  spear, staff, three-part staff, two-handed sword, whip, and var-
  ious polearms. See Chapter 6 for descriptions of these
  weapons. Students eventually learn all weapons but common-
  ly start out with only a few.
  Historically, because of Kuntao’s rivalry with Pentjak Silat,
  each school’s teachers and students kept it secret from their
  non-Chinese neighbors and other Kuntao schools alike. At its
  most peaceful, this took the form of phony demonstrations
  intended to obscure the true art. There were also bloody
  clashes between Pentjak Silat and Kuntao schools, though –
  and even between rival Kuntao schools.
  Today, finding a Kuntao instructor is difficult – in part
  because of the art’s tradition of secrecy and in part because
  many masters believe modern students lack the focus needed
  to learn the art. Nevertheless, there are a few schools abroad.
  These sometimes combine Kuntao with other forms of kung
  fu, Karate, or even Pentjak Silat!
  Skills: Broadsword; Judo; Karate; Shortsword; and at least
  one of Jitte/Sai, Knife, Kusari, Polearm, Smallsword, Spear,
  Staff, Two-Handed Flail, Two-Handed Sword, and Whip.
  178
  STYLES
  
  Techniques: Arm Lock; Back Kick; Counterattack
  (Karate); Evade; Exotic Hand Strike; Hammer Fist; Head
  Lock; Spinning Kick.
  Cinematic Skills: Blind Fighting; Body Control; Breaking
  Blow; Mental Strength; Power Blow; Pressure Points;
  Pressure Secrets; Throwing Art.
  Cinematic 
  Techniques: 
  Dual-Weapon 
  Attack
  (Shortsword); Pressure-Point Strike; Roll with Blow.
  Perks: Off-Hand Weapon Training (Shortsword); Rapid
  Retraction (Punches).
  Optional Traits
  Advantages: Language (Chinese).
  Disadvantages: Social Stigma (Minority Group, Chinese
  in Indonesia).
  Skills: Breath Control; any weapon skill above not
  learned initially.
  KUSARIJUTSU
  2 points
  Kusarijutsu is the Japanese art of the kusari, or weighted
  chain. Its developers were likely medieval samurai who
  sought a flexible backup weapon. Chain weapons may date
  back as far as the beginning of the Kamakura period (1192).
  Practitioners learn to use the kusari to strike blows,
  entangle the foe’s legs, and apply Choke Holds and Arm
  Locks (which involve entangling the arm and then twisting
  it into a painful or crippling position). Due to their weapon’s
  excellent reach but poor defensive capabilities, they alter-
  nate aggression with caution. Stylists prefer to use Wait,
  Evaluate, or Feint to set up an opponent before dealing a
  disabling attack – possibly with Entangle or Back Strike.
  Until such a decisive attack is possible, they move to take
  advantage of reach and keep the enemy at bay. Once the
  adversary is vulnerable, though, a crushing finishing move
  with Committed Attack (Strong) or All-Out Attack (Strong)
  is likely.
  Cinematic Kusarijutsu stylists can swing their weapon
  with enormous force. They can also bind adversaries with
  loops of chain in combat. Some train to strike a single tar-
  get with both ends of their kusari at the same time – or to
  attack two adjacent foes, one with either end. These last two
  moves count as Dual-Weapon Attacks, and are only possible
  with a kusari held in two hands and readied at less-than-
  maximum reach.
  Kusarijutsu is an excellent starting point for non-
  Japanese martial arts that use chain weapons, or for cine-
  matic or fictional styles that use (often bizarre or impracti-
  cal) chain- and rope-based weapons: rope darts, bladed
  chains, chains with saw-edged spiked balls, etc. For more on
  the kusari and its many variants, see Chapter 6. For the
  kusarigama and its variations, see Kusarigamajutsu (p. 180).
  Skills: Kusari.
  Techniques: Arm Lock (Kusari); Back Strike (Kusari);
  Choke Hold (Kusari); Entangle (Kusari); Return Strike
  (Kusari); Targeted Attack (Kusari Swing/Arm); Targeted
  Attack (Kusari Swing/Skull); Targeted Attack (Kusari
  Thrust/Face).
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Binding; Dual-Weapon Attack
  (Kusari).
  Perks: Special Setup (Kusari Parry > Arm Lock).
  Optional Traits
  Advantages: Weapon Master (Kusari).
  Disadvantages: Overconfidence.
  Skills: Flail; Judo; Savoir-Faire (Dojo).
  Techniques: Spinning Strike (Kusari).
  Perks: Weapon Bond.
  KYUJUTSU
  4 points
  Kyujutsu is the Japanese art of the bow, or yumi (typi-
  cally the dai-kyu, or composite bow). It’s primarily a combat
  style. For sport and art variants, and non-Japanese styles,
  see Archery (p. 181).
  STYLES
  179
  Berserk and the Martial Arts
  Many cultures have a special name for a killing
  rage. The best-known of these is berserk. This comes
  from the Old Norse berserksgangr, a word for the
  fierce, single-minded battle lust exhibited by warriors
  in Icelandic myth (and perhaps in reality). In
  Malaysia, Indonesia, and the Philippines, the term is
  amok. People who “run amok” go on a rampage of
  random killing until they’re themselves slain. In mod-
  ern U.S. lingo, this would be “going postal” . . . but
  that can also refer to a more coldly planned killing
  spree. GURPS reserves “berserk” – and the Berserk
  disadvantage (p. B124) – for those who experience
  genuine battle frenzy!
  Berserk fighters don’t “forget” their training – they
  simply forsake any defense for a furious attack. In
  game terms, those who suffer the effects of Berserk
  can only take the All-Out Attack maneuver. They can
  still use skills and techniques, learned or at default,
  subject to a few special rules.
  Berserkers can employ techniques that require a
  turn or more of Ready to set up – they just have to use
  All-Out Attack instead of Ready for the setup. The
  options are Determined, for +4 to DX-based rolls
  required by the setup, or Strong, for +2 to ST-based
  rolls . . . at the usual cost of no active defenses. The
  berserker must also use All-Out Attack for the tech-
  nique itself on a later turn. He’s free to select any
  option that suits his technique. This is most likely to
  be Determined or Strong, but could instead be
  Double, Long, or even Feint.
  However, berserkers can’t use techniques that are
  active defenses, including Aggressive Parry and Jam;
  techniques that rely on active defenses, such as
  Counterattack; or combat options that depend on
  taking an active defense, like Cross Parry (p. 121) and
  Riposte (pp. 124-125). This is true even if such a
  move would be the most effective tactic possible!
  Such is the cost of not defending.
  
  Since arrows weren’t terribly effective against
  armor, samurai learned to aim for the face, which was
  only rarely protected by a mask. Samurai also prac-
  ticed shooting at a full gallop. They used inuomono, or
  dog-shooting, to hone their skills. This involved chas-
  ing dogs across open fields and shooting at them –
  often with arrows equipped to whistle and warn the
  dog. This taught warriors to shoot at fast-moving,
  quick-dodging targets.
  Legendary archers could hit targets at extreme
  range with great accuracy. They used their skills not
  only to kill but for “trick shots” – cutting standards
  from poles, knocking decorations off helmets, and so
  on – to intimidate the foe. Japanese bowmen
  employed several peculiar arrowheads specifically for
  the purpose (see Special Arrows, p. 232).
  Kyujutsu represents the minimum training a samu-
  rai needs to fight from horseback using a bow. Most
  receive additional mounted-combat instruction; see
  Bajutsu (p. 151). Later samurai and ashigaru (con-
  script infantry) might train to fight on foot; see Foot
  Archery (p. 181).
  Skills: Bow; Fast-Draw (Arrow); Riding (Horse).
  Techniques: Combat Riding; Hands-Free Riding;
  Horse Archery; Targeted Attack (Bow Shot/Face).
  Cinematic Skills: Mental Strength; Pressure Points
  (Bow); Zen Archery.
  Cinematic Techniques: Pressure-Point Strike.
  Perks: Strongbow; Technique Adaptation (Targeted
  Attack).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: Acute Vision; Heroic Archer; Wealth;
  Weapon Master (Bow).
  Disadvantages: Code of Honor (Bushido).
  Skills: Animal Handling (Dog or Horse); Bow Art;
  Meditation; Savoir-Faire (Dojo).
  Perks: Weapon Bond.
  LONGSWORD FIGHTING
  5 points
  Longsword Fighting was popular in Central
  Europe from around 1350 until almost 1600. The
  longsword (p. 219) was ideally suited to two-handed
  tactics. Fighters regarded one-handed use as second-
  ary, and didn’t use a shield at all; they either kept two
  hands on their weapon or used one hand to grab the
  foe while driving in the sword with the other. Masters
  rounded out the training with punching, kicking, grap-
  pling, and knife fighting.
  Swordsmen typically grasped the longsword in a
  Defensive Grip (pp. 109-111), holding the long ricasso
  and using the blade to ward off blows. They launched
  attacks from both this grip and the normal grip.
  Against plate-armored foes, they favored thrusts aimed
  at chinks in armor. Some attacks used an inverted
  sword: the fighter held his weapon by the blade and
  either bashed his opponent with the hilt as if it were a
  mace or used the Hook technique with the crosspiece.
  180
  STYLES
  Kusarigamajutsu
  3 points
  Warriors sometimes attach the kusari to another weapon (see
  Combination Weapons, p. 214). The kusarigama – a kusari fastened
  to a kama (sickle) – is the most famous combination. The chain is
  affixed to either the kama’s head or the butt of its handle. This style
  covers both cases, but each variation demands its own tactics.
  If the chain is attached to the handle, the user wields the
  kusarigama in two hands: his master hand holds the kama while
  his off hand controls the kusari. He can then “throw” the chain.
  The usual target of a throw is the opponent’s face or hands – hope-
  fully distracting or injuring him, creating an opening to move in
  and strike with the kama. This kind of quick attack with both parts
  of the weapon is a (realistic) Dual-Weapon Attack.
  A related tactic with this kind of kusarigama is to swing just the
  kusari in an attempt to entangle or injure the foe. If the intent is to
  injure, the attacker aims for the skull or neck. If using the Entangle
  technique, he targets the arms, legs, or weapon. The turn after
  stunning or entangling his enemy, the wielder rushes in with the
  kama for a finishing blow. This is likely to be a Committed or All-
  Out Attack – especially if the kusari took the victim’s weapon out
  of commission! The kusarigama user might pull his opponent off-
  balance prior to such an attack; treat this as a takedown or a Beat
  (pp. 100-101).
  It’s possible to hold onto the kusari and whirl the kama around
  on the end of the chain. This is potentially deadly, as it imparts
  greater speed to the kama. However, attacking commits the whole
  weapon – the kama isn’t in the master hand, ready to strike and
  parry. On a hit, or on an enemy block or parry, the entire weapon
  becomes unready!
  If the chain is attached at the head, the user can wield the
  weapon with one hand. The kusari swings freely and the wielder
  attacks with it (pulling his kama swings short of the target) or the
  kama. Often he’ll use Entangle to snare the foe’s weapon or pull
  him in (again, a takedown or a Beat), and then assault him with
  unarmed strikes or a secondary weapon.
  Kusarigamajutsu is typically part of a larger ryu – frequently a
  secret or hidden element. Some Naginatajutsu (p. 186) schools
  teach the kusarigama as a backup weapon. For stylists using other
  kusari combinations, use this style but replace Axe/Mace with the
  appropriate skill: Jitte/Sai for the kusarijutte, Staff for the staff-
  chain, and so on. Tactics remain the same.
  Skills: Axe/Mace; Kusari.
  Techniques: Choke Hold (Kusari); Entangle (Kusari); Return
  Strike (Kusari); Targeted Attack (Axe/Mace Swing/Neck); Targeted
  Attack (Kusari Swing/Arm); Targeted Attack (Kusari Swing/Skull);
  Targeted Attack (Kusari Thrust/Face).
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Dual-Weapon Attack (Axe/Mace or
  Kusari).
  Perks: Grip Mastery (Kusarigama); Off-Hand Weapon Training
  (Kusari); Unusual Training (Dual-Weapon Attack, Both attacks
  must target the same foe).
  Optional Traits
  Advantages: Ambidexterity.
  Disadvantages: Overconfidence.
  Skills: Karate; Two-Handed Sword.
  
  Armored and unarmored warriors alike practiced
  Longsword Fighting. Those with armor would grapple, shove,
  slam, and Beat (pp. 100-101) extensively, closing with their foe
  and trying to put him at a disadvantage in order to finish him
  with a stab to a vital area. Unarmored fighters – less protected
  from cuts and stabs – circled and kept their distance. They
  used Evaluate, Wait, and Feint to spot or create an opening
  before moving in for the kill. Both circumstances called for a
  strong attack capable of punching through armor; in game
  terms, either Committed Attack (Strong) or All-Out Attack
  (Strong).
  While the style’s iconic weapon was the longsword, both
  the thrusting bastard sword and thrusting greatsword saw
  use. The latter was often known as the zweihänder in the hands
  of the doppelsöldner, who received twice the pay of other foot
  soldiers. To gain this coveted status, he had to produce a diplo-
  ma from a recognized longsword master.
  Medieval heroes who wish to learn this style shouldn’t have
  trouble finding a master in 14th- through 16th-century Central
  Europe. The rapier rapidly replaced the longsword for civil-
  ians during the 16th century, but the longsword remained a
  common military weapon. Period art depicts Italian fencing
  masters with longswords as late as the 1580s. Modern recre-
  ationists have restored a version of this style based on the writ-
  ings of German longsword masters.
  Kyujutsu (pp. 179-180) is hardly the only bow style.
  The horse archery of the Great Plains Indians, Huns,
  Mongols, Scythians, etc., would be similar but lack such
  specifically Japanese elements as Code of Honor
  (Bushido) and Animal Handling (Dog), and offer different
  Targeted Attacks. Military Rank and Status would join
  Wealth as optional traits, the mix varying by culture.
  Some styles differ more radically.
  Foot Archery
  3 points
  Historically, infantry as well as cavalry were archers.
  In the time a horse archer took to master a weapon and a
  mount, a foot archer could develop great arm strength,
  letting him draw heavier bows. Tactics relied more on
  ambush and massed fire than on aim, but bowmen shot
  targets for sport and practice – especially in England.
  Melee Weapon skills were important for close defense
  and to finish off foes.
  Cinematic archers like Robin Hood might focus on
  aim, learning Targeted Attacks and special skills for
  engaging concealed or distant targets. Larger-than-life
  heroes could easily justify the Kiai skill, too. Archery
  served as much to demoralize as to kill, and bowmen
  were known for their battle cries!
  Modern athletes should replace Bow with Games
  (Archery), and use Bow Sport for shooting.
  Skills: Bow; Bow Sport.
  Techniques: Close Combat (Bow); Retain Weapon
  (Bow).
  Cinematic Skills: Blind Fighting; Kiai; Zen Archery.
  Cinematic Techniques: Dual-Weapon Attack (Bow).
  Perks: Special Exercises (Arm ST +1) up to three times,
  allowing Arm ST +3; Strongbow; Sure-Footed (Slippery).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: As Kyujutsu (pp. 179-180), but remove
  Wealth and add Fit.
  Skills: Armoury (Missile Weapons); Camouflage; Fast-
  Draw (Arrow); Hiking; Intimidation; Melee Weapon
  skills; Soldier; Stealth.
  Techniques: Targeted Attack.
  Kyudo
  4 points
  With the rise of firearms on the Japanese battlefield in
  the 1570s, the bow fell into decline as a military weapon.
  Japanese society admired skilled archers, though, and
  desired to preserve Kyujutsu. Thus, it became one of the
  first -jutsu arts to develop a -do form.
  Kyudo breaks down each shot into eight stages and
  expects the archer to move smoothly between them, per-
  forming each with equal deliberation. Training proceeds
  slowly and treats target shooting as a distraction until one
  has mastered posture, breathing, and the draw. The art is
  equally formal in competition.
  Kyudo is practiced from both kneeling and standing
  postures.
  Skills: Bow Art; Meditation; Savoir-Faire (Dojo).
  Techniques: Low Fighting (Bow Art).
  Cinematic Skills: As Kyujutsu (pp. 179-180).
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: As Kyujutsu, but remove Wealth.
  Skills: Autohypnosis.
  Yabusame
  3 points
  Yabusame, used in Shinto ritual, is one of the only sur-
  viving examples of horse archery today. Practitioners use
  the same yumi as in Kyudo, but from horseback.
  Emphasis is on precision. The archer has but a small win-
  dow of opportunity in which to aim and shoot while rid-
  ing at a full gallop.
  Skills: Bow Sport; Riding (Horse).
  Techniques: Combat Riding; Hands-Free Riding;
  Horse Archery.
  Cinematic Skills: Zen Archery.
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: As Kyujutsu (pp. 179-180), but remove
  Wealth.
  Disadvantages: Disciplines of Faith.
  Skills: Bow; Savoir-Faire (Dojo).
  Archery
  STYLES
  181
  
  Skills: Brawling; Judo; Knife; Two-Handed Sword.
  Techniques: Arm Lock (Judo); Armed Grapple (Two-
  Handed Sword); Bind Weapon (Two-Handed Sword); Choke
  Hold (Two-Handed Sword); Close Combat (Two-Handed
  Sword); Counterattack (Two-Handed Sword); Disarming
  (Judo or Two-Handed Sword); Ground Fighting (Knife);
  Kicking; Knee Strike; Retain Weapon (Two-Handed Sword);
  Targeted Attack (Two-Handed Sword Thrust/Face); Targeted
  Attack (Two-Handed Sword Thrust/Neck); Targeted Attack
  (Two-Handed Sword Thrust/Vitals Chinks); Trip.
  Cinematic Skills: Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Defense (Two-
  Handed Sword); Timed Defense (Two-Handed Sword).
  Perks: Armor Familiarity (Judo); Grip Mastery
  (Longsword); Skill Adaptation (Bind Weapon defaults to
  Two-Handed Sword); Sure-Footed (Uneven).
  Optional Traits
  Advantages: Enhanced Dodge; Enhanced Parry (Two-
  Handed Sword or All); Weapon Master (Two-Handed
  Sword).
  Disadvantages: Obsession (Achieve certificate of mastery).
  Skills: Broadsword; Fast-Draw (Knife); Two-Handed
  Axe/Mace; Wrestling.
  Techniques: Hook (Two-Handed Axe/Mace).
  Perks: Weapon Bond.
  MASTERS OF DEFENCE
  WEAPON TRAINING
  12 points
  The English and German “Masters of Defence” were men
  who prided themselves on their expertise with a wide variety
  of weapons, civilian and military. Their art seems to have
  originated in the 15th century. It lasted until the late 17th
  century across most of Europe. As time wore on, the Masters
  – and students willing to train with them – became increas-
  ingly less common and ultimately disappeared entirely.
  To learn this style, a would-be student had to find an
  accredited master and become his apprentice. Next came a
  lengthy training period, followed by tests – first to become a
  journeyman and eventually to qualify as a master. These
  would be excellent goals for a PC in a historical game.
  A master of this style was expected to know all of its many
  weapons and be able to fight them in any combination.
  Fighters also learned unarmed techniques – especially those
  useful for dealing with armed foes. Some masters taught a
  substantial number of throws and locks; their schools would
  teach Judo rather than Wrestling. Practitioners didn’t regard
  such unarmed methods as “dirty.” Anything that worked was
  acceptable. Indeed, many masters lost eyes or digits proving
  their skill during certification tests or in subsequent duels.
  The one-eyed English Master of Defence was a common
  stereotype!
  Tactics varied greatly depending on the weapons used.
  When wielding any weapon, though, stylists would mix
  armed techniques with unarmed ones intended to disarm
  the foe. Masters regarded such methods as crucial when dis-
  armed – and as valuable additional means of defeating an
  armed opponent even when armed.
  In a cinematic game, Masters of Defence make excellent
  Weapon Masters. The sheer breadth of their training means
  that they’re fearsome fighters with almost any available
  weapon. There are tales of Masters standing off several
  adversaries at once, casually defeating skilled opponents
  (especially fencers and other foreigners!), and shearing men
  in half with tremendous blows.
  Masters of Defence were commoners, not members of the
  upper class. This often led to social difficulties when dealing
  with their rapier-instructor contemporaries, who could sim-
  ply ignore their challenges owing to the difference in status.
  Despite this, it’s possible that some Masters learned the rapi-
  er – either to better defend against it or because they recog-
  nized its growing importance as a street weapon.
  Skills: Brawling; Broadsword; Knife; Polearm; Shield;
  Shield (Buckler); Shortsword; Spear; Staff; Two-Handed
  Sword; Wrestling.
  Techniques: Arm Lock; Armed Grapple (Polearm, Spear,
  Staff, or Two-Handed Sword); Disarming (Any skill in style);
  Feint (Any weapon skill in style); Hook (Polearm); Sweep
  (Polearm, Spear, Staff, or Two-Handed Sword).
  Cinematic Skills: Kiai; Power Blow.
  Cinematic 
  Techniques:
  Dual-Weapon 
  Attack
  (Shortsword); Grand Disarm (Staff or Two-Handed Sword);
  Whirlwind Attack (Staff or Two-Handed Sword).
  Perks: Form Mastery (Spear); Grip Mastery (Two-Handed
  Sword); Off-Hand Weapon Training (Shortsword).
  Optional Traits
  Advantages: Ambidexterity; Combat Reflexes; Fearlessness;
  Languages (English or German); Weapon Master.
  Disadvantages: Low Status; Missing Digit; One Eye.
  Skills: Judo; Rapier; any other weapon skill not listed
  above.
  Perks: Style Familiarity (Italian School).
  MILITARY HAND-TO-HAND
  Historically, many of the fighting arts in this chapter –
  particularly the armed ones – saw battlefield use. Their role
  diminished as firearms spread and became dependable, but
  veterans knew that ammunition could run out and that guns
  weren’t always manageable in close quarters. Thus, hand-to-
  hand combat remained a part of almost every recruit’s basic
  training. Some armies adapted traditional styles. Others
  invented new ones, like the relatively modern “scientific” or
  “synthetic” styles below.
  Fairbairn Close Combat Training
  5 points
  W.E. Fairbairn (pp. 23-24) – with some assistance from
  Rex Applegate and Eric Sykes – created the style of hand-to-
  hand fighting most widely taught to Allied commandos in
  World War II. Fairbairn and Sykes also designed a fighting
  knife for use with their style: the Sykes-Fairbairn “comman-
  do” knife (p. 225). Applegate developed close-quarters pistol
  techniques.
  This style emphasizes killing and sentry removal. There’s
  nothing gentlemanly about its methods or their execution;
  it’s purely pragmatic. The training places relatively little
  182
  STYLES
  
  emphasis on traditional kicking and punching, because the
  practitioner is supposed to be taking out sentries or isolated
  enemy troops – not fighting in a stand-up brawl.
  Training includes throws, locks, and strikes to vital areas.
  It also covers concealing weapons, tying up prisoners, and
  fighting with sticks and even chairs! Targeted Attack (Knife
  Thrust/Neck) is one of the style’s most important tech-
  niques. It normally follows a grapple and is itself followed
  by a cut outward from the throat to ensure that the enemy
  bleeds out quickly. These moves can form the basis of a bru-
  tal but effective Combination (see Combinations, p. 80).
  In a cinematic game, Fairbairn-trained commandos
  might be able to replicate some of the legendary feats of the
  ninja, such as silent, invisible movement. Fairbairn was
  trained in the Far East . . . perhaps he learned some secrets
  that he only passed along to the most elite soldiers.
  Skills: Judo; Karate; Knife; Stealth.
  Techniques: Choke Hold; Disarming (Judo); Head Butt;
  Knee Strike; Neck Snap; Targeted Attack (Knife
  Thrust/Neck).
  Cinematic Skills: Invisibility Art; Light Walk.
  Cinematic Techniques: Backbreaker; Binding.
  Perks: Improvised Weapons (Karate).
  Optional Traits
  Advantages: Combat Reflexes.
  Disadvantages: Bloodlust; Overconfidence.
  Skills: Garrote; Holdout; Knot-Tying; Shortsword.
  Krav Maga
  3 points
  Imi Sde-Or (born Imrich Lichtenfeld) grew up in
  Bratislava, Czechoslovakia. During the 1930s, rising anti-
  Semitic violence in the region moved Imi – an experienced
  circus wrestler and competitive grappler – to train his fellow
  Jews to combat attackers willing to use weapons and “dirty”
  tactics. When he immigrated to Palestine in 1942, Imi start-
  ed training settlers in his fighting system, which he later
  named “Krav Maga” (Hebrew for “contact combat” or “con-
  tact fight”). Today, Krav Maga is the official martial art of
  the Israeli Defense Forces.
  Krav Maga mixes strikes, takedowns, and both standing
  and floor grappling. Kicks are low-line and used to disable
  the legs for a quick victory. The style expects the fighter to
  be aggressive, eschewing Defensive Attack in favor of Attack
  and Committed Attack. The Krav Maga stylist typically
  opens with a strike intended to distract or injure the foe, fol-
  lowed by either a grapple and takedown or a Head Lock and
  throw. After downing his opponent, he’ll end the fight with
  a pin or a Choke Hold.
  The style also teaches disarms against guns and knives.
  Once the weapon is out of the opponent’s grasp, the Krav
  Maga student learns to kick it away or otherwise ensure that
  his original assailant or a third party can’t use it. Stylists
  even practice techniques to keep the enemy from detonating
  a grenade!
  Krav Maga incorporates improvised-weapons training
  and stresses using anything available to win. Practitioners
  learn to throw objects at opponents to distract as well as to
  injure, and to stab with pens and pencils, hit with purses,
  reinforce punches with rocks, and so on. Survival is the only
  goal and training is done without ceremony. Instructors
  expect students to learn to spot dangerous situations and
  deal with them – by fighting or fleeing, as appropriate.
  By design, Krav Maga is easy to learn, useful for people
  of any size or fitness level, and effective in real combat situ-
  ations. Krav Maga has no sport version, although there’s a
  civilian self-defense version that’s somewhat different from
  the combat form presented here. Both versions use a
  colored-belt system nearly identical to that of Judo (p. 166).
  Krav Maga has no body of legend, but several cinematic
  skills and techniques would follow logically from its realis-
  tic ones in a cinematic game.
  Skills: Karate; Wrestling.
  Techniques: Arm Lock; Breakfall; Choke Hold; Disarming
  (Wrestling); Elbow Strike; Eye-Rake; Ground Fighting
  (Wrestling); Hammer Fist; Head Lock; Knee Strike; Stamp
  Kick.
  Cinematic Skills: Mental Strength; Power Blow; Pressure
  Points; Pressure Secrets.
  Cinematic Techniques: Lethal Strike; Pressure-Point
  Strike; Roll with Blow.
  Perks: Improvised Weapons (Karate).
  Optional Traits
  Advantages: Combat Reflexes; Fit; Language (Hebrew).
  Disadvantages: Bloodlust; Social Stigma (Minority
  Group, Jew).
  Skills: Boxing; Brawling; Guns (Pistol, Rifle, or SMG);
  Savoir-Faire (Dojo); Knife; Spear.
  Techniques: Retain Weapon (Pistol or Rifle).
  MCMAP (U.S. Marine Corps 
  Martial Arts Program)
  3 points
  MCMAP (pronounced “mihk-map”) is a direct, simple
  style taught to all U.S. Marine Corps personnel during Basic
  Training. It replaces the Linear Infighting Neural-override
  Engagement (LINE) system of the 1990s, which taught set
  responses to specific attacks. MCMAP emphasizes quick,
  violent attacks to stun or confuse the opponent, followed by
  a takedown or throw. It has a few submission techniques for
  less-than-lethal situations, but no sport form – its main pur-
  poses are to teach Marines basic self-defense skills and to
  encourage aggressiveness.
  Training is accordingly direct – recruits pair off and
  practice against each other – and includes hands-on drills
  that involve multiple opponents, armed attackers, and
  “mob engagements.” Students learn a small number of
  techniques chosen for their violence, effectiveness, and
  (relative) ease of use in fighting gear. Rounding out the
  instruction are simple lessons in disarming, weapon
  retention, and bayonet fighting, plus enough training in
  improvised weapons to inculcate in the Marine the idea
  that any item can be a weapon if necessary. Advanced
  schooling, typically conducted in the infantry schools or
  operating forces, progresses into grappling and ground-
  fighting tactics.
  STYLES
  183
  
  184
  STYLES
  Many traditional martial arts have a battlefield 
  history and could justly claim to be “military.” For game
  purposes, however, “military hand-to-hand” specifically
  describes the melee combat styles taught to TL6+
  troops armed with firearms. That is, it refers to modern
  military styles.
  The biggest difference here is that the arts practiced by
  pre-gunpowder warriors were primary skill sets, while
  those learned by modern soldiers are last resorts. A high-
  tech infantryman carries a rifle, grenades, and often a pis-
  tol. He enjoys the support of machine guns, mines, and
  mortars. He can radio for a fire mission. He’ll use all of
  these tools before joining hand-to-hand combat, because
  they’re all more efficient at killing the enemy. A samurai
  or a Roman legionary, on the other hand, starts with a
  spear or a sword!
  This is important for soldier characters. Modern mili-
  tary training doesn’t spend as much time on hand-to-hand
  combat as on firearms. Thus, a Marine PC shouldn’t have
  many more points in MCMAP than in Guns skills. Elite
  troops who are highly trained at melee combat have dif-
  ferent skills and techniques from their historical brothers,
  too. The GM who wants to design his own military styles
  should be aware of the goals of such arts.
  Disarming and Weapon Retention
  Modern warfare is all about firearms. If you have a
  gun and the other guy doesn’t – and he doesn’t surrender
  before he gets close enough to be a threat – shoot him. In
  close-quarters battle, though, any tight corner could con-
  ceal an enemy close enough to grab your weapon. To
  counter this, military styles teach how to keep weapons
  away from unfriendly hands; that is, the Retain Weapon
  technique.
  If the other guy has the gun, the correct response is to
  take away his weapon and shoot him with it – not to
  attack with a knife or a jump kick. Thus, military styles
  teach ways to gain control of an opponent’s firearm, too.
  This is the Disarming technique.
  This emphasis on keeping and taking away weapons
  explains why most military styles favor grappling skills
  over striking skills, with few exceptions.
  Knife, Rifle Butt, 
  and Entrenching Tool
  This doesn’t mean that melee weapons are worthless.
  When you’re out of ammo, you don’t walk around
  empty-handed, hoping to take away an enemy’s weapon.
  You use what you have. To kill the other guy before he
  kills you, a long weapon is best. Typical Melee Weapon
  skills taught by military styles – in order from longest to
  shortest reach – are Spear (for the fixed bayonet);
  Axe/Mace (for entrenching tools, or a rifle butt used as a
  club) or Shortsword (for a machete or unfixed sword
  bayonet); and Knife (for fighting knives and unfixed
  knife bayonets).
  Military styles prioritize these skills in order of reach.
  Training for military police is sometimes an exception, as
  it might focus on Shortsword or Tonfa for use with a
  baton. If weapon techniques are taught, they’re similar to
  those for unarmed combat – Disarming and Retain
  Weapon – possibly with the addition of Close Combat.
  The Mk. I Boot
  Barehanded combat training is good for aggression
  and morale. Troops learn Brawling or Karate primarily
  for this reason. Military styles focus on techniques with
  the booted foot: Jam, Kicking, Stamp Kick, etc. Hand
  techniques involve brutal mauling, like Eye-Gouging and
  Neck Snap, not breaking fists on helmets.
  Unarmed striking is truly the last resort. If you’re fight-
  ing without a weapon – and can’t take somebody else’s –
  you’re probably doomed. The most realistic use of
  unarmed strikes is as “finishing moves”: stomping on the
  head or windpipe of a fallen foe.
  Sentry Removal
  Silently neutralizing a sentry is the only situation
  where a melee weapon is preferable to a firearm. This
  arises less often in reality than in action movies, which is
  why ordinary troops don’t carry silencers, glove pistols,
  and similar exotica. When necessary, a knife will do and
  the goal is to kill, not to fight. If you can’t silence the tar-
  get without a struggle, shoot him – a single shot is no less
  stealthy than a screaming brawl. The Knife skill is all
  that’s needed here, but techniques such as TA (Knife
  Swing/Throat) and TA (Knife Thrust/Vitals) aren’t
  unknown.
  Some styles teach the Garrote skill, but a garrote is
  tricky to use on someone wearing bulky body armor and
  web gear. Thus, the skill is typically optional.
  The Purpose of Military Hand-to-Hand
  
  MCMAP practitioners engage the foe with a punch, kick,
  grapple, or grab, followed by a throw or takedown attempt.
  They usually finish a downed opponent with a double stomp
  to the head: two Stamp Kicks aimed at the face or skull.
  Treat this as an All-Out Attack (Double) or Rapid Strike.
  While MCMAP is a specific training style for a particular
  military branch, it’s a good example of the kind of unarmed
  training used to condition recruits. Other services have very
  similar styles. None of these offer cinematic skills – they
  completely lack legends of special abilities. Cinematic styl-
  ists should simply buy high skill, ST, DX, and HT.
  Remember that however skilled a Marine gets at
  unarmed combat, he’s expected to rely on his firearms and
  bayonet first. All recruits receive bayonet training similar to
  Jukenjutsu (p. 197) in addition to MCMAP. They also receive
  firearms training, of course – but this isn’t part of MCMAP
  or topical for Martial Arts.
  Skills: Brawling; Judo.
  Techniques: Disarming (Judo); Elbow Strike; Knee
  Strike; Stamp Kick; Targeted Attack (Stamp Kick/Face);
  Targeted Attack (Stamp Kick/Skull).
  Perks: Improvised Weapons (Brawling).
  Optional Traits
  Advantages: Combat Reflexes; Fit or Very Fit.
  Disadvantages: Bloodlust; Overconfidence.
  Skills: Karate; Spear; Staff.
  Techniques: Ground Fighting (Brawling or Judo); Retain
  Weapon (Rifle).
  Sambo
  4 points
  Sambo is an acronym for the Russian samozashchita bez
  oruzhiya (“self-protection without weapons”). The style orig-
  inated in the 1930s as an amalgamation of traditional
  wrestling styles – including Mongolian, Caucasian, Greco-
  Roman, and belt wrestling – and Judo. Its founders deliber-
  ately set out to design a unifying “Soviet” art that would
  replace all existing styles in the USSR.
  Grappling comes first in Sambo. Strikes serve chiefly to
  distract or injure the enemy, “softening” him for an effective
  hold or lock. Stylists use a full range of maneuvers, but the
  style emphasizes aggression over reaction, making Wait and
  Evaluate less common than Attack and Committed Attack.
  Perhaps unusually, Sambo makes extensive use of Leg
  Locks. Many proponents claim that limb locks are more
  effective than chokes for defeating a foe.
  While Sambo lacks a body of legendary techniques, it
  enjoys a mystique as a brutally effective art used by ruthless,
  physically powerful men. Cinematic samboists are likely to
  have high levels of ST and HT, and use Power Blow to shat-
  ter arms and snap legs. They might also know certain
  “strong man” techniques that, while not realistic for actual
  combat, feature prominently in the wilder claims made for
  the style.
  The style presented here is military or “combat” Sambo,
  taught to special-operations forces and elite police units.
  There’s also a sport version. To get this, add the Wrestling
  Sport skill and remove the Disarming and Choke Hold 
  techniques – and since striking isn’t allowed, eliminate
  Karate and its techniques, too.
  Skills: Judo; Karate; Wrestling.
  Techniques: Arm Lock; Choke Hold; Disarming (Judo);
  Elbow Strike; Ground Fighting (Wrestling); Head Lock; Leg
  Lock; Leg Throw; Lower-Body Arm Lock; Lower-Body Head
  Lock; Lower-Body Leg Lock; Stamp Kick; Triangle Choke;
  Wrench (Limb).
  Cinematic Skills: Immovable Stance; Mental Strength;
  Power Blow.
  Cinematic Techniques: Backbreaker; Piledriver.
  Perks: Iron Legs; Power Grappling; Special Exercises
  (Striking ST +1); Technique Adaptation (Ground Fighting).
  Optional Traits
  Advantages: Combat Reflexes; Fit; High Pain Threshold.
  Disadvantages: Bloodlust.
  Skills: Boxing; Brawling; Knife; Spear.
  MUAY THAI
  3 points
  Muay Thai is Thailand’s native kickboxing style. It’s relat-
  ed to other Thai martial arts, such as Krabi Krabong (p. 176).
  Due to the burning of Siamese records in the 17th century,
  its origins are lost. As a form of full-contact tournament
  fighting, though, the style dates back at least that far. Muay
  Thai is practiced worldwide today.
  Muay Thai is a pure striking style. Students learn three
  kicks, six punches, and use of the knees and elbows. Few tar-
  gets are off-limits. Stylists learn no grapples or throws, but
  takedowns from a “clinch” sometimes occur when fighters
  get in close. Most contenders prefer to throw Knee Strikes in
  the clinch, however (see Grab and Smash!, p. 118).
  Muay Thai fighters are famously aggressive. They favor
  Committed Attack and shun Defensive Attack. Most kicks
  use the shin as a striking surface, and the usual targets are
  the head and body (for the knockout) or the legs (to score a
  knockdown). Muay Thai has a distinctive guard style, with
  both hands held up and far forward of the body to help ward
  off elbows and high kicks. Against low kicks, the usual count-
  er is a Jam.
  Finishing moves tend to be spectacular – often Telegraphic
  Attacks (p. 113) – and too risky to attempt against a fresh,
  wary opponent. Examples include the jumping Knee Strike,
  which is an All-Out Attack (Strong), and a Spinning Punch
  that incorporates an Elbow Strike. Fighters save Spinning
  Kick for fight-ending shots, too. Even then, many consider
  this technique showy – and insulting to the victim!
  Most Muay Thai fighters learn their art from profession-
  al teachers at training camps, sometimes under the control
  of promoters. Professional prizefighters train daily; their reg-
  imen includes cross-training, bag work, sparring, yoga, mas-
  sage, and running. In the past, conditioning exercises includ-
  ed hitting the legs with sticks or kicking trees to toughen the
  shins, but modern practitioners use heavy bags. Muay Thai
  camps are full of prospective fighters hoping for a shot at the
  title – much like boxers in other countries. Few last long
  enough to make it far. Poverty and crippling injuries are
  more common than title shots.
  STYLES
  185
  
  In matches, competitors wear modern boxing gloves or
  hand wraps, mouth guards, and groin protectors. In histor-
  ical times, they wore wraps dipped in glue and rolled in bro-
  ken glass, the goal being identical to that of ancient Greek
  and Roman boxers who used the myrmex or cestus. A con-
  tender might fight one or more matches per month. Thanks
  to the full-contact nature of the “sport,” fighters often have
  short careers; the hard training, dubious safety procedures,
  and frequent matches can result in career-ending injuries.
  In Thailand, traditional rituals still surround matches: a
  ceremonial dance (ram muay) with respectful bows to
  teachers (wai kru) before a bout, music during it . . . and bet-
  ting. No one bets until after the first round, which fighters
  use to demonstrate their toughness and skill. Contenders
  are often as young as 14 or 15, ferociously fighting for a
  chance at a living in the sport. Outside Thailand, Muay Thai
  has lost much of its ritual but retains its combative nature.
  Muay Thai mixed with grappling arts has been successful in
  mixed martial arts matches, and some Karate practitioners
  have made the leap to professional Muay Thai.
  Skills: Games (Muay Thai); Karate.
  Techniques: Counterattack (Karate); Elbow Strike; Jam;
  Kicking; Knee Strike; Leg Grapple (DX); Push Kick;
  Spinning Kick; Spinning Punch; Sweep (Karate); Targeted
  Attack (Karate Kick/Leg); Uppercut.
  Cinematic Skills: Power Blow.
  Cinematic Techniques: Roll with Blow.
  Perks: Clinch (Karate); Iron Legs; Neck Control (Karate);
  Special Exercises (Striker, Crushing with Limb, Shin);
  Technique Mastery (Knee Strike).
  Optional Traits
  Advantages: Fit or Very Fit; Hard to Subdue; High Pain
  Threshold.
  Disadvantages: Social Stigma (Minor); low Wealth; crip-
  pling injuries galore.
  Skills: Boxing; Boxing Sport; Dancing (Ram Muay);
  Savoir-Faire (Gym); Wrestling.
  NAGINATAJUTSU
  3 points
  Naginatajutsu is a Japanese polearm-fighting style for use
  with the naginata (a sword blade mounted on a staff) or naga-
  maki (which has more equal blade-to-haft proportions). The
  naginata was a battlefield weapon, and schools dedicated to
  it have existed since at least the mid-12th century. Indeed,
  Benkei the monk – legendary companion of the great 12th-
  century hero Yoshitsune – was a Naginatajutsu master. The
  weapon itself is several centuries older than that, so the style
  might have even earlier origins. By 16th century, firearms had
  relegated the polearm to a largely ceremonial role.
  Naginatajutsu became a martial art practiced by noble-
  women for home defense and to add physical training to a
  largely sedentary lifestyle.
  Naginatajutsu is an offensive style. The weapon has a
  length advantage over most others and lends itself to swift,
  wheeling motions, so practitioners seek to eliminate the foe
  quickly. Stylists use feints to draw out the opponent and
  attacks to the legs and body to disable or kill him. Historically,
  the leg was such a popular target that warriors wore heavy
  shin armor specifically to counter naginata cuts! Full-
  extension lunges that exploit the naginata’s length are very
  common; treat such an attack as an All-Out Attack (Long).
  Fighters also use long-range swings. Other training includes
  butt strikes, both to targets in front and behind; techniques
  for disarming foes and retaining the naginata in the face of
  similar disarms; and sweeps with the end of the pole.
  Naginata schools teach staff forms as well as polearm
  skills, for use in the event that the naginata’s blade breaks off.
  Some ryuha train using a naginata that has a sharp cap on the
  butt, which allows the weapon to serve as a spear in extremis
  or after a feint with the blade. Others teach the knife or short-
  sword as a backup weapon.
  Naginatajutsu schools still exist today. In fact, there’s a 
  dedicated federation committed to spreading the art. Modern
  students usually learn a sport version (see Naginatado, p. 187).
  Skills: Polearm; Staff.
  Techniques: Back Strike (Staff); Disarming (Staff); Feint
  (Polearm or Staff); Retain Weapon (Polearm); Sweep
  (Polearm or Staff); Targeted Attack (Polearm Swing/Face);
  Targeted Attack (Polearm Swing/Leg).
  Cinematic Skills: Kiai; Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Defense (Polearm or
  Staff); Whirlwind Attack (Polearm or Staff).
  Perks: Form Mastery (Naginata); Grip Mastery (Naginata).
  Optional Traits
  Advantages: Combat Reflexes; Enhanced Parry (Polearm).
  Disadvantages: Reputation (Always aims for the legs).
  Skills: Knife; Parry Missile Weapons; Savoir-Faire (Dojo);
  Shortsword; Spear; Two-Handed Sword.
  186
  STYLES
  Lethwei
  4 points
  Lethwei (also known as Lethay) is a Burmese box-
  ing system similar to Muay Thai (pp. 185-186).
  Unlike Muay Thai, however, Lethwei permits throws,
  head butts, and sweeps. It’s even legal to strike a
  falling opponent once on the way down, if his head is
  at least 12 inches from the floor. Competitors rarely
  use substantial hand wrappings, let alone gloves.
  Lethwei has no weight classes, although some
  tournaments group contenders by age and experi-
  ence. A bout goes four rounds. The first three rounds
  end when there’s bleeding from a head wound or an
  especially effective strike or takedown. The final
  round lasts until one participant is knocked out or
  gives in. Under traditional rules, a fighter must sub-
  mit to end the match; unconscious contestants are
  revived and given the option to continue or submit.
  Skills: As Muay Thai, but add Judo and change
  Games specialty to Lethwei.
  Techniques: As Muay Thai, plus Head Butt.
  Perks: As Muay Thai, plus Iron Hands.
  Optional Traits
  Advantages: Hard to Subdue; High Pain
  Threshold.
  
  PA KUA CHUAN
  5 points
  Pa Kua Chuan – also called Pa Kua Chang, Bagua, or
  Baguazhang – is one of the three major “internal” arts of
  Chinese kung fu, the others being Hsing I Chuan (pp. 162-163)
  and T’ai Chi Chuan (pp. 200-201). Legend places its origins as
  far back as the 14th century. Its verifiable history starts in 1796.
  Pa Kua Chuan translates literally as “eight trigram palm,”
  hinting at its basis in the I Ching. Practitioners walk in circles
  while making complex hand movements. The art is nonag-
  gressive, and based on avoiding blows and redirecting the foe’s
  attacks. It does include some strikes – especially with the open
  palm (treat as Hammer Fist). These are effective, although they
  look deceptively lazy and unskilled.
  The Pa Kua Chuan practitioner normally chooses Wait,
  Defensive Attack, or All-Out Defense (Increased Parry). Only
  after his opponent commits to an attack does he respond –
  most often with a lock or a throw. Strikes are infrequent; 
  stylists prefer evasion and redirection to taking the offensive.
  Move and Attack, Committed Attack, and All-Out Attack are all
  extremely rare for the same reason.
  Developing and channeling chi is the ultimate goal of Pa
  Kua Chuan. The style can be effective in a realistic game . . . but
  it’s devastating in a cinematic one. Masters avoid incoming
  blows with steady walking and sidestepping, and use Push,
  Pressure Points, and Power Blow to defeat attackers.
  Legend tells of a friendship between a famous Hsing I
  Chuan master and a renowned Pa Kua Chuan master. Some
  sources say that they fought a three-day duel before the Hsing
  I Chuan master finally laid out the Pa Kua Chuan master with
  a strike! Each master was so impressed by the other’s style that
  they shared their secrets, cementing the tradition of training
  one another’s students. Whatever the truth, Pa Kua Chuan
  practitioners frequently learn Hsing I Chuan as well, students
  of one art are welcome at schools of the other, and the styles
  have borrowed from one other – some Pa Kua Chuan schools
  teach linear forms from Hsing I Chuan.
  STYLES
  187
  The world has seen a mind-boggling variety of
  polearms – more than a few of which have been the sub-
  ject of multiple fighting styles. Historians often dismiss
  these weapons as suitable only for mass combat and ill-
  trained peasant infantry. Historical warriors, on the other
  hand, often regarded polearms as ideal for man-to-man
  combat. Indeed, some Masters of Defence held certain
  varieties of bills and glaives to be superior to all other
  weapons! Of course, most of these martial artists used
  polearms that were shorter, lighter, and far more agile
  than the full-length battlefield weapons that historians
  read about in chronicles of old wars.
  The specifics of polearm-fighting styles vary as much
  as the weapons, but a few principles are nearly universal.
  Polearm fighters normally hold the shaft in a Defensive
  Grip (pp. 109-111) and parry with both the blade and the
  haft. Most attacks are Defensive Attacks with the tip
  (thrusts). The warrior saves swings for fallen or disarmed
  foes – but uses Committed Attack (Strong) when he does
  swing. The fight consists primarily of using Evaluate and
  Wait to circle and look for an opening, or Feint to create
  one. Most styles avoid close-in fighting and seek to keep
  enemies at bay, although some teach kicking.
  Chinese polearm styles differ somewhat in that while
  they’re pragmatic, they also contain extravagant flourish-
  es to impresses friend and foe alike. Polearm Art is a com-
  mon addition.
  For more on the weapons used in polearm fighting, see
  Chapter 6.
  Chinese Horse-Cutter Fighting
  4 points
  This Chinese style uses the pudao or “horse-cutter,” a
  weapon functionally similar to the European halberd. 
  It’s suitable for use with the halberd and the Okinawan
  bisento as well.
  Skills: Polearm; Polearm Art; Staff.
  Techniques: As Naginatajutsu (p. 186), plus Counter-
  attack (Polearm) and Spinning Strike (Polearm).
  Perks: Form Mastery (Horse-Cutter); Grip Mastery
  (Horse-Cutter).
  Optional Traits
  Advantages: Combat Reflexes.
  Glaive Fighting
  4 points
  This Welsh polearm style uses the dueling glaive or the
  forest bill. Swiss halberd fighting would be almost identi-
  cal – just change the Form Mastery specialty to Halberd.
  Skills: Brawling; Polearm; Staff.
  Techniques: Counterattack (Polearm); Disarming
  (Polearm); Feint (Polearm or Staff); Hook (Polearm);
  Kicking; Knee Strike; Spinning Strike (Polearm); Sweep
  (Polearm); Targeted Attack (Polearm Swing/Leg);
  Targeted Attack (Polearm Thrust/Vitals).
  Perks: Form Mastery (Dueling Bill); Form Mastery
  (Dueling Glaive).
  Optional Traits
  Advantages: Combat Reflexes.
  Naginatado (or Atarashii Naginata)
  4 points
  Naginatado is the sport form of Naginatajutsu (p. 186).
  Stylists use a wooden naginata for kata and solo drills – a
  practice dating back to the early 17th century – and a
  bamboo-bladed weapon and kendo armor when sparring.
  Valid targets in bouts are the head, neck, torso, and shins.
  Skills: Polearm Sport; Savoir-Faire (Dojo); Staff Sport.
  Techniques and Perks: As Naginatajutsu.
  Polearm Fighting
  
  Skills: Judo; Karate; Meditation; Philosophy (Taoism).
  Techniques: Arm Lock; Exotic Hand Strike; Hammer
  Fist.
  Cinematic Skills: Hypnotic Hands; Immovable Stance;
  Mental Strength; Power Blow; Push; Pressure Points;
  Pressure Secrets.
  Cinematic Techniques: Roll with Blow.
  Perks: Style Adaptation (Hsing I Chuan).
  Optional Traits
  Advantages: Enhanced Dodge; Enhanced Parry (Bare
  Hands).
  Disadvantages: Disciplines of Faith (Ritualism).
  Skills: Judo Art; Karate Art; Savoir-Faire (Dojo).
  PAK HOK
  3 points
  Legend has it that an early 15th-century Tibetan monk
  developed Pak Hok kung fu after observing a struggle
  between a crane and an ape. As the story goes, the crane
  deftly avoided the ape’s attacks and plucked out an eye,
  thereby winning the fight despite the mismatch in strength.
  Inspired, the monk created the style originally called “lion’s
  roar” and later renamed Pak Hok, or “white crane.” Other
  sources claim that the style predates Bodhidharma’s arrival
  at the Shaolin Temple, which would date it to the 6th cen-
  tury or even earlier. Its verifiable history is traceable only to
  the 17th century, when it was first taught publicly to monks
  and non-monks alike in Canton.
  Pak Hok works off four principles: cham, or remorseless
  and completely committed attack without thought of
  retreat; sim, or dodging strikes while leaving the hands free
  to counterattack; cheung, or assaulting the foe with a cease-
  less barrage of blows; and it, or countering the enemy’s
  attacks by being one step ahead. Stylists employ very dis-
  tinctive footwork which mimic a crane’s careful (but quick)
  steps.
  The Pak Hok stylist prefers Wait and Evaluate at the start
  of a fight. When his foe attacks, he dodges or parries and
  then counters with a Committed or All-Out Attack – most
  often using the Counterattack technique. After landing a
  telling blow, he unleashes a torrent of strikes to finish his
  opponent, making extensive use of Rapid Strike and All-Out
  Attack (Double). Defensive Attack is rare, but a stylist facing
  multiple foes might use the Attack maneuver instead of
  Committed Attack or All-Out Attack.
  The style’s usual attacks are punches and beak-like
  Exotic Hand Strikes – although a Hammer Fist to the face
  sees use as well. Feints are most often Beats (pp. 100-101)
  intended to knock down the target’s guard. Pak Hok con-
  siders kicks secondary to punches; stylists sometimes use
  Jump Kick but they only train extensively at Kicking and
  Sweep. This last technique features prominently in Pak
  Hok’s signature combination: a parry followed immediately
  by a backhand punch to the neck and a foot sweep, thrown
  as a Counterattack. If using Combinations (p. 80),
  Combination (Karate Punch/Neck + Karate Sweep) should
  be common among stylists.
  Pak Hok schools also teach a few Chinese weapons,
  including the jian, spear, staff, and chain whip. Some add
  Chin Na (p. 154) to the system to complement their strike-
  heavy art with locks and throws.
  Pak Hok places little emphasis on chi, instead aiming for
  maximum speed and power. Despite this, several special
  abilities make sense for the cinematic practitioner. Think of
  these as focused skill and strength – not as exotic powers!
  Most famous is the lethality of the master’s beaked hand,
  said to be capable of plucking out the foe’s eye as the crane
  did in Pak Hok’s legendary origin.
  Before the 17th century, Pak Hok was a secret art – or at
  least an obscure one. Finding an instructor in the modern
  world isn’t difficult, however.
  Skills: Karate; Philosophy (Buddhism).
  Techniques: Counterattack (Karate); Exotic Hand Strike;
  Feint (Karate); Hammer Fist; Kicking; Sweep (Karate);
  Targeted Attack (Karate Hammer Fist/Face); Uppercut.
  Cinematic Skills: Power Blow; Pressure Points.
  Cinematic Techniques: Eye-Pluck; Lethal Kick; Lethal
  Strike; Pressure-Point Strike.
  Perks: Special Setup (No Hands > Karate Parry), allows
  parries with the body instead of the hands, with each
  replacing 
  a 
  hand 
  parry; 
  Technique 
  Adaptation
  (Counterattack).
  Optional Traits
  Advantages: Enhanced Dodge; Enhanced Parry (Bare
  Hands); Fit; Striking Strength.
  Disadvantages: Callous; Overconfidence.
  Skills: Judo; Rapier; Spear; Staff; Whip.
  PANKRATION
  5 points
  Pankration was the ancient Greek style of all-in
  wrestling. Its name translates as “all powers” and refers to
  the fact that in competition, all holds and strikes were per-
  mitted. Matches were long and brutal, and could end in
  death or disfigurement. Pankrationists needed a great deal
  of endurance to last even a single bout. They trained to fight
  equally well on slick ground, loose sand, and soft earth.
  Pankrationists generally took Evaluate or Wait maneu-
  vers until they spotted a good opening, then rushed in to
  deliver strikes or to execute a grapple and takedown. They
  used all manner of attacks. Hand strikes included punches
  dealt with protruding knuckles or stiffened fingers, over-
  head chops using the edge of the hand, and blows with the
  heel of the palm. Finishing moves done as All-Out Attacks
  were crowd-pleasers. Fighters usually fought defensively,
  though; the most common end to a match was a decisive
  hold on the ground. Fatal damage from strikes, limb
  wrenches, or chokes wasn’t uncommon.
  Pankration had no weight classes, so champions tended
  to be strong men. However, the ancient Greeks admired the
  skilled contender who defeated his opponents through
  superior technique as much as the strong fighter who sim-
  ply overpowered his foes with brute force. There were also
  those who felt that all pankrationists were bloody-handed,
  simple-minded fools who represented the worst in Greek
  culture, and whose skills were worthless to the polis during
  wartime.
  188
  STYLES
  
  There are modern versions of Pankration. These don’t
  trace their heritage back to ancient Greece but do take inspi-
  ration from the original sport. Skills and techniques are sim-
  ilar but tend to deemphasize moves that would be illegal in
  sanctioned mixed martial arts events.
  Skills: Games (Pankration); Judo; Karate; Wrestling.
  Techniques: Arm Lock; Elbow Strike; Exotic Hand Strike;
  Ground Fighting (Judo or Wrestling); Hammer Fist;
  Kicking; Knee Strike; Leg Grapple; Low Fighting
  (Wrestling); Stamp Kick; Wrench (Limb).
  Cinematic Skills: Immovable Stance; Power Blow.
  Cinematic Techniques: Backbreaker; Lethal Strike; Roll
  with Blow.
  Perks: Iron Hands; Neck Control (Karate); Sure-Footed
  (Slippery); Sure-Footed (Uneven).
  Optional Traits
  Secondary Characteristics: Improved FP and
  HP.
  Advantages:
  Fit or Very Fit; High Pain
  Threshold.
  Disadvantages:
  Bloodlust; Overconfidence;
  Reputation (Bloody-handed, simple-minded fool).
  Skills: Boxing; Games (Boxing); Hobby Skill
  (Feats of Strength).
  PENTJAK SILAT
  Pentjak Silat (also Pencak Silat) is a term for
  the martial arts of Indonesia. There are scores of
  Silat styles. One count suggested more than 160
  . . . and this was probably low, because many
  instructors regard their art as secret and conceal it
  from all but carefully selected students. Most
  forms come from Java, but Silat exists across
  Indonesia, and also in Malaysia and the
  Philippines (Filipino Silat fighters should blend
  one of the styles below with Escrima, pp. 155-156).
  Because Indonesia was a Dutch colony, Silat is
  found almost anyplace that received Indonesian-
  Dutch immigrants, too – including Europe.
  Attempts to unify Silat into a single entity have
  failed.
  As a general rule, Silat stylists fight low to the
  ground, launching strikes and throws from
  crouching stances and using rapid sideways move-
  ment. They learn to strike hard in order to destroy
  the foe’s means of attacking – and to retreat if
  faced with superior force. Students study weapons
  from the first days of training. All Silat variations
  teach the art’s signature weapon, the kris (p. 219).
  Like many Asian styles, Silat has legendary ori-
  gins. For instance, one form of Silat claims that a
  woman from Sumatra saw a fight between a snake
  and a bird, and used their moves as inspiration for
  the style. In reality, Silat appears to be a mixture of
  native martial arts influenced by Indian and
  Chinese styles. During the Japanese invasion of
  Indonesia during World War II, Japanese arts
  were also an influence.
  Pentjak Silat styles vary from soft to extremely hard.
  Some stress destructive striking techniques and brutal limb
  breaks. Others concern themselves with meditation, hyp-
  notic hand rhythms, and even supernatural powers. Indeed,
  many Silat styles purport to grant magical abilities, with the
  kris serving as a focus (much like the Powerstone and Staff
  in GURPS Magic). This makes Silat an ideal transplant to
  Yrth in a GURPS Banestorm campaign! Experts of such
  styles can reputedly kill at a distance and render themselves
  impervious to weapons.
  Below are two of the many Pentjak Silat variations. The
  GM may wish to develop more if running a Silat-heavy
  game. “Art” and “sport” forms are rare, though. Silat is a
  kind of cultural expression – dance-like exhibitions accom-
  panied by music are common at celebrations – but this
  aspect of the style is secondary to its combative side.
  STYLES
  189
  Mixed Martial Arts
  “Mixed martial arts” (MMA) is an emergent trend in modern
  martial arts. It isn’t a style but an umbrella term for any style or
  combination of styles that includes both striking and grappling
  tactics for fighting limited-rules bouts. MMA events pit fighters
  from many different styles against one another, and are rapidly
  growing in popularity.
  In early no-holds-barred bouts, pure striking stylists did poorly
  because they couldn’t cope with elementary chokes and locks once
  a grappler took them to the ground. Dedicated grapplers did well
  until faced with opponents trained to strike and grapple, both
  standing and prone. The curriculum of MMA schools reflects the
  lessons learned from these matches. Such schools are pragmatic –
  gyms more than dojos, even in tradition-heavy Japan.
  Mixed martial arts competitors learn to punch and kick until
  they can grapple their adversary and finish him with a choke,
  lock, or close-in strike. Each fighter has his strengths and weak-
  nesses, but no serious contender can afford to be without training
  at both striking and grappling. While almost any style that offers
  effective, fight-tested techniques and full-contact sparring can be
  part of a MMA curriculum, a striking stylist must learn a grap-
  pling art – and vice versa – to be competitive.
  Common MMA striking styles include Bando (pp. 151-152),
  Boxing (pp. 152-153), and Muay Thai (pp. 185-186). Nearly any
  grappling art makes an excellent basis for MMA training – includ-
  ing such sport forms as Judo (p. 166) and Greco-Roman
  Wrestling (p. 205), which sometimes show up in MMA bouts after
  a fighter learns locks and holds illegal in his original sport! A few
  arts are essentially MMA “as is,” most famously Brazilian Jiu-jitsu
  (pp. 167-168), Sambo (p. 185), and modern Pankration (pp. 188-
  189). On the other hand, kick-heavy styles such as Tae Kwon Do
  and Savate, and “soft” arts like Aikido and T’ai Chi Chuan, play
  almost no role in MMA.
  In game terms, a MMA fighter needs a style or a blend of styles
  that offers striking skills (usually Karate or Boxing) and grappling
  skills (Judo or Wrestling). Ideal choices are arts that teach tech-
  niques popular in MMA, notably Arm Lock, Choke Hold, Ground
  Fighting, and Low Fighting. The Clinch, Neck Control, and Style
  Adaptation perks – especially Style Adaptation (All) – are com-
  mon among competitors. If using templates, Contender (p. 32)
  works best. Instructors might use Instructor (pp. 34-35) or be con-
  tenders with the Teaching skill and too many injuries to fight.
  
  Kumango Silat
  4 points
  The heartland of Kumango Silat is Bukittinggi
  (Fordekok), in the Menangkabau area of Sumatra. The
  style’s origins are unknown, but it’s believed to be a native
  Sumatran art. It’s still practiced in the 21st century.
  Kumango Silat is a soft, flexible Silat form. It emphasizes
  evasions and escapes from grapples. Stylists yield to an
  attacker’s movements and then slip free. Fighters parry from
  outside to inside, usually sidestepping (see Retreat Options,
  pp. 123-124) to get to the enemy’s flank. They favor the
  elbow parry – an Aggressive Parry – against incoming kicks
  and Knee Strikes. The usual counter to a high kick is a Leg
  Grapple followed by a throw or a takedown.
  Feints are an important part of Kumango Silat, and often
  precede a Deceptive Attack. The attack itself might be a kick,
  a punch, or both, thrown as a Dual-Weapon Attack. Strikes
  focus on the foe’s centerline, the primary targets being the
  groin, neck, and vitals. Stylists also grapple – a favorite tar-
  get being the foe’s parrying arm – and follow up with
  throws, locks, and (especially) strikes.
  Kumango Silat stances are very low and incorporate
  thigh slaps and deep movements. Practitioners often fake
  these motions as part of a feint or Deceptive Attack. The
  hands cover the groin and body, or the back of the neck
  while turning. Stylists practice stances on sandy beaches in
  order to get used to shifting ground.
  Kumango Silat is rare outside of Indonesia but a good
  model for other “soft” Silat styles. Like all forms of Silat, it
  includes weapons training from the start. At some schools,
  students learn Combat Art versions of its core skills
  instead of combat skills.
  Skills: Judo; Karate; Knife.
  Techniques: Aggressive Parry (Karate); Arm
  Lock; Counterattack (Karate or Knife); Elbow
  Strike; Evade; Exotic Hand Strike; Feint (Karate or
  Knife); Leg Grapple; Low Fighting (Judo, Karate,
  or Knife); Spinning Kick; Spinning Punch; Sweep
  (Judo or Karate); Targeted Attack (Karate
  Kick/Groin); Targeted Attack (Karate Punch/Neck);
  Targeted Attack (Karate Punch/Vitals); Targeted
  Attack (Knife Thrust/Vitals); Trip.
  Cinematic Skills: Breaking Blow; Hypnotic
  Hands; Mental Strength; Power Blow; Pressure
  Points; Pressure Secrets.
  Cinematic Techniques: Dual-Weapon Attack
  (Karate); Springing Attack (Karate).
  Perks: 
  Sure-Footed 
  (Sand); 
  Technique
  Adaptation (Low Fighting); Unusual Training
  (Dual-Weapon Attack, Both attacks must target the
  same foe).
  Optional Traits
  Advantages: Cultural Familiarity (Southeast
  Asia); Language (Indonesian).
  Disadvantages: Delusion (“My kris has magical
  powers”); Vow (Uphold Islam and the traditions of
  the style).
  Skills: Jitte/Sai; Judo Art; Karate Art; Knife Art;
  Kusari; Main-Gauche; Staff; Whip.
  Tapak Sutji Pentjak Silat
  6 points
  Ifan Badjam officially founded Tapak Sutji Pentjak Silat
  in 1963, at the age of 72, in Central Java. A long period of
  development and practice preceded this event, however, and
  the art’s true origins stretch back to the 1920s and the
  founding of an earlier school with identical drills and teach-
  ings. Practitioners fought the Japanese during WWII, the
  Dutch in the late 1940s, and the Communists in the 1960s.
  Like other Silat styles, Tapak Sutji stances are low to the
  ground. They aren’t static – the practitioner keeps moving to
  gain an advantage over his foe. Traditionally, students prac-
  ticed the style outdoors on uneven ground, on beaches, or in
  tangled undergrowth, and were expected to cope with (and
  learn to fall on!) the rough and varied natural terrain.
  Tapak Sutji practitioners make extensive use of Judo
  Throw, Sweep, and Trip to put the opponent on the ground.
  Follow-ups are more likely to be strikes than grapples or
  locks. Attacks often follow feints, and are usually Deceptive
  Attacks. Stylists like to counter an enemy attack with a parry
  followed by either an immediate Counterattack or an Arm
  Lock and then a strike or throw. As usual for Silat, the aim
  is to destroy the foe’s ability to continue the attack, so the
  limbs are common targets.
  Tapak Sutji includes training in a vast array of tradition-
  al Indonesian weapons. It also adds a short, flexible metal
  truncheon called the segu (treat as a baton) and the
  Japanese katana. Stylists don’t use the katana with Kenjutsu
  stances or tactics, but rather in the mobile, low-to-the-
  ground Silat style.
  190
  STYLES
  Silat Traditions
  Silat tradition regards the connection between master and
  disciple as a blood relationship. The bond is as much that of par-
  ent and child as it is that of student and teacher. This is very dif-
  ferent from the more businesslike arrangements common in the
  West.
  According to hoplologist Donn Draeger, the teacher tradition-
  ally expected the student to give him certain gifts before he
  would offer instruction:
  • A chicken, the blood of which would be spread on the
  ground as a symbolic substitute for the student’s blood.
  • A roll of white cloth, for use as a burial shroud should the
  student be killed during training.
  • A knife, to represent the sharpness expected of the student.
  • Tobacco, for the teacher to smoke.
  • Money, to replace the teacher’s clothing torn during
  training.
  The student also had to swear an oath on the Koran to uphold
  the style’s traditions and the laws of Islam.
  These practices aren’t common in Silat schools in the modern
  West, but such academies often have charters and rules that are
  nearly as stringent. The GM could certainly have a teacher from
  the “old country” expect Western students to respect these tradi-
  tions, or use them as inspiration for a fictional style. In a fanta-
  sy or space-opera setting, the gifts might be strange indeed . . .
  
  Tapak Sutji Pentjak Silat is widely practiced. Finding a
  Tapak Sutji school in Indonesia, Europe, and many other
  parts of the world is relatively easy. Tapak Sutji students wear
  a red uniform with yellow bands on the neck and sleeves.
  Skills: Judo; Karate; Knife; Shortsword; Two-Handed
  Sword.
  Techniques: Arm Lock; Breakfall; Counterattack (Karate,
  Knife, or Shortsword); Exotic Hand Strike; Feint (Karate,
  Knife, Shortsword, or Two-Handed sword); Jump Kick;
  Kicking; Low Fighting (Judo, Karate, Knife, or Shortsword);
  Sweep (Judo or Karate); Targeted Attack (Karate Kick/Leg);
  Targeted Attack (Karate Punch/Arm); Trip.
  Cinematic Skills: Breaking Blow; Hypnotic Hands; Mental
  Strength; Power Blow; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Springing Attack (Karate).
  Perks: Sure-Footed (Uneven); Technique Adaptation (Low
  Fighting).
  Optional Traits
  Advantages: Cultural Familiarity (Southeast Asia);
  Weapon Master.
  Disadvantages: Delusion (“My kris has magical powers.”);
  Vow (Uphold Islam and the traditions of the style).
  Skills: Jitte/Sai; Judo Art; Karate Art; Knife Art; Kusari;
  Main-Gauche; Shortsword Art; Staff; Two-Handed Sword
  Art; Whip.
  POLLAXE FIGHTING
  4 points
  The pollaxe was popular for knightly judicial duels in
  15th- and early 16th-century Europe. This weapon wasn’t the
  massive “axe-head-on-a-shaft” described on p. B272, which
  was primarily suited for use by ranked soldiers. Rather, it
  was a shorter “dueling halberd” (p. 216) – sometimes with a
  toothed hammer instead of an actual axe blade – designed
  specifically for personal combat.
  Knights normally gripped the pollaxe two-handed, like a
  staff, spacing their hands far apart and holding the shaft
  diagonally across the body. In game terms, this would be a
  Defensive Grip (pp. 109-111). Fighting was close-in, and
  favored jabs with the point and short swings over wide,
  sweeping blows that – while powerful – would expose the
  attacker. Another popular tactic was hooking the beak, blade,
  or spike behind the opponent’s weapon, leg, or neck. Feints
  and Defensive Attacks were common, but a fighter would use
  Committed Attack (Strong) or All-Out Attack (Feint) if his
  rival seemed vulnerable.
  Some pollaxes concealed a hollow space in the head that
  was filled with an irritant “blinding powder.” Launching this
  is a dirty trick (see Dirty Tricks, p. 76). The attacker can use
  Polearm skill instead of DX to throw the powder if knows the
  appropriate Style Perk. However, roll 1d after any swinging
  attack with the weapon. On 1-2, the powder spills prema-
  turely (and harmlessly). Any critical miss means the powder
  affects the pollaxe’s wielder, in addition to the results on the
  Critical Miss Table!
  Despite its fearsome appearance, the pollaxe was more
  popular in tournaments than in wartime. Some scholars
  believe that this was because it wasn’t especially effective at
  penetrating armor – even a full-force swing would knock
  down an armored man without inflicting much injury. This is
  more a commentary on the fighters’ armor than their tactics,
  which were certainly earnest enough. Practitioners should
  definitely learn combat skills, not Combat Sport skills.
  The pollaxe lost whatever military utility it might have
  had once warfare became an issue of massed pikes and hal-
  berds rather than individual warriors. Some commanders
  still carried a pollaxe while leading such troops, however.
  Skills: Brawling; Games (Knightly Combat); Polearm.
  Techniques: Disarming (Polearm); Feint (Polearm); Hook
  (Polearm); Knee Strike; Retain Weapon (Polearm); Stamp
  Kick; Sweep (Polearm).
  Cinematic Skills: Power Blow.
  Perks:
  Grip Mastery (Dueling Halberd); Unique
  Technique (Powder Spill).
  Optional Traits
  Advantages: Status; Wealth.
  Disadvantages: Code of Honor (Chivalry).
  Skills: Knife; Polearm Sport; Shortsword; Two-Handed
  Axe/Mace; Wrestling.
  PRAYING MANTIS KUNG FU
  4 points
  Tradition has it that a 17th-century Shaolin monk
  observed a praying mantis hunting and – inspired by its deft
  use of its hooked forelimbs – adapted the insect’s move-
  ments to his own style and added elements from other arts
  to create Praying Mantis Kung Fu. Like all legendary ori-
  gins, this tale is impossible to verify. Still, several Chinese
  martial arts that emulate the mantis’ methods survive today.
  The style described below is a type of Northern Praying
  Mantis. Southern Praying Mantis also exists but shares only
  a name – not techniques or history.
  Mantis is noted for its narrow, low stances that mimic
  those of its namesake insect, with close-in elbows and both
  hands extended forward, often held open or claw-like. Its
  signature move is the “hook”: the stylist grabs his enemy’s
  arm in order to pull him off-balance, push his guard aside,
  apply an Arm Lock, throw him, or otherwise impede him.
  This is a grapple attempt – ideally, executed swiftly enough
  to be a Deceptive Attack. An attempt to pull the foe off-
  balance is a Beat (pp. 100-101) if the aim is to reduce his
  defenses, a takedown (p. B370) if the goal is to put him on
  the ground. Mantis fighters also use Judo Throw (preferably
  a damaging throw; see p. 75) to take down a victim and posi-
  tion him for a finishing move.
  Stylists use Wait and Evaluate until their opponent com-
  mits. They seek to void their attacker’s aggressive move-
  ments by stepping aside or parrying, and then counterattack
  with a cascade of precise strikes – often using a Rapid Strike
  to launch two attacks, or a feint and attack to overwhelm the
  foe quickly. Practitioners value placement and skill over
  brute strength. Mantis punches use the open hand, a verti-
  cal fist, and various Exotic Hand Strikes (details depend on
  the style variant, and might involve a single finger, a pro-
  truding knuckle, etc.).
  STYLES
  191
  
  Cinematic Mantis uses chi to accelerate its already-rapid
  attacks. Its light and flexible stances allow practitioners to
  walk without leaving a trace, while its precision strikes can
  target vital points. Its claw-like hand movements and quick
  steps can even hypnotize the foe, leaving him open for a
  fight-ending blow.
  Buddhist philosophy is a traditional part of Praying
  Mantis instruction. The skills below assume a modern cam-
  paign, but in a historical game – especially one where stu-
  dents must learn the style from monks – the GM should add
  Philosophy (Buddhism) and raise style cost to 5 points.
  Mantis schools sometimes teach weapons, including all
  manner of “Shaolin” weapons. Some stylists learn a core of
  Mantis tactics and then adapt other styles (nearly always
  Chinese) to the “Mantis” system; such martial artists should
  learn the art described here and buy Style Adaptation perks
  for these other styles.
  Skills: Judo; Karate; Karate Art.
  Techniques: Arm Lock; Counterattack (Karate); Ear Clap;
  Exotic Hand Strike; Eye-Poke; Hammer Fist; Kicking; Knee
  Strike; Targeted Attack (Judo Grapple/Arm).
  Cinematic Skills: Hypnotic Hands; Light Walk; Power
  Blow; Pressure Points; Pressure Secrets; Sensitivity.
  Cinematic Techniques: Lethal Eye-Poke; Lethal Strike;
  Pressure-Point Strike; Roll with Blow.
  Perks: Chi Resistance (Hypnotic Hands); Iron Hands;
  Special Setup (Karate Parry > Arm Lock); Style Adaptation
  (Varies).
  Optional Traits
  Advantages: Combat Reflexes; Enhanced Parry (Bare
  Hands); Extra Attack; Forceful Chi.
  Disadvantages: Disciplines of Faith.
  Skills:
  Broadsword; Broadsword Art; Philosophy
  (Buddhism); Staff; Staff Art; Two-Handed Flail; Two-
  Handed Flail Art; Two-Handed Sword; Two-Handed Sword
  Art.
  QUARTERSTAFF
  2 points
  Considered by many to be a quintessentially English
  weapon, the quarterstaff was and still is practiced the world
  over. Historically, some masters held it in low regard next to
  the sword. Others – such as George Silver (p. 22) – consid-
  ered it the “perfect” weapon, and praised its tactical flexibil-
  ity, ability to stand off enemies either singly or in groups,
  and striking power. One needn’t look any further than the
  tales of Robin Hood to gain an appreciation of its legendary
  status!
  Against a shorter weapon, the staff fighter takes advan-
  tage of his reach. He keeps his distance, using strikes and
  the Disarming and Sweep techniques to attack from afar. If
  his enemy’s weapon is longer, though, he steps in close with
  an Attack or rushes in with a Move and Attack. Once inside
  his opponent’s reach, he uses Armed Grapple or Sweep to
  put his adversary on the ground, and then finishes him 
  with a thrust, swing, or Choke Hold. Not every instructor
  teaches all of these moves . . . but most teach the majority of
  them.
  192
  STYLES
  Staff Fighting
  Staff fighting is as widespread as stickfighting
  (p. 157). In the age of spears and polearms, a warrior
  would train to use his pole weapon as a staff 
  should its head come off in battle. In any era, the
  staff’s simple construction and ease of use make it an
  extremely accessible weapon.
  Bojutsu
  2 points
  Japan and Okinawa had highly developed staff-
  fighting arts, called Bojutsu. Many ryuha taught
  Bojutsu forms, typically emphasizing the effective
  use of the naginata or yari should its head break off
  in battle. A bo (staff) might be up to 8’ long, but the
  rokushakubo, or “six-foot staff,” was most common.
  Skills, Techniques, Perks, and Optional Traits: As
  Quarterstaff (p. 193).
  Jojutsu
  3 points
  Legend has it that Jojutsu’s founder, Muso
  Gonnosuke, challenged Musashi Miyamoto, fought
  using Bojutsu, and lost. He decided that he needed
  more flexibility than the staff offered, shortened the
  bo to create the jo, and then used this weapon to fight
  Musashi to a standstill (or even defeat him). His
  school, Shindo-Muso Ryu, is the most common
  Jojutsu style. Jojutsu uses techniques similar to both
  Bojutsu (above) and Kenjutsu (pp. 173-175), and
  training involves the bokken as well as the jo.
  Skills: Staff; Two-Handed Sword.
  Techniques: Arm Lock (Staff); Disarming (Staff or
  Two-Handed Sword); Feint (Staff or Two-Handed
  Sword); Sweep (Staff).
  Cinematic Skills and Techniques: As Quarterstaff
  (p. 193).
  Perks: Form Mastery (Jo).
  Optional Traits
  Advantages: Enhanced Parry (Staff).
  Skills: Karate.
  Sport Quarterstaff
  2 points
  Quarterstaff fighting evolved into a popular sport
  in 19th-century England. Practitioners used bamboo
  staffs to avoid injury, and wore protective headgear
  and padding. The rules removed grappling and
  stressed less-damaging blows.
  Skills: Staff Sport.
  Techniques: Feint (Staff Sport).
  Optional Traits
  Advantages: Enhanced Parry (Staff).
  
  Historical staff fighters used weapons of many
  lengths – the half-staff, quarterstaff, pikestaff, and
  so forth – named for their dimensions, the wield-
  er’s grip, and/or the staff’s origin; see Chapter 6. A
  true master knew how to use all of these weapons.
  The staff-fighting style given here assumes a fully
  developed “school” that teaches all lengths and
  techniques. It’s nominally European, but Asian
  arts are very similar; see Staff Fighting (p. 192).
  Some masters put a spike on one end of their
  staff. Others practiced staff tactics as a “backup”
  to pike fighting, for use in the event that the head
  broke off their weapon. Add the Spear skill and
  the Form Mastery (Spear) perk to reflect such a
  style.
  Skills: Staff.
  Techniques: Arm Lock (Staff); Armed Grapple
  (Staff); Back Strike (Staff); Choke Hold (Staff);
  Disarming (Staff); Feint (Staff); Sweep (Staff).
  Cinematic Skills: Blind Fighting; Power Blow;
  Pressure Points; Push.
  Cinematic Techniques: Dual-Weapon Defense
  (Staff); Grand Disarm (Staff); Pressure-Point
  Strike (Staff); Timed Defense (Staff); Whirlwind
  Attack (Staff).
  Perks: Grip Mastery (Staff).
  Optional Traits
  Advantages: Enhanced Parry (Staff).
  Disadvantages: Overconfidence.
  Skills: Polearm; Spear; Staff Art; Wrestling.
  SAVATE
  3 points
  Savate is a kicking, punching, and grappling
  art native to the south of France. The earliest his-
  torical reference to “savate” is in an 18th-century poem. Its
  techniques are certainly much older, though, and probably
  saw use as far back as the 15th century. Sometime in the
  interim, Savate became the streetfighting style of choice for
  sailors, thugs, and toughs.
  In 1877, Joseph Charlemont and his son opened a Savate
  school in Paris. Charlemont Academy took both male and
  female students, noble and common, and Savate become
  fashionable. Later in the 19th century, savateurs in contact
  with Japanese martial artists began to combine their art
  with Jujutsu, developing the system further while retaining
  its distinctive French style. After two World Wars, however,
  few savateurs remained (less than three dozen silver glove
  holders) and emphasis shifted to a sport form; see La Boxe
  Française (see above).
  Savate is best known as a kicking art but includes a full
  range of hand strikes, head butts, and even hip and shoul-
  der strikes. Its famous kicks are both high- and low-line –
  with low kicks being more common – and thrown jumping,
  spinning, and main au sol (“hand on the floor”). Treat a
  main au sol kick as either a Committed Attack or an All-Out
  Attack (Long). Stylists use grapples to avoid an attack or set
  up a strike, not for locking or immobilizing.
  Savate frequently includes cane fighting for advanced
  students; serious cane fighters should learn La Canne de
  Combat (p. 157) as well. Certain schools also teach a full
  range of weapons, including knives, swords, straight razors,
  whips, and even guns. Some offer an improvised-weapons
  sub-style called Panache to silver-gloves students. This
  teaches how to use any object or item of clothing to distract
  or injure an antagonist.
  There are two ways to handle cinematic savateurs. They
  might throw spectacular acrobatic kicks following hand-
  stands and cartwheels, their exaggerated stances, feints, and
  kicks retaining effectiveness even as they impress with their
  artistry. Alternatively, such fighters might be like the bare-
  knuckled, full-contact savateurs of old, in which case they
  should have the same “cinematic” traits as boxers (see
  Boxing, pp. 152-153).
  Modern Savate is often a sport form that favors clean,
  elegant kicks and punches over pragmatic street techniques.
  It eliminates grappling and “dirty fighting,” and doesn’t
  include cane fighting or Panache. Students of this art 
  learn La Boxe Française, not the style described here. Savate
  is most common in France but has an international 
  federation. It’s possible to find schools – albeit with some
  difficulty – worldwide.
  STYLES
  193
  Savate Rankings
  Colored patches customarily identified as “glove colors” signify
  Savate rankings (the gloves themselves don’t change color). New stu-
  dents receive the blue glove after completing the introductory train-
  ing. Further training leads to the green, red, white, and yellow glove,
  the silver glove for technique (first through third degree), and ulti-
  mately professeur (instructor) status. The red glove is the minimum
  rank for competition in sport Savate and sometimes called “Savate’s
  black belt.”
  Several additional ranks can’t be reached through training alone.
  The bronze glove and the silver glove for competition (first through
  fifth degree) are awarded in competition, on the basis of skill and
  success at full-contact matches. The gold glove is a title awarded on
  the basis of exceptional merit – as much for service in the name of
  the art as for technique and competitive victories.
  Unlike most martial arts, Savate has separate student and teach-
  ing ranks. Starting at green, students can learn to teach. The future
  professeur receives specialized training in how to structure and
  instruct a class.
  La Boxe Française
  3 points
  La Boxe Française is a sport form of Savate that became popular
  after World War II. It lacks weapon arts and emphasizes ring-safe
  techniques over streetfighting ones. While the style retains some self-
  defense applicability, it isn’t a complete armed and unarmed combat
  system like its forerunner.
  Skills: Games (La Boxe Française); Karate Sport.
  Techniques: Back Kick; Feint (Karate Sport); Jump Kick; Kicking.
  Optional Traits
  Skills: Acrobatics.
  
  Skills: Karate; Wrestling.
  Techniques: Back Kick; Drop Kick; Feint (Karate);
  Hammer Fist; Head Butt; Jump Kick; Kicking; Spinning
  Kick.
  Cinematic Skills: Flying Leap; Power Blow.
  Cinematic Techniques: Flying Jump Kick; Lethal Kick;
  Roll with Blow; Springing Attack (Karate).
  Perks: Improvised Weapons (Karate); Technique Mastery
  (Kicking).
  Optional Traits
  Advantages: Language (French).
  Disadvantages: Bloodlust.
  Skills: Acrobatics; Broadsword; Guns; Karate Art; Knife;
  Savoir-Faire (Dojo); Shortsword; Smallsword; Whip.
  Techniques: Acrobatic Stand.
  SHAOLIN KUNG FU
  6 points
  Shaolin Kung Fu is the world-famous art of the Shaolin
  Temple monks. No martial-arts school is so steeped in myth
  as the Temple, and its kung fu inherited this legendary sta-
  tus. Separating fact from fiction is difficult . . . even in the
  face of rigorous research. What is verifiable is that there was
  more than one Temple and that their monks were as
  renowned for their skill with the staff and bare hands as for
  their piety. They were also well-known for their resistance to
  Manchu rule, and for sheltering rebels and refugees – both
  of which ultimately led to the Temple’s destruction at the
  hands of the Manchu.
  The main weapon of the Shaolin monks was the staff,
  which earned them fame for most of the past millennium. It
  was the ideal weapon: inexpensive, convenient to carry, and
  a symbol of priesthood in many Asian countries (although
  it’s hard to say which came first: the symbol or its use as a
  weapon!). The monks trained to use the staff for attack and
  defense, and as the basis of some unarmed-combat moves –
  including their signature Pole-Vault Kick.
  Shaolin monks also learned (or at least had access to
  training in) many other weapon skills. There are stories of
  monks using nearly every Chinese weapon – but especially
  the hook sword, jian, and three-part staff, and such exotica
  as the “deer antlers” and qian kun ri yue dao. See Chapter 6
  for more about these weapons.
  Cinematic Shaolin monks are capable of just about every
  amazing feat from martial-arts myth. This is in part due to
  the immense body of folk legend surrounding the Temple’s
  monks and in part due to decades of martial-arts movies
  ascribing the incredible abilities of almost any martial artist
  to “Shaolin Temple training.” The GM could fairly permit
  nearly any cinematic skill, technique, or perk!
  In historical times, the only way to learn this style was to
  travel to the Shaolin Temple and become a monk. A monk’s
  life was more about meditation and hard chores than mar-
  tial arts – hundreds of kung fu movies notwithstanding.
  Those who wished to go on to become masters had to com-
  mit to life in a monastery. The GM might make exceptions
  in a cinematic game.
  Finding a Shaolin Kung Fu instructor in the modern
  world isn’t difficult – but many of these schools actually
  teach other kung fu styles, or Wushu (pp. 206-207), under
  the Shaolin name. A few schools do seem to be able to trace
  their lineage back to the Shaolin Temple, and teach a style
  much like the historical one described here. They usually
  teach Combat Art skills only, however, or save genuine 
  combat skills for advanced students.
  Skills: Judo; Karate; Meditation; Philosophy (Buddhism);
  Staff.
  Techniques: Arm Lock (Judo or Staff); Armed Grapple
  (Staff); Back Kick; Choke Hold (Staff); Disarming (Staff);
  Elbow Strike; Exotic Hand Strike; Feint (Karate or Staff);
  Hammer Fist; Jump Kick; Kicking; Spinning Kick; Spinning
  Punch; Spinning Strike (Staff); Stamp Kick; Sweep (Judo or
  Karate).
  Cinematic Skills: Blind Fighting; Body Control; Breaking
  Blow; Flying Leap; Hypnotic Hands; Immovable Stance;
  Kiai; Light Walk; Lizard Climb; Mental Strength; Power
  Blow; Pressure Points; Pressure Secrets; Push; Sensitivity.
  Cinematic Techniques: Dual-Weapon Defense (Staff);
  Fighting While Seated (Karate); Flying Jump Kick; Grand
  Disarm (Judo or Staff); Lethal Eye-Poke; Lethal Kick; Lethal
  Strike; Pole-Vault Kick; Pressure-Point Strike; Roll with
  Blow; Timed Defense; Whirlwind Attack (Karate or Staff).
  Perks: Chi Resistance (Any); Cotton Stomach; Drunken
  Fighting; Iron Body Parts (Any); Special Exercises (DR 1
  with Tough Skin); Special Exercises (Striking ST +1); Style
  Adaptation (Any Chinese style); Technique Mastery (Any
  kicking technique).
  Optional Traits
  Advantages: Combat Reflexes; Fit or Very Fit; Forceful
  Chi; High Pain Threshold; Inner Balance; Language
  (Chinese).
  Disadvantages: Disciplines of Faith; Sense of Duty
  (Shaolin Monastery); Vows.
  Skills: Acrobatics; Broadsword; Broadsword Art; Judo
  Art; Jumping; Karate Art; Knife; Knife Art; Polearm;
  Polearm Art; Shortsword; Shortsword Art; Staff Art; Two-
  Handed Flail; Two-Handed Flail Art; Whip; Whip Art.
  194
  STYLES
  . . . regardless of how wonderful
  a technique is, if you are unable to
  apply it, you are in no better 
  position than if you didn’t know it
  at all. Each technique must be 
  practiced with all your heart many
  hundreds, many thousands of
  times, until you master it to the
  point where you can apply it.
  – Mas Oyama, 
  This Is Karate
  
  SHORTSWORD FIGHTING
  4 points
  The shortsword was unpopular for much of the
  Middle Ages. Around 1250, however, it reappeared in
  the hands of foot soldiers. By the late 15th or early
  16th century, it was the standard sidearm of the
  German Landsknecht. Commoners across Europe
  also used this light, handy, cheap sword. The law
  often played a role in this: it was quite common to
  restrict broadswords to the nobility. The shortsword –
  like the dagger – was legal on the street in some cities
  . . . and useful in tight corners.
  Shortsword Fighting was a style for unarmored or
  lightly armored combatants relying on deft footwork
  and quick parries for protection. The razor-sharp
  swords were primarily cutting weapons, although
  most had a stabbing point. Swordsmen used
  Defensive Attack to “feel out” the enemy and
  Deceptive Attack to bypass his guard. Because most
  wore little or no armor, they avoided All-Out Attack,
  Committed Attack, and other tactics that opened
  them up to retaliation.
  Stylists learned to fight in close combat with hand
  parries, grapples, kicks, and blows with the pommel.
  Some historical fighters preferred two swords – one
  to defend and the other to attack – to a single blade
  and an open hand. Cinematic warriors would use two
  weapons to attack or parry at the same time, of
  course!
  The shortsword is likely to be a favorite weapon of
  urban thugs and ruffians wherever it’s permitted on
  the streets. Fairly or not, then, stylists might gain a
  reputation for being scum themselves. Shortsword
  fighters seeking to expand their skills might learn
  Dagger Fighting (p. 155) and/or Combat Wrestling
  (pp. 204-205) as well. Shortsword Fighting was also a
  popular “backup” style for those schooled in
  Longsword Fighting (pp. 180-182).
  Skills: Brawling; Judo; Shortsword.
  Techniques: 
  Arm 
  Lock; 
  Armed 
  Grapple
  (Shortsword); Bind Weapon (Shortsword); Close
  Combat (Shortsword); Disarming (Judo); Eye-
  Gouging; Eye-Poke; Feint (Shortsword); Ground
  Fighting (Shortsword); Low Fighting (Shortsword);
  Targeted Attack (Shortsword Swing/Arm); Targeted
  Attack (Shortsword Swing/Neck); Targeted Attack
  (Shortsword Thrust/Vitals).
  Cinematic 
  Techniques: 
  Dual-Weapon 
  Attack
  (Shortsword); Fighting While Seated (Shortsword).
  Perks: Grip Mastery (Shortsword); Off-Hand Weapon
  Training (Shortsword); Quick-Swap (Shortsword); Skill
  Adaptation (Bind Weapon defaults to Shortsword).
  Optional Traits
  Advantages:
  Combat 
  Reflexes; 
  Enhanced 
  Parry
  (Shortsword or All).
  Disadvantages: Reputation (Ruffian).
  Skills: Fast-Draw (Sword); Knife; Main-Gauche.
  SHURIKENJUTSU
  4 points
  This is the Japanese art of throwing and concealing the
  shuriken (throwing blade; see p. 223). Contrary to popular
  perception, shuriken weren’t merely “ninja throwing stars.”
  Samurai valued them as backup weapons, because they
  were easy to conceal and quick to deploy. Some shuriken
  (especially single-pointed spikes) functioned as fist loads,
  too, making them useful last-ditch melee weapons.
  Shurikenjutsu was usually a “hidden” or “secret” part of a
  ryu, because the shuriken was most effective when the
  enemy wasn’t expecting it.
  STYLES
  195
  Shaolin Traditions
  The Shaolin Temple’s visible traditions are its students’
  orange robes, shaved heads burned with a pattern of nine
  small dots, and physical fitness (imparted by years of
  martial-arts training). These things are familiar from TV,
  movies . . . and actual monks. The People’s Republic of China
  reopened the long-closed Temple as a cultural center. It’s a
  popular destination for visiting martial artists, who train
  there or with any of the many unaffiliated teachers who live
  nearby. In the past, of course, one had to join the Temple to
  train there.
  Historically, entry into the order was fairly mundane.
  Impressing the resident monks with your seriousness about
  the vows, and taking those vows, would be the only require-
  ments. This might still be difficult; it’s said that Bodhidharma
  sat outside the Temple for years, seeking entrance, until his
  gaze burned a hole in the mountain. On the other hand, the
  Temple did have a reputation for taking in wanderers, politi-
  cal dissidents, and other refugees – often rebels against the
  ruling Manchu Dynasty – if they were willing to take vows.
  Some of these monks might be more concerned with the
  world outside than with meditation or prayer. This reputa-
  tion and the presence of politicized monks (both refugees
  and long-time acolytes) led to many conflicts with the
  government.
  Movies and TV shows prefer a more exotic “admission
  test.” Typically, one must either fight some or all of the monks
  (usually in ascending order of skill), or take unrealistically
  severe vows of obedience. Most of these fictional treatments
  also require a “final exam” before one is considered a true
  monk.
  The TV show Kung Fu had its own, now famous, version
  of the “final exam.” After training for years, students had to
  pass an ordeal involving an oral test on Buddhist philosophy,
  a maze filled with “attack dummies” and traps sprung by sur-
  prise, and other tricks designed to trip up the unwary and
  unskilled. Finally, the candidate had to lift a red-hot cauldron
  weighing 500 lbs. and carry it a short distance. On the sides
  were raised markings that branded the carrier’s arms with a
  dragon and a tiger, marking him as a Shaolin monk. This is
  Hollywood rather than reality – but it certainly suits cine-
  matic Shaolin monks!
  
  Shurikenjutsu stresses readying the shuriken quickly,
  without letting the opponent see it. Stylists typically conceal
  it in the palm or behind a sleeve. They toss the weapon with
  a sharp overhand or underhand motion, spin it sideways, or
  throw it while sweeping their hand through a sword-
  drawing motion – attacking the enemy by surprise even as
  they ready their sword. Treat such moves as either dirty
  tricks that use Holdout vs. Perception (see Dirty Tricks,
  p. 76) or one of the options under Tricky Shooting (p. 121).
  The GM should consider letting practitioners learn a Style
  Perk that gives them access to Tricky Shooting if the cam-
  paign doesn’t generally use those rules.
  Stylists hurl shuriken rapidly, ideally throwing at least
  one per second to deny the foe a lull that he could exploit to
  advance or attack. To do this, ready a shuriken in each hand
  (possibly using Fast-Draw), throw the one in your master
  hand, use the Quick-Swap perk to move the other to your
  throwing hand, and Fast-Draw a replacement with the off
  hand. Use Rapid Strike with Thrown Weapons (p. 120-121) to
  throw two or more blades! Fast-Draw and Quick-Swap let
  you keep a steady rain of shuriken heading toward your
  victim.
  Cinematic Shurikenjutsu works somewhat differently.
  Rather than hurling a constant stream of shuriken, practi-
  tioners throw multiple blades from both hands simultane-
  ously! They toss shuriken with such precision that they can
  break firearms, shatter chains, and split thick slabs of wood.
  Shurikenjutsu still exists, its practices of concealment
  and quick throwing unchanged from its combative prede-
  cessor. Students use sharp shuriken to practice on targets,
  blunt ones to practice on partners in padded armor. Thanks
  to the shuriken’s popularity during the 1980s “ninja craze”
  in the U.S., many regard it as a weapon of criminals or
  wannabe ninja and treat those who carry shuriken
  accordingly.
  Shurikenjutsu schools sometimes teach how to throw
  knives, too – including the kubizashi (head-displaying knife)
  and such larger blades as the tanto (large knife). The GM
  can also adapt this style for other thrown weapons, such as
  the chakram (p. 214), although the name and Thrown
  Weapon skill would certainly change.
  196
  STYLES
  Sojutsu (pp. 197-198) is but one of the world’s many
  spear arts. The spear is a very simple weapon that has seen
  extensive use in warfare, hunting, and personal combat
  since before recorded history. It survives today as the 
  bayonet, taught by modern armies as much to instill 
  aggressiveness in recruits as for combat utility.
  Chinese Spear Fighting
  4 points
  Chinese Spear Fighting is dramatic. A move particular to
  Chinese styles, especially cinematic ones, is the full-
  extension thrust with one hand on the very end of the pole.
  This is an All-Out Attack (Long) that ends in a crouch, inflict-
  ing normal one-handed damage. Cinematic fighters should
  use the Flying Lunge technique and the Tip Slash option
  (p. 113) extensively, too.
  Chinese spears are flexible, allowing arced thrusts. Treat
  these as Deceptive Attacks. A decorative horse-hair tassel –
  white or brightly colored – is knotted behind the head. This
  serves to distract enemies and prevent blood from running
  down the shaft (which could foul the wielder’s grip).
  Skills: Acrobatics; Spear; Staff.
  Techniques: As Sojutsu (pp. 197-198), but add Feint
  (Staff) and Sweep (Staff).
  Cinematic Skills and Techniques: As Sojutsu, but add
  Flying Lunge (Spear).
  Perks: Form Mastery (Spear); Grip Mastery (Spear).
  Optional Traits
  Skills: Spear Art.
  Heroic Spear Fighting
  4 points
  This style is based on the heroic stories of Homer’s Iliad.
  Greek heroes carried two spears and a sword. They were fer-
  ried to battle on chariots but dismounted to fight. They usu-
  ally threw one spear and saved the other for melee. The
  sword was a backup, used when both spears were lost or
  against especially difficult foes. Spear fighters should also
  learn Pankration (pp. 188-189) or some form of Wrestling
  (pp. 204-206) or Boxing (pp. 152-153).
  Greek epics often demonstrated the enemy’s ferocity and
  the danger posed by his weapons by having the hero nar-
  rowly avoid an attack that went on to kill his chariot driver.
  The GM could treat this as a limited Extra Life!
  Legendary Celtic warriors fought similarly, and should
  use this style as well. They were famed for being able to run
  up volleys of arrows shot at them. See Special Feats for
  Cinematic Skills (pp. 129-130) for ideas on how to handle this.
  Skills: Shield; Spear; Thrown Weapon (Spear).
  Techniques: As Sojutsu (pp. 197-198), but remove
  Disarming (Spear) and Sweep (Spear).
  Cinematic Skills and Techniques: As Sojutsu, but add
  Dual-Weapon Attack (Thrown Spear).
  Perks: Naval Training; Off-Hand Weapon Training
  (Thrown Spear).
  Optional Traits
  Advantages: Combat Reflexes; Fearlessness; High Pain
  Threshold. A fierce Reputation is critical – it’s usually what
  the warrior is fighting to establish!
  Disadvantages: Bad Temper; Bloodlust; Overconfidence.
  Skills: Shortsword.
  Continued on next page . . .
  Spear Fighting
  
  Skills: Fast-Draw (Shuriken); Holdout; Thrown Weapon
  (Shuriken).
  Techniques: Targeted Attack (Shuriken Throw/Eyes);
  Targeted Attack (Shuriken Throw/Hand); Targeted Attack
  (Shuriken 
  Throw/Leg); 
  Targeted 
  Attack 
  (Shuriken
  Throw/Neck).
  Cinematic Skills: Breaking Blow.
  Cinematic Techniques: Dual-Weapon Attack (Thrown
  Shuriken).
  Perks: Off-Hand Weapon Training (Fast-Draw or Thrown
  Shuriken); Quick-Swap (Shuriken); Unusual Training (Can use
  Tricky Shooting in a campaign that doesn’t use those rules).
  Optional Traits
  Advantages: Ambidexterity; Weapon Master (Shuriken).
  Disadvantages: Reputation (“Thug or criminal,” in a
  modern game; “Signature move: carries and uses concealed
  shuriken,” in a historical one).
  Skills: Karate; Thrown Weapon (Knife).
  SOJUTSU
  3 points
  Sojutsu, also known as Yarijutsu, is the Japanese art of
  spear fighting. While samurai are popularly associated with
  swords, many preferred the spear for warfare – mainly
  because of its reach advantage and effectiveness against
  mounted foes. Historically, the spear played a very impor-
  tant battlefield role.
  STYLES
  197
  Iklwa Fighting
  5 points
  History credits Shaka, the early 19th-century Zulu king,
  with turning the Zulus into a warrior nation. He forged war
  bands into disciplined regiments, or impi, and trained his
  troops to fight with the short-handled, long-bladed iklwa
  instead of the assegai (javelin). They also used the knobbed
  club. When not at war, Zulu warriors led a pastoral exis-
  tence, and thus tended to be both fit and fleet of foot.
  Iklwa Fighting is extremely direct. It uses the shield not
  only to deflect attacks but also to hook the enemy’s shield
  and drag him off-balance. After pulling his foe off-guard, the
  warrior stabs his opponent in the vitals and disembowels
  him (to release his spirit in death). Committed Attack
  (Strong) is common.
  Skills: Axe/Mace; Running; Shield; Spear.
  Techniques: As Sojutsu (pp. 197-198), but replace
  Disarming (Spear) and Sweep (Spear) with Armed Grapple
  (Shield) and Feint (Shield).
  Optional Traits
  Advantages: Combat Reflexes; Fit.
  Disadvantages: Bloodlust; Callous.
  Skills: Guns.
  Jukenjutsu (Bayonet Fighting)
  4 points
  Jukenjutsu is the Japanese art of bayonet fighting, but it
  works “as is” for the bayonet style of almost any military
  force in the world. Jukenjutsu has both sport and combat
  forms. Sport fighters use padding-tipped rifles and throat,
  chest, and face protection. Only these three targets are valid
  – and only thrusting is allowed. Purely military bayonet
  training omits Savoir-Faire (Dojo) and Spear Sport. Some
  soldiers also learn Knife.
  Skills: Savoir-Faire (Dojo); Spear; Spear Sport.
  Techniques: Feint (Spear); Retain Weapon (Rifle);
  Targeted Attack (Spear Thrust/Face); Targeted Attack (Spear
  Thrust/Neck); Targeted Attack (Spear Thrust/Vitals).
  Optional Traits
  Advantages: Combat Reflexes.
  Viking Spear Fighting
  4 points
  Shields were relatively uncommon for foot troops in Asia
  but very common in Europe. This style is suitable for spear
  fighters from across Europe or anywhere warriors use the
  shield and hurled spear in battle. Its users included the
  Vikings, who especially admired heroic feats with the
  thrown spear.
  Skills: Shield; Spear; Thrown Weapon (Spear).
  Techniques: As Sojutsu (pp. 197-198).
  Cinematic Skills and Techniques: As Sojutsu, but add
  Dual-Weapon Attack (Thrown Spear).
  Perks: Naval Training; Off-Hand Weapon Training
  (Thrown Spear); Shield-Wall Training.
  Optional Traits
  Advantages: Combat Reflexes; Enhanced Block.
  Disadvantages: Berserk.
  Skills: Axe/Mace; Broadsword; Parry Missile Weapons;
  Thrown Weapon (Axe/Mace); Two-Handed Axe/Mace.
  Techniques: Hand-Catch (Parry Missile Weapons).
  Spear Fighting (Continued)
  
  Sojutsu deals primarily with using the spear for stabbing.
  It includes some training at wielding the spear as a staff, but
  warriors who wish to make extensive use of such tactics
  should consider studying Bojutsu (p. 192) as well. Sojutsu
  schools hardly ever teach spear throwing: few bushi carry
  multiple spears, and throwing away one’s primary weapon is
  foolhardy at best!
  Sojutsuka (Sojutsu fighters) use their spear’s length to
  keep the enemy at bay, holding their weapon two-handed
  and usually at maximum reach. Stylists circle, using Wait
  and Evaluate to look for an opening to exploit, or Feint to
  create one. When they strike, they go for a lethal thrust to the
  vitals, neck, or (especially against an armored foe) face. They
  often use Committed Attack (Strong) to penetrate armor and
  ensure an incapacitating hit.
  Cinematic Sojutsuka are known for their fierce battle
  cries and armor-cracking strikes. They can even launch a
  Whirlwind Attack, attacking multiple adversaries with a Tip
  Slash (p. 113). This tends to be a last resort, since Tip Slash
  isn’t especially damaging.
  Some Japanese spears had hooks or even L-shaped spear-
  heads designed for hooking and grabbing. Practitioners who
  use such weapons might learn Armed Grapple (Spear)
  and/or Hook (Spear).
  Skills: Spear; Staff.
  Techniques: Disarming (Spear); Feint (Spear); Retain
  Weapon (Spear); Sweep (Spear); Targeted Attack (Spear
  Thrust/Face); Targeted Attack (Spear Thrust/Neck); Targeted
  Attack (Spear Thrust/Vitals).
  Cinematic Skills: Kiai; Mental Strength; Power Blow.
  Cinematic Techniques: Dual-Weapon Defense (Spear);
  Whirlwind Attack (Spear).
  Perks: Form Mastery (Spear); Grip Mastery
  (Spear); Off-Hand Weapon Training (Spear).
  Optional Traits
  Advantages: Combat Reflexes.
  Disadvantages: Code of Honor (Bushido).
  Skills:
  Savoir-Faire (Dojo); Thrown
  Weapon (Spear).
  Techniques: Armed Grapple (Spear);
  Hook (Spear).
  SUMO
  4 points
  Sumo is a form of traditional Japanese
  combat. Closely tied to the Shinto religion,
  it’s as much a ceremony as a sporting event.
  It’s also Japan’s earliest unarmed martial art.
  It originally included all manner of hand
  strikes and kicks, and deaths occurred in the
  ring, but killing techniques were banned in
  the early 8th century. The sportive form orig-
  inated in the Sengoku Jidai Era, and the
  dohyo (wrestling ring) came into use in 1578.
  Today, there are six basho (tournaments)
  each year, with one bout a day for 15 days.
  Before Sumo became a ring-based sport,
  stylists – also known as sumotori or rikishi
  (“strong gentlemen”) – trained samurai, acted as bodyguards,
  and fought in fairly brutal matches. Few techniques were
  barred. Victory was by submission.
  In modern Sumo, matches are short and explosive.
  Sumotori square off in the ring and begin the match by mutu-
  al decision. Common tactics include throws (typically over
  the leg, a variation on Sweep), shoves, and slams. Feints are
  extremely important, and include fakes, simple ploys such as
  the nekodamashi (“cat confuser,” a clap in the opponent’s
  face), powerful slaps, and shifts of weight to trick one’s rival
  into opening himself to fight-winning shoves. Contenders fre-
  quently use Committed Attack (Strong) or All-Out Attack
  (Strong) for a full-force shove – often after a Feint. The first
  fighter to touch the ground with anything other than the soles
  of his feet, or to contact the ground outside the ring, is the
  loser.
  Sumotori train at “stables,” where the daily routine con-
  sists of chores, Sumo practice, and eating gigantic amounts
  of high-protein, high-fat foods to gain weight. Great bulk isn’t
  a requirement – young children, male and female, engage in
  the sport – but because Sumo has no weight classes, sheer
  size tends to influence a fighter’s career. Simply put, a large
  man is harder to lift and shove. Strong sumotori have won
  bouts “simply” by lifting a smaller opponent and dropping
  him outside the ring!
  Cinematic sumotori are like realistic ones, but more so –
  in every sense. They’re even larger, stronger, and harder to
  move. Their massive bulk enhances their combat ability.
  Sumo is most widely taught in Japan. It’s easy to learn the
  basics and almost anyone can try to join a stable, but training
  is grueling and designed to weed out non-contenders. Schools
  do exist outside Japan – especially in Eastern Europe, Hawaii,
  and Mongolia – but those who want to “make it” must join a
  198
  STYLES
  Sumo Traditions
  Almost every aspect of Sumo contains elements of both ritual and
  sport. All fighters wear a uniform – a long, wrapped loincloth called a
  mawashi (sometimes decorated with tassels) – and variations aren’t
  allowed. They must style their hair in a samurai’s topknot, or chonmage.
  Low-ranking sumotori do each other’s hair or that of their seniors; high-
  ranking ones sometimes have a professional stylist on their staff.
  Before the fight begins, each contestant grabs a handful of salt and
  throws it to ritually purify the ring. Then they square off. When both feel
  prepared, they start the match. The fighters typically attempt to “psyche
  out” their rival first, and may return to their corners three or four times
  before they clash. It can take up to four minutes for high-ranking sumo-
  tori to begin a bout! (Low-ranking ones are expected to get on with it
  quickly . . .) Matches have no time limit, and range from seconds to min-
  utes in length.
  Sumo rankings depend on victories. Successful rikishi are voted up
  and down through five ranks. The top two ranks – ozeki and yokozuna
  (grand champion) – are most important. Ozeki who seek to become
  yokozuna must win at least two basho to merit consideration. Only
  those who show proper “spirit,” dignity, and good technique receive the
  rank. Yokozuna is a status, not merely a title. Once a sumotori becomes
  yokozuna, he can’t lose that rank! A fading yokozuna is expected to hon-
  orably and voluntarily retire to avoid bringing shame to the rank.
  
  Japanese stable. Ranked competitors must be able to speak
  polite Japanese. All participants, including foreigners, use
  Japanese ring names that feature the first kanji of their train-
  er’s name.
  Sumo is purely a sport; no “self-defense” schools exist.
  However, the style favors size and strength, and its practice
  and tournaments are full-contact. These factors make Sumo
  potentially useful outside the ring if the stylist learns its
  optional skills and techniques.
  Skills: Games (Sumo); Savoir-Faire (Dojo); Sumo
  Wrestling.
  Techniques: Feint (Sumo Wrestling); Sweep (Sumo
  Wrestling); Trip.
  Cinematic Skills: Immovable Stance; Power Blow.
  Cinematic Techniques: Springing Attack (Sumo Wrestling).
  Perks: Power Grappling; Special Exercises (DR 1 with
  Partial, Skull and Tough Skin); Special Exercises (HP can
  exceed ST by 100%).
  Optional Traits
  Secondary Characteristics: Improved HP.
  Advantages: Language (Japanese); Reputation (From
  fans).
  Disadvantages: Fat or Very Fat; Gluttony.
  Skills: Brawling; Intimidation; Judo; Karate.
  Techniques: Hammer Fist; Low-Line Defense (Sumo
  Wrestling).
  SWORD-AND-BUCKLER PLAY
  5 points
  Sword-and-Buckler Play was a popular means of self-
  defense among the European nobility and bourgeoisie from
  about 1250 until the 16th century. It might have originated
  even earlier – Germanic and Viking warriors were known to
  wield the iron boss of a wooden shield like a buckler when
  the shield was hacked apart. The style seems to have been
  particularly fashionable with the urban upper classes, stu-
  dents, and clerics. Infantry, missile troops especially, studied
  it for protection when their formations were broken.
  Sword-and-Buckler Play involved the broadsword, buck-
  ler, and unarmed strikes and grapples, and emphasized
  speed and mobility. Stylists faced their foe squarely with
  both sword and buckler, to keep him at arm’s length. They
  used the sword aggressively to cut and thrust, the buckler to
  ward off blows and make shield bashes. Bucklers occasion-
  ally had sharp edges for slashing, too; see Chapter 6 for more
  on sharpened shield rims. A warrior who couldn’t bring his
  sword and buckler into play would attempt kicks, punches,
  grapples, and takedowns. Sword-and-buckler fighters tended
  to fight defensively, using the Defensive Attack and Attack
  maneuvers until the enemy was at a disadvantage, then mov-
  ing in with strong armed or unarmed attacks.
  Few legends surround sword-and-buckler fighters.
  However, larger-than-life stylists could certainly exist in a
  cinematic campaign! Likely techniques are those that
  enhance fighting with two weapons at once.
  While primarily a combative art, Sword-and-Buckler Play
  also had a sportive side. Fighters would sometimes put on
  public displays or engage in friendly competition. The style
  remained common across Europe until the 16th century,
  when fencing became more fashionable. Fencing with the
  buckler and rapier would continue for another century or so.
  Skills: 
  Brawling; 
  Broadsword; 
  Shield 
  (Buckler);
  Wrestling.
  Techniques: Arm Lock; Armed Grapple (Buckler); Bind
  Weapon (Broadsword); Counterattack (Broadsword);
  Disarming (Broadsword); Feint (Broadsword or Buckler);
  Kicking; Retain Weapon (Broadsword or Buckler); Trip.
  Cinematic Techniques: Dual-Weapon Attack (Broadsword
  or Buckler); Dual-Weapon Defense (Broadsword or Buckler).
  Perks: Skill Adaptation (Bind Weapon defaults to
  Broadsword); Special Setup (Brawling Parry > Arm Lock);
  Sure-footed (Uneven).
  Optional Traits
  Advantages: Enhanced Block.
  Disadvantages: Overconfidence.
  Skills: Fast-Draw (Sword); Knife; Rapier; Shield.
  Perks: Weapon Bond.
  SWORD-AND-SHIELD
  FIGHTING
  4 points
  Sword-and-Shield Fighting was the art of using the
  broadsword and shield in combat. It likely originated in the
  Dark Ages, although conclusive evidence is scanty. Its heyday
  was the early Middle Ages, but it survived – even thrived –
  well into the Renaissance. The Spanish used sword-and-
  shield troops until the 16th century, and the style vanished
  from the battlefield only after the spread of firearms ren-
  dered the shield obsolete.
  Unlike bucklers, shields were distinctly military in char-
  acter. Civilians rarely carried them. After 1350, the shield was
  primarily a tool of the infantry in Europe. Fighters used
  shields of all sizes – from small to large – made of metal,
  wood, and leather. Some even sported sharp spikes!
  Sword-and-Shield Fighting required lots of room. It
  stressed footwork, darting strikes, and fighting at arm’s
  length. Stylists held the shield forward to repulse enemies,
  and used more blocks than parries. They learned some
  wrestling moves but largely avoided close combat (unlike
  practitioners of Sword-and-Buckler Play).
  The sword-and-shield fighter circled his foe and used
  Wait and Evaluate to seek an opening, or a Beat (pp. 100-
  101) with his shield to create one. He often attacked by 
  rushing in, striking, and pulling back quickly. Treat this as a
  Committed Attack (Determined) with two steps – one in, one
  out. He might instead launch a Defensive Attack in the form
  of a jabbing thrust to a vulnerable location. If his attacker left
  himself open on the offensive, the stylist punished him with
  the Counterattack technique. If his enemy pressed the attack,
  the sword-and-shield man responded with All-Out Defense
  (Increased Block), and used retreats to open the gap. When
  things got too close, he made aggressive use of his shield –
  both to shove his opponent back to arm’s length and to bash
  him.
  STYLES
  199
  
  There are no tales of “cinematic” sword-and-shield fight-
  ers. The GM should certainly allow them, though, and a few
  techniques are very appropriate for the style.
  Modern reenactors – in particular the Society for Creative
  Anachronism (SCA) – have worked hard to recreate this style.
  Use the style as written, replacing combat skills with Combat
  Sport skills. For live-steel reenactors, even this change is
  unnecessary.
  Skills: Broadsword; Shield; Wrestling.
  Techniques: 
  Counterattack 
  (Broadsword); 
  Feint
  (Broadsword or Shield).
  Cinematic Techniques: Dual-Weapon Attack (Broadsword
  or Shield); Dual-Weapon Defense (Broadsword or Shield);
  Flying Lunge (Broadsword).
  Perks: Shield-Wall Training; Sure-Footed (Uneven).
  Optional Traits
  Advantages: Combat Reflexes; Enhanced Block; Enhanced
  Dodge.
  Disadvantages: Duty.
  Skills: Acrobatics; Brawling; Knife.
  TAE KWON DO
  5 points
  Tae Kwon Do (Korean for “hand-foot way”) traces its line-
  age through several Korean martial arts back to 500 A.D. – or
  earlier, by some accounts. Its official founding was in 1955,
  however. While it’s descended from combative arts, it’s large-
  ly a sport form, like modern Karate. Indeed, it borrowed
  some kata (later removed and replaced with native forms)
  and the use of colored belts from that art. There are schools
  that teach Tae Kwon Do for self-defense rather than for com-
  petition, though; these feature full-contact matches (with
  padded armor) and intense training.
  Tae Kwon Do emphasizes striking, especially the power,
  speed, and utility of kicking. Stylists use all manners of kicks
  – particularly high kicks aimed at the head, since these score
  the most in competition. They even practice a kick thrown
  after a 540º spin; treat this as the All-Out Attack version of
  Spinning Kick (pp. 79-80). Tae Kwon Do also teaches 
  punches – including spear-hand and ridge-hand strikes – but
  considers them secondary. Schools that teach self-defense
  versions of the art put punches on a more equal footing with
  kicks.
  In competitive Tae Kwon Do, punches score only if they
  strike the chest. Kicks must hit the opponent at waist level or
  higher. Spectacular high kicks rack up the most points and
  offer the possibility of a knockout victory. Stylists also show
  off breaking techniques to demonstrate strength. Instructors
  and judges expect advanced practitioners to be able to break
  boards or concrete with all punching and kicking techniques.
  Tae Kwon Do is widespread – particularly in the U.S.,
  where it was introduced a year after it was founded – and it’s
  easy to find a teacher. Many “karate” schools actually teach a
  form of Tae Kwon Do! Tae Kwon Do was a featured demon-
  stration sport at the 1988 Olympic Games and became a full-
  fledged Olympic sport at the 2000 Games.
  Skills: Jumping; Karate; Karate Sport; Savoir-Faire (Dojo).
  Techniques: Axe Kick; Back Kick; Elbow Strike; Exotic
  Hand Strike; Jump Kick; Kicking; Spinning Kick; Spinning
  Punch; Sweep (Karate).
  Cinematic Skills: Breaking Blow; Flying Leap; Power Blow.
  Cinematic Techniques: Flying Jump Kick.
  Perks: Rapid Retraction (Kicks); Technique Mastery (Any
  kicking technique); Unusual Training (Breaking Blow, Only
  vs. well-braced objects out of combat).
  Optional Traits
  Advantages: Fit.
  Disadvantages: Overconfidence; Reputation (Aims kicks
  high).
  Skills: Acrobatics; Games (Tae Kwon Do).
  T’AI CHI CHUAN
  6 points
  T’ai Chi Chuan – literally “supreme ultimate fist,” but in
  fact named after the famous yin/yang diagram – is an art
  intended for combat and self-defense. It seems to have origi-
  nated in 17th-century China, but it’s based on much older
  principles. The GM could reasonably include T’ai Chi Chuan
  in a historical game set centuries or even millennia before the
  17th century. Modern gamers should know that while this
  style is the ancestor of the T’ai Chi system practiced for health
  and spiritual reasons today, the two aren’t identical; see T’ai
  Chi (p. 201).
  T’ai Chi Chuan is an internal art based on qigong breath-
  ing techniques, chi flow, and balance. The practitioner creates
  a “root,” or point of balance, and uses this to launch and resist
  attacks. Punches often employ the palm or a loose fist; stylists
  use the Hammer Fist technique extensively. Kicks are gener-
  ally low-line and regularly accompanied by a fake strike to
  distract – a Deceptive Attack.
  The primary basis of T’ai Chi Chuan practice is a single
  form that contains all of the art’s techniques, done slowly and
  with relaxation. In combat, the martial artist uses the same
  methods at full force. T’ai Chi Chuan includes “push-hands”
  practice. Practitioners stand face-to-face and try to push over
  their opponent or draw him into pushing against a sudden
  200
  STYLES
  Tae Kwon Do Ranks
  Tae Kwon Do (see below) denotes rank using a
  series of colored belts, just like the Japanese arts from
  which it took its ranking system. It uses 10 gup ranks
  and 10 dan ranks. Belt colors are: white (10th gup),
  yellow (8th gup), green (6th gup), blue (4th gup), red
  (2nd gup), and black (1st through 10th dan). Odd-
  numbered gup ranks use a belt of the previous rank’s
  color with a stripe of the next rank’s color; e.g., a 7th
  gup wears a yellow belt with a green stripe.
  Not all schools use this traditional ranking sys-
  tem. Many have adopted a wide variety of belt colors
  to denote different ranks, adding solid colors such as
  purple and orange to denote odd-numbered gups.
  Some add more intermediate stripes between belts to
  allow for steady progress through small promotions.
  
  lack of resistance, thereby throwing or tripping him. This
  helps train stylists at balance and at knocking over foes with
  a shove.
  In combat, the T’ai Chi Chuan fighter normally takes Wait
  maneuvers, lets his foe attack first, and makes good use of
  Stop Hit (p. 108) and Riposte (pp. 124-125). He wards off his
  assailant with parries, then grabs him and applies a lock.
  Typical follow-ups to locks are throws, takedowns, and
  strikes. The stylist might instead use a shove to take down an
  off-balance opponent or to set up an adversary for a low-line
  kick, punch, or throw. All-Out and Committed Attacks are
  rare.
  Cinematic T’ai Chi Chuan is especially powerful. This is
  mainly due to its emphasis on chi abilities. The GM should
  allow cinematic stylists to replace Sumo Wrestling with Push
  on the style’s skill list.
  Traditional T’ai Chi Chuan includes weapon forms for the
  dao, jian, spear, and staff. Some schools add the combat fan
  and slashing wheel. Like the art’s unarmed forms, its weapon
  techniques are smooth, flowing, and deceptively relaxed.
  Most modern schools teach Combat Art versions of weapon
  skills, when they offer them at all.
  Skills: Breath Control; Judo; Judo Art; Karate; Sumo
  Wrestling.
  Techniques: Arm Lock; Hammer Fist; Sweep (Judo,
  Karate, or Sumo Wrestling).
  Cinematic Skills: Immovable Stance; Mental Strength;
  Pressure Points; Pressure Secrets; Push.
  Cinematic Techniques: Pressure-Point Strike; Roll with
  Blow.
  Perks: Unusual Training (Push, May not step or move
  while doing so).
  Optional Traits
  Advantages: Forceful Chi; Inner Balance; Perfect Balance.
  Skills: Autohypnosis; Broadsword; Broadsword Art;
  Knife; Knife Art; Meditation; Savoir-Faire (Dojo); Spear;
  Spear Art; Staff; Staff Art.
  Techniques: Push Kick.
  TAIHOJUTSU
  6 points
  Japan’s Tokugawa period was an era of growing state
  control. Police were called on to rein in unruly ronin and
  samurai, who were often armed and sometimes dangerous.
  In the capital, Edo, this led to a larger police force trained in
  refined tactics for capturing criminals. Foremost among
  their methods was Taihojutsu, a martial art aimed at quick-
  ly disarming a resisting adversary and rendering him help-
  less without causing permanent injury or death.
  Taihojutsu’s signature weapon was the jutte, which was
  capable of parrying swords, disarming, and striking without
  inflicting bloody cuts like a sword would. The jutte was so
  closely identified with Taihojutsu that it became as much a
  symbol of authority as a weapon. Other Taihojutsu weapons
  included the kusarijutte, sasumata, and sodegarami (“sleeve
  catcher”). Chain- and truncheon-type weapons were popu-
  lar because they were difficult if not impossible for a sword
  to break, and could disarm a sword-wielding foe. For more
  on these weapons, see Chapter 6.
  The goal of Taihojutsu was to disable or capture the
  opponent without causing serious harm. Almost anything
  that accomplished this was acceptable. For instance,
  Taihojutsu-trained officers occasionally carried metsubushi
  (p. 220) and used them to blow blinding powder in the tar-
  get’s face to make him easier to apprehend. Training also
  emphasized group tactics – officers worked in pairs or in
  small teams to surround a suspect, rapidly disarm him, and
  tie him up. Because of this emphasis on capture, Defensive
  Attacks and such techniques as Disarming and Targeted
  Attacks on limbs were common. Grapples tended to be a
  prelude to a takedown or an Arm Lock.
  Taihojutsu included Hojojutsu: the art of tying up sus-
  pects with rope (frequently using elaborate knots). This usu-
  ally followed a pin or an Arm Lock that prevented the
  detainee from resisting effectively. Cinematic practitioners
  can use the Binding technique to truss opponents in combat
  without restraining them first!
  Taihojutsu was unique to Tokugawa-era Japan. The style
  is extinct today, although some of its component weapon
  skills remain. See Styles for Cops (p. 145) for notes on mod-
  ern police styles.
  Skills: Jitte/Sai; Judo; Knot-Tying; Kusari; Staff.
  Techniques: Bind Weapon (Jitte/Sai); Disarming (Jitte/Sai
  or Kusari); Entangle (Kusari); Hook (Staff); Targeted Attack
  (Jitte/Sai Swing/Arm); Targeted Attack (Kusari Swing/Arm).
  Cinematic Skills: Mental Strength; Pressure Points.
  Cinematic Techniques: Binding; Pressure-Point Strike;
  Snap Weapon (Jitte/Sai).
  Perks: Form Mastery (Kusarijutte); Style Adaptation
  (Kusarijutsu); 
  Teamwork 
  (Taihojutsu); 
  Technique
  Adaptation (Disarming).
  Optional Traits
  Advantages: Enhanced Parry (Jitte/Sai).
  Disadvantages: Duty; Sense of Duty (Innocent Civilians).
  Skills: Blowpipe; Polearm.
  Perks: Weapon Bond, usually to a jutte.
  STYLES
  201
  T’ai Chi
  2 points
  T’ai Chi is a meditative version of T’ai Chi Chuan
  (pp. 200-201). T’ai Chi practitioners – unlike T’ai Chi
  Chuan stylists – throw all strikes completely without
  force and rarely if ever practice against an opponent.
  Such training imparts no effective striking ability.
  Few schools offer push-hands practice. Weapons
  training, if any, teaches Combat Art skills exclusively.
  Skills: Judo Art.
  Cinematic Skills: Immovable Stance; Push.
  Cinematic Techniques: Roll with Blow.
  Optional Traits
  Skills: Autohypnosis; Breath Control; Broadsword
  Art; Knife Art; Meditation; Savoir-Faire (Dojo); Spear
  Art; Staff Art.
  
  TAIJUTSU
  6 points
  Taijutsu (“body combat art”) is the striking and grap-
  pling art of the ninja. This term isn’t synonymous with
  Ninjutsu. “Ninjutsu” encompasses all of the ninja’s skills –
  not just Taijutsu but also training at stealth, subterfuge,
  and deception, and a number of other armed and
  unarmed styles. These additional elements have nothing
  to do with Taijutsu!
  Taijutsu has three main components, taught together
  and given equal emphasis:
  1. Falling, tumbling, and acrobatics.
  2. Striking, kicking, and breaking.
  3. Grappling and joint locking.
  Stylists use speed, flexibility, and quick movement to
  defend themselves and defeat their opponents. They
  remain mobile and seek to avoid a static fight. To accom-
  plish this, the ninja makes regular use of Evade to skirt
  foes and Acrobatic Dodge to avoid attacks.
  Taijutsu punches use both closed fists and Exotic
  Hand Strikes (finger strike, spear-hand, shuto, etc.). Kicks
  primarily connect with the heel, the ball of the foot, or the
  top of the foot. Preferred targets for all types of strikes are
  the groin, vitals, neck, and eyes, as Taijutsu aims to dis-
  able the enemy quickly. Deceptive Attacks that rely on
  sheer speed or changes of target are common. Conversely,
  Telegraphic Attacks (p. 113) are rare.
  After weakening his opponent with strikes, the
  Taijutsu practitioner either piles on more blows or moves
  in with a grapple followed by a throw or a takedown.
  Once his foe is down, he may deliver a finishing strike,
  apply an Arm Lock to achieve submission, or follow his
  victim to the ground for a pin. Advanced students some-
  times learn further ground techniques, but the art is pri-
  marily stand-up.
  Modern Taijutsu schools teach a large number of
  weapons that would be part of other jutsu in historical
  times. Such training typically starts within the first few
  belts, although some schools reserve weapons for black
  belts. Weapons include the hanbo, jo, katana, knife,
  kusari, naginata, ninja-to, shuriken, spear, staff, and even
  the tessen (combat fan); see Chapter 6 for details. All of
  these skills are optional, but it’s unusual to learn Taijutsu
  without learning weapons. Some even say that the entire
  goal of Taijutsu is to learn to use anything as a weapon –
  whether it’s built for the purpose or improvised. Stylists
  use the footwork, tactics, and hand motions of unarmed
  Taijutsu when armed, and learn to regard a weapon as an
  enhancement to the body’s natural weapons, not a
  replacement for them.
  Cinematic Taijutsu stylists are ninja in the grand folk-
  loric tradition. They have access to a huge body of cine-
  matic abilities. They can move without being seen, con-
  trol bodily functions, walk without sound, and fight blind-
  folded. Their strikes are lethal, silent, and almost unstop-
  pable. Tales of the ninja credit them with virtually every
  feat in martial-arts myth. Hollywood-style ninja frequent-
  ly master Kobujutsu weapons, too – indeed, skill with the
  nunchaku, sai, and tonfa is practically required!
  202
  STYLES
  Ninja and Ninjutsu
  The Japanese characters that form the word “ninja”
  mean “one who endures.” An alternative reading is “the
  art of invisibility.” In some times and places, ninja were
  also known as shinobi.
  Ninjutsu (occasionally spelled Ninjitsu) is a term for
  the entire collection of arts practiced by ninja. Among
  other things, these include disguise, climbing, evasion,
  spying, and armed and unarmed combat. Taijutsu (see
  right) describes a particular set of combat skills.
  Ninja Weapons
  Few of the weapons popularly associated with ninja
  were uniquely “ninja weapons.” For instance, Tokugawa-
  era police used the metsubushi (a kind of blowpipe) to
  distract suspects; samurai carried the kusarigama and
  shuriken as backup weapons; and the tonfa, sai, and nun-
  chaku belonged to the Okinawan art of Kobujutsu
  (p. 178). Ninja generally favored the weapons of the
  samurai. This isn’t surprising – these weapons were 
  readily available and would make it easier to blend in
  while disguised, and the ninja would be schooled in their
  use, because many (perhaps most or all) ninja were in
  fact members of samurai clans.
  Ninja might have used more hidden and combination
  weapons than most people, though, as backup weapons or
  surprise tactics. An “unarmed” spy could conceal several
  deadly (or at least distracting) secrets! The poisoned
  weapons frequently suggested for ninja are unlikely, how-
  ever – such things tend to be as dangerous to the user as
  to the victim. Like modern assassins, ninja probably knew
  that food was the best vehicle for poison.
  Ninja Characters
  Every ninja ought to know Taijutsu (see above). A his-
  torical ninja will practice one or more Japanese weapon
  styles as well; e.g., Kenjutsu (pp. 173-175), Kusarijutsu
  (p. 179), Kusarigamajutsu (p. 180), or Shurikenjutsu
  (pp. 195-197). Cinematic ninja should further add
  Kobujutsu (p. 178) – to use so-called “ninja weapons”
  from Okinawa! For suitable ninja templates, see Assassin
  (pp. 31-32) and Spy (p. 38).
  Realistic ninja should equip themselves as described
  above. Cinematic ones might wear a “ninja suit” (the infa-
  mous hooded black outfit, which isn’t historical; see The
  Ninja, p. 13) or other martial-arts costume. Some might
  include firearms in their arsenal – especially comic-book
  super-ninja.
  Ninja vs. Ninjas
  In Martial Arts, we follow accepted English usage and
  use “ninja” for both the singular and the plural. However,
  many people prefer “ninjas” for the plural – and this seems
  somehow more appropriate for a cinematic game. When
  playing fast and loose with equipment and fighting styles,
  why fret over the English word for a Japanese concept?
  The true master of deception knows there’s power in
  names and wants people to get such things wrong!
  
  Modern Taijutsu schools do exist, and practitioners are
  called “ninja.” Some teach a reinvented form of Ninjutsu –
  complete with stealth training, costumes, and nunchaku.
  Others focus almost exclusively on Taijutsu. Currently,
  there’s only one certified Grand Master of Taijutsu, who
  heads three schools of Ninpo (Ninjutsu) and six other
  martial-arts schools amalgamated into a single budo ryu.
  These schools use the standard 10 kyu and 10 dan ranks,
  although a few have 15 dan ranks. Students do partner
  drills, perform kata (sometimes modified by broken
  rhythms and improvised techniques), and wear gi.
  Historical ninja would learn a combat style nearly iden-
  tical to this. As noted above, they would acquire their
  weapon skills separately. They should study styles for pri-
  mary weapons (such as the katana, wakizashi, and spear)
  and backup weapons (such as the shuriken and kusari). For
  more about ninja, see Ninja and Ninjutsu (p. 202).
  Skills: Acrobatics; Judo; Karate; Karate Art; Savoir-Faire
  (Dojo).
  Techniques: Acrobatic Stand; Arm Lock; Breakfall
  (Acrobatics or Judo); Choke Hold; Ear Clap; Elbow Strike;
  Evade (Acrobatics or Judo); Exotic Hand Strike; Eye-Poke;
  Feint (Karate); Kicking; Knee Strike; Targeted Attack
  (Karate Exotic Hand Strike/Neck); Targeted Attack (Karate
  Kick/Groin); Targeted Attack (Karate Punch/Neck).
  Cinematic Skills: Blind Fighting; Body Control; Breaking
  Blow; Flying Leap; Hypnotic Hands; Invisibility Art; Light
  Walk; Lizard Climb; Mental Strength; Power Blow; Pressure
  Points; Pressure Secrets; Sensitivity; Throwing Art.
  Cinematic Techniques: Eye-Pluck; Hand-Clap Parry;
  Lethal Eye-Poke; Lethal Kick; Lethal Strike; Pressure-Point
  Strike; Roll with Blow; Timed Defense.
  Perks: Acrobatic Feints; Improvised Weapons (Any);
  Style Adaptation (Any Japanese armed style); Technique
  Adaptation (Feint); Unusual Training (Sensitivity, Only
  while at least one hand is in physical contact with the oppo-
  nent).
  Optional Traits
  Advantages: Enhanced Dodge; Language (Japanese).
  Disadvantages: Delusions; Overconfidence; Reputation
  (Silly ninja wannabe).
  Skills: Jumping; Knife; Kusari; Polearm; Shortsword;
  Shuriken; Spear; Staff; Two-Handed Sword; any weapon
  skill under Kobujutsu (p. 178).
  Techniques: Ground Fighting (Judo).
  WING CHUN
  4 points
  Wing Chun is a combative martial art native to southern
  China. According to legend, it was founded in the early 18th
  century. After the destruction of the Shaolin Temple, a nun
  named Ng Mui fled south. She met Yim Wing Chun, a shop-
  keeper’s daughter, and taught her Shaolin boxing. Yim
  added techniques and went on to teach her style to her hus-
  band, who named it after her. Variations on this story have
  Yim learning the style to defeat a bullying general who
  wished to take her as his concubine.
  Wing Chun’s actual origins seem to be more prosaic. The
  style appears to have coalesced out of fighting techniques
  used in southern China – particularly by boatmen. References
  to fighters using forms and technique names unique to Wing
  Chun suggest that its history extends back more than a cen-
  tury before its legendary founding.
  There are several schools of Wing Chun. The most com-
  mon variation today is that of the Yip family, who have taught
  Wing Chun for centuries. The art’s most famous student,
  Bruce Lee (pp. 24-25), was a student of Yip Man.
  Wing Chun is notably short on ceremony and ritual. It tra-
  ditionally lacks ranks and bowing, and has only three forms.
  The style focuses on a small set of widely applicable tools and
  stresses practicing these until they come naturally in combat.
  The emphasis is on close-range fighting – short punches, low-
  line defensive kicks, soft parries, and standing locks. Its char-
  acteristic stance is slightly backward-leaning, with the feet set
  side-by-side. Wing Chun includes two weapons: the butterfly
  sword, used in pairs, and the staff, used like a two-handed
  sword to make wide swinging attacks.
  Fundamental to Wing Chun are the concepts of the cen-
  terline, an imaginary line drawn down the center of the prac-
  titioner’s body, and the six “gates” (high, middle, and low, on
  either side of the centerline), which are openings to attack
  from or through. Stylists learn to keep their centerline point-
  ed at the foe while staying off his, minimizing his ability to
  strike while maximizing their own effectiveness. Another key
  aspect of the art is chi sao, or “sticking hands”: feeling an
  opponent’s shifts of balance or focus in order to respond with
  a parry and counterattack, or to trap his limbs. Students
  sometimes practice chi sao blindfolded to increase sensitivity.
  Wing Chun expects the practitioner to seize the initiative
  and steamroll his adversary with rapid attacks. The Wing
  Chun fighter uses “chain punches” – strings of Defensive
  Attacks, often thrown as Rapid Strikes – to keep the foe off-
  balance. Kicks frequently target the legs and tend to be
  Defensive Attacks as well. The stylist meets the enemy’s kicks
  with a Jam. If using Combinations (p. 80), Combination
  (Karate Punch/Torso + Karate Kick/Leg) is common among
  stylists. This sometimes follows a parry that drags down the
  opponent’s guard to open him up for the combo; model this
  as a Counterattack. The fighter continues to attack like this
  until he stuns or weakens his victim, then uses strikes – like-
  ly in combination with a lock – to finish him.
  Cinematic Wing Chun stylists are extremely powerful.
  They can sense enemy attacks using Sensitivity and use their
  chi to root themselves in place. Their unarmed strikes are
  especially lethal, aimed at pressure points or vital locations to
  paralyze or kill.
  Wing Chun is widespread. Finding a teacher isn’t difficult.
  Some schools use a formal ranking system of colored sashes;
  others have no ranking system at all.
  Skills: Karate; Shortsword; Wrestling.
  Techniques: Arm Lock; Close Combat (Shortsword);
  Counterattack (Karate or Shortsword); Elbow Strike; Feint
  (Karate or Shortsword); Jam; Knee Strike; Stamp Kick;
  Targeted Attack (Karate Kick/Leg).
  Cinematic Skills: Blind Fighting; Immovable Stance;
  Mental Strength; Power Blow; Pressure Points; Pressure
  Secrets; Sensitivity.
  STYLES
  203
  
  Cinematic 
  Techniques: 
  Dual-Weapon 
  Attack
  (Shortsword); 
  Dual-Weapon 
  Defense 
  (Karate 
  or
  Shortsword); Lethal Eye-Poke; Lethal Strike; Pressure-Point
  Strike.
  Perks: Off-Hand Weapon Training (Shortsword); Special
  Setup (Karate Parry > Arm Lock); Technique Adaptation
  (Counterattack); Unusual Training (Sensitivity, Only while
  at least one hand is in physical contact with the opponent).
  Optional Traits
  Advantages: Ambidexterity; Enhanced Parry (Bare
  Hands or All); Inner Balance; Language (Cantonese).
  Disadvantages: Overconfidence.
  Skills: Knife; Savoir-Faire (Dojo); Staff; Two-Handed
  Sword.
  Techniques: Leg Grapple.
  Perks: Off-Hand Weapon Training (Knife).
  WRESTLING
  Wrestling, in one form or another, is the world’s oldest
  martial art. Humans (and their ancestors) have wrestled
  since long before recorded history. Almost every culture –
  not just those known for their martial arts – has some form
  of wrestling, whether for sport or for combat. This includes
  Asian countries renowned today for their striking styles,
  such as China. Below is a tiny sampling of important
  wrestling styles, selected for their utility in GURPS cam-
  paigns in general and Martial Arts games in particular.
  Combat Wrestling
  4 points
  Combat Wrestling – sometimes known as “all-in fight-
  ing” – was a pragmatic combat art. Knights, fencers, and
  other professional armsmen routinely learned it to supple-
  ment their armed skills. It had neither rules nor a sense of
  fair play. All holds were “legal,” and any tactic that could
  damage, dismay, or disable the enemy was considered good.
  Combat Wrestling was common at least as far back as
  the Middle Ages. It continued well into the Renaissance;
  indeed, many fencing masters felt obliged to include a sec-
  tion on wrestling techniques in their manuals to demon-
  strate that their knowledge of fighting was complete. Many
  such manuals survive today. Their depiction of fighters
  armed with swords and fencing weapons choking, punch-
  ing, and tripping one another puts the lie to the modern
  ideal of the “gentlemanly” fencer.
  Stylists learned to reach cautiously and wait for their
  opponent to make a mistake. They used Wait and Evaluate
  extensively. Attacks took the form of grapples and strikes
  calculated to disable the foe quickly: standing grappling
  techniques such as Arm Lock and Finger Lock; limb
  wrenches; and incapacitating blows aimed at the eyes,
  groin, jaw, nose, and neck. Most Combat Wrestling styles
  assumed a battlefield or a street brawl as the setting, so
  ground-fighting tactics were rare. The first priority of a
  fighter on the ground was to get up!
  The masters emphasized the importance of strength to
  wrestling, but they also knew that muscle alone wasn’t
  always enough to win a grappling contest. They taught
  counters against armed assailants and expected students to
  be able to fight both armed and unarmed. A few even taught
  techniques for kicking weapons (especially knives) out of an
  attacker’s hand.
  Combat Wrestling assumed an armed and often armored
  adversary, so it emphasized grapples and throws over
  strikes. Thus, striking techniques weren’t as a rule especial-
  ly advanced. Some masters were dangerous and notable
  exceptions, however.
  Cinematic wrestlers should be strong, although there are
  period illustrations that show a wrinkled old man cheerful-
  ly demolishing his strapping young opponent. Fighters
  learned the body’s vital areas and strikes to target them,
  which could justify the Pressure Points skill. Many other
  cinematic feats fit the style. One manual even showed how
  to parry weapon attacks while seated!
  204
  STYLES
  
  This style, with slight variations, works for no-holds-
  barred wrestling worldwide – be it in China, the Caucasus,
  the Middle East, or Sub-Saharan Africa. Historical heroes
  should have no trouble finding a master in almost any place
  or period.
  Skills: Brawling; Judo; Wrestling.
  Techniques: Arm Lock; Breakfall; Choke Hold; Disarming
  (Brawling, Judo, or Wrestling); Elbow Strike; Eye-Gouging;
  Eye-Rake; Finger Lock; Hammer Fist; Head Lock; Knee
  Drop; Knee Strike; Neck Snap; Sweep (Judo); Targeted
  Attack (Brawling Kick/Groin); Targeted Attack (Brawling
  Punch/Face); Wrench (Limb); Wrench Spine.
  Cinematic Skills: Immovable Stance; Mental Strength;
  Pressure Points.
  Cinematic Techniques: Backbreaker; Fighting While
  Seated (Judo); Pressure-Point Strike.
  Perks: Special Exercises (Lifting ST +1).
  Optional Traits
  Advantages: Combat Reflexes; Fit or Very Fit.
  Disadvantages: Bloodlust; Bully; Overconfidence.
  Skills: Karate.
  Techniques: Elbow Drop; Ground Fighting (Judo or
  Wrestling); Kicking; Stamp Kick.
  Greco-Roman Wrestling
  3 points
  The sport wrestling we know today traces its origins to
  the ancient Olympic Games. Modern Greco-Roman
  Wrestling is a safer, less-extreme version of those early
  matches. The sport still demands great skill, fortitude, and
  fitness of its competitors, however.
  The rules of sport wrestling put the athletes’ safety first,
  and replace techniques liable to cause actual injury with
  safer moves. For instance, they allow head locks – but only
  if the attacker loops one of the defender’s arms into the
  lock, too. This reduces the odds of the lock inflicting neck
  injury . . . and renders it less effective in combat or a 
  no-holds-barred match. Despite this, collegiate wrestlers
  have successfully made the leap to mixed martial arts and
  more combative forms of wrestling. In game terms, they
  simply improve Wrestling from their Wrestling Sport
  default and add the striking skills necessary to compete.
  Greco-Roman wrestlers are highly mobile. If one tech-
  nique fails, they quickly switch to another. They respond to
  their rival’s movement and reactions, exploiting any opening
  to go for a pin, lock, or reversal (breaking free of a hold and
  applying one of their own). Wrestlers use Beats (pp. 100-101)
  to physically overpower their opponent’s guard, and feints –
  such as weight shifts and fakes – to create offensive opportu-
  nities. The art prizes skill over strength, but strong wrestlers
  have a definite advantage. In a match, competitors receive
  points for successful techniques, even if they don’t force a
  submission. Bouts are timed, and point totals determine the
  winner when the time runs out.
  Greco-Roman Wrestling is an Olympic sport, practiced
  worldwide. In the U.S., almost every high school or college
  has a wrestling team. Thus, it’s exceptionally easy to find
  training. Wrestlers train hard and coaches expect them to be
  fit and strong. The GM may require competitive wrestlers to
  take the Fit advantage. High ST is also common.
  Skills: Games (Wrestling); Wrestling Sport.
  Techniques: Arm Lock; Feint (Wrestling Sport); Low
  Fighting (Wrestling Sport).
  Perks: Power Grappling; Special Exercises (Lifting ST +1).
  Optional Traits
  Secondary Characteristics: Improved FP.
  Advantages: Fit or Very Fit.
  Disadvantages: Obsession (Make and maintain weight).
  Skills: Lifting; Savoir-Faire (Gym); Wrestling.
  Indian Wrestling
  4 points
  India has a long tradition of wrestling. According to myth,
  the gods taught the art to a mortal so that he could defeat a
  demon. Its actual origins are untraceable, as they date to pre-
  history. Wrestling was common in India from the time of the
  earliest written records, though, and is still popular today.
  Indian wrestlers strive for massive size. The ideal is solid
  slabs of muscle – not the sheer weight favored by Japan’s
  sumotori. The sport depends on submissions and pins,
  which limits the value of mass for its own sake.
  Wrestlers rise as early as 3 a.m. to exercise, and do dands
  (“cat stretch” pushups) and baithaks (deep knee bends) to
  build endurance and strength. They always do these exercis-
  es in a 1:2 ratio, and each exercise has its own routine. They
  spend the whole day alternately wrestling, exercising, and
  undergoing massages to prepare their muscles for more
  work. Medieval wrestlers ate meat; modern ones eat great
  quantities of almonds, milk, and ghee (clarified butter) to fuel
  their activities. Wrestlers are expected to be celibate, patriot-
  ic, and stoic.
  STYLES
  205
  Submission Wrestling
  3 points
  Submission Wrestling is a form of modern
  wrestling similar in character to mixed martial arts,
  but without striking. The goal is to force the oppo-
  nent to submit using locks or chokes. Wrestlers score
  points for throws, positions, and holds. Matches that
  last the allotted time without a submission are decid-
  ed on points. A major championship held annually by
  the Abu Dhabi Combat Club attracts competitive
  wrestlers worldwide.
  Skills: Games (Submission Wrestling); Wrestling.
  Techniques: Arm Lock; Choke Hold; Ground
  Fighting (Wrestling); Leg Lock; Low Fighting
  (Wrestling); Lower-Body Arm Lock; Lower-Body Leg
  Lock; Triangle Choke; Trip.
  Perks: Power Grappling; Special Exercises (Lifting
  ST +1); Technique Adaptation (Ground Fighting).
  Optional Traits
  Advantages: Fit or Very Fit; Hard to Subdue.
  
  Like other sport wrestling, Indian Wrestling emphasizes
  pins and holds. Its trademark tactic is the steady, patient
  application of technique and pressure to force the opponent
  to submit. Otherwise, it largely resembles Greco-Roman
  Wrestling (p. 205) in execution.
  Wrestlers traditionally work out with the gada, or two-
  handed mace. They often pose for pictures holding it but
  rarely learn to fight with it. In a historical or cinematic game,
  it might see more use as a weapon.
  Cinematic Indian wrestlers should be incredibly strong.
  Like Hindu yogi, they might be capable of feats of body con-
  trol. Their self-denial in terms of sex, food, and luxuries is
  seen as instrumental in developing internal energy to project
  during bouts.
  Skills: Savoir-Faire (Dojo); Wrestling; Wrestling Sport.
  Techniques: Arm Lock; Ground Fighting (Wrestling); Low
  Fighting (Wrestling).
  Cinematic Skills: Body Control; Immovable Stance; Light
  Walk; Mental Strength; Pressure Points.
  Perks: Special Exercises (FP can exceed HT by 50%);
  Special Exercises (Lifting ST +1).
  Optional Traits
  Secondary Characteristics: Improved FP.
  Advantages: Cultural Familiarity (India); Fit or Very Fit;
  Inner Balance.
  Disadvantages: Overconfidence; Sense of Duty (India);
  Vows (Celibacy, Vegetarianism).
  Skills: Two-Handed Axe/Mace; Two-Handed Axe/Mace Art.
  Professional Wrestling
  4 points
  Professional Wrestling, or “entertainment wrestling,” has a
  worldwide following – from the U.S. to Japan, from Europe to
  South America. It encompasses everything from amateur
  “backyard” wrestling to the show-biz world of the profession-
  al federations. It’s the style of television wrestlers, masked
  Mexican luchadors . . . and super-powered bricks.
  Professional Wrestling revolves around spectacular or
  painful-looking techniques. It’s an aggressive style, with com-
  petitors using grapples, takedowns, and hard strikes to send
  their opponent to the floor. Committed Attack (Strong) and
  All-Out Attack (Strong) are exceedingly common for strikes
  and takedowns!
  There’s some debate about the real-world effectiveness of
  Professional Wrestling. It is a performance, but many com-
  petitors are fit and strong. The techniques they exhibit – if per-
  formed “for real” – could do tremendous damage. However,
  “rivals” in the ring are really more like skilled accomplices
  who practice going along with each other’s moves in order to
  increase the performance value and reduce the odds of injury.
  It’s safe to assume that if a wrestler successfully pulled off one
  of these techniques in earnest, it would hurt – a lot.
  Cinematic wrestlers can perform the art’s many stunts out-
  side the ring, on unwilling and uncooperative opponents.
  They’re terrifically strong and capable of absorbing massive
  punishment without flinching (but not without dramatic
  superficial bleeding!). They should have high ST and HT, and
  advantages such as Hard to Subdue. Special skills – notably
  Power Blow, used for massive roundhouse punches and
  hoisting foes for Backbreakers and Piledrivers – rely not on
  chi but on “adrenaline surges” or theatrical effort. A high FP
  score is useful for fueling these skills and for extra effort.
  Cinematic techniques often look quite different from the way
  they do in other arts; for instance, Springing Attack involves
  leaning back against the cage or ropes enclosing the ring.
  Would-be career wrestlers attend schools that cater to
  aspiring pros. Some of these gyms also teach actual combat
  skills, but the potential pro studies the artistic techniques nec-
  essary for crowd-pleasing wrestling. In addition to the skills
  required below, wrestlers often learn Stage Combat and
  Performance to look better in and out of the ring.
  The GM decides how “realistic” Professional Wrestling is
  in his campaign. If he wants wrestlers to be more martial
  artists than performers, he should replace Combat Art skills
  with combat skills. The techniques below are also merely
  suggestions.
  Pros – cinematic or otherwise – often have named signa-
  ture moves. These range from useless techniques (p. 95) to
  everyday ones, even basic kicks and punches, with colorful
  names. The GM may allow Skill Adaptation perks that let any
  technique default to Wrestling Art; e.g., a “suplex” would be
  Skill Adaptation (Sacrifice Throw defaults to Wrestling Art).
  Each move requires its own perk, and because the default is
  to Wrestling Art, combat use is at -3. Most wrestlers use these
  as fight-ending “finishing moves.”
  Skills: Brawling Art; Wrestling Art; Wrestling Sport.
  Techniques: Breakfall; Choke Hold; Drop Kick; Elbow
  Drop; Head Butt; Stamp Kick; Wrench (Limb).
  Cinematic Skills: Breaking Blow; Power Blow.
  Cinematic Techniques: Backbreaker; Hand Catch;
  Piledriver; Roll with Blow; Springing Attack (Brawling Art).
  Perks: Shtick (Varies); Skill Adaptation (Varies); Special
  Exercises (DR 1 with Tough Skin); Unusual Training (Roll
  with Blow, Only on the spring-loaded ring floor or against the
  ropes).
  Optional Traits
  Secondary Characteristics: Improved FP and HP.
  Advantages: Ally (Tag-team partner); Charisma; Hard to
  Subdue; High Pain Threshold; Patron (Wrestling organiza-
  tion); Reputation (Good Guy, from fans).
  Disadvantages: Fat; Gigantism; Reputation (Bad Guy,
  from fans); Reputation (Signature move).
  Skills:
  Acrobatics; Brawling; Games (Professional
  Wrestling); Hobby Skill (Feats of Strength); Performance;
  Stage Combat; Two-Handed Axe/Mace (for chairs!);
  Wrestling.
  Techniques: Arm Lock; Exotic Hand Strike; Hammer Fist;
  Head Lock; Neck Snap.
  WUSHU
  6 points
  Wushu is the state-sponsored martial art of the People’s
  Republic of China (PRC). In the 1950s, the PRC officially
  adopted the term “wushu” in place of “kung fu” to refer to all
  armed and unarmed fighting arts. These notes describe a spe-
  cific style – also called “Wushu” – which the central sports
  committee created from Northern (“long”) kung fu, Southern
  kung fu, T’ai Chi, and weapons training.
  206
  STYLES
  
  The Communist government saw traditional martial arts
  as reactionary and subversive – they couldn’t forget the tra-
  ditional links between anti-government secret societies and
  kung fu. The authorities also felt that the martial arts were
  worthless for modern combat but useful for cultural expres-
  sion and encouraging fitness. Thus, when the central sports
  commission created its style, it replaced many combat-useful
  techniques with attractive moves that had no combat value.
  “Internal” techniques were eliminated as well, on the basis
  that they were superstitious and backward-looking.
  After the Cultural Revolution ended in 1976, internal
  techniques started to reappear. At the end of the 1990s, full-
  contact matches known as san shou became increasingly
  common, giving rise to more combat-useful applications.
  Although Wushu training still produces mainly athletes and
  movie stars, some of its practitioners have been genuine
  fighters.
  Wushu favors deep stances, long punches, and high kicks.
  It borrows some short strikes and tight stances from
  Southern styles, but they’re less common. The art is both
  acrobatic and attractive, and stresses showy techniques and
  athleticism over practical applications. Weapons training
  typically involves blunt weapons and “thunder blades”
  designed to flash, bend, and make loud noises during
  demonstrations. Such training is extremely common in
  Wushu schools, but not required. Most Wushu-trained mar-
  tial artists should learn at least one of the optional weapon
  skills listed for the style.
  Wushu fighters typically use high kicks and multiple
  strikes. Single-strike techniques are less common than flur-
  ries of blows; thus, Rapid Strike and All-Out Attack (Double)
  are common. Wushu is also aggressive, thanks to its empha-
  sis on flashy moves. Stylists routinely throw Jump Kicks and
  other Committed and All-Out Attacks. They use spinning
  strikes of all kinds, both when armed and when unarmed.
  By design, Wushu eschews martial-arts myth.
  Nevertheless, thanks to exhibitions of showy techniques –
  and movies featuring Wushu-trained actors doing wuxia and
  wire stunts – many old legends remain and the style has 
  even acquired a number of new ones. Cinematic Wushu
  practitioners should be able to perform most of the moves
  seen in kung fu movies, even those claiming to be about
  Wing Chun, the Shaolin Temple, T’ai Chi, or other arts. Many
  of the stars of these movies are Wushu stylists, not Shaolin
  monks or Wing Chun students! Thus, Wushu is ideal for
  high-powered wuxia campaigns.
  Wushu is commonly available in the PRC. Schools are
  less common elsewhere, but a student should be able to find
  one if he looks hard enough. Some schools that claim to
  teach another form of kung fu – often Shaolin – teach strong-
  ly Wushu-derived styles.
  Skills: Acrobatics; Jumping; Karate; Karate Art; Savoir-
  Faire (Dojo).
  Techniques: Acrobatic Stand; Axe Kick; Back Kick; Evade;
  Exotic Hand Strike; Feint (Karate); Jump Kick; Kicking;
  Spinning Kick; Spinning Punch; Sweep (Karate).
  Cinematic Skills: Breaking Blow; Flying Leap; Mental
  Strength; Power Blow; Pressure Points; Pressure Secrets.
  Cinematic Techniques: Dual-Weapon Attack (Karate);
  Dual-Weapon Defense (Karate); Fighting While Seated
  (Karate); Flying Jump Kick; Lethal Kick; Lethal Strike; Pole-
  Vault Kick; Pressure-Point Strike; Roll with Blow; Springing
  Attack (Karate); Timed Defense.
  Perks: Acrobatic Feints; Technique Adaptation (Spinning
  Attack); Technique Mastery (Any Spinning Attack); Unusual
  Training (“Split Kick”: Dual-Weapon Attack, Only to kick two
  adjacent foes).
  Optional Traits
  Advantages: Cultural Familiarity (China); Fit or Very Fit;
  Flexibility; Language (Mandarin).
  Disadvantages: Delusions; Obsession (Perfect my art).
  Skills: Broadsword Art; Judo; Judo Art; Performance;
  Philosophy (Communism); Shortsword Art; Spear Art; Staff
  Art; Stage Combat; Two-Handed Flail Art; Whip Art.
  Techniques: Dual-Weapon Attack (Shortsword Art);
  Flying Lunge (Any weapon Art); Sweep (Spear Art, Staff Art,
  or Two-Handed Flail Art); Whirlwind Attack (Any weapon
  Art).
  STYLES
  207
  FICTIONAL STYLES
  Fiction is full of imaginary martial arts. Some of these
  are similar to historical ones, even inspired by them. Others
  are radically different. In particular, if a world has magic,
  nonhuman races, or different physical laws, its fighting
  styles will reflect this. Below are a few examples. For addi-
  tional notes, see Designing Techniques for Nonhumans
  (p. 95).
  DEATH FIST
  11 points
  Death Fist is the creation of a secretive guild of master
  Body Control wizards. It has since spread beyond their hid-
  den mountain stronghold . . . but this hasn’t diminished its
  fearsome reputation for destructive power!
  Death Fist assumes that the wizard is fighting multiple
  and/or armed and armored opponents while unarmed. Some
  stylists also practice the staff as a means of extending their
  reach or countering armed foes. Such training is optional,
  however. The style’s core techniques are meant to be effective
  when the mage lacks or is unable to use his staff.
  Against armed foes, the style teaches its practitioners to
  avoid striking hard armor or having a hand parried by a
  weapon. Stylists prefer to cast a Melee spell and hold it ready
  while they Wait or Evaluate. They seek to lure the enemy into
  striking first so they can retaliate using the Arm Lock or
  Counterattack technique – plus their charged spell. They
  learn to commit fully and disguise their line of attack, and
  often combine Committed Attack (Determined) with
  Deceptive Attack. They rarely use Defensive Attack, however;
  they consider it a mark of trepidation and misplaced caution.
  
  Against multiple opponents, stylists learn to grapple one
  foe and either use him as a shield against the rest or throw
  him to the ground to even the odds temporarily. Against a
  single adversary, they use similar tactics but usually favor a
  throw after unleashing their spell. This buys the time to cast
  another Melee spell without interruption!
  Cinematic Death Fist stylists combine magic and chi
  abilities in a single, devastating package. They often learn
  many spells besides the few the style requires. Great Haste
  and Dexterity are particularly common, as they enhance the
  wizard’s close-combat abilities and make it safer to charge
  in and use Deathtouch while unarmed.
  Death Fist is extremely rare. The only way to get instruc-
  tion is to join the guild in its secret fortress. The path is
  heavily trapped and guarded by strange beasts, and stylists
  roam the approaches looking for interlopers on whom to
  test their skills. Those who successfully evade these dangers
  must pass a magical and physical test. Failure means death.
  The GMs may wish to require an Unusual Background to
  reflect all of this.
  Skills: Judo; Karate; and the spells Clumsiness,
  Deathtouch, Itch, Pain, Paralyze Limb, Resist Pain, Spasm,
  and Wither Limb.
  Techniques: Arm Lock; Counterattack (Judo or Karate);
  Jump Kick; Targeted Attack (Judo Grapple/Arm); Targeted
  Attack (Judo Grapple/Leg).
  Cinematic Skills: Body Control; Mental Strength;
  Pressure Points; Pressure Secrets; Sensitivity.
  Cinematic Techniques: Roll with Blow.
  Perks: Style Adaptation (Quarterstaff); Technique
  Adaptation (Counterattack).
  Optional Traits
  Advantages: Combat Reflexes. Magery 2 is required to
  learn the spells and hence the style; additional Magery is
  common.
  Disadvantages: Bloodlust; Overconfidence; Reputation
  (Member of a strange cult).
  Skills: Acrobatics; Jumping; Staff; Thaumatology.
  DRAGON-MAN KUNG FU
  10 points
  Dragon-Man Kung Fu is the martial art of a secret order
  of heroes founded thousands of years ago to fight the Oni.
  These warriors bested the Oni in a terrible battle, but this
  merely forced the Oni to turn to stealth and disguise. The
  Oni use their magical powers to hide among men while they
  work their evil, their goal being to make the world more like
  their own by seeding disorder and chaos. To stop them, the
  acolytes of the Dragon Temple teach heroes their art . . .
  including the secret of breathing fire! Only flame can
  destroy an Oni permanently.
  In unarmed combat, Dragon-Man Kung Fu disdains
  ground fighting and wrestling in favor of stylish kicks, hard
  punches, and stunning throws. Stylists prefer to fight
  armed, however. The most common weapon of the Green
  Dragon acolyte (novice) is the sword – usually the jian but
  occasionally the broadsword, katana, longsword, or paired
  butterfly swords. The staff and spear are popular, too.
  Attacks are often acrobatic and make good use of feints and
  Deceptive Attack. Against stunned or surprised opponents,
  practitioners like to shout a loud kiai or the name of their
  technique and launch an All-Out or Committed Attack, typ-
  ically as a Telegraphic Attack (p. 113). No matter what the
  situation, Dragon-Man fighters make extensive use of
  Acrobatic Movement (pp. 105-107).
  Dragon-Men are noted for twirling their weapon full-
  circle in a bloody overhead flourish after defeating a foe.
  Not all acolytes do this – especially if there’s immediate dan-
  ger from another enemy – but it’s a signature move of the
  order. This can be extremely intimidating, especially when
  accompanied by a loud kiai!
  To join the Dragon Temple, a would-be initiate must first
  find its secret location in the mountains. Next comes a
  lengthy apprenticeship spent both exercising and studying
  the order’s philosophy and history. Candidates must demon-
  strate the highest standards of heroism and goodness –
  although there are rumors of a fallen acolyte who cooper-
  ates with (some say leads) the Oni.
  Dragon-Men advance in rank as they hone their skills
  and demonstrate their heroism. The Temple has 10 ranks:
  Third through First Order Green Dragon, Third through
  First Order Red Dragon, Third through First Order Golden
  Dragon, and finally Grandmaster of Dragons, reserved for
  the eldest and wisest of the templars. Acolytes receive ritual
  tattoos indicating their standing. These start out small and
  simple, but get progressively more complex at higher ranks.
  Stylists can emulate their totem beast in one important
  respect – they can channel their chi to breathe fire. This is a
  melee attack using the Innate Attack (Breath) skill. See
  “Breath of Dragon” under Innate Attack (p. 45) for details.
  Damage and point cost depend on rank:
  Green Dragon: Burning Attack 1d (Costs Fatigue, 1 FP, 
  -5%; Melee Attack, Reach 1-4, Cannot Parry, -20%) [4]. 4
  points.
  Red Dragon: As above, but with Burning Attack 2d. 8
  points.
  Golden Dragon: As above, but with Burning Attack 4d. 15
  points.
  The GM might also want to let high-ranking acolytes
  purchase other chi abilities that are uniquely tailored to
  them.
  Dragon-Man Kung Fu is ideal for an anime-inspired fan-
  tasy campaign. It might suit a secret order in some modern
  “hidden magic” games, but it works best if the heroes have
  big eyes, small mouths, and gigantically oversized weapons.
  Trained by a Master and Code of Honor (Xia) are required to
  learn Dragon-Man Kung Fu. There is no realistic version!
  Skills: Acrobatics; Breath Control; Innate Attack
  (Breath); Judo; Karate; Meditation; Philosophy (Dragon
  Temple); Rapier; and at least one of Smallsword, Spear,
  Staff, or Two-Handed Sword.
  Techniques: Acrobatic Stand; Arm Lock; Axe Kick; Back
  Kick; Jump Kick; Kicking; Spinning Kick; Spinning Punch;
  Spinning Strike (Any).
  Cinematic Skills: Breaking Blow; Flying Leap; Hypnotic
  Hands; Kiai; Lizard Climb; Mental Strength; Power Blow;
  Pressure Points; Pressure Secrets.
  208
  STYLES
  
  Cinematic Techniques: Dual-Weapon Attack (Any); Dual-
  Weapon Defense (Any); Flying Jump Kick; Flying Lunge
  (Any); Roll with Blow; Timed Defense.
  Perks: Acrobatic Feints; Chi Resistance (Any); Form
  Mastery (Spear); Grip Mastery (Any); Shtick (“Dragon-Man
  Flourish”: +4 to Intimidation on the turn after knocking
  down or killing a foe); Weapon Adaptation (Broadsword to
  Rapier); Weapon Adaptation (Shortsword to Smallsword).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and FP.
  Advantages: Detect (Oni); Enhanced Parry (All); Extra
  Attack (with Multi-Strike); Fit; Forceful Chi; Higher Purpose
  (Slay Oni); Reputation (Do-gooder); Weapon Master.
  Disadvantages: Distinctive Features (Dragon-Man tat-
  too); Fanaticism; No Sense of Humor.
  Skills: Esoteric Medicine; History (Dragon Temple);
  Jumping; Stealth; any weapon skills not mentioned above.
  FORCE-SWORDSMANSHIP
  5 points
  Force-Swordsmanship is the art of the superscience
  force sword (p. B272). In some game worlds, the force
  sword is the sidearm of the nobility; indeed, tradition or the
  law might restrict it to individuals with Status 2+. Young
  nobles swagger about with ornate weapons at their hips.
  They practice with low-powered training blades . . . but the
  real thing is fashionable for dueling (legal or not). This gives
  Force-Swordsmanship the character of fencing in 17th- and
  18th-century Europe.
  In other settings, anybody can carry a force sword but
  few truly know how to use it. Locating an instructor
  requires the sort of quest found in legends about the tradi-
  tional martial arts. Unlocking the weapon’s secrets takes a
  lifetime, and the few who master it command respect for
  their skill, dedication, and power. This imbues the art with
  a flavor closer that of cinematic kung fu.
  The force-swordsman practices both aggressive attacks
  and careful defenses, for use in two different situations. If
  his foe lacks a force sword, he attacks strongly, exploiting
  his weapon’s ability to destroy lesser arms when parrying or
  parried. Against a similar weapon, though, the stylist fights
  more defensively. He uses parries to stop force-sword strikes
  (and Parry Missile Weapons and Precognitive Parry to
  deflect beams and projectiles!) and dodges – especially
  Acrobatic Dodge – to get out of harm’s way and into a better
  position from which to attack. In either circumstance, the
  standard grip is two-handed, although practitioners learn to
  fight one-handed and some wield two force swords
  simultaneously.
  Force-swordsmen often attack their enemy’s weapon.
  This is because most ordinary weapons can’t resist their
  blade! This tactic carries over to force sword vs. force sword
  duels in the form of a Beat (pp. 100-101).
  The most advanced students learn grappling techniques,
  but rarely use them except to counter another fighter’s
  wrestling moves. Against a similarly armed foe, the force
  sword makes close combat far too dangerous. Against an
  adversary without a force sword, the sword itself is the best
  option for attack.
  Cinematic masters can channel their chi to stun foes
  with a word, resist great mental pressure, make prodigious
  leaps, and deflect beam-weapon attacks. Damage from the
  force sword isn’t ST-based, but the GM might let Power
  Blow double (or even triple!) the weapon’s damage. This is
  usually only possible for force-swordsmen who craft their
  own force sword in tune with their chi; the GM should prob-
  ably require Weapon Bond. Damage bonuses for Weapon
  Master also apply, with the same caveats. Psi powers
  (pp. B254-257) accompany all of this in some settings, but
  with power modifiers similar to those in Chi Powers for
  Martial Artists (p. 46).
  This style mainly suits space-opera campaigns with lots
  of superscience. It works best in cinematic games – because
  to most players, Force-Swordsmanship without the ability
  to parry blaster fire and demolish foes while wearing a hel-
  met with the blast shield down simply isn’t Force-
  Swordsmanship. Similar styles may exist for other “force
  weapons,” such as the force whip.
  Skills: Acrobatics; Force Sword; Force Sword Art; Parry
  Missile Weapons.
  Techniques: Feint (Force Sword); Targeted Attack (Force
  Sword Swing/Arm); Targeted Attack (Force Sword
  Swing/Leg); Targeted Attack (Force Sword Swing/Neck).
  Cinematic Skills: Blind Fighting; Body Control; Flying
  Leap; Kiai; Mental Strength; Power Blow; Precognitive
  Parry.
  Cinematic Techniques: Dual-Weapon Attack (Force
  Sword); Dual-Weapon Defense (Force Sword); Whirlwind
  Attack (Force Sword).
  Perks: Acrobatic Feints; Chi Resistance (Any); Grip
  Mastery (Force Sword); Off-Hand Weapon Training (Force
  Sword); Special Setup (Power Blow works with Force
  Sword); Sure-Footed (Slippery); Sure-Footed (Uneven).
  Optional Traits
  Advantages: Enhanced Dodge; Enhanced Parry (Force
  Sword); Fit; Forceful Chi; psi Talents; Weapon Master
  (Force Sword).
  Disadvantages: Code of Honor; Sense of Duty (Close
  friends and companions).
  Skills: Armoury (Force Swords); Fast-Draw (Force
  Sword); Jumping; Karate; Savoir-Faire (Dojo); Wrestling.
  Perks: Weapon Bond.
  STYLES
  209
  Luke Skywalker: All right,
  I’ll give it a try.
  Master Yoda: No. Try not.
  Do or do not. There is no try.
  – The Empire 
  Strikes Back
  
  FREEFIGHTING
  5 points
  Freefighting is a martial art for low- and zero-gravity sit-
  uations. It became popular with long-term space-dwellers
  during the mid-21st century. It emphasizes taking away
  weapons (especially those dangerous to sensitive spaceship
  components) and tying up the opponent quickly with the
  goal of subduing him. It also includes basic punching and
  kicking techniques. Stylists often work strikes into combi-
  nations with grappling moves, the intent being to stun the
  target for long enough to get a solid hold.
  Freefighting has many variations. Some fighters train
  with knives. Others learn the baton, focusing more on sim-
  ple strikes than on advanced stickfighting methods. There
  are also “freefighting” forms of several major martial arts –
  Bando, Escrima, and Jujutsu being especially popular – and
  numerous fusion styles.
  The style isn’t old enough to have much of a body of leg-
  end. Popular entertainment frequently depicts its practi-
  tioners pulling off spectacular moves, however. Most fiction
  shows the fighter dodging and weaving with incredible ease
  – often using showy low-g acrobatics – while tying up the foe
  with handy cable or cable ties, all the while never losing con-
  tact with him.
  Truth is often stranger than fiction. The specific style of
  Freefighting described here has among its students a small,
  skillful group who live permanently in microgravity and
  who’ve replaced their legs with a second pair of arms. These
  martial artists replace Knee Strike with Elbow Strike.
  Skills: Brawling; Free Fall; Judo; Vacc Suit.
  Techniques: Arm Lock; Disarming (Judo); Knee Strike.
  Cinematic Skills: Blind Fighting; Sensitivity.
  Cinematic Techniques: Binding; Roll with Blow.
  Perks: Suit Familiarity (Vacc Suit).
  Optional Traits
  Advantages: 3D Spatial Sense; Enhanced Dodge; Perfect
  Balance.
  Skills: Acrobatics; Climbing; Fast-Draw (Knife or
  Sword); Jumping; Karate; Knife; Shortsword.
  SMASHA
  4 points
  Smasha is an orcish martial art with unknown origins.
  All of its practitioners show a degree of refined brutality
  that’s disturbing at best. Some can even perform vicious
  feats beyond the capabilities of any ordinary orc.
  Fortunately, few orcs have the dedication to take their stud-
  ies that far; most practitioners are mundane fighters. Only
  truly remarkable orcs master the full intricacies of Smasha,
  but almost every tribe includes a few brawler-wrestlers with
  more skill than the average orc.
  Smasha is a highly aggressive style. Practitioners always
  attempt to seize and hold the initiative, and Defensive
  Attack is unheard of. The few “defensive” moves the style
  does teach start with Aggressive Parry and follow up with
  attacks on the injured limb. Stylists use every dirty trick to
  disorient, damage, and destroy the enemy, and target the
  eyes, skull, neck, groin, and vitals in preference to all other
  locations. A fallen victim invites a Stamp Kick or five – the
  orc using All-Out Attack (Strong) or (Determined) if his prey
  has no allies nearby!
  Cinematic Smasha practitioners are even more brutal.
  They can stun foes with their battle-cries and deliver
  tremendous blows to vulnerable spots with pinpoint
  accuracy.
  Skills: Boxing; Brawling; Wrestling.
  Techniques: Aggressive Parry (Brawling); Arm Lock;
  Choke Hold; Eye-Gouging; Eye-Poke; Eye-Rake; Head Butt;
  Kicking; Neck Snap; Stamp Kick; Targeted Attack (Boxing
  Punch/Neck); Targeted Attack (Boxing Punch/Skull);
  Targeted Attack (Brawling Kick/Groin); Targeted Attack
  (Brawling Stamp Kick/Neck); Targeted Attack (Brawling
  Two-Handed Punch/Neck); Two-Handed Punch.
  Cinematic Skills: Kiai; Power Blow; Pressure Points;
  Pressure Secrets.
  Cinematic Techniques: Eye-Pluck; Pressure-Point Strike;
  Roll with Blow.
  Perks: Clinch (Boxing or Brawling); Iron Hands; Neck
  Control (Boxing or Brawling); Special Exercises (DR 1 with
  Tough Skin); Special Exercises (Striking ST +1); Technique
  Adaptation (Aggressive Parry).
  Optional Traits
  Advantages: Combat Reflexes; High Pain Threshold.
  Disadvantages:
  Bloodlust; 
  Bully; 
  Callous;
  Overconfidence.
  Skills: Acrobatics; Garrote; Holdout; Jumping; Knife;
  Poisons; Stealth; any other weapon skills.
  Techniques: Dual-Weapon Attack (Knife).
  210
  STYLES
  
  Adrian bolted the heavy oaken
  door behind her. She could already
  hear the sound of her pursuers’
  hatchets hacking away at it. She
  glanced at the remains of her
  longsword. It could be reforged –
  would be, it was her father’s – but it
  wouldn’t help her now.
  As her eyes adjusted to the
  gloom, she looked around the room:
  no other doors and the window was
  a tiny grille. Then she spotted the
  weapons – aha, a guardroom! Her
  luck hadn’t run out completely.
  The dagger would be too light to
  handle hatchets and falchions. The
  rusty shortsword was crumbling.
  And the halberd was far too long for
  such close quarters. Standing in the
  corner, though, was a nastily
  hooked bill, not much taller than
  Adrian. That would do nicely!
  Grasping the weapon across her
  body, Adrian turned toward the
  door, glad that she hadn’t spent all
  her time studying swordplay.
  Purely unarmed fighting styles
  exist, but most traditional martial
  arts evolved for use in battles or
  duels involving weapons. Many
  were intended for armored war-
  riors facing similarly clad oppo-
  nents. These basic realities remain
  for today’s combat styles, but art
  and sport forms often replace
  lethal weapons – or all weapons –
  with nonlethal ones, and armor is
  typically either nonexistent or
  designed specifically as training
  equipment.
  Traditional or modern, lethal or
  nonlethal, the hardware used by
  the practitioners of many styles
  can be as complex as their tactics.
  Tomorrow’s gear will probably be
  even more elaborate. See GURPS
  Ultra-Tech for futuristic equiva-
  lents to many items found in this
  chapter.
  WEAPONS AND EQUIPMENT
  211
  CHAPTER SIX
  WEAPONS AND
  EQUIPMENT
  
  WEAPONS
  212
  WEAPONS AND EQUIPMENT
  Weapons don’t evolve in a vacuum. They’re optimized
  to meet the needs of a particular place and time. A 
  fighter normally trains to use his culture’s weapons 
  to confront probable threats – meaning armaments 
  common in his region and in nearby areas, especially
  those favored by enemy cultures. He’ll rarely have expe-
  rience wielding or facing weapons from distant lands
  and other times, much less those from far-off planets and
  crosstime! The GM decides how to handle this.
  The simplest option is to assume that Melee Weapon
  skills include the ability to adapt quickly to new tools and
  threats. Those who know such a skill can use all of the
  weapons listed for it the Basic Set and Martial Arts –
  even completely alien ones – at no penalty. In armed
  clashes, the statistics and footnotes on the tables com-
  pletely parameterize each weapon. To settle unlikely duels
  (bill vs. three-part staff, katana vs. rapier, etc.), follow the
  rules as written and ignore the weapons’ provenance. For
  instance, in an affray between a gladius-wielding Roman
  legionary and a 16th-century rapierist, neither is penal-
  ized for lack of knowledge of the other’s weapon.
  Moreover, if our legionary has a large Indian katar (wield-
  ed with Shortsword) and our rapierist has a Chinese jian
  (used with Rapier), neither suffers a penalty for unfamil-
  iarity with his own weapon, either.
  On the other hand, the detail-oriented GM is free to
  rule that fighting with an unfamiliar melee weapon gives
  -2 to skill. See Familiarity (p. B169) for details.
  If this is true, then it follows that fighting against an
  unusual weapon should also be challenging. This gives -2
  to skill whenever a fighter directly engages a weapon that
  he has neither seen before nor trained against. This penal-
  ty doesn’t affect attack rolls, but it does penalize Quick
  Contests (to disarm, feint, etc.) and give -1 to parry the
  unusual weapon. In most cases, both fighters will suffer
  these penalties, in which case it’s best to ignore the effect
  on Quick Contests (it cancels out) and keep only the -1 to
  parry.
  When using penalties for unfamiliarity, the GM
  decides which weapons are “familiar” and “unfamiliar” to
  fighters. He might use Cultural Familiarity (p. B23),
  boundaries on a map, or fiat. In some worlds, military
  and civilian weapons, the arms of different social classes,
  etc., might be mutually unfamiliar. Remember that this is
  a two-way street! You can declare that you’re from an
  obscure culture so that everybody has -1 to parry your
  cool ethnic weapons . . . but you will have -1 to parry
  almost everybody else’s weapons.
  This isn’t the same thing as familiarity with your oppo-
  nent’s fighting style. For that, see Style Familiarity (p. 49).
  Cross-Cultural Encounters
  Most martial arts are
  designed 
  around 
  their
  home culture’s traditional
  weapons, which evolve as
  tactics, technology, and
  threats spur each other on.
  New armaments that prove
  to be better than existing
  ones are eventually adopt-
  ed, and warriors adapt old
  techniques to them and
  invent new fighting styles to
  exploit their strengths. Of
  course, martial artists have
  also been known to employ
  truly bizarre weapons for
  aesthetic or superstitious
  reasons. Modern schools
  frequently 
  teach 
  the
  strangest of these alongside
  the most practical of traditional weapons, other cultures’
  weapons, and modern weapons, leading to hybrids that
  aren’t “traditional” anywhere but at that school!
  Below is a glossary of melee and muscle-powered melee
  weapons – traditional and modern, common and unusual,
  generic and culturally specific. It favors weapons used by
  martial-arts styles in this book and definitely isn’t exhaus-
  tive. An entry in SMALL CAPS indicates a weapon that appears
  on the weapon tables on pp. B271-276 or pp. 226-232. The
  rest are functionally similar enough to one of these weapons
  that they can use the same statistics, even if they differ 
  radically in appearance. For details, read the entry.
  Ahlspiess – Germany. A pole weapon that’s roughly equal
  proportions handle and long metal spike, with a rondel
  (round handguard) where the halves meet. Used prima-
  rily for dueling – usually in a Defensive Grip (pp. 109-
  111). Treat as a SPEAR (p. B273), but it can’t be thrown
  and is considered a solid-metal (DR 6) sword for break-
  age; see pp. B483-485.
  Arit – Indonesia. A SICKLE (p. 226).
  ATLATL (p. B276) – Aztec. A stick used to launch javelins. The
  name is Nahuatl (Aztec), but many similar weapons exist
  worldwide. The user fits the javelin into a notch and then
  launches it with a one-handed swing of the stick.
  AXE (p. B271) – Universal. A wedge-shaped blade on a wood-
  en handle, for use in one hand and not balanced for
  throwing. It comes in many shapes and sizes, such as the
  SMALL AXE (p. 226), which is only slightly larger than a
  HATCHET (p. B271).
  BACKSWORD (pp. 226-227) – England. A single-edged
  THRUSTING BROADSWORD (p. B271) with a basket hilt.
  Balisong
  
  Bagh-Nakh (illustration, p. 102) – India. Also known as
  “tiger claws,” this claw-like weapon is worn on the hand
  and held with rings for the pinky and thumb. Treat as a
  BLADED HAND (p. 226).
  BALISONG (p. 228; illustration, p. 212) – Philippines. A tang-
  less folding knife with a pair of hollow handles that pivot
  forward to sheathe the blade or back to serve as a grip. A
  modern balisong has metal bearings that let the 
  user flick it open and shut theatrically; see Fast-Draw
  (pp. 56-57). Sometimes called a “butterfly knife.”
  BASTARD SWORD (pp. B271, B274) – Europe. A sword man-
  ageable enough to wield one-handed but with a grip 
  long enough for two hands. A 
  sharp point was standard – use 
  the THRUSTING BASTARD SWORD
  (pp. B271, B274) in a historical
  campaign. Often called a “hand-
  and-a-half sword” after TL4.
  BATON (p. B273) – Universal. A short,
  balanced club, usually wooden or
  metal. The police version, often 
  in hard plastic, is also called a
  “nightstick.” Some batons are only
  knife-sized; use the SHORT BATON
  (pp. 228, 229) statistics for these.
  BILL (p. 229) – England. A bladed
  polearm with a hook on the back
  that lets the wielder use the Hook
  technique (p. 74), typically to unseat a horseman. Initially
  a battlefield weapon, it was sometimes given a shorter haft
  for individual combat, resulting in the DUELING BILL
  (pp. 229, 230).
  Bisento – Japan, Okinawa. A larger, heavier NAGINATA
  (pp. B272-274) copied from a Chinese polearm. Use the
  statistics for a HEAVY HORSE-CUTTER (p. 229).
  BLACKJACK (p. B271) – Universal. A small, weighted trun-
  cheon made of cloth, rubber, or soft leather, designed to
  deliver a beating without obvious bruising (Diagnosis-2 to
  notice the injury on a casual examination). Every culture
  has its own name: “cosh,” “sap,” etc.
  BLADED HAND (p. 226) – Exotic. A set of joined, nearly paral-
  lel blades – of close to equal length – worn on the hand
  and used to claw like an animal. Some are short and
  knife-like; others are long and rake-like.
  BLOWPIPE (p. B275) – Universal. A long, narrow tube that lets
  the user launch breath-propelled darts. The projectiles
  are too tiny to be effective against large animals or
  humans without poison. Also useful for blowing powders
  into an opponent’s face.
  BO – Japan. A QUARTERSTAFF (pp. B273-274).
  BOKKEN (pp. 227, 230) – Japan. A wooden sword. Usually has
  a handguard: rubber-and-plastic today, but wood or leather
  – or absent – on older versions. Also called a “bokuto.”
  BOLA PERDIDA (pp. 227, 231) – Argentina. A rock (or other
  weight) fastened to a thong. The name is from Argentina
  but the weapon is universal. Used for throwing – like a
  one-shot sling that tosses both sling and stone – and as a
  flail. Sometimes called a “bola loca.”
  BOLAS (p. 227, B275) – Universal. Two or more weights
  attached to cords and knotted together. Used by hunters
  to entangle the legs of animals, but also a serviceable flail.
  Often called a “boleadora.”
  Bolo – Philippines. A wide-bladed machete. Treat as a
  FALCHION (p. 229).
  BOOMERANG (p. 231) – Australia. An angled, more aerody-
  namic THROWING STICK (p. 225) designed for hunting.
  Doesn’t return; returning versions are unsuitable as
  weapons and in any event wouldn’t return if they hit. The
  GM may make an exception for martial artists with
  Throwing Art! Treat as a BATON (p. B273) if used as a club.
  BOW (p. B275) – Universal. A flexible stave, bent and kept
  under tension by fastening a string between its ends. This
  creates a spring that enables the user to shoot arrows by
  placing them against the string and drawing and releas-
  ing it. The SHORT BOW might be made of little more than
  a handy bough, although strong ones aren’t, and is typical
  of the earliest bows. The REGULAR BOW is longer and more
  powerful. The LONGBOW – made famous in Wales – is the
  pinnacle of single-material (“self”) bow technology, and at
  least 6’ long. The COMPOSITE BOW is made of layers of dif-
  ferent materials glued together. This improves strength
  and compression resistance, giving a regular-sized bow
  more power than a longbow. The finest longbows, how-
  ever, are made of yew, the natural properties of which
  yield a weapon similar to a composite bow; the GM may
  rule that fine-quality longbows are effectively composite
  bows.
  Bowie Knife – USA. A broad, heavy-bladed knife, favored by
  Savate practitioners. Treat as a LARGE KNIFE (pp. B272,
  B276) or a LONG KNIFE (pp. 228-229), depending on size.
  BRASS KNUCKLES (p. B271) – Universal. A fist load that cov-
  ers the knuckles. As likely to be horn, iron, steel, or lead-
  reinforced leather as brass. The wearer ignores Hurting
  Yourself (p. B379) when punching and gets +1 to punch-
  ing damage, but also suffers from Bad Grip 3 (p. B123).
  BROADSWORD (p. B271) – Europe. A term for what medieval
  warriors called an “arming sword,” coined by 17th-
  century writers to distinguish robust military swords
  from narrow-bladed civilian ones. Typically 30” to 40”
  long. 
  Traditionally
  pointed; 
  use 
  the 
  THRUSTING
  BROADSWORD (p. B271) statistics.
  Butterfly Sword – China. A short, wide-bladed chopping
  sword with a knuckle guard. Treat as a SMALL FALCHION
  (p. 229).
  WEAPONS AND EQUIPMENT
  213
  Eku
  “And thou pratest like a coward,”
  answered the stranger, “for thou
  standest there with a good yew bow
  to shoot at my heart, while I have
  nought in my hand but a plain
  blackthorn staff wherewith to meet
  thee.”
  – Little John to Robin Hood,
  The Merry Adventures 
  of Robin Hood
  
  Cane – Universal. The walking stick is an accessory of gen-
  tlemen worldwide. Treat as a LIGHT CLUB (p. B271). Many
  are topped with a crook (adds no cost or weight), which
  enables the Hook technique (p. 74).
  CAVALRY SABER (p. B271) – Europe, USA. A curved sword
  optimized for one-handed use from horseback.
  Resembles the fencer’s SABER (p. B273) in profile, but is
  heavier and wielded more like BROADSWORD (p. B271).
  CESTUS (p. 226) – Ancient Rome. A studded or spiked leather
  hand covering; treat as a gauntlet (DR 4). Elbow-length
  versions were common: 2¥ cost and 4¥ weight. They pro-
  vide DR 4 to the arm on 1-3 on 1d, and their +1 damage
  extends to Elbow Strike (p. 71).
  Cha – China. A TRIDENT (p. 229). See also Southern-Tiger
  Fork (p. 225).
  CHAIN WHIP (p. 228; illustration, p. 4) – China. A whip made
  of chain or short metal bars (usually seven or nine of
  them) joined by chain. Used to lash foes and to entangle
  like a KUSARI (p. B272).
  CHAKRAM (p. 231; illustration, p. 42) – India. A metal ring,
  edged on the outside, that’s spun around the finger on the
  inside rim and thrown.
  Chiang – China. A SPEAR (pp. B273, B276).
  Chigoridani – Japan. An odd combination weapon consist-
  ing of a chain with a flanged weight on one end and a tas-
  seled cord tied to the other, the chain passing through an
  iron pipe that serves as a sliding handle. Used two-
  handed, it’s effectively a KUSARI (p. B272) that gives -2 to
  skill but permits a parry with the pipe, improving its
  Parry from -2U to 0U. Add $20 and 1 lb. to kusari cost
  and weight. A similar weapon, the konpei, has projecting
  wings on a shorter handle.
  Chukonu – China. A REPEATING CROSSBOW (p. 231). Also
  transliterated “zhuge nu.”
  214
  WEAPONS AND EQUIPMENT
  A warrior might want to enjoy the tactical benefits of
  several specialized melee weapons at once. The obvious
  solution is to carry a different weapon in each hand, but
  this isn’t practical when using a shield or a two-handed
  weapon. A workaround is to stick the useful part of one
  weapon onto another, creating a “combination weapon.”
  To design a combination weapon, start with a basic
  melee weapon – commonly a hafted one (one with a pole,
  like an axe or a staff) – and add the cost and weight of the
  desired features below. These options add extra attack
  modes for the wielder to choose from, in addition to the
  standard choices for his weapon. Such attacks use the
  weapon’s usual skill, except as noted.
  Hammer: Any swung, hafted cutting or impaling
  weapon can have a hammer head behind its striking
  head. Damage is that of its usual swinging attack, but
  crushing. $25; 0.5 lb.
  Hook: Any swung weapon, even a sword, can have a
  small hook to permit use of the Hook technique (p. 74).
  Hooking inflicts thrust-2 cutting for a one-handed
  weapon, thrust-1 for a two-handed one. A hook can be
  blunt in order to snag victims without causing damage,
  but this is no cheaper. $25; neg. weight.
  Kusari, Two-Yard: Any reach 1+ weapon can have a
  short kusari (weighted chain) attached. Use the statistics
  on p. B272, except that reach is only 1, 2*. It goes on the
  head or butt of an impact or pole weapon, or on the pom-
  mel of a club or sword (to put it inside a metallic baton,
  jutte, etc., see Hidden Weapons, p. 218). The wielder may
  use his weapon normally or swing the chain using the
  Kusari skill. The weapon becomes two-handed, if it 
  wasn’t already; one hand controls the chain at all times.
  $40; 2.5 lbs.
  Kusari, Four-Yard: As above, but the kusari is full-
  sized, with reach 1-4*. $80; 5 lbs.
  Pick: Any swung, hafted weapon that deals crushing or
  cutting damage can have a hardened spike at right angles
  to its haft. Damage is that of its usual swinging attack, but
  at -1 and impaling. Like any pick, it can get stuck; see
  p. B405. The weapon also gains the benefits of a hook.
  $50; 0.5 lb.
  Sickle: Any swung, hafted weapon can have a small
  sickle head. Damage is equivalent to that of its usual
  swinging attack, but at -1 and cutting or -2 and impaling.
  The weapon also gains the benefits of a hook. $30; 0.5 lb.
  Spear: Any hafted weapon can add a spearhead that
  does thrust+2 impaling damage one-handed, thrust+3
  impaling two-handed. Thrusting doesn’t unready the
  weapon – even if swinging normally does. $30; 0.5 lb.
  Apply +1 to the weapon’s ST statistic per 1 lb. or frac-
  tion thereof added to a one-handed weapon, or per 2 lbs.
  or fraction thereof added to a two-handed one. Adding a
  kusari makes the weapon two-handed automatically. For
  more on ST and weapons, see p. B270.
  Example 1: A sickle (p. 223) costs $40, weighs 2 lbs., and
  requires ST 8. A kusarigama is a sickle with a short kusari
  on its head or butt. A two-yard kusari adds $40 and 2.5 lbs.,
  making final cost and weight $80 and 4.5 lbs. It also turns
  the combination weapon into a two-handed weapon.
  Adding 2.5 lbs. of weight to a two-handed weapon results in
  +2 to ST, making it 10.
  Example 2: A scythe (p. B274) costs $15, weighs 5 lbs.,
  and requires ST 11. An okusarigama is a scythe with a long
  kusari attached. A four-yard kusari adds $80 and 5 lbs., rais-
  ing cost to $95 and weight to 10 lbs. Adding 5 lbs. of weight
  to a two-handed weapon gives +3 to ST, making it 14.
  Combination Weapons
  Estoc
  
  Chung Bong – Korea. A BATON (p. B273) or SHORT STAFF
  (p. B273).
  CLOAK (pp. B275, B287) – Europe. A fighter may wrap part
  of his cloak around his arm and use it defensively (to
  block) or offensively (to feint or grapple; see p. B404).
  The main difference between a HEAVY CLOAK and a LIGHT
  CLOAK is that the former gives a higher DB and takes a
  few seconds longer to cut to shreds.
  COMBAT FAN (p. 226) – China, Japan, Korea. A metal version
  of the folding fan carried by men and women alike. Folds
  partially or not at all. Used as a backup weapon and sym-
  bol of authority. Called a “tessen” (“iron fan”) in Japan.
  CROSSBOW (p. 231, B276) – Asia, Europe. A bow attached to
  a grooved stock and fitted with a trigger, used to shoot
  short, thick arrows called “bolts.” Endless varieties exist!
  For instance, the COMPOSITE CROSSBOW (p. 231) uses a
  COMPOSITE BOW (p. B275), while the PISTOL CROSSBOW
  (p. B276) is small enough to wield one-handed. The
  Chinese were fascinated with concealed crossbows. Full-
  sized models were worn on the back and triggered by
  bowing, while pistol-sized ones were hidden in stirrups
  and sleeves; see Hidden Weapons (p. 218). Related
  weapons include the PRODD (p. B276) and REPEATING
  CROSSBOW (p. 231).
  CUTLASS (p. B273) – Europe. A short sword favored by
  sailors, pirates, and savateurs. Its substantial hilt enclos-
  es the hand, giving DR 4. This is cumulative with glove
  DR, but the hilt lacks the space to accommodate gloves
  with DR 3+ (e.g., steel gauntlets).
  Daab – Thailand. A SHORTSWORD (p. B273). Usually used in
  pairs.
  DAGGER (pp. B272, B276) – Universal. In GURPS usage, a
  short, point-only knife. Historically, the term described a
  double-edged knife with a crosspiece and a pommel – a
  tiny sword. In casual usage, it might instead mean a
  RONDEL DAGGER (p. 228), a STILETTO (p. 228), or any knife
  from SMALL KNIFE (pp. B272, B276) to LONG KNIFE
  (p. 228) size. Proponents of Dagger Fighting (p. 155)
  favor the larger weapons.
  Dai-Kyu – Japan. A COMPOSITE BOW (p. B275) with the grip
  one-third of the way up the bow instead of in the center.
  Used on foot (sometimes while kneeling) and from
  horseback.
  Dan Bong – Korea. A SHORT BATON (pp. 229-229).
  Dan Gum – Korea. A LARGE KNIFE (B272, B276).
  Dan Sang Gum – Korea. A short, wide-bladed sword. Treat
  as a SMALL FALCHION (p. 229).
  DAO (p. 227) – China. A heavy-bladed sword with an extra-
  long handle, used one-handed for chopping and
  stabbing.
  DEER ANTLERS (p. 228; illustration, p. 92) – China. Two inter-
  locked, crescent-shaped blades with a handle in the cen-
  ter of one of the blades, creating a four-pointed cutting
  weapon capable of trapping weapons between its points.
  Usually used in pairs.
  Dhot – Burma. A BATON (p. B273).
  DISCUS (p. 231) – Ancient Greece. A wooden or metal throw-
  ing disc. Eclipsed as a weapon of war by bows and
  spears, but still thrown today by athletes (modern mod-
  els may be weighted plastic).
  DUSACK (p. 229) – Germany. A sturdy wooden SHORTSWORD
  (p. B273), wielded like the real thing. Also called a “rudis”
  (ancient Rome) or a “waster” (England).
  EKU (p. 229; illustration, p. 213) – Okinawa. A large oar, used
  as a makeshift polearm.
  Épée – France. A light, unsharpened thrusting sword
  intended for sport fencing. Treat as a SMALLSWORD
  (p. B273), but the blunt tip inflicts thrust-1 crushing
  damage. Modern épées are equipped for electric scoring.
  Escrima Stick – Philippines. A stick, usually 25” to 35” long,
  made of rattan for training or hardwood (such as ebony)
  for fighting. Treat as a SHORT STAFF (p. B273).
  ESTOC (p. 227; illustration, p. 214) – Europe. An edgeless
  thrusting sword with a triangular or diamond cross sec-
  tion, designed to pierce chinks in plate armor. Generally
  held in a Defensive Grip (pp. 109-111) and used for
  Committed or All-Out Attacks on a prone victim. The
  specialized design removes -2 of the penalty for targeting
  chinks in armor (p. B400). Also called a “tuck.”
  FALCHION (pp. 227, 229; illustration, below) – Universal. A
  medieval European term applied loosely to almost any
  single-edged sword, but most often to one that’s flared,
  heavy, and/or curved forward at the tip, which favors cut-
  ting over thrusting. Most ironworking cultures developed
  such a blade; hunters and soldiers worldwide valued it as
  a tool (for butchering game, cutting brush, opening
  coconuts, etc.) and a weapon. Typically shortsword-sized,
  but the LARGE FALCHION (p. 227) is broadsword-sized.
  Fei Biao – China. See Flying Dart (see below).
  Fire Wheel – China. A form of SLASHING WHEEL (p. 228).
  FLAIL (p. B274) – Universal. A two-handed weapon – seen
  almost anywhere grain flails are used – consisting of iron
  bars, spiked balls, or similar jagged weights attached to
  a long haft by a chain or a cord.
  Flying Dart – China. A throwing blade with a ring handle
  and a length of cloth as a stabilizer. Treat as a SMALL
  THROWING KNIFE (p. 231) or a LARGE THROWING KNIFE
  (p. 231), depending on size.
  Foil – France. A whippy sport-fencing “sword” with a button
  tip. The blade is designed to make precise strikes possi-
  ble while punishing sloppy technique. Treat as a DRESS
  SMALLSWORD (p. 229), but damage is thrust-2 crushing.
  Modern foils are equipped for electric scoring.
  FORCE SWORD (p. B272) – Science Fiction. A space-opera
  swashbuckler’s energy blade. The Basic Set version is
  used one- or two-handed – like a KATANA (pp. B271, B274)
  – with the Force Sword skill. A smaller, one-handed
  model might do 7d(5) burn, have reach 1, cost $6,000,
  and weigh 1 lb. At the GM’s option, it may have a Parry
  statistic of 0F and use Force Saber (DX/A, defaults to
  Force Sword-3 or any fencing skill-3).
  WEAPONS AND EQUIPMENT
  215
  Falchion
  
  Forest Bill – England. A DUELING BILL (pp. 229-230).
  Fukiya – Japan. A BLOWPIPE (p. B275), favored by ninja.
  Fuscina – Ancient Rome. A TRIDENT (p. 229). Often used by
  gladiators in conjunction with a MELEE NET (p. B276).
  GADA (p. 230; illustration, p. 174) – India. This giant mace
  symbolizes strength. Wielded two-handed, it can be
  swung or gripped near the head to “punch.” The listed
  gada is small; the GM may scale up damage bonus, cost,
  weight, and ST together; e.g., ¥1.2 gives sw+6, $120, 18
  lbs., ST 19. Reach doesn’t change – the head just gets
  bigger.
  GARROTE (p. B272) – Universal. Any length of cord, wire, or
  rope used to strangle.
  Gladius – Ancient Rome. A SHORTSWORD (p. B273).
  GLAIVE (p. B272) – Europe. A polearm consisting of a 
  pointed cleaver on a long haft, which evolved from the
  HEAVY SPEAR (p. 229) in ancient times. A shorter version
  – the DUELING GLAIVE (p. 229) – was used for individual
  combat in the Middle Ages.
  GREAT AXE (p. B274) – Universal. A large, two-handed axe,
  “weaponized” from the woodsman’s (or executioner’s!) axe.
  GREATSWORD (p. B274) – Europe. A true two-handed sword.
  It usually has a sharp tip (a THRUSTING GREATSWORD,
  p. B274). A typical European greatsword has a ricasso
  ending in two protruding spikes that protect the wielder’s
  hand.
  HALBERD (p. B272) – Europe. A heavy polearm with an axe-
  like head that sports both a back-spike (enables the Hook
  technique, p. 74) and an axial spike (used like a spear).
  The battlefield version may be shortened to a DUELING
  HALBERD (pp. 229-230) for individual combat.
  216
  WEAPONS AND EQUIPMENT
  The weapons in Martial Arts come in all the usual
  quality grades, with effects as described in Melee Weapon
  Quality (p. B274) and Muscle-Powered Ranged Weapon
  Quality (p. B277). Those two rules cover materials 
  quality: seasoning, temper, etc. They affect breakage for
  all weapons; sharpness, and hence damage, for blades;
  and factors that influence range for missile weapons (e.g.,
  elasticity, in the case of bows).
  The GM may want to introduce quality grades for bal-
  ance, too. Realistically, this is no less important than
  materials. For melee weapons, thrown weapons, and
  ammunition (arrows, bolts, etc.), balance modifies the
  user’s weapon skill for all purposes. For missile weapons,
  it adjusts Accuracy.
  Cheap (Balance): 40% of list price, -1 to skill or Acc.
  Good (Balance): List price, no effect on skill or Acc.
  Fine (Balance): 5¥ list price, +1 to skill or Acc.
  Sticks – batons, clubs, quarterstaffs, wooden stakes,
  etc. – and improvised weapons can’t have fine balance. All
  three grades are possible for melee and thrown weapons
  (besides sticks); for blowpipes, bows, and crossbows; and
  for arrows and bolts. The +1 for fine balance is cumula-
  tive with the +1 for Weapon Bond (p. 53) – a weapon can
  be nicely balanced for anyone but perfect for you.
  To combine balance with materials quality, use the
  next rule.
  Optional Rule: 
  Custom Quality Levels
  The GM may opt to allow attractiveness, balance, and
  materials to vary independently. Pick the desired features
  below, add their price modifiers, and apply the final per-
  centage to the weapon’s price after all other modifications.
  If this gives a discount larger than -80%, limit it to -80%.
  “Balance” refers to the previous rule; “materials”
  describes the quality ratings in the Basic Set.
  Cheap (Balance): All weapons: -60%.
  Good (Balance): All weapons: +0%.
  Fine (Balance): All weapons but sticks and improvised
  weapons: +400%.
  Cheap (Materials): Melee and thrown weapons only: 
  -60% at TL0-6, -80% at TL7+.
  Good (Materials): All weapons: +0% at TL0-6, -60% at
  TL7+.
  Fine (Materials): Arrows, bolts, and crushing-only or
  impaling-only melee or thrown weapons: +200% at TL0-
  6, +0% at TL7+. Fencing weapons and swords: +300% at
  TL0-6, +0% at TL7+. Other cutting melee or thrown
  weapons: +900% at TL0-6, +0% at TL7+. Blowpipes,
  bows, and crossbows: +300%.
  Very Fine (Materials): Fencing weapons and swords
  only: +1,900% at TL0-6, +300% at TL7+.
  Presentation: All weapons: +400% or more. There’s no
  upper limit! Such weapons fetch more when resold. Start
  with the inflated original purchase price and halve any
  discount or depreciation for a second-hand weapon.
  Silver: Solid silver arrows, bolts, or melee or thrown
  weapons can only be of “good” materials quality, yet
  break as if cheap: +1,900%. Silver-coated or -edged
  weapons can be of any quality: +200%. See Silver
  Weapons (p. B275) for rules. While valuable, not all silver
  is “presentation” quality.
  Example 1: Sir Liam, a TL3 knight, wants the ultimate
  werewolf-slaying sword. He commissions a thrusting
  broadsword that has fine-quality balance (+1 skill, +400%),
  very fine-quality materials (-2 breakage, +2 damage,
  +1,900%), and silver edges (+200%). The total modifier is
  +2,500%. Applying this to the sword’s $600 list price gives
  a final cost of $15,600!
  Example 2: General Schwarz, a TL7 officer, is presented
  with a dress saber. The blade is almost worthless for fight-
  ing, with cheap-quality balance (-1 skill, -60%) and materi-
  als (+2 breakage, -80%). However, it’s of presentation qual-
  ity – the rubies and gold look great (+400%). The final mod-
  ifier is +260%. List cost for a saber is $700, so this one costs
  $2,520. If Schwarz ever sells it, he’ll get most of that sum.
  Weapons of Quality
  
  Hanbo – Japan. Treat this “half-staff” (which is what the
  name means) as a JO (pp. 227, 230).
  Han-Kyu – Japan. Literally, “half-bow” – a SHORT BOW
  (p. B275) sometimes modified by ninja to fit in a sleeve.
  HARPOON (p. B276) – Universal. A barbed hunting spear with
  a line attached. Not an entangling weapon; pulling on the
  line tends to yank it out (see footnote 8, p. B276). In
  melee, treat it as a clumsy HEAVY SPEAR (p. 229) with
  reach 1, 2* and -2 to skill.
  HATCHET (pp. B271, B276) – Universal. A light, short-hafted
  axe suitable for throwing.
  Hishi – Japan. A DAGGER (pp. B272, B276).
  HOOK SWORD (pp. 226-227; illustration, p. 73) – China. A
  blunt weapon shaped like an
  inverted “J,” with an edged
  handguard for punching.
  The crook enables the Hook
  technique (p. 74) – and the
  inside is edged, ostensibly
  for crippling horses! Usually
  used in pairs.
  HORSE-CUTTER (p. 229; illus-
  tration, at right) – China. A
  polearm with a heavy chop-
  ping blade similar to that 
  of a Dao (p. 227), intended 
  for use by footmen against
  horsemen. 
  The 
  HEAVY
  HORSE-CUTTER (p. 229) is
  half again the length and
  mass of the LIGHT HORSE-
  CUTTER (pp. 229-230).
  HUNGAMUNGA (p. 231; illustra-
  tion, p. 52) – Sub-Saharan
  Africa. A flat “throwing iron”
  with multiple sharp points
  – typically between five 
  and eight – and a handle.
  Most hungamungas require
  Thrown Weapon (Knife),
  but the LARGE HUNGAMUNGA
  (p.
  231) 
  uses 
  Thrown
  Weapon (Axe/Mace). TL2 models are soft iron and may
  bend on impact. Roll 1d after a throw; on a 1-3, it bends
  and is useless. Bending it back takes 10 seconds and an
  Armoury+3 roll. TL3+ steel blades may ignore this rule.
  Also called a “mongwanga.”
  Iklwa – Zulu. A SHORT SPEAR (p. 229) with a long, broad
  head, unbalanced for throwing.
  Jang Bong – Korea. A QUARTERSTAFF (pp. B273-274).
  Jang Gum – Korea. A long, curved sword used in one or two
  hands. Treat as a KATANA (pp. B271, B274).
  JAVELIN (pp. B273, B276) – Universal. A slender spear, bal-
  anced for throwing but also useful as a light melee
  weapon.
  Ji – China. A HALBERD (p. B272).
  JIAN (pp. 227, 229; illustration, p. 69) – China. A straight,
  one-handed sword with a long, narrow blade that’s 
  light enough for fencing but strong enough for cutting. A
  tassel often decorates the handle.
  Jitte – Japan. A sharp, spearhead-like blade with two side
  prongs for disarming. Treat as a SAI (pp. 227-228, 231).
  The name of this weapon and that of the JUTTE (below)
  are occasionally exchanged, or used for both weapons –
  the result of a shift in transliteration practices.
  JO (pp. 227, 230) – Japan. A four- to five-foot stick normally
  used with two-handed staff techniques.
  JUTTE (pp. 227-228; illustration, p. 169) – Japan. A blunt
  baton with a single prong for catching parried blades for
  disarming. Confusingly, some sources swap the name of
  this weapon and that of the jitte (above), or use the same
  term for both.
  Kabutowari – Japan. The so-called “helmet breaker” is a
  curved metal truncheon. Its handle and sheath resemble
  those of the wakizashi (p. 225), letting a non-samurai look
  as if he’s carrying a sword without breaking the law. Some
  evidence suggests that it was used alongside the tachi
  (p. 225) as a secondary and parrying weapon. Treat as a
  BATON (p. B273) that’s both presentation quality and fine
  quality. It gets +1 to swinging damage and costs $150;
  other statistics don’t change.
  KAKUTE (p. 227) – Japan. A ring with small teeth or “horns,”
  used to get a firm grip on an opponent and assail pressure
  points. A pair – one on the ring finger, one on the thumb –
  gives +1 to rolls to prevent a grappled foe from breaking
  free and +1 to Pressure Points skill while grappling, but
  Bad Grip 1 (p. B123) with weapons. Twisting the rings into
  position for grappling or out of the way for other tasks
  takes a Ready maneuver.
  Kama – Japan. A SICKLE (p. 226) with a straight, pointed
  blade sharpened on the inside edge.
  KATANA (pp. B271, B274) – Japan. A slightly curved, single-
  edged sword designed for one- or two-handed use. The
  Basic Set describes an early Tokugawa-era weapon in
  transition from the two-handed nodachi (p. 221) to a blade
  short enough to wear thrust through a sash. Use the LATE
  KATANA (pp. 227, 230) statistics for later-era katanas,
  including modern ones.
  KATAR (pp. 228-229; illustration, p. 62) – India. A blade with
  a perpendicular handle equipped with hand or arm
  guards, awkward for slashing but ideal for thrusting. Grip
  mechanics permit the use of armed or unarmed combat
  skills to parry, as with the TONFA (p. 226). Typically knife-
  sized, but the LARGE KATAR (p. 229) is shortsword-sized.
  Kettukari – India. A QUARTERSTAFF (pp. B273-274).
  Kittate – Japan. A one-piece iron pick with an L-shaped spike
  on the peen, intended as a portable candle-holder. Stuck in
  a wall pick-first, with a candle on the spike, it can provide
  hands-free light. It’s also an effective weapon – treat as a
  PICK (p. B271).
  KNIFE (pp. 228-229, B272, B276) – Universal. Any one-handed
  blade smaller than a sword, built for effective cutting and
  stabbing. Lightest is the SMALL KNIFE (pp. B272, B276),
  which may be balanced well enough to throw. The next
  size up is the LARGE KNIFE (pp. B272, B276), which is often
  purpose-built for combat but rarely throwable. Largest –
  at a total length between 15” and 23” – is the LONG KNIFE
  (pp. 228-229), which is only marginally less substantial
  than a SHORTSWORD (p. B273) and never throwable. For
  throwable knives, see THROWING KNIFE (p. 231).
  WEAPONS AND EQUIPMENT
  217
  Horse-Cutter
  
  218
  WEAPONS AND EQUIPMENT
  Martial-arts tales (especially ninja stories) often fea-
  ture concealed weapons. Normally, warriors who wish
  to hide weapons use the Holdout skill. The GM rolls in
  secret for each weapon. The roll is usually unopposed,
  but against an alerted observer it becomes a Quick
  Contest vs. Observation skill if watched or Search skill if
  searched. Treat potential foes as “alerted” on any failed
  uncontested roll. A badly hidden weapon is grounds for
  suspicion!
  For a ranged weapon, Holdout has a penalty equal to
  Bulk. For a rigid melee weapon, add weight in lbs. (treat
  “neg.” as 0) to longest reach in yards (treat “C” as 0),
  round up, and apply a penalty of that size. For a
  flexible weapon (kusari, whip, etc.), do
  the same calculation but use shortest
  reach.
  Examples: A dagger is 0.25 lb.,
  rigid, and has longest reach C; 0.25
  + 0 = 0.25, which rounds up to give
  -1. A kusari is 5 lbs., flexible, and
  has shortest reach 1; 5 + 1 = 6, so
  the penalty is -6.
  The carrier’s size also matters.
  If the reach used above exceeds
  his height in yards (round up),
  don’t bother rolling – the
  weapon is simply too long to
  hide. Otherwise, apply his Size
  Modifier to the roll; a bigger
  person has more hiding places.
  There are many ways to get further
  bonuses.
  Concealed-Carry Rigs
  A rig designed to buckle under clothing is $50 for +1
  to Holdout, $200 for +2. It replaces the weapon’s usual
  sheath or cover, so it adds no weight. The bonus applies
  only for a specific weapon or one just like it. The wear-
  er must use Ready or Fast-Draw to get his weapon. Fast-
  Draw is at -1 from such rigs (instead of the penalty for a
  concealed weapon under Fast-Draw from Odd Positions,
  pp. 103-104).
  Trick Weapons
  An alternative to the rigs above is to modify the
  weapon, removing its handle or stock and replacing it
  with a mechanism for extending it (like a sleeve sword
  on an armband) or firing it (like a sleeve pistol cross-
  bow). This adds 50% to the weapon’s cost. The added
  mechanism replaces a grip, so there’s no effect on
  weight. This gives +2 to Holdout.
  To use a trick weapon, the wearer must be able to
  work its mechanism. This requires a free hand for a
  wrist-blade, a bow from the waist for a back-mounted
  crossbow, etc., and a DX (not Fast-Draw) roll. Success
  readies a melee weapon instantly or fires a missile
  weapon. Failure means nothing happens; repeated
  attempts are possible. Critical failure means the weapon
  falls off, stabs the wearer, or anything else the GM likes.
  Trick weapons are notoriously finicky!
  A strapped-on weapon is awkward. Melee weapons
  give -1 to skill. Missile weapons have Acc 0 and never get
  Aim bonuses.
  Special Clothing
  Clothing designed to hide things gives a Holdout
  bonus for all weapons. This is cumulative with the
  bonus for a rig or a trick weapon. A price
  equal to cost of living (p. B265) for the
  wearer’s apparent Status purchases
  an outfit that gives +1. Four times
  that amount buys +2.
  Disguised Weapons
  Building a weapon into some-
  thing 
  obvious 
  doesn’t 
  involve
  Holdout. Those looking for it must
  use Search to learn its true function.
  A weapon that works “as is” but
  looks like a harmless item – normally
  possible only for blunt instruments –
  costs double. For instance, a yagyuzue
  (p. 225) is a presentation-quality jo,
  which would normally cost $50.
  Disguising it as a walking stick doubles
  that to $100.
  A thrusting-only pole weapon can have a cap crafted
  to let it look and function as stick of the same overall
  weight until uncapped (a Ready maneuver). Add $30 to
  cost – $150 if presentation-quality – and 0.5 lb. to
  weight. A makhila (p.
  219), for instance, is a
  presentation-quality javelin. That’s usually $150, 2 lbs.,
  but the fancy cap makes it $300, 2.5 lbs. and disguises it
  as a light club.
  A weapon sheathed entirely inside a larger item has
  its usual weight but costs triple. The decoy item has its
  full weight, too; its cost is normal if fake, tripled if func-
  tional (like another weapon). For example, a kusarijutte
  (p. 219) built from a functional jutte ($40, 1 lb.) with a
  2-yard kusari ($40, 2.5 lbs.) inside is $240, 3.5 lbs. Blades
  hidden this way, like sword canes, are thin – quality is a
  level lower than what’s paid for.
  Effects of Hidden Weapons
  A sudden assault with an undetected weapon counts
  as a surprise attack (p. B393). When one weapon is
  merely hidden inside another, the target knows a
  weapon is present. On the turn the hidden weapon
  pops out, his first defense against it is at -2. In either
  case, defenses against attacks after the first aren’t
  affected.
  Hidden Weapons
  Urumi
  
  KNIFE-WHEEL (p. 228) – China. A SLASHING WHEEL (p. 223)
  with knife blades protruding from either side.
  Traditionally used in pairs.
  KNOBBED CLUB (p. 226; illustration, p. 154) – Universal. A club
  with an enlarged striking head, such as the knobkerrie.
  Kontos – Ancient Greece. A HEAVY SPEAR (p. 229).
  Kozuka – Japan. A SMALL KNIFE (pp. B272, B276).
  Krabi – Thailand. A light, curved sword with a long handle.
  Treat as a SABER (p. B273).
  Kris – Indonesia. A wavy-bladed knife of any size, believed by
  some to possess magical powers. The blade is slotted
  loosely into the handle, which is usually curved; quality is
  often cheap. Treat as a SMALL KNIFE (p. B272), LARGE KNIFE
  (p. B272), or LONG KNIFE (p. 228-229), as appropriate. Not
  balanced for throwing.
  KUKRI (p. 228; illustration, p. 255) – Nepal. A heavy chopping
  blade, curved to a 45° angle in the middle. The listed kukri
  is knife-sized; treat a larger one as a SMALL FALCHION
  (p. 229) or even a FALCHION (p. 229). Modern kukris are
  often made from truck springs – even fine and very fine
  examples!
  KUSARI (p. B272) – Japan. A chain weighted at both ends, also
  called a “kusarifundo” or “manrikigusari” (“ten-thousand-
  power chain”). It’s possible to “snap” a kusari at the foe
  end-first. Damage becomes thrust crushing, but the attack
  avoids two of the drawbacks on p. B406: it works even in
  close quarters and has no chance of hitting you in the face
  on a critical miss.
  KUSARIGAMA (p. 228; illustration, p. 124) – Japan. A kama
  (SICKLE, p. 226) with a two-yard KUSARI (p. B272) attached
  to the handle’s butt. Requires a hand on the handle and a
  hand on the chain, and counts as a weapon in either hand.
  The wielder snares the enemy with the kusari using
  Entangle (p. 71) and then finishes him with the kama.
  Treat these as normal kusari and kama attacks, but use the
  first line of kusarigama statistics for the two-yard kusari.
  Cinematic warriors sometimes swing the kama by the
  chain, like an edged flail – the second line represents this
  – but the GM may forbid this in a realistic game. Some
  versions affix a four-yard kusari to the butt (see
  Combination Weapons, p. 214) or a two-yard kusari atop
  the handle, opposite the blade (permits one-handed use
  but counts as only one weapon, either a kusari or a kama
  – choose each turn).
  KUSARIJUTTE (p. 228) – Japan. A JUTTE
  (pp. 227-228) with a two-yard KUSARI
  (p. B272) attached to the handle. One
  hand goes on the handle, the other on
  the chain. Use the standard jutte and
  kusari rules, except that the short
  kusari uses the statistics listed for the
  kusarijutte. Some versions hide the
  kusari inside the jutte and release it
  out the tip of the weapon – see
  Combination Weapons (p. 214) and
  Disguised Weapons (p. 218).
  LAJATANG (p. 229) – Indonesia. A polearm
  with crescent-shaped blades on both
  ends.
  LANCE (p. B272) – Europe. “Lance” loose-
  ly describes any long spear, but the
  Basic Set weapon is a heavy spear
  sturdy enough to deliver the energy of
  a horseman equipped with stirrups
  and a high-backed saddle. It usually
  has a grip and a handguard, unlike an
  infantry spear. Tournament lances are
  blunt and shatter on impact; see p. -
  B397.
  LARIAT (p. B276) – Americas. A rope that
  ends in a loop tied with slipknot, tra-
  ditionally used to capture horses and
  cattle without injury. For combat
  rules, see p. B411. Also known as a
  “lasso.”
  Liangtjat – Indonesia. A WOODEN STAKE
  (pp. B272, B276).
  LIFE-PRESERVER (p. 227) – England.
  Slang term for a small truncheon,
  often one with an attached cord. Use
  the listed statistics when swinging it
  by the cord (the “traditional” target is
  the legs); otherwise, treat as a cheap-
  quality BLACKJACK (p. B271).
  LIGHT CLUB (p. B271) – Universal. Any balanced wooden
  club, whether a dedicated weapon (good quality or bet-
  ter) or a handy branch, table leg, etc. (cheap). A baseball
  bat isn’t a light club but a KNOBBED CLUB (p. 226).
  LONGSWORD (p. 227; illustration, p. 4) – Germany. A light
  THRUSTING BASTARD SWORD (pp. B271, B274) designed for
  two-handed thrusting, often from a Defensive Grip
  (pp. 109-111). To facilitate this tactic, only the tip-most
  6” of the blade was normally sharpened.
  MACE (pp. 226, 231, B271, B276) – Universal. Any unbal-
  anced, one-handed war club with a massive stone, wood-
  en, or metal crushing head. The smooth-headed ROUND
  MACE (pp. 226, 231) is ancient, but modern martial
  artists still use “melon head hammers” and similar
  weapons (sometimes even in pairs, in Chinese styles).
  The standard MACE (pp. B271, B276), with flanges or
  spikes for bashing through plate armor, is a classic
  weapon of medieval Europe. Lighter versions – the
  SMALL ROUND MACE (pp. 226, 231) and SMALL MACE
  (pp. B271, B276) – are often backup weapons. A thrown
  mace is a deadly projectile; the attacker lobs it rather
  than hurling it in a straight line.
  Machete – Universal. A chopping blade used to harvest fruit
  and clear brush. Treat as a KUKRI (p. 228) or a FALCHION
  (p. 229), depending on size – but it may little resemble
  either and is often cheap-quality.
  Mae Sun-Sawk – Thailand. A side-handled club, typically
  used in pairs. Treat as a TONFA (p. 226).
  MAIN-GAUCHE (p. 228) – France, Italy. A stiff knife with a
  large basket hilt and broad crosspiece, designed primari-
  ly as a parrying weapon. Used alongside a rapier. Not
  throwable.
  Makhila (illustration, p. 114) – Basque. A gorgeous metal-
  shod cane. The heavy handgrip unscrews to reveal a
  spearhead. Treat as a LIGHT CLUB (p. B271) if capped, a
  JAVELIN (pp. B273, B276) if uncapped. This presentation-
  quality disguised weapon costs $300, weighs 2.5 lbs.
  Masakari – Japan. An AXE (p. B271). Less often, a GREAT
  AXE (p. B274).
  MAUL (p. B274) – Universal. A heavy, two-handed hammer.
  WEAPONS AND EQUIPMENT
  219
  Rapier
  Monk’s Spade
  
  MENSURSCHLÄGER (pp. 226-227) – Germany. A 
  narrow, blunt-tipped, basket-hilted sword for
  Schläger (p. 160).
  Metsubushi – Japan. Ninja and police favor this
  all-in-one delivery system for powders (usually
  blinding agents). It consists of a mouthpiece
  with a removable cap. A tube at the other end
  contains one dose of powder. It takes only a sec-
  ond to ready, but it’s too fussy to reload in com-
  bat. Treat as a BLOWPIPE (p. B275) that can only
  shoot powders at one yard – see Blowpipe
  (p. B180) for rules.
  Mijin – Japan. Three short chains weighted with
  iron balls, linked to a central ring. Treat as a
  BOLAS (p. 227, B275) for melee combat and
  throwing. The statistics don’t change; metal is
  denser and pricier than leather and stones, but
  there’s far less of it.
  Miséricorde – France. Translates as “mercy,” either
  in the sense of “beg for mercy” or the “mercy”
  shown by finishing a wounded foe. Describes
  any stabbing-only knife – typically a DAGGER
  (pp. B272, B276), RONDEL DAGGER (p. 228), or
  STILETTO (p. 228) – and refers to its use to attack
  chinks in the armor of fallen knights.
  MONK’S SPADE (p. 229; illustration, p. 219) – China. A
  polearm with a sharp, spade-like head on one
  end and a crescent-shaped blade on the other.
  MONOWIRE WHIP (p. B272) – Science Fiction. A
  weighted monomolecular wire on a short han-
  dle. For many special rules, see Whips (p. B406).
  MORNINGSTAR (p. B272) – Europe. A one-handed flail
  consisting of a handle linked to a spiked striking
  head by a chain. Some sources use the term for a
  MACE (p. B271) with a spiked striking head.
  Muchan – India. A BATON (p. B273) that’s 
  traditionally wielded in a Defensive Grip
  (pp. 109-111).
  Mutton – Philippines. A BATON (p. B273).
  MYRMEX (p. 226) – Ancient Greece. Leather hand
  wrapping with sharp edges that inflict shallow
  cuts when punching. Gives DR 1 to the hand –
  but also Bad Grip 1 (p. B123).
  Nagamaki – Japan. Fundamentally a NAGINATA
  (pp. B272-274), but with a longer blade and a
  shorter staff.
  NAGINATA (pp. B272-274) – Japan. A staff-length
  polearm with a sword-like head. The sport of
  Naginatado (p. 187) uses wooden pole with a pli-
  ant, leather-tipped bamboo head; damage is
  swing or thrust crushing. All-hardwood training
  naginata prevent accidental cuts but are as dead-
  ly as any staff: swing+2 or thrust+2 crushing.
  220
  WEAPONS AND EQUIPMENT
  Unorthodox Attacks
  Often in fiction, and occasionally in reality, a warrior will be
  capable (or crazy!) enough to use a weapon in a way that it was
  never meant to be used.
  One-Handed Two-Handers
  As explained on p. B270, a strong enough fighter can wield a
  two-handed melee weapon – one with “†” or “‡” on its ST statis-
  tic – in one hand. When doing so, use the weapon’s two-handed
  statistics but apply a -1 to damage. The skill required to wield it
  may change:
  Two-Handed Use
  One-Handed Use
  Polearm
  Axe/Mace or Spear*
  Spear
  Spear†
  Staff
  Broadsword
  Two-Handed Axe/Mace
  Axe/Mace
  Two-Handed Flail
  Flail
  Two-Handed Sword
  Broadsword
  * Use Axe/Mace to swing the polearm, Spear to thrust with it.
  † Most spears have a “†” next to ST on the second line of sta-
  tistics – the one marked “two hands.” Such weapons still use the
  Spear skill when wielded in one hand, and one-handed per-
  formance is given by the first line of statistics, not the rules
  above.
  Hurled Melee Weapons
  The table below gives the skill used to hurl a weapon not built
  for throwing. Such an attack has an extra -4 to hit! Damage is
  the weapon’s usual thrusting or swinging damage – consult the
  “Attack” column to learn which. Those who know Throwing Art
  may use that skill instead, at no penalty, and get its usual dam-
  age bonus. In all cases, Acc is 0; Range is ¥0.5/¥1 for weapons up
  to 4 lbs., ¥0.2/¥0.5 for heavier ones; RoF is 1; Shots is T(1); ST is
  unchanged; and Bulk is the Holdout penalty calculated in
  Hidden Weapons (p. 218).
  Throwing Skill
  Melee Weapon Types
  Attack
  Bolas
  Flail, Kusari, 
  Swing
  Two-Handed Flail
  DX
  Swords*
  Thrust
  Thrown Weapon 
  Axe/Mace,  
  Swing
  (Axe/Mace)
  Two-Handed Axe/Mace
  Thrown Weapon 
  Shield
  Thrust
  (Disc)
  Thrown Weapon 
  Jitte/Sai, Knife, 
  Thrust
  (Knife)
  Main-Gauche
  Thrown Weapon 
  Polearm, Spear, Staff
  Thrust
  (Spear)
  Thrown Weapon 
  Sticks†
  Swing
  (Stick)
  *
  Blades
  wielded with Broadsword, Rapier, Saber,
  Shortsword, Smallsword, or Two-Handed Sword, hurled point-
  first. If the GM permits Thrown Weapon (Sword), use it at no
  penalty – not DX at -4. Kenjutsu (pp. 173-175) offers this skill.
  † Sticks wielded with the sword skills listed above use
  Thrown Weapon (Stick) at -4 and inflict swinging damage.
  It’s hard to kill a horse with
  a flute!
  – The Blind Man, 
  The Silent Flute
  
  Nata – Japan. A HATCHET (pp. B271, B276).
  Neko-De – Japan. A BLADED HAND (p. 226) commonly asso-
  ciated with ninja. Used for both climbing and fighting.
  NET (p. B276) – Ancient Rome. A weighted net designed for
  combat. The MELEE NET is a one-handed thrown or
  melee weapon, used by Roman gladiators in conjunction
  with the TRIDENT (p. 229). The LARGE NET requires two
  hands and is only for throwing, but is also harder to
  escape from. See p. B411 for rules. A fighter with a net
  can trail it in front of him to trip foes. The hex contain-
  ing the net is bad footing. Furthermore, the wielder can
  try to yank the net out from under the enemy. Roll a
  Quick Contest of ST. If the user wins, his opponent falls.
  Otherwise, nothing happens . . . but if his ST roll is a crit-
  ical failure, he falls instead!
  Ngao – Thailand. A polearm tipped with a fork, spearhead,
  or long blade. Treat a forked ngao as a TRIDENT (p. 229),
  a spear-tip ngao as a SPEAR (p. B273), and a bladed ngao
  as a NAGINATA (pp. B272-274).
  Ninja-To – Japan. Also called a “ninjaken,” this is a straight-
  bladed SHORTSWORD (p. 223) associated with ninja.
  Reputable historians and hoplologists have found no
  straight-bladed Japanese swords older than the mid-20th
  century – but Ninjutsu stylists (see Ninja and Ninjutsu,
  p. 202) claim that the design is almost a thousand years
  old. In a cinematic game, it has a hollow sheath that
  works as a BLOWPIPE (p. B275) and snorkel.
  Nodachi – Japan. A curved sword similar to the KATANA
  (pp. B271, B274), but longer. Treat as a THRUSTING
  BASTARD SWORD (pp. B271, B274) or a THRUSTING
  GREATSWORD (p. B274), depending on size. Longer
  weapons existed but were strictly ceremonial.
  NUNCHAKU (p. B272) – Okinawa. Popular fiction wrongly
  portrays this Okinawan flail as a “ninja weapon.” It con-
  sists of two lengths of wood linked by a chain or cord, the
  length of which varies but is usually short. Sometimes
  wielded in pairs.
  Okusarigama – Japan. A large SCYTHE (p. B274) with a full-
  length KUSARI (p. B272) mounted on the head; use
  Combination Weapons (p. 214) to work out statistics.
  Users often plant the staff on the ground or against the
  body with one hand (takes a Ready maneuver but lowers
  the weapon’s ST requirement by one) and swing the
  kusari with the other.
  Otta – India. An S-shaped club styled to resemble an ele-
  phant’s tusk, traditionally held in a Defensive Grip
  (pp. 109-111). Treat as a KNOBBED CLUB (p. 226).
  Paku – Indonesia. A WOODEN STAKE (p. B276) used for
  throwing.
  Panthiruchan – India. A QUARTERSTAFF (pp. B273-274).
  Parang – Indonesia. A cleaver- or machete-type sword of
  SMALL FALCHION (p. 227) to FALCHION (p. 229) size.
  Partisan – Europe. A spear with triangular spikes (“ears”) at
  the base of a broad head. This prevents impaled foes
  from running themselves through to close with the
  wielder; see Holding a Foe at Bay (p. 106). Otherwise,
  treat as an unthrowable SPEAR (p. B273). Also called a
  “Bohemian ear-spoon.”
  Pedang – Indonesia. A SHORTSWORD (p. B273).
  Piau – Indonesia. A throwing blade. Treat as a SHURIKEN
  (p. B276).
  PICK (p. B271) – Europe, Middle East. A one-handed war
  club with a beaked head mounted at right angles to the
  handle. It’s designed to penetrate armor; the narrow tip
  removes -2 of the penalty for targeting chinks in armor
  (p. B400).
  Pikestaff – England. The shaft of a long spear or pike, used
  as a fighting stick. Treat as a LONG STAFF (p. 230).
  Pilum (illustration, p. 222) – Ancient Rome. Plural is “pila.”
  A throwing spear. Its head has an unhardened iron por-
  tion that bends on a hit, preventing the enemy from hurl-
  ing it back or easily removing it from a shield. If a
  thrown pilum hits, it becomes useless except as a staff
  until straightened. Should it strike a shield, footnote [4]
  under the Muscle-Powered Ranged Weapon Table (p. 232)
  applies. In either case, unbending the head requires a
  free hand and a foot, and takes three Ready maneuvers
  and a ST roll. Treat as a SPEAR (pp. B273, B276) in all
  other respects.
  Pisau – Indonesia. A SMALL KNIFE (pp. B272, B276).
  Plong – Thailand. A bamboo QUARTERSTAFF (pp. B273-274).
  PLUMBATA (p. 231) – Ancient Rome. A short javelin or “war
  dart” with a fletched wooden shaft. Part of the slender
  metal head is made of lead (plumbum, whence the
  weapon’s name) that deforms on impact, fouling shields
  and making it a one-use weapon.
  WEAPONS AND EQUIPMENT
  221
  Designing the Perfect Weapon
  There are several rules for modifying weapons.
  Use them all if you like! They apply in the following
  order:
  1. Add accessories using Combination Weapons
  (p. 214). Record the new cost and weight.
  2. Adjust quality using Weapons of Quality
  (p. 216). Modifiers apply to the total price of combi-
  nation weapons, using the most expensive applicable
  type; e.g., a staff with a sickle is “other cutting melee
  weapons” and not “crushing-only melee weapons.”
  3. Conceal the weapon using Hidden Weapons
  (p. 218). Cost modifiers apply after changes for acces-
  sories and quality. Weight modifiers are cumulative
  with those for accessories.
  Parrying Flails
  As explained under Fencing Parries (p. 221), the
  inability of the rapier, saber, and smallsword to parry
  flails (see p. B405) is a consequence of blade design,
  not weapon skill. Any weapon that works with the
  Main-Gauche, Rapier, Saber, or Smallsword skill and
  at least one Melee Weapon skill other than those four
  can parry flails at the usual penalties. This includes
  the edged rapier (and any other rapier that weighs 3
  lbs. or more), jian, jutte, sai, and short staff (which is
  identical to a baton).
  
  POLLAXE (p. B272) – Europe. The Basic Set calls this a
  “poleaxe” and not a “pollaxe.” The error is forgivable for
  the weapon given there: a large axe head on a long pole –
  a battlefield polearm. The DUELING POLLAXE (pp. 229-230)
  is nearly identical but shortened for personal combat.
  However, “pollaxe” often refers to a far more elaborate
  dueling polearm with an axe or hammer head, a beaked
  peen, a top spike, a spiked butt, and a metal-reinforced
  shaft. Use the DUELING HALBERD (pp. 229-230) statistics;
  the only effect of a hammer head is to exchange the
  swing+4 cutting attack for a swing+4 crushing attack.
  Purpose-built for Pollaxe Fighting (p. 191) between
  armored knights, this polearm is optimized for the
  Defensive Grip (pp. 109-111). Even in games that don’t
  use the Defensive Grip option, the GM should allow it
  with this weapon.
  PRODD (p. B276) – Europe, Middle East. “Prodd” or “prod”
  means the bow assembly of any CROSSBOW (p. B276). It’s
  also the name of a bird-hunting crossbow that launches
  lead pellets instead of bolts. Furusiyya (pp. 159-161)
  practitioners use special prodds that lob primitive naph-
  tha grenades. These get Acc 1 and Range –/¥5, and can’t
  shoot pellets. See Molotov Cocktails and Oil Flasks
  (p. B411) for the effects of a hit.
  Pudao – China. See HORSE-CUTTER (p. 217).
  Puñal – Philippines. A knife of any size.
  Treat as a DAGGER (pp. B272, B276),
  SMALL KNIFE (pp. B272, B276),
  LARGE KNIFE (pp. B272, B276), or
  LONG KNIFE (pp. 228-229).
  QIAN KUN RI YUE DAO (pp. 226, 230;
  illustration, p. 56) – China. The
  “heaven and earth, sun and moon
  sword” is a 4’ to 5’ metal bar with
  a sickle-like blade at either end.
  The wielder holds it across his
  body with his hands inside a pair
  of handguards – each with another
  crescent-shaped blade on it. He
  can cut and thrust with one end,
  “punch” in close combat, or use
  both ends at once for a Dual-
  Weapon Attack against two adja-
  cent foes. Attacks with this com-
  plex weapon are at -1.
  QUARTERSTAFF
  (pp.
  B273-274)
  –
  Universal. A balanced 5’ to 7’
  wooden pole, wielded two-handed
  (often in a central grip). It enjoys
  worldwide praise for its defensive
  utility and ability to deal combat-
  winning blows. The GM should
  allow it to benefit from Parrying
  with 
  Two-Handed 
  Weapons
  (p. 123), even if he doesn’t other-
  wise use that rule. Soldiers regu-
  larly learned staff fighting to
  ensure that they could defend
  themselves if their polearm lost its
  head. A broken polearm uses the
  statistics for a LONG STAFF (p. 230)
  – as does the traditional 8’ to 9’ medieval European quar-
  terstaff. Drag limits the striking power of a long staff, and
  it requires a Defensive Grip (pp. 109-111) to be useful at
  close range.
  RAPIER (pp. 227, 229, B273; illustration, p. 219) – Europe. A
  long, one-handed sword with a stiff, narrow blade built
  for stabbing (but not for parrying – rapierists often car-
  ried a secondary weapon or a cloak for defense). Despite
  modern misconceptions, the rapier isn’t flimsy or fragile;
  it’s simply longer and thinner than a military cut-and-
  thrust sword of similar weight, as befits a civilian
  weapon designed to combat lightly armored foes. There
  are many variations. The LIGHT RAPIER (p. 229) is a later-
  era weapon well on its way to becoming a SMALLSWORD
  (p. B273). In the other direction, there were longer
  rapiers calculated to give a tactical edge in a duel.
  Historically, the rapier “arms race” led to lengths so
  extreme that London had a law restricting length,
  enforced by snapping off the excess! Such blades aren’t
  practical for adventurers. Early rapiers generally had
  sharp edges and enough weight for cutting, and later
  blades sometimes emulated this. These are the EDGED
  RAPIER (p. 229) and LIGHT EDGED RAPIER (p. 229),
  respectively.
  REPEATING CROSSBOW (p. 231; illustration, p. 97) – Asia. A
  CROSSBOW (p. B276) that’s first loaded (from a gravity-fed
  “magazine”) and cocked, and then fired, by pushing and
  pulling a lever. It has no separate trigger and can’t be car-
  ried cocked. The shooter must take a Ready maneuver
  immediately before each shot, but can shoot every other
  second.
  Ring Sword – China. A LARGE FALCHION (p. 227) decorated
  with rings on the back edge.
  Rochin – Japan. A SHORT SPEAR (p. 229).
  Rokushaku Kama – Okinawa. A kama (SICKLE, p. 226)-
  QUARTERSTAFF
  (pp.
  B273-274) combination. See
  Combination Weapons (p. 214).
  Rokushakubo – Okinawa. A QUARTERSTAFF (pp. B273-274),
  tapered at the ends.
  RONDEL DAGGER (p. 228; illustration, p. 11) – Europe. A
  heavy dagger with broad discs as its pommel and hand-
  guard. The pommel design lets the user drive a blow
  home with the other hand, erasing -2 of the penalty for
  targeting chinks in armor (p. B400). If the wielder is
  wearing gauntlets (any gloves with DR 4+), the discs lock
  the weapon in place point-down: the wielder must use a
  Reversed Grip (pp. 111-112) but gets +2 to resist
  disarming.
  ROPE DART (p. 229; illustration, p. 233) – China. A small
  metal throwing spike on the end of a rope. This lets the
  user retrieve the projectile after hurling it. The dart is
  smooth and bullet-shaped – not barbed – and can’t snag
  and reel in the target. Light, ranged, and retrievable, the
  rope dart is a useful backup weapon for cavalry.
  SABER (p. B273) – Europe. A light, one-handed cut-and-
  thrust sword built for fencing.
  SAI (pp. 227-228, 231; illustration, p. 133) – Okinawa. A
  three-tined metal truncheon with a long central spike
  and a pair of short side prongs. Most often both side
  prongs point forward, but sometimes one is reversed (no
  game effect). Historical weapons had sharp points, but
  222
  WEAPONS AND EQUIPMENT
  Pilum
  
  improvised and modern ones might be
  blunt. Similar weapons exist throughout
  Asia; several predate the sai.
  San Jie Gun – China. See THREE-PART STAFF
  (p. 225).
  Sang-Jyel-Bong
  –
  Korea.
  A NUNCHAKU
  (p. B272).
  SAP GLOVE (p. 226) – Universal. A soft leather
  glove with steel shot or lead powder sewn
  into it to increase punching power. Gives the
  hand DR 2 and Bad Grip 1 (p. B123).
  Scimitar – Asia. A blanket term for a curved,
  one-handed slashing sword from Eastern
  Europe, Turkey, the Middle East, or South
  Asia, such as the kiljic (Ottoman Empire),
  podang (Indonesia), shamshir (Persia),
  shasqa (Russia), or talwar (India). A light one
  is a SHORTSWORD (p. B273); a heavier one is a
  CAVALRY SABER (p. B271) if steeply curved, a
  THRUSTING BROADSWORD (p. B271) otherwise.
  A curved chopping sword, also common in
  these parts, is a FALCHION (p. 229) or a LARGE
  FALCHION (p. 227).
  SCYTHE (p. B274) – Universal. A big sickle, used
  to harvest grain. Rarely a dedicated weapon
  – but a weaponized scythe forms the basis of
  the okusarigama (p. 221).
  Segu – Indonesia. A slender metal BATON
  (p. B273).
  Sheng Biao – China. See ROPE DART (p. 222).
  SHIELD (pp. B273, B287) – Universal. Shields of
  all sizes appear worldwide. Some are
  designed for offense. A spiked boss (p. B273)
  adds $20 and 5 lbs. A sharpened edge – just a
  portion, for the bearer’s safety! – is an option
  for any metal shield. This adds no cost or
  weight, and inflicts swing-2 cutting damage.
  Light shields can have one or two knives
  attached to the grip (like the Indian madu),
  making knife attacks an option for the shield
  hand without sacrificing blocking – although
  Knife and Shield skills are at -1. Add the cost
  and weight of the chosen knives.
  SHORT STAFF (p. B273) – Universal. A balanced stick, between
  25” and 36” long, made of rattan (often fire-hardened) for
  training, hardwood for fighting. Often used in pairs.
  SHORTSWORD (p. B273) – Universal. A one-handed cut-and-
  thrust sword between 18” and 24” long.
  SHURIKEN (p. 226, B276; illustration, p. 84) – Japan. An entire
  class of metal throwing weapons – small enough to con-
  ceal in clothing or hair – hurled with a flick of the hand or
  a snap of the wrist. Historically, they were samurai
  weapons as much as “ninja weapons.” The best-known are
  star shuriken, which are disc-, cross-, or star-shaped, with
  sharp edges or spikes. Most have three to nine points, with
  four or eight being usual. A few are S-shaped. Any might
  have holes cut in them to make a distinctive sound in
  flight – as a psychological ploy, for signaling, or merely to
  show off. Spike shuriken resemble needles. Sharp at one
  end, the other end may be blunt, sharp, or have a fin-like
  tail. All shuriken use the statistics on p. B276, but alter
  damage to thrust-2 impaling for spike shuriken. It’s possi-
  ble to claw with a shuriken held in the hand; see the Melee
  Weapon Table (p. 226, 230). Cinematic ninja sometimes do
  this with shuriken held in the toes, which requires a perk
  equivalent to Capoeira’s Razor Kicks (p. 154) and uses
  identical rules.
  Siangkam – Indonesia. An arrow-like metal dagger used in
  one hand (often one in each hand). Treat as a SMALL
  KNIFE (p. B272) that’s only capable of thrusting attacks.
  SICKLE (p. 226) – Universal. A weaponized farmer’s tool. The
  blade on a weapon-quality sickle is usually straight, not
  crescent-shaped. This allows hooking and swung impal-
  ing attacks.
  SLASHING WHEEL (p. 228) – China. A semicircular blade,
  sometimes toothed, gripped by a crossbar and used to
  cut opponents. Often used in pairs.
  Sleeve Sword – China. A spring-loaded SHORTSWORD
  (p. B273) attached to the arm. See Trick Weapons (p. 218)
  for rules.
  WEAPONS AND EQUIPMENT
  223
  Silly Weapons
  Realistic “martial-arts weapons” can be inefficient, overly complex,
  and/or hopelessly specialized. Cinematic ones are often all of those
  things and silly, too! They’re still terrifyingly effective in their native set-
  ting, though. Below are some fictional examples. Cost, weight, and other
  details are deliberately left vague. Such factors seem quite irrelevant to
  the cinematic schoolgirls and old men who wield these weapons.
  Buzzsaw Ball-and-Chain: This schoolyard classic combines the bene-
  fits of a heavy kusari and a giant morningstar! Now with spring-loaded
  saw blades in the ball. (The chain strikes with Kusari skill for thrust+3
  crushing. The ball uses Two-Handed Flail skill for swing+4 crushing.
  Popping the blades takes a Ready maneuver but makes damage cutting.
  Reach 1-4*.)
  Decapitating Hood: There’s nothing quite like a chain that ends in a
  metal bell full of whirling blades. Catch your enemy’s head in it to decap-
  itate him. Fling the severed head at his friends to send an unmistakable
  message. True masters will want two! (Decapitating Hood is a unique
  DX/Very Hard skill. Roll at -5 to drop the bell over an opponent’s head.
  It inflicts 5d cutting damage per second to the neck until the victim dies
  of decapitation. Expelling the head gives +5 to Intimidation. Ejecting a
  head or readying the weapon after a throw requires a Ready maneuver.
  Reach 1-10.)
  Doom Pincers: What’s better than a heavy gauntlet fitted with razor-
  sharp shears? One with a powerful clockwork engine, of course! (The
  blades can strike as a regular shortsword or grapple at -2 to grappling
  skill. Grappled foes take 2d cutting damage per second to the grappled
  body part. Reach C, 1.)
  Sword-Chuks: Two swords linked pommel-to-pommel with a chain
  let you use slick nunchaku moves to slice and dice enemies. Yes, these
  are full-length swords – and that means superior reach! (Treat exactly as
  a nunchaku except that damage is cutting and reach is 1, 2.)
  Whip-Blade: This sword is actually five blades linked end-to-end by a
  chain. A clever mechanism hidden in the handle lets you pull the sec-
  tions together into a chopping blade or loosen them to create a deadly
  metal whip. (Functions as a regular falchion, wielded with the
  Shortsword skill, or as a two-yard whip that inflicts cutting damage,
  which uses the Whip skill. Changing modes requires a Ready maneuver.)
  
  SLING (p. B276) – Universal. A thong or cord with a pouch or
  cup for a missile. The wielder loads the pouch, grasps
  both ends of the cord in one hand, whirls the loaded sling
  overhead (horizontally) or next to him (vertically), and
  releases one end to launch the projectile. Attaching a
  sling to a stick wielded in two hands improves leverage,
  thereby increasing power and range; this is the STAFF
  SLING. Either type of sling can lob stones or lead bullets
  – or even primitive Molotov cocktails (see Molotov
  Cocktails and Oil Flasks, p. B411), at Acc 0 and 40% nor-
  mal range.
  SMALLSWORD (p. B273) – France. This one-handed thrusting
  sword is speedy on attack and defense, but its light
  weight and short reach are serious liabilities. The DRESS
  SMALLSWORD (p. 229) is even lighter and shorter, but can
  pass as a fashion accessory.
  SODEGARAMI (p. 230; illustration, p. 64) – Japan. A metal-
  reinforced staff with barbs along its length and a barbed
  head that’s either forked or T-shaped. The design is
  intended to snag clothing, and the standard attack with
  this weapon is the Hook technique (p. 74). The similar
  sasumata ends in a wide, blunt fork intended to enclose
  the opponent’s torso. Use the same statistics but remove
  the thrust+2 crushing attack. However, the wielder can
  shove (p. B372) a standing foe using the Staff skill, or
  pin (p. B370) him if he’s prone or against a wall – both
  at reach 1, 2. Modern sasumata lack barbs; hooking
  inflicts no damage.
  224
  WEAPONS AND EQUIPMENT
  A real weapon is preferable to an improvised one – but
  an improvised one is much better than nothing. Below are
  some everyday items that can stand in for real weapons at
  skill and/or damage penalties. The skills or techniques need-
  ed appear in brackets. The Improvised Weapons perk (p. 50)
  for a skill allows you to ignore penalties to that skill but not
  to damage.
  Treat an improvised weapon as cheap for all purposes. If
  it uses an unarmed skill or technique, the user can still parry
  with his hand. If it uses a weapon skill, it can’t parry unless
  specifically noted. Glass objects break on 1-3 on 1d on any
  strike or parry; on a 1, you also suffer thrust cutting damage
  to the hand.
  Barbell: Swing as maul at full damage [Two-Handed
  Axe/Mace-2]. Can parry.
  Belt: Choke as rope garrote at -1 damage [Garrote-1].
  Strike with buckle as life-preserver at -1 damage [Flail-1].
  Strike or entangle as one-yard whip at -1 damage [Whip-2].
  Bootlaces: Choke as rope garrote at -1 damage [Garrote-
  2].
  Bottle, Broken: Strike as small knife at full damage but
  armor divisor (0.5) [Knife-2].
  Bottle, Intact: Strike as knobbed club at -2 damage
  [Axe/Mace-2]. If it breaks, treat as “Bottle, Broken.” Can
  parry.
  Bra: Choke as rope garrote at -1 damage [Garrote-2].
  Underwire can rake at +1 “damage” [Eye-Rake-1].
  Car Antenna: Swing as baton or short staff at -2 damage
  [Shortsword-1 or Smallsword-1] – or at full damage with a
  bunch [Shortsword-2 or Smallsword-2]. Can parry.
  Chain, Unweighted: Strike as kusari at -1 damage
  [Kusari-1] or entangle as kusari [Kusari-4]. Cheap chain is
  $6 and 2 lbs. per yard.
  Chopstick: Punch as yawara [Hammer Fist-1].*
  Comb or Brush: Punch as yawara [Hammer Fist-1].*
  Credit Card: Cut with edge for swing-4 cut, maximum
  1d-4 [Brawling-4, Karate-4, or Knife-4].*
  Curtain Rod: Strike as jo at full damage if solid, -2 dam-
  age if hollow [Broadsword-1, Staff-1, or Two-Handed
  Sword-1]. Can parry.
  Dental Floss, Entire Braided Spool: Choke as wire garrote
  at -2 damage [Garrote-3].
  Dumbbell: Swing as small mace at full damage
  [Axe/Mace-1]. Can parry.
  Earring Posts, Pins, etc.: Rake at +1 “damage” [Eye-Rake-
  1].*
  Eyeglasses: Rake at +1 “damage” [Eye-Rake-1], automat-
  ically ruining them as eyeglasses.*
  Ice Scraper: Swing as small knife at -2 damage [Knife-1].
  Keys: Rake at +1 “damage” [Eye-Rake-1].*
  Magazine, Tightly Rolled: Thrust (not swing) as baton at
  full damage [Shortsword-1]. Can parry.
  Nail Clippers: Stab as dagger at -3 damage [Knife-2].
  Rake at +1 “damage” [Eye-Rake-1].*
  Pen or Pencil: Stab as dagger at -2 damage (-1 for a huge
  pen) [Knife-1].
  Purse, Clutched: Use for two-handed punch [Two-
  Handed Punch-2]. Doesn’t affect damage but eliminates
  extra risk of hand injury.
  Purse, Swung on Strap: Strike as life-preserver at -1 dam-
  age [Flail-1].
  Rim of Bottle, Can, or Glass: Punch as yawara [Hammer
  Fist-1].*
  Ruler, Steel: Strike as one-yard urumi at -2 damage
  [Whip-2]. Too whippy to use with Knife skill!
  Scarf: Choke as rope garrote at full damage [Garrote-1].
  Knotting something heavy into an end creates a weighted
  scarf that strikes at full damage [Flail-1].
  Scissors: Stab as dagger at -1 damage [Knife-1].
  Shank or Shiv: A sharpened spoon, toothbrush handle,
  etc., made by prison inmates. Stab as dagger at -1 damage
  [Knife-1].
  Stiletto Heel: In hand, swing for swing-4 imp, maximum
  1d-4 [Axe/Mace-4]. Worn, stamp at +1 damage [Stamp
  Kick-2].
  * Warriors who know Pressure Secrets (p. B215) may
  use this item to punch at no penalty beyond the standard -
  2 for that skill. This gives +1 on the ensuing Pressure Secrets
  roll. An item that counts as brass knuckles or a yawara gives
  its usual +1 to damage. An item with an edge, like a credit
  card, can deal cutting damage instead of impaling damage,
  if the attacker prefers.
  Improvised Weapons
  
  Southern-Tiger Fork – China. A TRIDENT (p. 229).
  SPEAR (p. 196, B273, B276) – Universal. A pole with a pointed
  stabbing head, prized for its versatility: long, useful in one
  hand or two, often throwable, and uniformly deadly. Many
  variants sacrifice some flexibility for special-purpose effec-
  tiveness. The SHORT SPEAR (p. 229) – short, one-handed,
  and unthrowable – is a poor man’s stabbing sword. The
  LONG SPEAR (p. B273) is exclusively a melee weapon,
  employed with or without a shield for formation fighting.
  The HEAVY SPEAR (p. 229) is similar, but has an extra-wide
  head for disemboweling; it’s so massive that it requires two
  hands.
  STILETTO (p. 228; illustration, p. 31) – Italy. A thin, stiff dagger
  that can slip between the links of mail and into the joints
  of plate armor. The narrow blade removes -2 of the penal-
  ty for targeting chinks in armor (p. B400).
  STRAIGHT RAZOR (p. 228) – Universal. A man’s folding razor,
  used to slash. It can’t stab or parry. See Capoeira (pp. 153-
  154) for rules for kicking with a razor held in the toes; this
  gives reach 1 and +1 damage. Fine- and/or presentation-
  quality blades are common.
  Sykes-Fairbairn Commando Knife – England. A famous
  knife used in Fairbairn Close Combat Training (pp. 182-
  183). The broad, double-edged blade is, at its base, wider
  than the handle. Balanced for melee and throwing. Treat as
  a LARGE KNIFE (pp. B272, B276).
  Tachi – Japan. Treat this cavalry sword as a CAVALRY SABER
  (p. B271) or a KATANA (pp. B271, B274), depending on size.
  The main difference from the katana is that it’s slung, not
  thrust through a sash.
  Tactical Flashlight – USA. A shock-resistant flashlight
  designed for use as a BATON (p. B273) is $100, 1 lb.; a tough
  add-on light for an existing baton is $80. A smaller light
  with a reinforced or toothed lens rim counts as a yawara
  (p. 226), and is $100, 0.25 lb.
  Tanto – Japan. A chisel-pointed LARGE KNIFE (p. B272).
  Tapado – Philippines. A stick equivalent to a JO (pp. 227, 230),
  used with moves similar to Jojutsu (p. 192).
  Tekko – Japan, Okinawa. This variation on BRASS KNUCKLES
  (p. B271) generally consists of a handle or thumb and
  pinky rings supporting a “knuckle” of metal.
  TETSUBO (p. 230; illustration, p. 61) – Japan. The name means
  “iron staff,” but it’s actually a two-handed wooden club with
  an iron-studded cap. Usually used in a Defensive Grip
  (pp. 109-111).
  THREE-PART STAFF (p. 230; illustration, p. 9) – China. Three
  short staffs linked by rope or chain, used two-handed – tra-
  ditionally with a Defensive Grip (pp. 109-111). The wielder
  can grasp it at one end and swing it as an extra-long flail,
  or employ both ends like clubs or nunchaku for a Dual-
  Weapon Attack on adjacent foes. A difficult weapon; all
  attacks are at -1.
  THROWING AXE (pp. B271, B276) – Europe. An AXE (p. B271)
  balanced for throwing. It comes in many varieties. The
  SMALL THROWING AXE (pp. 226, 231) is halfway between a
  full-sized axe and a HATCHET (pp. B271, B276) in size.
  Cruciform throwing axes (and hatchets) that lack proper
  handles give -2 to skill as melee weapons but cost $10 less.
  THROWING KNIFE (p. 231) – Universal. True throwing knives
  rarely have a handguard, often lack a substantial handle,
  and are balanced for hurling, not fighting. This gives -2 to
  skill in melee combat. Like all knives, they come in many
  sizes; the LARGE THROWING KNIFE and SMALL THROWING
  KNIFE are typical.
  THROWING STICK (p. 231) – Universal. Any heavy stick balanced
  enough to throw.
  Timbe – Okinawa. A buckler-style light SHIELD (pp. B273,
  B287) used to strike and block.
  Tobiguchi – Japan. The weaponized version of a short-bladed
  fire hook. Treat as an unthrowable HATCHET (p. B271) capa-
  ble of the Hook technique (p. 74).
  Tomahawk – American Indian. A HATCHET (pp. B271, B276),
  SMALL AXE (p. 226), or SMALL THROWING AXE (p. 226),
  depending on size and balance. Often sports a back spike
  (pick); see Combination Weapons (p. 231).
  TONFA (p. 226; illustration, p. 89) – Okinawa. A side-handled
  BATON (p. B273), often used in pairs. Held in a Reversed
  Grip (pp. 111-112) to aid Karate parries and enhance
  punches, or quickly spun to strike as a club.
  Tongkat – Indonesia. A SHORT STAFF (p. B273).
  Toya – Indonesia. A QUARTERSTAFF (pp. B273-274).
  TRIDENT (p. 229) – Ancient Rome. A three-tined fork based on
  a fishing spear, used with a NET (p. B276) by gladiators.
  Multiple tines make it tip-heavy (-2 to hit) and easy to inter-
  cept (+1 to target’s Block or Parry), and distribute the force
  of impact (armor divisor (0.5)), but are tricky to evade 
  (-1 to enemy’s Dodge).
  Truncheon – Universal. A generic term for a club of BLACKJACK
  (p. B271) to BATON (p. B273) size.
  Tuja – Okinawa. A small fishing trident, used one-handed.
  Treat as a SAI (pp. 227-228, 231) with a (0.5) armor divisor.
  Uchine – Japan. A throwing arrow. Treat as a PLUMBATA
  (p. 221).
  URUMI (p. 230; illustration, p. 218) – India. A one-handed
  sword with a long, flexible blade, used to whip the target.
  Cutting damage assumes that one or both edges are sharp.
  Blunt urumi exist; these can only make crushing attacks.
  Sharpness doesn’t affect cost or weight.
  Wakizashi – Japan. This curved SHORTSWORD (p. B273) is the
  traditional partner of the KATANA (pp. B271, B274).
  War Fork – Europe. A TRIDENT (see above).
  WARHAMMER (p. B274) – Europe. A long, two-handed PICK
  (p. B271). Often given a heavy hammer behind the spike
  (see Combination Weapons, p. 214).
  WEIGHTED SCARF (p. 227) – India. A scarf with a weight in one
  or both ends. Famously used as a GARROTE (p. B272) by the
  Thuggee cult, but also a serviceable light flail.
  WHIP (p. B274) – Universal. A length of braided leather that
  allows the wielder to deliver lashes or use the Entangle
  technique (p. 71). At 2 lbs. per yard (footnote 12, p. B274),
  the whip is weighted and studded. Those interested 
  primarily in entangling can use a lighter whip that inflicts
  swing-5 and weighs 0.5 lb. per yard. ST is 3, +1 per yard.
  Other statistics (including cost) don’t change.
  WOODEN STAKE (pp. B272, B276) – Universal. A pointed stick.
  Better than nothing.
  Yagyuzue – Japan. A walking stick made by carefully fitting
  bamboo segments around a flanged steel rod, encasing
  this composite core in papier-mâché, and then lacquering
  the whole thing. This yields a beautiful hidden weapon.
  Treat it as a JO (pp. 227, 230) with +1 to swinging damage.
  Its painstaking construction makes it presentation quality
  and fine quality. Cost – if available at all – is $100. Other
  statistics don’t change.
  WEAPONS AND EQUIPMENT
  225
  
  Yari – Japan. A Spear (pp. B273, B276). May have an L-
  shaped head to facilitate the Disarming (p. 70) and Hook
  (p. 74) techniques; this adds $10 and 0.5 lb. Such spears
  aren’t throwable.
  Yarinage – Japan. A JAVELIN (pp. B273, B276).
  Yawara – Japan. A short stick held in the fist with its ends
  protruding, used as a fist load and a lever. Cost and
  weight are as BRASS KNUCKLES (p. B271). Gives +1 to
  damage with the Hammer Fist technique (p. 74) and +1
  to follow-up rolls with Judo holds and locks (to injure,
  prevent escape, etc.). The similar dokko, kubotan, and
  tenouchi use identical rules.
  Yumi – Japan. A BOW (p. B275), most often a dai-kyu (p. 215).
  Zweihänder
  –
  Germany. A THRUSTING
  GREATSWORD
  (p. B274) with a ricasso to facilitate a Defensive Grip
  (pp. 109-111).
  MELEE WEAPON TABLE
  Each melee weapon in the table below appears once per
  skill that can be used to wield it. Weapons capable of several
  different attacks get one line per basic attack. In all cases, “–”
  means the statistic doesn’t apply, “var.” means the value
  varies, and “spec.” indicates that special rules apply; see the
  footnotes. Other terms and notation are as defined in
  Weapon Statistics (pp. B268-271). For quick reference:
  TL: The tech level at which the weapon became wide-
  spread in the real world.
  Weapon: The name of the specific weapon if it’s unique to
  a particular culture, or of the class of weapon if it’s used in
  many places (see the appropriate entry on pp. 212-226).
  Damage: The ST-based damage that the weapon inflicts.
  Weapons that are poor at penetrating armor have an armor
  divisor of (0.5), which multiplies DR by 2.
  Reach: The weapon’s reach, in yards. “C” indicates a
  weapon for close combat (see p. B391). A weapon with mul-
  tiple reaches (e.g., “1, 2”) can strike at any of those reaches
  – but an asterisk (*) means that changing reach requires a
  Ready maneuver.
  Parry: The modifier to parry when using the weapon with
  the indicated skill. “F” means the weapon is a fencing
  weapon (see p. B404). “U” means it’s unbalanced and can’t
  parry on the turn it attacks. “No” means it can’t parry!
  Cost: The price of a new weapon, in $.
  Weight: The weapon’s weight, in lbs.
  ST: The minimum ST needed to wield the weapon prop-
  erly; fighters with lower ST suffer -1 to skill per point of ST
  deficit. Effective ST for damage purposes can’t exceed triple
  the listed ST. “†” means the weapon requires two hands; “‡”
  means it requires two hands and becomes unready after an
  attack unless you have at least 1.5 times the listed ST.
  Notes: Any special notes, including applicable footnotes
  at the end of the table.
  226
  WEAPONS AND EQUIPMENT
  TL
  Weapon
  Damage
  Reach
  Parry Cost
  Weight
  ST
  Notes
  AXE/MACE (DX-5, Flail-4, or Two-Handed Axe/Mace-3)
  0
  Knobbed Club
  sw+1 cr
  1
  0
  $20
  2
  8
  0
  Round Mace
  sw+2 cr
  1
  0U
  $35
  5
  12
  [1]
  0
  Small Axe
  sw+1 cut
  1
  0U
  $45
  3
  10
  0
  Small Round Mace
  sw+1 cr
  1
  0U
  $25
  3
  10
  [1]
  0
  Small Throwing Axe
  sw+1 cut
  1
  0U
  $50
  3
  10
  [1]
  1
  Sickle
  sw cut
  1
  0
  $40
  2
  8
  or
  sw imp
  1
  0U
  –
  –
  8
  [2]
  or
  thr-2 cut
  1
  0U
  –
  –
  8
  Hook. [3]
  BRAWLING, KARATE, or DX
  1
  Myrmex
  thr cr
  C
  0
  $20
  0.25
  –
  [4, 5]
  2
  Cestus
  thr cr
  C
  0
  $50
  1
  –
  [4, 5]
  3
  Bladed Hand
  sw-2 cut
  C
  0
  $100
  1
  6
  [4]
  or
  thr imp
  C
  0
  –
  –
  6
  [4]
  3
  Combat Fan
  thr cr
  C
  0
  $40
  1
  7
  [4]
  or
  thr-2 cut
  C
  0
  –
  –
  6
  -2 to hit.
  3
  Hook Sword
  thr-1 cut
  C
  0
  $200
  3
  –
  Hilt punch. [4, 5]
  3
  Qian Kun Ri Yue Dao
  thr-1 cut
  C
  0
  $250
  3
  –
  Hilt punch. [4, 5]
  3
  Shuriken
  thr-2 cut
  C
  0
  $3
  0.1
  –
  Used to claw. [4]
  3
  Tonfa
  thr cr
  C
  0
  $40
  1.5
  –
  Butt jab. [4]
  4
  Backsword
  thr cr
  C
  0
  $550
  3
  –
  Hilt punch. [4, 5]
  5
  Mensurschläger
  thr cr
  C
  0
  $500
  3
  –
  Hilt punch. [4, 5]
  6
  Sap Glove
  thr cr
  C
  0
  $30
  0.5
  –
  [4, 5]
  Craig: Uh, uh, they’re not that cool.
  Stan: Hyeah, “they’re not that cool.” These are real authentic weapons from the Far East.
  – South Park, “Good Times with Weapons”
  
  WEAPONS AND EQUIPMENT
  227
  TL
  Weapon
  Damage
  Reach
  Parry Cost
  Weight
  ST
  Notes
  BROADSWORD 
  (DX-5, Force Sword-4, Rapier-4, Saber-4, Shortsword-2, or Two-Handed Sword-4)
  0
  Jo
  sw cr
  1
  0
  $10
  2
  9
  or
  thr cr
  1
  0
  –
  –
  9
  3
  Bokken
  sw+1 cr
  1
  0
  $40
  3
  10
  or
  thr+1 cr
  1
  0
  –
  –
  10
  3
  Dao
  sw+2 cut
  1
  0U
  $700
  5
  11
  or
  thr imp
  1
  0U
  –
  –
  11
  3
  Estoc
  thr+2 imp
  1
  0
  $500
  3
  10
  [6]
  or
  sw+1 cr
  1
  0
  –
  –
  10
  3
  Hook Sword
  sw+1 cr
  1
  0
  $200
  3
  10
  [5]
  or
  thr+1 cr
  1
  0
  –
  –
  10
  or
  thr-2 cut
  1
  0
  –
  –
  10
  Hook. [3, 7]
  3
  Jian
  sw cut
  1
  0
  $700
  3
  10
  or
  thr+1 imp
  1, 2
  0
  –
  –
  10
  3
  Large Falchion
  sw+2 cut
  1
  0U
  $625
  4.5
  11
  or
  thr-1 imp
  1
  0U
  –
  –
  11
  3
  Longsword
  sw+1 cut
  1
  0
  $700
  4
  10
  or
  thr+2 imp
  1, 2
  0
  –
  –
  10
  4
  Backsword
  sw+1 cut
  1
  0
  $550
  3
  10
  [5]
  or
  thr+1 imp
  1
  0
  –
  –
  10
  4
  Edged Rapier
  sw cut
  1, 2
  0
  $1,000
  3
  10
  or
  thr+1 imp
  1, 2
  0
  –
  –
  10
  4
  Late Katana
  sw+1 cut
  1
  0
  $550
  3
  10
  or
  thr+1 imp
  1
  0
  –
  –
  10
  5
  Mensurschläger
  sw+1 cut
  1
  0
  $500
  3
  10
  [5]
  or
  thr cr
  1
  0
  –
  –
  10
  FLAIL (DX-6, Axe/Mace-4, or Two-Handed Flail-3)
  0
  Bola Perdida
  sw cr
  1
  -2U
  $10
  1
  6
  [1, 8]
  0
  Bolas
  sw+1 cr
  1
  -2U
  $20
  2
  7
  [1, 8]
  0
  Life-Preserver
  sw-1 cr
  1
  -2U
  $5
  0.5
  5
  [8]
  0
  Weighted Scarf
  sw cr
  1
  -2U
  $10
  1
  6
  [8]
  GARROTE (DX-4)
  0
  Weighted Scarf
  spec.
  C
  No
  $10
  1
  –
  [9]
  JITTE/SAI (DX-5, Force Sword-4, Main-Gauche-4, or Shortsword-3)
  3
  Jutte
  sw cr
  1
  0
  $40
  1
  6
  [10]
  or
  thr cr
  1
  0
  –
  –
  6
  3
  Sai
  sw cr
  1
  0
  $60
  1.5
  7
  [1, 10]
  or
  thr imp
  1
  0
  –
  –
  7
  JUDO, SUMO WRESTLING, WRESTLING, or DX
  3
  Kakute
  spec.
  C
  No
  $10
  0.1
  –
  +1 vs. break free.
  
  228
  WEAPONS AND EQUIPMENT
  TL
  Weapon
  Damage
  Reach
  Parry Cost
  Weight
  ST
  Notes
  KNIFE (DX-4, Force Sword-3, Main-Gauche-3, or Shortsword-3)
  0
  Short Baton
  sw-1 cr
  C, 1
  -1
  $10
  0.5
  5
  or
  thr cr
  C
  -1
  –
  –
  5
  2
  Katar
  sw-3 cut
  C, 1
  -1
  $50
  1
  6
  [5, 6, 11]
  or
  thr+1 imp
  C
  -1
  –
  –
  6
  2
  Kukri
  sw-1 cut
  C, 1
  0
  $50
  1.5
  7
  or
  thr-1 imp
  C
  0
  –
  –
  7
  2
  Long Knife
  sw-1 cut
  C, 1
  0
  $120
  1.5
  7
  or
  thr imp
  C, 1
  0
  –
  –
  7
  3
  Balisong
  sw-3 cut
  C, 1
  -1
  $50
  0.5
  5
  +1 Holdout.
  or
  thr-1 imp
  C
  -1
  –
  –
  5
  3
  Deer Antlers
  thr+1 cut
  C
  0
  $75
  1.5
  5
  [5, 7]
  3
  Knife-Wheel
  thr+1 cut
  C
  0
  $75
  1.5
  5
  [5]
  or
  thr-1 imp
  C
  0
  –
  –
  5
  3
  Rondel Dagger
  thr imp
  C
  -1
  $40
  1
  6
  [6]
  3
  Slashing Wheel
  thr+1 cut
  C
  0
  $60
  1
  5
  [5]
  3
  Stiletto
  thr-1 imp
  C
  -1
  $20
  0.25
  5
  [6]
  4
  Main-Gauche
  sw-3 cut
  C, 1
  0
  $50
  1.25
  6
  [5]
  or
  thr imp
  C
  0
  –
  –
  6
  5
  Straight Razor
  thr-2 cut
  C
  No
  $30
  0.1
  4
  KUSARI (DX-6, Monowire Whip-3, Two-Handed Flail-4, or Whip-3)
  2
  Rope Dart
  sw-1 cr
  1-4
  -2U
  $30
  0.5
  5†
  [8, 12]
  or
  thr-1 imp
  1-4
  -2U
  –
  –
  5†
  [8, 12]
  3
  Chain Whip
  sw+(1-4) cr
  1-4*
  -2U $50/yd.
  3/yd.
  var.†
  [8, 13]
  3
  Kusarigama
  sw+2 cr
  1, 2*
  -2U
  $80
  4.5
  10†
  [8]
  or
  sw+2 cut
  1, 2*
  -2U
  –
  –
  11†
  [8, 14]
  3
  Kusarijutte
  sw+2 cr
  1, 2*
  -2U
  $80
  3.5
  8†
  [8]
  MAIN-GAUCHE (DX-5, Jitte/Sai-4, Knife-4, Rapier-3, Saber-3, or Smallsword-3)
  3
  Deer Antlers
  thr+1 cut
  C
  0F
  $75
  1.5
  5
  [5, 7]
  3
  Jutte
  sw cr
  1
  0F
  $40
  1
  6
  or
  thr cr
  1
  0F
  –
  –
  6
  3
  Knife-Wheel
  thr+1 cut
  C
  0F
  $75
  1.5
  5
  [5]
  or
  thr-1 imp
  C
  0F
  –
  –
  5
  3
  Rondel Dagger
  thr imp
  C
  0F
  $40
  1
  6
  [6]
  3
  Sai
  sw cr
  1
  0F
  $60
  1.5
  7
  [1]
  or
  thr imp
  1
  0F
  –
  –
  7
  3
  Slashing Wheel
  thr+1 cut
  C
  0F
  $60
  1
  5
  [5]
  3
  Stiletto
  thr-1 imp
  C
  0F
  $20
  0.25
  5
  [6]
  4
  Main-Gauche
  sw-3 cut
  C, 1
  0F
  $50
  1.25
  6
  [5]
  or
  thr imp
  C, 1
  0F
  –
  –
  6
  
  WEAPONS AND EQUIPMENT
  229
  TL
  Weapon
  Damage
  Reach
  Parry Cost
  Weight
  ST
  Notes
  POLEARM (DX-5, Spear-4, Staff-4, or Two-Handed Axe/Mace-4)
  0
  Eku
  sw+3 cr
  1, 2*
  0U
  $40
  8
  12‡
  3
  Bill
  sw+3 cut
  2, 3*
  0U
  $125
  8
  11‡
  or
  thr+3 imp
  1-3*
  0U
  –
  –
  11†
  or
  thr-1 cut
  1-3*
  0U
  –
  –
  11†
  Hook. [3, 7]
  3
  Dueling Bill
  sw+2 cut
  1, 2*
  0U
  $100
  6
  9†
  or
  thr+3 imp
  1, 2*
  0
  –
  –
  9†
  or
  thr-1 cut
  1, 2*
  0U
  –
  –
  9†
  Hook. [3, 7]
  3
  Dueling Glaive
  sw+2 cut
  1, 2*
  0U
  $80
  6
  9†
  or
  thr+3 imp
  1, 2*
  0
  –
  –
  9†
  3
  Dueling Halberd
  sw+4 cut
  1, 2*
  0U
  $120
  10
  12†
  or
  sw+3 imp
  1, 2*
  0U
  –
  –
  12†
  [2]
  or
  thr+3 imp
  1, 2*
  0
  –
  –
  11†
  3
  Dueling Pollaxe
  sw+3 cut
  1, 2*
  0U
  $100
  8
  11†
  or
  sw+3 cr
  1, 2*
  0U
  –
  –
  11†
  3
  Heavy Horse-Cutter
  sw+5 cut
  2, 3*
  0U
  $150
  12
  13‡
  or
  thr+3 imp
  1-3*
  0U
  –
  –
  12†
  3
  Lajatang
  sw+2 cut
  1, 2*
  0U
  $100
  7
  10†
  or
  thr+2 cut
  1, 2*
  0
  –
  –
  10†
  3
  Light Horse-Cutter
  sw+4 cut
  1, 2*
  0U
  $120
  8
  11‡
  or
  thr+3 imp
  1, 2*
  0U
  –
  –
  11†
  3
  Monk’s Spade
  sw+1 cut
  1, 2*
  0U
  $100
  6
  9†
  or
  sw+2 cr
  1, 2*
  0U
  –
  –
  9†
  or
  thr+2 cut
  1, 2*
  0
  –
  –
  9†
  RAPIER (DX-5, Broadsword-4, Main-Gauche-3, Saber-3, or Smallsword-3)
  3
  Jian
  sw cut
  1
  0F
  $700
  3
  10
  or
  thr+1 imp
  1, 2
  0F
  –
  –
  10
  4
  Edged Rapier
  sw cut
  1, 2
  0F
  $1,000
  3
  10
  or
  thr+1 imp
  1, 2
  0F
  –
  –
  10
  4
  Light Rapier
  thr+1 imp
  1
  0F
  $400
  2
  8
  4
  Light Edged Rapier
  sw-1 cut
  1
  0F
  $700
  2.25
  8
  or
  thr+1 imp
  1
  0F
  –
  –
  8
  SHORTSWORD (DX-5, Broadsword-2, Force Sword-4, Jitte/Sai-3, Knife-4, Saber-4, 
  Smallsword-4, or Tonfa-3)
  0
  Short Baton
  sw-1 cr
  C, 1
  -1
  $10
  0.5
  5
  or
  thr cr
  C
  -1
  –
  –
  5
  2
  Dusack
  sw cr
  1
  0
  $30
  1.5
  7
  or
  thr cr
  1
  0
  –
  –
  7
  2
  Falchion
  sw+1 cut
  1
  0
  $400
  3
  10
  or
  thr-2 imp
  1
  0
  –
  –
  10
  2
  Large Katar
  sw-1 cut
  1
  0
  $400
  2
  8
  [5, 6, 11]
  or
  thr+1 imp
  1
  0
  –
  –
  8
  2
  Long Knife
  sw-1 cut
  1
  0
  $120
  1.5
  7
  or
  thr imp
  C, 1
  0
  –
  –
  7
  2
  Small Falchion
  sw cut
  1
  0
  $200
  2
  8
  or
  thr-2 imp
  1
  0
  –
  –
  8
  SMALLSWORD (DX-5, Main-Gauche-3, Rapier-3, Saber-3, or Shortsword-4)
  4
  Dress Smallsword
  thr imp
  C, 1
  0F
  $300
  1
  5
  SPEAR (DX-5, Polearm-4, or Staff-2)
  1
  Heavy Spear
  thr+4 imp
  2, 3*
  0U
  $90
  6
  11†
  [15]
  1
  Short Spear
  thr+1 imp
  1
  0
  $30
  2
  6
  [15]
  2
  Trident
  thr+3(0.5) imp 1*
  0U
  $80
  5
  11
  -2 to hit. [7, 16]
  two hands
  thr+4(0.5) imp 1, 2*
  0
  –
  –
  10†
  -2 to hit. [7, 16]
  
  Notes:
  [1] Can be thrown. See Muscle-Powered Ranged Weapon
  Table (pp. 231-232).
  [2] May get stuck; see Picks (p. B405).
  [3] Hook enables the Hook technique (p. 74), which also
  damages the victim.
  [4] This attack receives Brawling or Karate damage
  bonuses.
  [5] Gives the hand (only) DR. A myrmex gives DR 1, a
  cestus gives DR 4, and a sap glove gives DR 2; all are gloves
  of a sort and mutually exclusive with other gloves. For other
  weapons, this indicates a metal hilt that provides DR 4,
  cumulative with glove DR – although the hilt is too cramped
  to accommodate metal gauntlets. Deer antlers, hook swords,
  katars, qian kun ri yue dao, and wheels don’t enclose the
  hand completely; DR applies only on a roll of 1-3 on 1d.
  [6] Reduce penalty for targeting chinks in armor
  (p. B400) by -2.
  [7] Can strike to disarm (p. B401) without -2 to hit for
  using a non-fencing weapon.
  [8] Attempts to parry flails and kusaris are at -4; fencing
  weapons (“F” parry) can’t parry at all! Attempts to block
  such weapons are at -2. Halve these penalties for the bola
  perdida, bolas, life-preserver, and weighted scarf.
  230
  WEAPONS AND EQUIPMENT
  TL
  Weapon
  Damage
  Reach
  Parry Cost
  Weight
  ST
  Notes
  STAFF (DX-5, Polearm-4, or Spear-2)
  0
  Jo
  sw+1 cr
  1
  +2
  $10
  2
  6†
  or
  thr+1 cr
  1
  +2
  –
  –
  6†
  0
  Long Staff
  sw+2 cr
  2, 3
  +2
  $15
  5
  10†
  or
  thr+2 cr
  2, 3
  +2
  –
  –
  10†
  3
  Dueling Bill
  sw+2 cr
  1, 2
  0U
  $100
  6
  9†
  Blunt pole.
  or
  thr+2 cr
  1, 2
  0
  –
  –
  9†
  Blunt tip.
  3
  Dueling Halberd
  sw+2 cr
  1, 2
  0U
  $120
  10
  12†
  Blunt pole.
  or
  thr+2 cr
  1, 2
  0
  –
  –
  11†
  Blunt tip.
  3
  Dueling Pollaxe
  sw+2 cr
  1, 2
  0U
  $100
  8
  11†
  Blunt pole.
  or
  thr+2 cr
  1, 2
  0
  –
  –
  11†
  Blunt tip.
  3
  Light Horse-Cutter
  sw+2 cr
  1, 2
  0U
  $120
  8
  11†
  Blunt pole.
  or
  thr+2 cr
  1, 2
  0
  –
  –
  11†
  Blunt tip.
  3
  Qian Kun Ri Yue Dao
  sw+1 cut
  1
  +2
  $250
  3
  7†
  -1 to hit. [5]
  or
  thr+1 imp
  1
  +2
  –
  –
  7†
  -1 to hit.
  or
  thr cut
  1
  +2
  –
  –
  7†
  -1 to hit. [17]
  3
  Sodegarami
  sw+2 cr
  1, 2
  0
  $100
  4
  7†
  or
  thr+2 cr
  1, 2
  0
  –
  –
  7†
  or
  thr-1 cut
  1, 2
  0U
  –
  –
  7†
  Hook. [3]
  TONFA (DX-5 or Shortsword-3)
  3
  Tonfa
  sw cr
  1
  0
  $40
  1.5
  7
  [11]
  or
  thr cr
  C, 1
  0
  –
  –
  7
  TWO-HANDED AXE/MACE (DX-5, Axe/Mace-3, Polearm-4, or Two-Handed Flail-4)
  1
  Gada
  sw+5 cr
  1, 2*
  0U
  $100
  15
  16‡
  or
  thr+2 cr
  1*
  0
  –
  –
  15†
  2
  Tetsubo
  sw+4 cr
  1, 2*
  0U
  $100
  10
  13‡
  or
  thr+2 cr
  1, 2*
  0
  –
  –
  12†
  TWO-HANDED FLAIL (DX-6, Flail-3, Kusari-4, or Two-Handed Axe/Mace-4)
  2
  Three-Part Staff
  sw+3 cr
  1-3
  0U
  $60
  5
  11†
  -1 to hit. [8]
  or
  sw+1 cr
  1
  0U
  –
  –
  11†
  -1 to hit. [8, 17]
  TWO-HANDED SWORD (DX-5, Broadsword-4, or Force Sword-4)
  0
  Jo
  sw+1 cr
  1
  0
  $10
  2
  8†
  or
  thr+1 cr
  1
  0
  –
  –
  8†
  2
  Tetsubo
  sw+3 cr
  1, 2
  0U
  $100
  10
  13†
  or
  thr+2 cr
  2
  0
  –
  –
  12†
  3
  Bokken
  sw+2 cr
  1
  0
  $40
  3
  9†
  or
  thr+1 cr
  1
  0
  –
  –
  9†
  3
  Longsword
  sw+1 cut
  1
  0
  $700
  4
  9†
  or
  thr+3 imp
  1, 2
  0
  –
  –
  9†
  4
  Late Katana
  sw+2 cut
  1
  0
  $550
  3
  9†
  or
  thr+1 imp
  1
  0
  –
  –
  9†
  WHIP (DX-5, Kusari-3, or Monowire Whip-3)
  3
  Urumi
  sw-1 cr
  1-3
  -2U
  $400
  4
  8
  [12]
  or
  sw-1(0.5) cut
  1-3
  -2U
  –
  –
  8
  [12]
  
  [9] Counts as a rope garrote; see Garrotes (p. B405).
  [10] Gets +2 to disarm when wielded with Jitte/Sai skill;
  see pp. B208, B401.
  [11] Use Brawling or Karate parry if better than usual
  weapon parry.
  [12] Can only lash the target for damage; none of the spe-
  cial whip rules apply.
  [13] Specify maximum reach (1-4 yards) when bought.
  Damage is swing, +1 per yard of maximum reach. Cost and
  weight are per yard. ST is 8, +1 per yard.
  [14] When swinging the kama on the end of the chain,
  the kusarigama can’t disarm or entangle like a regular
  kusari (p. B406).
  [15] Broad, edged head gives +1 to Tip Slash (p. 113)
  damage.
  [16] Target at -1 to Dodge, +1 to Block or Parry.
  [17] Use these statistics when using both ends for a Dual-
  Weapon Attack.
  MUSCLE-POWERED
  RANGED WEAPON TABLE
  All terms and notation in this table follow the definitions
  on pp. B268-271. In brief:
  TL: The tech level at which the weapon became wide-
  spread in the real world.
  Weapon: The name of the weapon or class of weapon; see
  the matching entry on pp. 212-226.
  Damage: The ST-based damage that the weapon inflicts.
  Acc: Accuracy, the bonus to skill if you take an Aim
  maneuver before attacking.
  Range: The number before the slash is Half-Damage
  Range; at or beyond this range, halve the weapon’s damage
  roll. The number after the slash is Maximum Range. These
  are expressed as multiples of the wielder’s ST – or the
  weapon’s ST, for crossbows.
  Weight: The weapon’s weight, in lbs. If the weapon has
  Shots 1, this is unloaded weight and the weight after the
  slash is that of one shot. If the weapon has shots 2+, this is
  loaded weight and the weight after the slash is that of one
  full reload.
  RoF: Rate of Fire. This is 1 for all of these weapons (but
  see Ranged Attack Options, pp. 119-121).
  Shots: The number of shots the weapon can fire before
  you must reload. “T” indicates a thrown weapon. The par-
  enthetical number is the number of Ready maneuvers
  required to reload the weapon or ready another thrown
  weapon. An “i” next to this means the time listed is per shot.
  Crossbows use special rules; see pp. B270, B410.
  Cost: The price of a new weapon, in $.
  ST: The minimum ST needed to use the weapon proper-
  ly; wielders with lower ST suffer -1 to skill per point of ST
  deficit. “†” means the weapon requires two hands. This isn’t
  the ST used to determine range and damage for a crossbow;
  see p. B270.
  Bulk: The penalty to skill when you take a Move and
  Attack maneuver (p. B365) or use Holdout to conceal the
  weapon.
  Notes: Applicable footnotes at the end of the table.
  WEAPONS AND EQUIPMENT
  231
  TL
  Weapon
  Damage
  Acc
  Range
  Weight
  RoF
  Shots
  Cost
  ST
  Bulk
  Notes
  BOLAS (No default) or SLING (DX-6)
  0
  Bola Perdida
  sw cr
  0
  ¥6/¥10
  1
  1
  T(1)
  $10
  6
  -2
  CROSSBOW (DX-4)
  2
  Repeating Crossbow
  thr+1 imp
  1
  ¥7/¥15
  10/0.6
  1
  10(3i)
  $500
  7†
  -5
  [1, 2]
  3
  Composite Crossbow
  thr+5 imp
  4
  ¥25/¥30
  7/0.06
  1
  1(4)
  $950
  8†
  -6
  [1]
  THROWN WEAPON (AXE/MACE) (DX-4)
  0
  Round Mace
  sw+2 cr
  1
  ¥0.5/¥1
  5
  1
  T(1)
  $35
  12
  -4
  0
  Small Round Mace
  sw+1 cr
  1
  ¥1/¥1.5
  3
  1
  T(1)
  $25
  10
  -3
  0
  Small Throwing Axe
  sw+1 cut
  1
  ¥1/¥1.5
  3
  1
  T(1)
  $50
  10
  -3
  2
  Large Hungamunga
  sw+2 cut
  2
  ¥1/¥1.5
  4
  1
  T(1)
  $60
  11
  -3
  [3]
  THROWN WEAPON (DART) (DX-4 or Throwing-2)
  2
  Plumbata
  thr imp
  1
  ¥2.5/¥3.5
  1
  1
  T(1)
  $20
  6
  -2
  [4]
  THROWN WEAPON (DISC) (DX-4 or Throwing-2)
  1
  Discus
  thr+2 cr
  2
  ¥4/¥6
  2
  1
  T(1)
  $40
  6
  -3
  2
  Chakram
  thr+1 cut
  1
  ¥4/¥6
  1.5
  1
  T(1)
  $50
  6
  -2
  THROWN WEAPON (KNIFE) (DX-4)
  2
  Hungamunga
  sw-1 cut
  1
  ¥0.8/¥1.5
  1
  1
  T(1)
  $40
  6
  -3
  [3]
  2
  Large Throwing Knife
  thr imp
  1
  ¥1/¥2
  1
  1
  T(1)
  $40
  6
  -1
  [3]
  2
  Small Throwing Knife
  thr-1 imp
  1
  ¥0.8/¥1.5
  0.5
  1
  T(1)
  $30
  5
  0
  [3]
  3
  Sai
  thr imp
  0
  ¥0.8/¥1.5
  1.5
  1
  T(1)
  $60
  7
  -3
  THROWN WEAPON (STICK) (DX-4)
  0
  Boomerang
  sw cr
  2
  ¥6/¥10
  1
  1
  T(1)
  $20
  6
  -2
  0
  Throwing Stick
  sw-1 cr
  1
  ¥4/¥8
  1
  1
  T(1)
  $10
  6
  -2
  
  Notes:
  [1] A crossbow bolt costs $2.
  [2] Requires a Ready maneuver on
  the turn immediately before each
  attack, to work the lever. If using
  Malfunction (p. B279), Malf. is 14.
  [3] Not balanced for melee combat!
  Treat a small throwing knife as a small
  knife, a hungamunga or a large throw-
  ing knife as a large knife, and a large
  hungamunga as an axe, but with -2 to
  skill and therefore -1 to Parry (for
  knives, this adds to the usual -1 to
  Parry).
  [4] Plumbatae (or pila, p. 221) strik-
  ing a nonmetallic shield – deliberately
  (see Striking at Shields, p. 112) or on a
  block – stick and deform, penalizing
  Shield skill: -1 for any at all, -2 if total
  projectile weight is at least half shield
  weight, -4 if total weight equals or
  exceeds shield weight. Removing each
  dart requires a Ready and a ST roll at
  a penalty equal to its damage roll.
  232
  WEAPONS AND EQUIPMENT
  Special Arrows
  Practitioners of Kyujutsu (pp. 179-180) – and many other archers – will be
  familiar with these special arrowheads as well as with regular and bodkin
  points (p. B277):
  Barbed: Yanking out a barbed arrow inflicts half the injury it delivered
  going in. No effect on cost or weight (most war arrows are barbed by default).
  Blunt: Converts damage to crushing. Used for training or for hunting fowl.
  Half cost, normal weight.
  Bowel Raker: Converts damage to cutting. Gives -1 to Acc and subtracts 5
  from both Range multipliers; e.g., ¥15/¥20 becomes ¥10/¥15. Yanking it out
  inflicts half the injury it delivered going in. No effect on cost or weight.
  Frog Crotch: Has a C-, U-, or Y-shaped head sharpened on the inside of the
  curve. Used against limbs, and to cut ropes or (in heroic stories) bowstrings.
  Converts damage to cutting. No effect on other statistics.
  Humming Bulb: Has a hollow, fluted tip that whistles in flight. Used to sig-
  nal or to flush game. Some of these heads can carry a tiny payload – often an
  oil-soaked rag. Gives -1 to Acc and subtracts 5 from both range multipliers.
  Damage becomes crushing with an armor divisor of (0.5). No effect on cost or
  weight.
  Willow Leaf: Converts damage to cutting. No effect on other statistics.
  TRAINING EQUIPMENT
  For some people, “martial-arts school” conjures up
  images of wooden dummies and makiwara, racks of
  weapons, and walls covered in yin-yang symbols and pic-
  tures of the founder. Others imagine a dimly lit gym with
  battered heavy bags, weight benches, and dangling speed
  bags arranged around a ring or a cage. A martial-arts school
  might look like that . . . or an ordinary hardwood gym
  strewn with wrestling mats . . . or a shallow dirt pit . . . or a
  clearing in the woods!
  A properly designed training environment with good
  equipment helps students hone their skills. It makes more
  challenging exercises possible and minimizes the likelihood
  of unpleasant consequences. The wrong environment can
  make practice impossible (try doing acrobatic kung fu
  moves in a tiny room) or painful (like a hardwood floor
  you’re going to hit a hundred times while perfecting a tech-
  nique).
  Equally important is how the school trains. Some
  schools frown upon sparring but let students use bags and
  mitts to practice strikes. Others go further and emphasize
  kata and choreographed partner drills over throwing full-
  powered blows. Still others encourage students to pound on
  each other in minimal gear – “Only bleeding in training lets
  you avoid bleeding in combat.” Most artistic styles avoid
  contact and sparring, while combat styles employ such
  methods extensively or exclusively; either way, the equip-
  ment must support the training.
  Training Equipment Quality
  A flimsy heavy bag or fragile muk yang jong will soon
  break, while rusty swords and snapped-off broom handles
  are unsafe practice weapons at best. High-quality gear costs
  more but is better in every way. In particular, good equip-
  ment – or a good variety of it – gives a bonus to success rolls
  for teaching and learning the martial arts, including those
  for The Training Sequence (p. 147).
  The bonuses for training equipment correspond to those
  under Equipment Modifiers (p. B345), but individual item
  quality (e.g., a fine-quality heavy bag) isn’t usually what’s
  important. Instead, look at the gear’s total cost – whether
  that buys a few high-quality pieces of equipment, an eclec-
  tic collection of oddball paraphernalia, or a whole lot of
  nearly expendable items. The bigger the cash outlay, the bet-
  ter the bonus.
  Below are some guidelines. The GM should be flexible in
  allowing substitutions; not all styles train alike. This is espe-
  cially true in historical and cinematic games. Generally, an
  improvised weapon can substitute for a real one in training,
  and unarmed martial artists should never suffer penalties
  for poor or missing equipment – the human body and a
  source of martial knowledge are all they need!
  Basic Equipment (+0): At least $500 for a modest open
  space (e.g., a bedroom with the furniture pushed out of the
  way) with a mat or other smooth surface; a heavy bag, maki-
  wara, or dummy; wraps and gloves – or a practice weapon
  and protective gear, for weapon arts; a man-sized mirror;
  and appropriate clothing.
  Good Equipment (+1): At least $2,500 on better “basic”
  items – e.g., a larger space; wall-to-wall, floor-to-ceiling mir-
  rors; or extra bags, makiwara, or dummies – and any of the
  specific items on pp. 233-234.
  
  Fine Equipment (+2): At least $10,000 on “basic” items,
  plus machines that measure striking pressure, a regulation
  cage or ring, and a full range of the gear on pp. 233-234.
  Best Equipment (+TL/2, minimum +2): A building-sized
  setup that costs at least $1 million – be it a secret com-
  mando base, state-of-the-art Olympic facility, the Shaolin
  Temple, or a superhero danger room. Until TL6, the bonus
  is no higher than the +2 for “fine” equipment, but hun-
  dreds of students at once can benefit from it.
  Well-made equipment also lasts longer. Apply the qual-
  ity modifier to any HT roll made for the equipment during
  training; see Damage to Objects (p. B483).
  GLOVES
  Contrary to popular belief, martial artists wear gloves
  more to protect themselves than for their opponents’ safe-
  ty. Some gloves do reduce striking damage, but their pur-
  pose is mainly to prevent fight-stopping hand injury.
  Boxing Gloves
  Regular boxing gloves are mitten-like, completely
  enclosing the fingers and thumb. They give DR 2 vs. crush-
  ing (DR 1 vs. other damage) and -2 to punching damage.
  The wearer has Bad Grip 3 (p. B123) for all purposes. $40,
  1 lb. (pair).
  Open-Palmed Gloves
  As Boxing Gloves, except that
  they only give Bad Grip 2 and
  their DR doesn’t protect against
  finger locks, which can target the
  uncovered thumb!
  Mixed Martial 
  Arts Gloves
  These open-palmed gloves
  have separate fingers and thin
  protection everywhere but over
  the knuckles. They let the wearer
  grapple as well as strike, and don’t
  give Bad Grip. They provide DR 1
  vs. self-inflicted injury only; see
  Hurting Yourself (p. B379). $65,
  0.5 lb. (pair).
  Hand Wraps
  In competition, boxers and other unarmed strikers gen-
  erally wrap their hands before donning gloves. This pro-
  tects the hands by padding the knuckles and reinforcing
  the wrist. It also absorbs sweat, which wears out the cheap
  wraps instead of the expensive gloves. Some sports use
  wraps alone. Wraps provide +1 DR vs. self-inflicted injury
  only. They cause Bad Grip 1 by themselves. Worn under
  gloves, DR is cumulative but only the worst level of Bad
  Grip applies. $5, neg. wt.
  TARGETS
  Every striking style uses some kind of target when live
  humans aren’t available (or permitted) for the purpose.
  Heavy Bag
  A cylindrical canvas, vinyl, or leather bag filled with
  rags, sawdust, or shredded stuffing – or rarely, with sand,
  small rocks, or other exotica. Most hang from a rope or a
  chain; some are freestanding, and may be water-filled. All
  are designed for punching and larger ones are also good
  for kicking. Punching a bag can tear the skin, so it’s stan-
  dard to wear wraps or gloves. Heavy bags help fighters
  develop hitting power and “toughen up” hands, feet, or
  shins (often by striking progressively harder bags).
  Heavy bags normally range in 10-lb. increments from
  20 lbs. (a small bag, suitable for punching) to 120 lbs. (a
  long “banana” bag for low shin kicks). Standard sizes are
  80 lbs. and 100 lbs. Cost is $1 a pound, and includes a 3-
  lb. chain to hang the bag. Freestanding bags cost $1.50 a
  pound but don’t require a chain or an overhead beam.
  Makiwara
  A board wrapped in canvas, cord, or thick rope – in
  order of increasing coarseness – used to toughen the hands
  and practice full-powered strikes. Some makiwara are
  small and handheld; others are large and freestanding, or
  spring-loaded for wall mounting. Cost ranges from free for
  homemade models to $50+ for sturdy,
  attractively decorated boards.
  Muk Yang Jong
  A wooden training dummy used in
  Wing Chun and other Chinese styles. It
  consists of a thick post set upright on a
  base, with two “arms” and a bent “leg”
  near the ground. The limbs are mount-
  ed securely but loosely, allowing hard
  contact without injury. $650, 110 lbs.
  Pads
  Padded targets worn by a partner
  and used to practice striking include:
  Focus Mitts: Small, glove-like pads
  for punching. Give the hands DR 2 vs.
  crushing (DR 1 vs. other damage) and
  Bad Grip 3. $50, 2 lbs. (pair).
  Shield: A large, handheld target for kicking and knee-
  ing. Provides DR 3 vs. crushing (DR 2 vs. other damage).
  $50, 2 lbs.
  Heavy Pads: Larger mitts for punching and kicking.
  Give the hands DR 5 vs. crushing (DR 3 vs. other damage)
  and Bad Grip 3. $75, 5 lbs. (pair).
  Body Pads: Groin and stomach protection that allows
  kicks and knees to the body. Give the torso DR 4 vs. crush-
  ing (DR 2 vs. other damage). $60, 8 lbs.
  WEAPONS AND EQUIPMENT
  233
  Rope Dart
  
  TRAINING WEAPONS
  Training weapons are blunted, less-rigid,
  padded, and/or made of softer materials.
  Varieties include:
  Blunt: A cutting or cut-and-thrust weapon
  that isn’t sharpened but could be. Treat as a
  good-quality weapon for all purposes but dam-
  age, which becomes crushing.
  Flexible: A thrusting-only weapon made
  whippy, with a button tip. Treat as a blunt that
  gets -2 crushing damage. Use cheap costs for
  TL6+ sporting gear. Price anything earlier as
  good-quality. Classic examples are the flexible
  smallsword and dress smallsword, known as the
  épée (p. 215) and foil (p. 215), respectively.
  Heavy Blunt: An overweight weapon – blunt
  and unable to take an edge, if bladed – designed
  to develop the muscles used to control it.
  Common historically but rare today; trainers
  believe that overcompensating for extra weight
  teaches incorrect reflexes. Has 20% of the cost
  and 200% of the weight of a good weapon.
  Damage becomes crushing, at +1 for swings but
  -1 for thrusts. Add +2 to the ST requirement.
  Padded: A wooden weapon wrapped with
  cloth, foam, etc. Has 5% of the cost and 100% of
  the weight of a good weapon. Damage becomes
  crushing, at -2 for thrusts and -4 for swings.
  Ultra-Light: A light, flexible nonmetallic
  weapon for competition – usually aimed at an
  armored target to allow full-powered hits with-
  out injury. Has 5% of the cost and 60% of the
  weight of a good weapon. Damage becomes
  crushing with an armor divisor of (0.5). ST
  requirement is 1/3 usual (round down). An
  example is the Japanese shinai: a straight-edged
  “katana” made of split bamboo held together
  with cloth bindings.
  Wooden: A hard wooden version of a metal
  weapon. Has 5-10% of the cost and 100% of the
  weight of a good weapon. Damage becomes
  crushing but isn’t reduced – such weapons are
  quite capable of beating someone to death or
  shattering bones. The best-known example is the
  bokken (p. 213): a wooden katana.
  WEIGHTS
  Barbells and dumbbells are standard tools for
  modern martial artists who lift weights. Earlier
  warriors did weight training with heavy wooden
  clubs, rocks on sticks, and even weighted shoes.
  The idea that weight training is “new” to the
  martial arts is far from true! Weight gear varies
  greatly in cost. Improvised equipment may be
  free or nearly so; a full gym, with machines
  and/or rubber-coated weights machined to
  Olympic tolerances, can cost tens of thousands
  of dollars.
  234
  WEAPONS AND EQUIPMENT
  Armor
  Martial artists, especially practitioners of armed styles, often
  wear armor. Historical warriors should use the armor on pp. B282-
  286. The following items are specialized equipment for competition
  or training. Some safety gear costs more than “real” armor that pro-
  vides higher DR. This is because it’s built to safeguard both partici-
  pants, not simply to protect one from deliberate harm!
  Breastplate, Sparring: Upper-body protection for contact spar-
  ring. Foam gives the torso (including vitals) DR 1 vs. crushing dam-
  age, only from the front. $40, 2.5 lbs.
  Leather – required for women’s MMA matches – increases DR to
  2 vs. crushing (DR 1 vs. other damage). $60, 4 lbs.
  Cup: A plastic guard that gives the groin DR 2 vs. crushing (DR
  1 vs. other damage), only from the front. Also grants +2 to knock-
  down rolls for groin hits. $20, neg. wt.
  Foot Guards, Sparring: Foam guards for the top of the foot. DR
  2 vs. crushing (DR 1 vs. other damage); only applies on a roll of 1-
  3 on 1d if the bottom of the foot could also be hit. Also gives -2 to
  kicking damage. $30, 0.5 lb. (pair).
  Helmet, Sparring: Used by boxers and karateka. A foam mask
  gives the skull and face DR 1 vs. crushing. $40, 1 lb.
  A leather-covered padded helmet increases DR to 2 vs. crushing
  (DR 1 vs. other damage). $60, 3 lbs.
  If using Harsh Realism for Unarmed Fighters (p. 124), either hel-
  met prevents self-inflicted damage from striking the skull.
  Kendo Do: A fiberglass, lacquered-bamboo, or plastic cuirass
  that gives the torso (including vitals) DR 3, only from the front, on
  a roll of 1-5 on 1d. $100, 4 lbs.
  Kendo Kote: Padded, open-palmed gloves with wrist protection.
  Give the hands DR 2 vs. crushing (DR 1 vs. other damage). Also pro-
  tect the arm on a roll of 1 on 1d. Give Bad Grip 1 (p. B123). $65, 1
  lb (pair).
  Kendo Men: A steel-grilled helmet with neck protection. Gives
  the face and neck DR 3, and the skull DR 1, only from the front.
  $150, 5 lbs.
  Kendo Tare: A belt of armor that protects the hips and groin from
  the front. The center guard is usually decorated with the kendoka’s
  name. Gives the groin DR 1, only from the front. $120, 2 lbs.
  Mask, Fencing: A metal-grilled mask, used for sport fencing with
  the épée, foil, or saber. Gives the skull, eyes, and face DR 2. $50, 3
  lbs. Add $50 if insulated for electric scoring.
  Mouthguard: A form-fitted plastic mouthpiece worn to protect
  the jaw and teeth. Gives +1 to knockdown rolls for face or jaw hits,
  but makes speech difficult (treat as Disturbing Voice, p. B132). $20,
  neg. wt.
  Police Training Suit: A padded training suit with a metal-masked
  helmet. Bulky and restrictive (-3 DX, -1 Move), it gives the skull and
  face DR 5; the torso and groin DR 3 vs. crushing (DR 1 vs. other
  damage); and the arms, legs, hands, and feet DR 2 vs. crushing (DR
  1 vs. other damage). A basic suit without hand or head protection
  is $500, 7 lbs.; a full suit is $2,000, 15 lbs.
  Shin Pads: Padded leather-, vinyl-, or cloth-covered pads that
  protect the knee, shin, and top of the foot, giving the legs and feet
  DR 2 vs. crushing (DR 1 vs. other damage), only from the front, on
  a roll of 1-3 on 1d. Also gives the wearer -2 damage with shin kicks.
  $40, 2 lbs. (pair).
  Rigid plastic pads raise DR to 2 and don’t affect shin kick dam-
  age. $20, 3 lbs.
  
  CAMPAIGNS
  235
  CHAPTER SEVEN
  CAMPAIGNS
  Del Duque burst the door with a drop kick and rolled to his
  feet. Nobody home, but there was the stolen Chinese statue,
  attached to a machine with a date readout. Carbon dating,
  perhaps? As he touched the statue, things went black . . .
  Kai stepped over the last thug and slipped behind the cur-
  tain. There was the Five Tigers Jade Buddha, in the hands of
  an unconscious, masked man. How odd! She reached for the
  Buddha.
  As Del Duque came to, he saw a petite woman grab for the
  statue. He tried to warn her: “Peligro!”
  Kai seized the Buddha but the fat man hung on, yelling in
  Spanish. A Mexican bandito! As she summoned her chi for the
  upcoming battle, the Buddha’s eyes flashed. Oh, no . . .
  Adrian hadn’t noticed a trapdoor, but the man and woman
  who fell from the ceiling were a blessing. They knocked down
  one of her adversaries, evening the odds.
  The other bounty hunter responded by dropping his 
  hatchet and pulling forth a strange device. An instant later, a
  dagger struck his hand. Adrian capitalized on the distraction,
  sending her foe to the ground with a vicious blow.
  A man with a shortsword stepped from the shadows,
  glanced at the Buddha, and yelled, “Prof!” Then he turned to
  the others. “I’m Dai. If you want to get out of this, follow us!”
  A good Martial Arts campaign is more than a series of
  adventures for expert fighters. The GM needs to plan both
  the setting and his plots with care, and gameplay shouldn’t
  always boil down to a glorified slugfest. Martial-arts fiction
  – even the backstory of the typical video game – features
  such classic dramatic fixtures as the attainment of long-
  sought goals, the rise of heroes, quests (for justice, knowl-
  edge, or vengeance), and exotic cultures and locations. The
  goal of this chapter is to help the GM take advantage of this
  rich tradition.
  
  CINEMATIC VS. 
  REALISTIC CAMPAIGNS
  236
  CAMPAIGNS
  When starting any new campaign, the GM must choose
  whether to take a “realistic” stance, a “cinematic” one, or
  some middle road. This is arguably the most important deci-
  sion of all in a game that features the martial arts – over-
  shadowing even the choice of genre and setting – because
  martial-arts legend and fiction are about warriors trained in
  skills intended for violence. Where there’s violence, there’s
  pain, injury, and death . . . except when the storyteller focus-
  es instead on such ideals as the heroes’ principles, abilities,
  or basic “coolness.” It can be difficult to reconcile the
  differences.
  Each type of campaign has its
  strengths and weaknesses, and of
  course the players’ preferences may dif-
  fer from the GM’s. If the PCs behave
  like high-kicking action heroes in a
  realistic game, or are all brutal pirates
  and mast-top snipers in a romantic
  17th-century swashbuckling tale, the
  result will be a pile of dead bodies, fol-
  lowed by a dead campaign. The GM
  should therefore involve the players in
  his decision and note the abilities and
  rules that the campaign will use – and
  perhaps more importantly, the ones
  that it won’t use.
  THE REALISTIC
  CAMPAIGN
  The real world is the one we know
  best, but it isn’t what many gamers
  think of when you say “martial arts.”
  Contrary to movies and comic books,
  realistic martial artists can’t rely on
  fists to defeat a sword, never mind a
  volley of arrows – and even the best
  archer or swordsman is just a poorly
  armed target to a gunman. Except in a
  staged exhibition, a real martial artist
  can’t smash a door with a single punch,
  either . . . or shoot two arrows at once
  . . . or fence blindfolded. Without cine-
  matic abilities and combat options, all
  of this is true in GURPS, too – although
  GURPS is fairly forgiving because a
  game that punishes the players for not
  being combat experts isn’t fun!
  There are two, equally important
  elements to a realistic Martial Arts
  game: believable characters and realis-
  tic combat. We discuss these in greater
  detail below. A good GM carefully
  weighs both considerations against player expectations
  before opting to run a realistic campaign.
  Realistic Characters
  In a realistic campaign, the PCs should be built as dis-
  cussed under Realistic Martial Artists (p. 29): limited attrib-
  utes, mundane advantages and disadvantages only, and no
  cinematic abilities. The GM sets the power level but should
  realize that individuals built on over 200 points will be
  NPCs for Martial Arts Campaigns
  Much of Cinematic vs. Realistic Campaigns discusses what the GM lets PCs
  do. That’s only half the picture – the players of martial-artist PCs will grow
  bored without enemies to fight and masters to learn from. Because martial-arts
  styles have the potential to add many skills, techniques, and perks to character
  sheets, martial-artist NPCs can be time-consuming to design and play; there-
  fore, it’s wise to “triage” the supporting cast and match bookkeeping efforts to
  relative importance.
  Cannon Fodder: Cardinal’s Guards, students of rival schools, gang members
  . . . these are NPCs whose role is to harass the PCs while their leader escapes,
  plots, or sets an elaborate ambush. Ignore character points and full character
  sheets, and don’t bother writing down full-fledged styles. Such NPCs know their
  style’s realistic skills (never its cinematic ones), use techniques at default, and
  lack perks beyond Style Familiarity. Aside from skills, all they need is ST, DX,
  HT, HP, Basic Speed, Basic Move, and damage for their main attack. In com-
  bat, they’re subject to the Cannon Fodder (p. B417) rule. In a realistic game,
  modify this so that wounded NPCs flee, feign death, or surrender instead of col-
  lapsing. Most real people don’t want to die! If the NPCs are low-grade thugs,
  consider using Untrained Fighters (p. 113) regardless of actual training.
  “Name” NPCs: These include the leader of a Guard patrol, the star student
  of a rival school, and the boss’ lieutenant. They might merely be high-value tar-
  gets, but their wit, social skills, and so on can become important, so build them
  as full-fledged characters. To save time, select a template from Chapter 2 (or
  another GURPS book) and make few changes. When adding a style, focus on
  skills – but select a few “signature” techniques, a Style Perk or two, and perhaps
  an optional trait to give the NPC some depth. A single cinematic skill is also
  appropriate, in a cinematic game. If there are multiple NPCs like this, distin-
  guish them by giving them different styles, or different skills and weapons
  taught by the same style. In a realistic campaign, most NPCs should be like this
  unless you want to send the message “life is cheap.” Even a hulking psycho is a
  person. In any type of game, NPC allies should use these guidelines, too.
  Masters: True masters are rare enough to be built the hard way, like PCs.
  They should have all of their style’s skills, many of its techniques, and multiple
  Style Perks (possibly including custom perks). Most have optional traits, too;
  after all, such abilities are optional because some master, somewhere, believes
  they’re important. In a cinematic campaign, add cinematic skills and tech-
  niques freely. Note that in a realistic game, the boss needn’t be the master. A
  crime lord or enemy officer might be in charge, but an underling who’s dedi-
  cated to fighting – perhaps the boss’ guard or private fencing instructor – is
  more likely to be a martial-arts master.
  
  notable, not ordinary Joes. In addition, the PCs shouldn’t
  have character-point investments in combat-ready martial
  arts that outstrip what’s realistic for their occupations.
  Martial-arts skills should fill one of the roles that they fill in
  real life:
  Hobby: Most students of the martial arts are dabblers,
  studying the martial arts out of curiosity, with neither the
  intention nor the training to enter combat. They rarely have
  anything more than a few points in Combat Art and Sport
  skills. If they study a style, it has the “Self-Defense” or
  “Trained by a Fraud” lens (see Choosing a Style, pp. 144-
  146). They don’t use any of the templates in Chapter 2; their
  occupational templates are things like “Cook,” “Duke,” and
  “Reporter.”
  Backup Skills: This is the most realistic role for combat-
  effective martial arts. People in dangerous occupations, if
  they think they might have to fight without ranged weapons
  or the support of allies, often study a martial art for sur-
  vival’s sake. Their style typically has the “Military,” “Police,”
  or “Street” lens. To have the slightest chance against better-
  armed foes or superior numbers, they need to invest a lot of
  time – potentially more than they put into their job skills.
  The Assassin, Crimefighter, Spy, and Warrior templates in
  Chapter 2 reflect this.
  Specialized Career: Full-time martial artists in the real
  world are usually athletes (the Contender, Instructor, and
  Student templates), ascetics (use the Monk template), or
  from a time or a place where it’s possible to make a living
  with martial-arts skills (the Duelist, Movie Star, and
  Stuntman templates). Most are acutely aware that, outside
  their rarefied specialty, their skills are of limited value and
  no match for the weapons and training of soldiers. Their
  mental disadvantages might reflect such concerns; Pacifism
  is reasonable, and even Cowardice isn’t out of line for some-
  one who avoids real fights.
  Combat Realism
  Realism is also about how forgiving the setting is when
  fists, swords, and arrows start flying. Obviously, almost all
  cinematic combat rules are out of place in a realistic game;
  see Cinematic Combat (pp. 125-133) for a long list. Many
  GMs insist on using Tactical Combat (pp. B384-392), too, so
  that the action is in sharp focus and there’s no “fudging” of
  movement. “Realism” means different things to different
  people, though.
  Gritty Realism
  This type of campaign pays attention to every lethal
  detail. It zooms in on the blood and snapping bones, and
  because it doesn’t let the surprising durability of the human
  body get in the way of a good mauling, it can be more dead-
  ly than reality. A game like this uses all of the detailed
  options from Chapter 4 and the Basic Set: Changing Posture
  in Armor (p. B395), Posture, Hit Locations, and Techniques
  (pp. 98-99), A Matter of Inches (p. 110), Limiting Dodges
  (pp. 122-123), and so on. Rules that involve pain and 
  maiming are key; e.g., Teeth (p. 115), Pain in Close Combat
  (p. 119), Grab and Smash! (p. 118), Harsh Realism for
  Unarmed Fighters (p. 124), and Realistic Injury (pp. 136-
  139). Options that give the final word on realism to the GM
  – Extra Effort in Combat (p. B357), Dual-Weapon Attacks
  (p. B417), and anything labeled “Acrobatic” – usually aren’t
  available.
  Strengths: Ideal for introducing martial-arts rules into a
  realistic campaign where they didn’t previously feature,
  because the risks tied to their use minimize the odds of play-
  ers suddenly turning every fight into a martial-arts exhibi-
  tion and shifting the game’s focus. This is especially true if
  the campaign already had a gritty theme: trench warfare,
  hyper-realistic detective stories, etc. The detailed approach
  appeals to players who regard RPGs more as simulations
  than as storytelling tools.
  Weaknesses: Many gamers get their perceptions of the
  martial arts from movies and comic books, and play their
  characters accordingly. In a gritty game, this is a recipe for
  maimed or dead PCs and unhappy players. Using every real-
  istic rule means a lot of extra bookkeeping for everyone –
  especially the GM – and slows down combat as people turn
  pages to check every rule that applies in the situation.
  Realistic violence is quite disturbing to some people.
  Moderate Realism
  This is what most gamers view as “realism.” People can
  die, and karateka are advised not to parry swords with bare
  hands, but the heroes are insulated from the worst fates by
  the game’s inherent bias toward PC survival. A moderate-
  realism campaign should use the combat rules in the Basic
  Set, plus any of the realistic maneuvers and combat options
  from Chapter 4 that the GM likes – All-Out Attack (Long)
  (pp. 97-98), Committed Attack (pp. 99-100), Defensive Grip
  (pp. 109-111), and so on. It should avoid optional rules that
  add fine detail (such as A Matter of Inches) or painful 
  consequences (like Harsh Realism for Unarmed Fighters),
  but might add one or two for flavor.
  Strengths: Has the advantage of familiarity, since it uses
  rules that everybody already knows plus a handful of new
  options that players can ignore without handicapping their
  characters. Players who know something about real-world
  martial arts get to show off their knowledge. Probably the
  best compromise for a storytelling GM with a group of ultra-
  realistic gamers.
  Weaknesses: Still too deadly for gamers raised on action
  movies and comics. It can be worse than a gritty campaign
  in this regard, because the system’s tendency to err on the
  side of PC survival – explicitly suppressed in a gritty cam-
  paign – can lull some players into assuming that the game is
  cinematic and playing accordingly. Just close enough to grit-
  ty realism to frustrate players who like bloody simulations.
  Borderline Realism
  This kind of game allows anything that doesn’t actively
  challenge the players’ willing suspension of disbelief – even
  if it isn’t strictly realistic. What matters is the appearance of
  realism. Such a campaign follows the guidelines under
  Moderate Realism, except that it avoids all rules that add fine
  detail to combat and injury while permitting many options
  of debatable realism; e.g., Buying Success (p. B347), Extra
  Effort in Combat (p. B357), Dual-Weapon Attacks (p. B417),
  Acrobatic Movement (pp. 105-107), Acrobatic Attack (p. 107),
  Quick-Shooting Bows (pp. 119-120), and Tricky Shooting
  (p. 121).
  CAMPAIGNS
  237
  
  Strengths: Gamers who like to play action heroes can pull
  it off by spending character points to buy successes or burn-
  ing FP for extra effort. Players who prefer a trusty, no-frills
  sword or gun can have that, too – and the points they save
  by avoiding massive investments in flashy skills such as
  Acrobatics can buy combat skills that make them as effec-
  tive as their showoff teammates. A fair compromise, but
  compare Rubber Realism (p. 240).
  Weaknesses: Too cinematic for some diehard realists,
  who will see enough of the pro-realism bias in the combat
  system to want more. Those who like cinematic games may
  be frustrated at the “glass wall” between them and the 
  really cool optional rules. Powerful borderline-realistic PCs
  can do through brute force much of what cinematic 
  ones can do with special abilities, defeating the point of
  choosing a realistic campaign.
  THE CINEMATIC CAMPAIGN
  The cinematic world is that of martial-arts movies and
  legend. In a cinematic game, martial artists can do the
  impossible – or at least the highly improbable. As with real-
  istic games, abilities and combat rules both make a contri-
  bution to the overall “feel,” and the GM must make choices
  that satisfy his expectations and those of his players. Below
  are some Martial Arts-specific guidelines to supplement the
  general advice on cinematic campaigns on pp. B488-489.
  Cinematic Characters
  Cinematic PCs (and NPCs) should have access to incred-
  ible abilities. As noted under Cinematic Martial Artists
  (p. 30), these can range from a few cinematic skills, through
  superhuman attributes and exotic advantages, to full-
  fledged super-powers – and perhaps include all of these
  things – depending on the GM’s plans for the campaign.
  Minimum power level is around 200 points, simply because
  the PCs have to be able to afford such abilities.
  Unlike realistic campaigns, cinematic campaigns don’t
  demand that abilities line up with occupations. The cook at
  the noodle stand is often a master of chopping more than
  vegetables, the foppish duke could be a deadly swordsman,
  and the mild-mannered reporter might be a superhero by
  night. What matters isn’t that a hero’s skills are realistic –
  because they won’t be – but that they’re consistent with the
  legends about his fighting style and with his personal style.
  Still, the templates in Chapter 2 can help players design
  many kinds of heroes found in martial-arts fiction – just
  apply the “Cinematic” lens! For instance, the ninja of legend
  would use the cinematic Assassin or Spy template, while an
  action-movie vigilante has the cinematic Crimefighter tem-
  plate. Several templates provide a “Tough Guy” lens for the
  player who wants his PC to thrive in a cinematic environ-
  ment without flashy moves – an important archetype in
  many martial-arts tales.
  Cinematic heroes should have at least some of the cine-
  matic skills, techniques, and Style Perks listed for their style
  in Chapter 5, and probably several optional traits. This
  makes the style lenses under Choosing a Style (pp. 144-146)
  unsuitable, since they specifically exclude cinematic skills
  and techniques. However, “Self-Defense” and “Trained by a
  Fraud” have a way of showing up in silly stories . . . and
  tough guys without cinematic skills often have the
  “Military,” “Police,” or “Street” lens.
  Above all, a cinematic PC or NPC needs a strong sense of
  his place in the campaign. Be he a bumbling fool with
  untapped talent, a brooding assassin, a square-jawed pulp
  hero, or a romantic swashbuckler, his personality, actions,
  fighting style, and gear should paint a single, vivid picture.
  For instance, cinematic ninja dress in black and use swords,
  not guns; pulp heroes do carry guns, but prefer fists; and
  swashbucklers use swords and pistols, but dress in lace and
  avoid skulking and brutish fisticuffs.
  Mad, Crazy Action
  Cinematic campaigns should move quickly and empha-
  size action over detail. When the heroes are taking on guns
  with fists and dashing up tree trunks, it’s missing the point
  to worry about how hard it is to stand up in armor (you can
  do acrobatics in armor!) or whether it’s possible to throw a
  Back Kick while seated (over the shoulder, of course!).
  Cinematic games should therefore avoid the high-detail
  options recommended for realistic campaigns in Combat
  Realism (pp. 237-238) – particularly those suggested under
  Gritty Realism. Instead, the GM should use the cinematic
  238
  CAMPAIGNS
  Special-Case NPCs
  Non-player characters should generally be subject
  to the same rules as PCs. Needlessly dangling options
  in front of the players that they can’t exercise – but that
  the GM’s alter egos can – erodes GM-player relations.
  There are situations where it’s appropriate to make
  exceptions, however.
  Cinematic NPCs in Realistic Games: A martial-arts
  master with cinematic abilities provides a handy way
  to segue from a realistic campaign to a hybrid or cine-
  matic one. Often he’s a teacher, helping the PCs devel-
  op cinematic abilities of their own. In a conspiracy or
  horror game – and even in some kinds of pulp and fan-
  tasy – a fighter with cinematic martial-arts abilities is a
  suitable opponent. In that case, it’s crucial that the GM
  portray the villain’s capabilities as mysterious and dan-
  gerous – like black magic – so that the players experi-
  ence fear or moral superiority, not jealousy.
  Realistic NPCs in Cinematic Games: In games
  where the PCs are bouncing off walls and swinging
  from chandeliers, it’s traditional for “cannon fodder”
  NPCs to lack access to cinematic abilities and combat
  options that the PCs take for granted. If the campaign
  has horror overtones or focuses on epic moral conflict
  – both of which feature in many martial-arts movies –
  it’s true-to-genre for certain foes to be dangerous
  because a number of realistic rules apply when fight-
  ing them. For instance, the faceless knights of the evil
  overlord might have no special skills and rely on armor
  for defense . . . but hitting them with bare fists hurts
  (Harsh Realism for Unarmed Fighters, p. 124) and they
  fight dirty, chopping off limbs and targeting vital areas
  (Realistic Injury, pp. 136-139).
  
  rules he feels suit the genre and setting. Details vary, 
  depending on how wild the campaign is supposed to be, but
  all cinematic games can benefit from Faster Combat (p. 126).
  Larger-than-Life
  This is Borderline Realism (pp. 237-238) writ large. The
  world is a lot like our own but cinematic martial artists can
  bend the rules, just like the heroes in pulp stories and
  Hollywood action movies. In a larger-than-life campaign, all
  of the barely realistic and cinematic rules listed under
  Cinematic Combat (pp. 125-133) are in effect except for
  Chambara Fighting (pp. 128-130) and More Cinematic
  Combat Rules (pp. 132-133). This allows acrobatics and
  extra effort in combat – and makes multiple attacks and
  defenses easier – but everything is within the realm of the
  possible under absolutely ideal conditions (that rarely occur
  in real life!).
  Strengths: Gamers who want to play action heroes are
  happy. Players who find that silly aren’t out of luck, because
  not buying Trained by a Master or Weapon Master means
  20-45 more points for Bow or Guns – and they can exploit
  “merely” borderline-realistic rules such as Tricky Shooting
  (p. 121) to nail the annoying, back-flipping ninja. Since
  most gaming groups have mixed preferences but lean more
  toward the cinematic side, this might be the best compro-
  mise of all.
  Weaknesses: The presence of any cinematic abilities shat-
  ters many gamers’ willing suspension of disbelief.
  Meanwhile, roleplayers who want wuxia or chambara
  heroes are liable to scoff at the campaign being called “cin-
  ematic.” Once the genie of cinematic abilities is out of the
  bottle, there’s no going back; some players will dump char-
  acter points into such traits, yielding unbalanced PCs and
  making the game more cinematic than the GM intended.
  Epic
  Epic campaigns are the realm of wuxia and chambara
  films, which don’t allow the laws of physics to get in the way
  of a good story. Every option in Cinematic Combat is poten-
  tially appropriate, except for Bullet Time (p. 133). The GM
  should still avoid silly rules – for instance, Proxy Fighting
  (p. 132) – in a serious game. Epic games don’t make an
  intentional effort to violate natural laws, though. The goal is
  to remain true to legend, which often requires the world to
  be largely realistic for everyone but the heroes and their
  arch-enemies so that their abilities look suitably impressive.
  Strengths: Comes closest to traditional martial-arts leg-
  end, and handles the often-campy action of movies that
  superimpose legendary abilities on modern settings. Thus,
  it’s satisfactory to even the most demanding fan of martial-
  arts fiction. For the rest of us, it’s just plain fun!
  Weaknesses: Totally incompatible with a group that
  prefers realistic games. Epic campaigns aren’t extreme
  enough for gamers who want superhero and anime martial
  artists with physics-warping capabilities unrelated to tradi-
  tional martial arts, either. Unless the GM has mastered the
  rules, using many cinematic options can slow down play as
  much as using lots of detailed, realistic options – but not
  using cinematic rules defeats the purpose.
  Over-the-Top
  At the pinnacle of the cinematic pyramid are campaigns
  that work like anime or comic books, which – freed of the
  need for actors and sets, and limited only by the artists’
  imagination – aren’t constrained by physics. Over-the-top
  games are totally unlimited. They might use extreme rules
  like Bullet Time and “switch off” certain core rules. For
  instance, the GM could ignore ST requirements for melee
  weapons to let elfin warriors wield greatswords one-handed;
  suspend The Rule of 16 (p. B349) so that masters of
  Hypnotic Hands, Pressure Points, etc., are invincible; or
  ignore the limits of Parrying Heavy Weapons and Parrying
  Unarmed (p. B376) so that knives and fists can parry the
  heftiest weapons with impunity.
  Strengths: Perfect for fans of anime, superhero comics,
  and movies filled with CGI effects. The GM can simply ignore
  a large number of rules that exist to make combat realistic,
  which lets the game run more quickly. Cartoon violence may
  make the violent martial-arts genre more acceptable to
  squeamish gamers and more suitable for younger players.
  Weaknesses: Even those who love action movies may find
  that the bent physics and weak resemblance to reality make
  it hard to identify with their characters. Those who prefer
  realistic gaming but are willing to try a cinematic game may
  dislike the fact that realistic PCs seem like comic relief. The
  lack of limits on the PCs’ capabilities can lead irresponsible
  players to assume that there are no limits on behavior, either,
  and things can rapidly grow sillier (or more offensive) than
  intended.
  HYBRID CAMPAIGNS
  Some genres lend themselves naturally to “hybrid” cam-
  paigns that mix cinematic and realistic elements. A hybrid
  can also result from a player-GM compromise on tastes and
  expectations. There are a number of ways to handle such
  games.
  The simplest is to view realism level as a sliding scale
  with Gritty Realism (p. 237) at one end and Over-the-Top (see
  above) at the other. In this picture, hybrid campaigns fall
  into the area in the middle, where Borderline Realism
  (pp. 237-238) shades into Larger-than-Life (see above). The
  advice given for those campaign styles is all that’s needed to
  run this type of hybrid. This is especially suitable for simple
  compromises and for dramatizations of real-world events
  (which are basically realistic but take some cinematic
  license to engage the audience).
  A more intricate approach is to treat “realistic” and “cin-
  ematic” as two distinct sets of building blocks for cam-
  paigns. Most campaigns use either one set or the other – but
  with care, a good GM can blend elements from both. Below
  are two examples; see The Secret Abilities Campaign (p. 240)
  for a third.
  CAMPAIGNS
  239
  Yes, these are bruises from fighting,
  and yes, I’m okay with that. 
  I am enlightened.
  – Narrator, Fight Club
  
  Amazing Abilities
  One option is to embed some of the unrealistic abilities
  from Cinematic Characters (p. 238) in a setting that obeys
  Combat Realism (pp. 237-238). Users can do the impossible,
  but without the protection from realistic consequences that
  would accompany their capabilities in a cinematic game
  world. A board-breaking karateka might know Power Blow
  . . . but if Harsh Realism for Unarmed Fighters (p. 124) is in
  effect, he must apply -2 to the ST of his off hand before 
  multiplying it and risks breaking his hand if he slugs an
  enemy in the skull. A super-fast martial artist might have
  Extra Attack or even Altered Time Rate . . . at the cost of
  Increased Consumption, Short Lifespan, and Skinny to
  reflect his sped-up metabolism.
  This approach suits conspiratorial settings that seem out-
  wardly realistic but where the Secret Masters suppress
  knowledge of aliens, Bigfoot, psi powers, and so forth. In
  such a campaign, super-soldier serum or the teachings of
  Shangri-La might permit ordinary humans to perform
  amazing feats in a coldly unforgiving world. Of course, 
  nothing says that a martial artist with uncanny abilities
  knows how they work, who wants to dissect him to figure him
  out, or what other secrets the universe holds.
  Other possibilities include “gritty” fantasy, post-
  apocalypse, and superhero games. Magic, weird radiation,
  etc., might give rise to unusual gifts without shoring up the
  human body’s weaknesses or making it any less painful to
  punch steel or bite dirt. A cinematic master might be capable
  of everything in the kung fu movies, but a knee in the groin
  can still make him let go and a crossbow bolt in the knee can
  still cripple him for life.
  Strengths: Excellent for the specialized genres noted
  above, and also a useful way to introduce cinematic martial
  arts into an existing game without overshadowing everything
  else. If the combat realism level is gritty but the abilities are
  over-the-top, this type of campaign can unify a divided gam-
  ing group: the realism aficionados get blood, guts, and pre-
  cisely customized swords and rifles, while the cinema buffs
  get cool powers.
  Weaknesses: The limits of a realistic backdrop can backfire
  if the players turn the PCs’ special abilities
  against a world that isn’t ready for them.
  If cinematic abilities continue to triumph
  because of great die rolls, the players are
  liable to forget the risks of failure – which
  may lead to dead PCs when the luck final-
  ly runs out. Not everyone is comfortable
  with the idea of supernatural forces lurk-
  ing in the real world.
  Rubber Realism
  On the other hand, the PCs might be
  constrained by Realistic Characters
  (pp. 236-237) in a world that operates
  according to Mad, Crazy Action (pp. 238-
  239). In that case, adept martial artists
  can do more not because they have unre-
  alistic abilities but because they’re good
  at realistic skills in a world where “real-
  ism” is bent or broken. For instance,
  being an expert at Acrobatics would
  allow amazing dodging and movement,
  and a sufficiently high level of Karate
  would permit many attacks with a Rapid
  Strike . . . but because nobody knows
  Flying Leap, Light Walk, or Lizard Climb,
  those stunts wouldn’t be possible.
  This kind of campaign is more suit-
  able than a purely cinematic one for sim-
  ulating modern action movies where the
  violence is unrealistic but mythical
  martial-arts abilities are unknown.
  Bullets don’t hurt much and explosions
  are slow enough to outrun, but martial
  arts are merely another weapon in the
  arsenal, alongside big guns, explosives,
  and speeding cars. Campaigns inspired
  by epic costume pieces (notably “sword
  and sandal” films) can also work this
  way. The heroes all have perfect teeth and
  240
  CAMPAIGNS
  The Secret Abilities Campaign
  A special type of hybrid campaign is one where the setting is no more real-
  istic than a cinematic one but the heroes initially have little or no access to spe-
  cial abilities. This isn’t because those advantages, skills, and techniques don’t
  exist, but because they’re emerging for the first time, reappearing after cen-
  turies of neglect, or controlled by masters who haven’t chosen to reveal them-
  selves to the world. Whatever cinematic abilities the GM allows, the PCs must
  discover most or all of them in play. Adventure possibilities include tracking
  down rumors and ancient writings, seeking a master, and dealing with the jeal-
  ousy of rivals and the fear of the less-gifted.
  The GM could even develop a Secret Abilities campaign slowly and artfully
  from an established realistic campaign. He should subtly feel out the players
  ahead of time to ensure that they’re open to such a shift, of course. Fantastic
  elements would show up first on the periphery, then as minor special abilities
  in the hands of foes, and so on. Ultimately, the PCs would end up with capa-
  bilities totally outside their original concepts.
  This isn’t the same as Amazing Abilities (see above). Both kinds of games
  feature Secret Masters and strange powers set against a backdrop that looks
  like our own world, but the heroes of a Secret Abilities story aren’t in a realis-
  tic setting; they’re simply unaware of what’s possible with suitable training, or
  that their grasp of the laws of the universe is incomplete. A common theme in
  this kind of tale is for one of the heroes to experience an event that should have
  been fatal – and would have been, in the real world – only to cheat death at the
  last moment by doing something he thought was impossible, or to awaken in
  the care of an ancient master or mysterious monks who reveal the truth.
  Strengths: In keeping with a lot of traditional martial-arts fiction, and there-
  fore with players’ expectations of how cinematic heroes start their careers. The
  GM can phase in cinematic abilities and rules gradually, so that he and the play-
  ers can learn at a reasonable pace. The GM has maximum control of the cine-
  matic options allowed, which helps prevent the worst abuses.
  Weaknesses: Proponents of cinematic games might get anxious waiting for
  things to get moving. If the cinematic truths are revealed suddenly in an overt-
  ly realistic game, players may resent the “bait and switch” nature of the cam-
  paign. On the other hand, if the GM is forthright with his plans, the players
  may look for clues and secret masters at every turn, and hoard character points
  for cinematic abilities instead of developing their characters.
  
  shiny armor, and never die from an infected wound, but 
  it’s all thanks to destiny, valor, or divine favor – not strange
  martial-arts abilities.
  Strengths: At the combat realism level of Larger-than-Life
  (p. 239), this type of game shares the strengths of Borderline
  Realism (p. 237-238); in fact, many roleplayers are willing to
  accept the realism level of Epic (p. 239) as long as the charac-
  ters are believable. This approach is handy for cinematic
  games where martial arts exist but aren’t supposed to be in
  the spotlight.
  Weaknesses: Devotees of historical fiction will find the lack
  of festering wounds and bad breath disappointing. Cinema
  enthusiasts might not see the point of allowing flashy forms of
  Move and Attack without cinematic techniques to remove the
  penalties, large numbers of Rapid Strikes without Trained by a
  Master to offset those penalties, and so on. Thus, rubber real-
  ism can further split a divided group if the GM isn’t diplomatic.
  CAMPAIGNS
  241
  CAMPAIGN SETTING
  After determining the realism level of his Martial Arts
  campaign – including its power level – the GM must choose
  its setting. This decision influences the types of martial
  artists suitable as PCs, the styles they can learn, and the
  kinds of adventures they’ll have.
  Tech Level
  Tech level (see pp. B511-514) is a crucial parameter in
  any setting but particularly important in a Martial Arts cam-
  paign. Technology – guns in particular – can diminish the
  importance of martial-arts skills or render them completely
  irrelevant!
  At TL0-3, portable firearms are nonexistent – or so weak
  as to be no more threatening than muscle-powered
  weapons. Melee weapons and low-tech missile weapons
  decide battles, making martial-arts skills vital for warriors.
  Cinematic abilities can make their wielders supreme!
  Metallic armor, especially in TL3, makes unarmed combat
  difficult . . . but armed styles take into account both wearing
  and defeating such armor.
  At TL4, guns begin to dominate the battlefield. Martial
  artists become less relevant; warfare is about massed fire-
  power more than individual skills. Armor remains heavy but
  grows less common as firearms advance, and is rare off the
  battlefield. Martial-arts skills remain important when the
  powder runs out, for missions where guns aren’t ideal (tak-
  ing prisoners, stealthy operations, etc.), and in civilian
  affrays.
  At TL5-8, increasingly efficient repeating firearms
  appear. Armor is rare, so unarmed fighters and melee
  weapons can in theory be effective . . . but guns are many
  times as lethal. To be relevant, martial artists need to pour
  far more points into their skills than do their gun-armed
  friends and foes. By TL6, even potent cinematic abilities
  are less useful than an automatic weapon and a point or
  two in Guns.
  At TL9+, realistic ultra-tech renders martial arts little
  more than a specialized niche. The trend might reverse in a
  space-opera universe, though. For instance, fighters might
  wear personal force screens that can stop bullets and beams
  from small arms, but which have little effect on relatively
  slow melee attacks. Or they might wield force swords and be
  able to parry incoming fire with impunity!
  Other Fantastic Abilities
  There’s no need to limit superhuman abilities to chi pow-
  ers and cinematic skills and techniques in a Martial Arts
  game. Gamers expect magic in fantasy and psionics in space
  opera. Regardless of genre, such elements are an excellent
  match for the myths associated with some styles. The GM
  should also consider the role of nonhumans and supernatu-
  ral events. These might be the campaign’s focus or inexplica-
  ble elements on its fringes, but both feature prominently in
  martial-arts legend. For details about the folklore and
  remarkable claims surrounding particular arts, see Chapter 5.
  Time and Place
  A campaign’s location and period largely determine the
  available martial arts. A style doesn’t exist until it’s founded
  . . . and often disappears after its heyday. For instance,
  heroes can’t learn Jeet Kune Do (pp. 164-165) in 
  19th-century China and will have difficulty finding training
  in Knightly Mounted Combat (pp. 175-177) in 20th-century
  America. These considerations needn’t be rigid, though – a
  globetrotting game can include styles from all over, a 
  time-travel campaign can feature the arts of any period, and
  the Infinite Worlds setting knows no limits!
  CLASSICAL GREECE
  AND ROME
  Classical Greece was home to some of the world’s oldest
  verifiable fighting arts. Those described in Martial Arts
  include Ancient Greek Boxing (p. 153), Pankration (pp. 188-
  189), and Wrestling (pp. 204-206). Treat Greek wrestling as
  Submission Wrestling (p. 205) – the styles are very similar.
  The most important martial arts of ancient Rome were
  Armatura (p. 150) and Armatura Equestris (p. 150), devel-
  oped for the legions. Rome had relatively few native
  unarmed arts. Gladiators and dedicated legionaries tended
  to adopt Greek styles of barehanded fighting.
  When you get into a fight, 
  everybody reacts differently.
  – Bruce Lee
  
  An especially appropriate theme for the Classical cam-
  paign is The Contender (p. 250), with the PCs playing
  Olympic wrestlers, boxers, and pankrationists. Greek fight-
  ers such as Milo of Croton (p. 21) and Theogenes of Thasos
  (p. 21) were professionals, fighting full-time. Theogenes
  fought so often that he lacked the time to earn his keep any
  other way! Between Olympic events, athletes toured, com-
  peting for prize money in regional matches. The Olympics
  were the season’s peak event. Roman gladiators suit this
  theme equally well – pampered, massaged, fed, and trained
  to fight. The call of the arena seduced free men and women,
  even nobles, to take up the trident and net.
  Another excellent theme is War is Hell (p. 248). Warrior
  PCs might be elite members of Alexander’s Companions,
  Spartan hoplites, or Roman legionaries. Appropriate Greek
  styles are Hoplomachia (pp. 161-162) for hoplites and Heroic
  Spear Fighting (p. 196) for the early Greek warriors of
  Homeric epic. Armatura and Armatura Equestris suit
  Roman troops.
  The Quest (p. 247) is almost required for a mythic Greek
  game. The Gods are always sending strapping young heroes
  (sometimes demigods) on quests that demand much sword-
  play, spear combat, and wrestling. On completing their
  quest, the heroes usually end up in charge. This sets the stage
  for a mythic War is Hell game, as the heroes fight to expand
  – or merely to keep – their kingdom.
  HISTORICAL CHINA
  No place is more storied in the martial arts than China. In
  fact, China’s influence is so profound that many people asso-
  ciate the term “martial arts” exclusively with Asian arts – and
  sometimes specifically with Chinese ones.
  Spring and Autumn
  The period known as “Spring and Autumn” lasted from
  722 to 481 B.C. It was during this time that the xia lived (see
  Xia, p. 8). The xia are a Martial Arts campaign waiting to
  happen. Many modern martial-arts legends originate in tales
  of the xia.
  The xia confront bandits, corrupt bureaucrats, evil war-
  lords, and injustice in general. In a magical campaign, they
  face the supernatural as well. The Vigilante Justice (p. 249)
  theme is tailor-made for them – they aren’t government offi-
  cials but self-motivated do-gooders bent on justice, not law!
  The period of the xia is rather short, but there’s no good rea-
  son not to extend it. Later xia might confront Mongol
  invaders, fight the Manchu, and stand side-by-side with
  Shaolin monks.
  Virtually any kung fu style is appropriate for xia. In a cin-
  ematic game, any Chinese style works, no matter how
  anachronistic. Cinematic Wushu (pp. 206-207) is especially
  suitable. It’s a 20th-century style, but actors in wuxia movies
  are frequently Wushu practitioners.
  Campaigns featuring xia work best if using the realism
  level described for Epic (p. 239) or even Over-the-Top (p. 239),
  as legends of the xia emphasize abilities far beyond the con-
  straints of reality. Almost any power level can work if cine-
  matic abilities exist – although players familiar with the
  genre might be disappointed if the game lacks wire-work,
  invincible swordsmen, and magic, all of which drive up the
  power level. Even in games that lack cinematic abilities, the
  PCs should firmly believe in such things and expect and
  respect the supernatural.
  Medieval China
  “Medieval China” describes a long period for a huge
  country. This can be daunting to those unfamiliar with
  Chinese history, but the necessary research is worth the
  effort – frequent warfare, secret societies, invasion, and
  rebellion make it a time of high adventure! Many kung fu
  styles claim origins in this era, too, so PCs can interact direct-
  ly with style founders . . . or be them, in a high-powered
  game. Finally, the Shaolin Temple is at the height of its
  power during this age.
  Any kung fu style would fit a game set in medieval China.
  Styles with a verifiable existence during the early years, such
  as Shaolin Kung Fu (p. 194), are appropriate throughout the
  period. Later styles, such as Pak Hok (p. 188) and T’ai Chi
  Chuan (pp. 200-201), claim earlier origins and wouldn’t be
  out of place. As always, Wushu (pp. 206-207) works well in a
  cinematic campaign thanks to its appearance in modern
  films.
  Modern China
  Modern China is fertile ground for adventure – especially
  during the tail end of the 19th century and opening decades
  of the 20th.
  From 1899 until 1901, the Boxer Rebellion raged. Those
  events make an excellent backdrop for confrontations
  between martial arts and modern firepower. A campaign
  could focus on waves of sword-wielding kung fu artists ver-
  sus small groups of heroic Japanese, Americans, and
  Europeans . . . or on heroic Chinese martial artists rallying
  their brethren against colonial oppressors!
  A down side to this kind of campaign is that the Boxer
  Rebellion demonstrated just how ineffective the martial arts
  are against guns and disciplined troops. This might still be
  true in a game with cinematic abilities – Hypnotic Hands
  and Power Blow won’t stop bullets. Heroes with unrealisti-
  cally high Dodge scores can handle gunfire routinely, but this
  unbalances melee combat. The Rebellion is a great back-
  ground for a Secret Abilities campaign (p. 240), though: per-
  haps the Boxers had special abilities, just not enough masters
  to defeat the numbers and technology of the colonial powers.
  In the decades after the Boxer Rebellion and before
  World War II, China is a land in chaos, with enemies inside
  and out. Foreigners and Chinese can adventure side-by-side.
  In the 1920s and 1930s, feuding warlords, White Russian
  refugees, Western adventurers, encroaching Japanese, and a
  Communist revolution provide an explosive mix . . . all in a
  land steeped in martial arts. Many period-piece movies are
  set in this time, including the Once Upon a Time in China
  series and Bruce Lee’s The Chinese Connection.
  William Fairbairn’s (pp. 23-24) special police unit in
  Shanghai – constantly involved in tricky situations and fights
  (armed and unarmed), and with a colorful character in
  charge – is a great employer for PCs in this period. It’s also a
  good backdrop for a high-realism campaign. Fairbairn him-
  self suffered serious injury using his martial arts against
  troublemakers!
  After WWII, Communist China suppressed the associa-
  tion of superhuman powers with the martial arts. Chinese
  242
  CAMPAIGNS
  
  movies kept the myths alive, however. These were often peri-
  od pieces set in the era of the xia or the Shaolin Temple.
  While many were made in pre-unification Hong Kong, epics
  such as Crouching Tiger, Hidden Dragon and Hero are more
  recent, and highly regarded as wuxia. Actors in these movies
  practice Wushu (pp. 206-207), which is China’s official art,
  making it suitable for modern Chinese martial artists even
  in a cinematic game. It is still possible to train in all other
  forms of kung fu in China, however.
  HISTORICAL JAPAN
  Japan has a rich martial-arts history. Like China, it’s
  often synonymous with “martial arts” in the popular mind.
  Two groups of historical Japanese martial artists – the
  samurai and the ninja – are the subject of a large proportion
  of martial-arts legend and fiction.
  The “Samurai Era” 
  and Tokugawa Era
  The samurai were central to Japanese martial arts 
  from about 800 A.D. until abolished as a class in the 19th
  century. Along with low-born hopefuls, they fought in the
  constant conflicts that first fractured and then eventually
  unified Japan. They rose to prominence when the Yamato
  government began to rely on local nobles to provide mount-
  ed archers, and remained important until around 1600,
  when Japan was unified under the Tokugawa Shogunate.
  After that, battle became rare but the martial arts didn’t
  decline in popularity or social importance.
  This entire period is flush with martial arts. Armed styles
  prevail – taking on armored opponents barehanded is fool-
  hardy if there are weapons handy! Appropriate styles include
  Bajutsu (p. 151), Bojutsu (p. 192), Iaijutsu (p. 174), Kenjutsu
  (pp. 173-175), Kusarijutsu (p. 179), Kusarigamajutsu
  (p. 180), Kyujutsu (pp. 179-180), Naginatajutsu (p. 186), and
  Sojutsu (pp. 197-198). Shurikenjutsu (pp. 195-197) also
  exists, and grows useful later in the period, when armor
  heavy enough to shrug off shuriken isn’t worn routinely. An
  early samurai would be an expert in the bow and regard it as
  the central weapon of combat. Later samurai would empha-
  size the sword, spear, and polearms – but the bow remains in
  use even after the advent of the gun. On Okinawa, the main
  weapon style is Kobujutsu (p. 178), although samurai from
  the mainland and those educated in China practice styles
  from abroad, too.
  Unarmed styles include Aikijutsu (p. 149) and Jujutsu
  (pp. 166-168). Sumo (pp. 198-199) is mainly a sport . . . but
  some sources have lords hiring sumotori as bodyguards,
  implying that sumo hadn’t yet lost all combat utility. Te
  (pp. 169-170) is the dominant barehanded style on
  Okinawa, but frequent contact with China makes kung fu
  styles another possibility.
  Ninja participated in the conflicts of this era. Ninja char-
  acters should be trained in Taijutsu (pp. 202-203) and some
  of the armed styles listed for samurai. For more on the
  topic, see Ninja and Ninjutsu (p. 202).
  The Tokugawa era marked an end to the continuous con-
  flict. With more students and instructors surviving to pass
  on their skills, the period saw an explosion in the number of
  ryuha. Some detractors point out that this was partly
  because ineffective styles survived – styles that in an earlier
  era would have gotten their proponents killed in combat
  before they could pass on their art. On the other hand,
  Musashi Miyamoto (pp. 21-22) was active at this time and
  founded Niten Ichi Ryu (see Nito Ryu, pp. 174-175) . . . and
  the founder of Jojutsu (p. 192) created his style after an
  encounter with Musashi. Both styles are quite effective!
  What’s certain is that a game set in this age would feature
  all of the earlier styles plus those developed during the
  peaceful times that followed. Many of these arts suit any
  Japanese campaign set before the modern era. Some exist
  even today, although -do forms are more common than -
  jutsu forms.
  Most Japanese movies and manga depicting these peri-
  ods boast cinematic abilities and extreme bloodshed. A cam-
  paign inspired by this fiction would be an excellent hybrid
  (see Hybrid Campaigns, pp. 239-241). It might adopt such
  realistic rules as Harsh Realism for Unarmed Fighters
  (p. 124) and Realistic Injury (pp. 136-139) (Extreme
  Dismemberment in particular!), but depict reality as
  described for Borderline Realism (pp. 237-238) or even Epic
  (p. 239) games. Especially appropriate themes are The Quest
  (p. 247) and War is Hell (p. 248).
  Running historically accurate Japanese characters can
  be challenging for non-Japanese. However, such anime as
  Samurai Champloo simply transplant modern attitudes into
  the era to facilitate the story. The GM might wish to do the
  same.
  Modern Japan
  After World War II, the American occupiers initially
  banned most martial arts. The ban didn’t hold up for long,
  though. American servicemen often trained enthusiastically,
  and many went on to found dojos upon returning to the U.S.
  The most famous modern art was probably Karate (pp. 169-
  172), introduced into Japan prior to WWII by Okinawan
  instructors.
  Today, Karate (especially Shotokan and Kyokushin),
  Aikido (p. 149), and Taijutsu (pp. 202-203) are all popular. In
  addition, -do forms of most historical combat arts still exist
  and some schools keep ancient traditions alive. Yabusame
  (p. 181) practitioners demonstrate their art on holidays.
  Japanese participation in Sumo (pp. 198-199) is declining
  but the sport is still wildly popular – and a steady influx of
  foreign-born wrestlers competing at the top levels keeps
  interest high. Such sports as Judo (p. 166), Kendo (p. 175),
  and Kyudo (p. 181) are common activities for Japanese
  teenagers, although people of all ages participate.
  In late 20th- and early 21st-century Japan, mixed martial
  arts (p. 189) are becoming more popular. There are a num-
  ber of competing “brands” or leagues, and fighters often
  compete in several of these. MMA and kickboxing matches
  are major television events, and participants endorse prod-
  ucts and make TV appearances quite unrelated to fighting!
  A modern Japanese campaign might have any realism
  level and any theme. Recent Japanese fiction runs the
  gamut from Gritty Realism (p. 237) to Over-the-Top (p. 239).
  Modern Japan is relatively safe, though, making the “Street”
  lens (p. 145) on styles inappropriate and the courses repre-
  sented by “Self-Defense” (p. 145) vanishingly rare. Even the
  riot police train in formal, traditional styles.
  CAMPAIGNS
  243
  
  POST-CLASSICAL EUROPE
  The uninformed often regard Europe as the poor cousin
  of the martial-arts world – a latecomer that only developed
  true “martial arts” in the 19th and 20th centuries. In fact,
  Europe has always had martial-arts styles, taught by dedicat-
  ed instructors who handed down their art from generation to
  generation. Few ancient arts survived because, unlike China
  and Japan, Europe lacked long periods of peace during which
  to preserve them. European styles had to adapt continuously
  to the changing face of combat!
  Medieval Europe
  The dominant battlefield styles for a medieval European
  campaign are mounted. Most important is Knightly Mounted
  Combat (pp. 175-177), the version depending on the period.
  The style detailed under Early Medieval is suitable until the
  12th century – and practitioners might coexist with Byzantine
  cavalry trained in Armatura Equestris (p. 150). The variety
  under High Medieval is appropriate for the 12th through 14th
  centuries. Late Medieval describes the form that accompanied
  the adoption of plate armor by knights, and suits the end of
  the Middle Ages. In Outremer, the Crusaders’ Muslim foes
  and local allies practice Furusiyya (pp. 159-161). Finally,
  while Bajutsu (p. 151) is Japanese, Christian and Islamic
  knights alike have equivalent training.
  On foot, styles used by both nobles and commoners
  include Sword-and-Shield Fighting (pp. 199-200) and Sword-
  and-Buckler Play (p. 199). The latter is especially popular
  with wealthy commoners, students, and city-dwelling young
  men of all kinds. Dagger Fighting (p. 155) suits both students
  and toughs seeking an edge in a brawl, as well as soldiers and
  knights skilled with their backup weapon. The “ultimate”
  commoner art is Masters of Defence Weapon Training
  (p. 182). Its exponents train in a wide variety of weapons for
  both the battlefield and individual combat.
  Primarily unarmed martial arts are also in wide use.
  Wrestling is a popular pastime, and Combat Wrestling
  (pp. 204-205) is a serious combative art. Striking styles
  include a form of Bare-Knuckle Boxing (p. 153) – but in this
  period, the Boxing skill is out of fashion. Bouts use Brawling,
  and fighters who duck, parry, or avoid attacks are seen as
  cowardly and weak. The object is to batter your rival with
  punches before his blows stop you in your tracks! Complex
  striking arts such as Pankration (pp. 188-189) are all but lost
  thanks to the decline of a structured system of support for
  professional athletes, Christian denunciations of gladiatorial
  games, and the simple fact that wrestling is more practical
  against armored foes.
  Many themes suit the era. The Quest (p. 247) might involve
  efforts to reclaim the Holy Lands – or the Holy Grail. War Is
  Hell (p. 248) is ideal for any of the Crusades or many
  European wars. Wanted! (p. 249) is of course perfect for a
  campaign inspired by Robin Hood. The Contender (p. 250)
  works well in later eras, with the PCs as a group of knights
  errant or wandering Masters of Defence, fighting at tourneys
  and displaying their skills.
  Renaissance Europe
  Contrary to common belief, guns didn’t instantly render
  armor obsolete and in doing so inspire the replacement of
  heavy, armor-defeating weapons with lighter blades. That’s a
  rough summary of about 400 years of evolution, much of it
  post-Renaissance – that is, all of TL4. Guns, armor, and fenc-
  ing coexisted for centuries. Civilians carried fencing weapons;
  soldiers used firearms and polearms, and armor grew heavier
  in response. The rapier was for the street and private griev-
  ances; halberd, pike, and two-handed sword dominated
  melees in the affairs of kings. Thus, many medieval European
  arts survived well into the Renaissance.
  Most civilians and others who seek “self-defense” or duel-
  ing arts will study fencing in a Renaissance campaign. The
  rapier appears early on, with the Italian School (pp. 156-157).
  Proponents of Masters of Defence Weapon Training (p. 182),
  notably George Silver (p. 22), still teach their art but are los-
  ing out to the more fashionable and popular rapier.
  On the battlefield, soldiers wield halberds using a style
  almost identical to Chinese Horse-Cutter Fighting (p. 187), or
  use glaives and bills with Glaive Fighting (p. 187). Knights
  and infantry with two-handed swords train at Longsword
  Fighting (pp. 180-182). Foot soldiers, knights, and civilians
  alike learn Dagger Fighting (p. 155) and Shortsword Fighting
  (p. 195). Across the Mediterranean, the Mamluks of Egypt
  still practice Furusiyya (pp. 159-161) – and continue to do so
  until defeated by Napoleon in 1796!
  Unarmed arts are virtually unchanged from the Middle
  Ages. The main combative style is Combat Wrestling (pp. 204-
  205). Brutal Bare-Knuckle Boxing (p. 153) matches in front of
  wagering crowds remain common in urban and rural areas
  alike. Armed styles typically include the grappling, throwing,
  and locking skills needed to defeat an armed and often
  armored adversary.
  Swashbuckling Europe
  The rise of the state and the disappearance of the armored
  knight didn’t bring about a decline in the martial arts. In fact,
  they rang in an era of legendary swordsmen – although the
  most famous of these lived in later works of fiction! Martial
  arts suitable for a post-Renaissance campaign vary with the
  chosen time period, but fencing styles are without a doubt the
  most important of these.
  In a swashbuckling campaign, both arms and armor are
  light. Rapiers – and later, smallswords – are as much a fash-
  ion accessory as a means of personal violence. Armor is rare
  aside from ornate dress suits; even on the battlefield, only
  such specialized troops as cuirassiers (heavy cavalry
  equipped with swords, breastplates, and helmets) wear it.
  In warfare, guns dominate but skirmishing with blades
  continues. Military men favor heavy cut-and-thrust 
  swords over fencing weapons for this purpose. Despite the
  much-touted “primacy of the point,” they still prefer a blade
  heavy enough to whack through helmets, shakos, and skulls
  244
  CAMPAIGNS
  
  during wartime – and substantial enough to counter bayonets
  and the exotic weapons of hostile natives. Officers learn to
  use fencing weapons for duels and heavier swords for battle,
  and carry the weapon appropriate to the situation. A cavalry
  saber would be decidedly gauche at court, while a smallsword
  isn’t ideal when facing charging cuirassiers.
  Two groups in this period lend themselves especially well
  to a Martial Arts game: Musketeers and pirates. The
  Musketeers are an elite force of mounted infantry who serve
  the king of France. Early on, they use the rapier, cloak, and
  main-gauche more than their namesake weapon. After 1720
  or so they favor the smallsword, but still prefer the blade to
  the gun for settling affairs of honor. The Italian School
  (pp. 156-157), Transitional French School (pp. 158-159), and
  French Smallsword (p. 159) are ideal styles for Musketeers
  and their rivals. La Verdadera Destreza (p. 158) fits Spanish-
  centered games – and Spanish-trained rivals of PCs in the
  King’s service! Unarmed combat rarely figures in accounts of
  the period, but low-born fighters using Bare-Knuckle Boxing
  (p. 153), Dagger Fighting (p. 155), and possibly Savate
  (pp. 193-194) can keep the game from becoming too sword-
  centered.
  Some pirates fence, too – especially fictional ones such as
  Captain Blood (from the books by Rafael Sabatini) and the
  heroes of Errol Flynn movies. They don’t have “chi abilities”
  but do display aptitude beyond that of normal men.
  Historical pirates would more likely be of common birth and
  have little opportunity to learn fencing. Appropriate styles for
  them include Bare-Knuckle Boxing, Dagger Fighting, and
  Combat Wrestling (pp. 204-205). Pirates range far and wide,
  and might encounter slaves adept at Capoeira (pp. 153-154),
  experts at African Stickfighting (p. 157), dismounted
  Mamluks using Furusiyya (pp. 159-161) to protect their fleet,
  Indonesians who practice Pentjak Silat (pp. 189-191), and so
  on. In a sufficiently cinematic (or well-traveled historical)
  campaign, practitioners of all of these styles might find their
  way to the Spanish Main!
  Swashbuckling almost demands a low realism level and a
  highly cinematic treatment; see Borderline Realism (pp. 237-
  238) and Epic (p. 239). However, it’s perfectly valid to run an
  extremely realistic game set in this period, especially one cen-
  tered on pirates or historical European wars. Almost any
  theme can work. Wanted! (p. 249) and The Quest (p. 247) suit
  the freebooting character of pirates. A Musketeer-style cam-
  paign works better with War is Hell (p. 248) – or even Vigilante
  Justice (p. 249), in the spirit of the Scarlet Pimpernel.
  FANTASY
  Fantasy games generally take place in pre-gunpowder
  environments where muscle-powered melee and missile
  weapons dominate combat. Such settings are ideal for the
  martial arts! Warriors who depend on their brawn for war-
  fare, monster-slaying, and questing after treasure will almost
  certainly develop advanced fighting styles.
  Two fictional styles tailored to fantasy campaigns appear in
  Chapter 5: Death Fist (pp. 207-208) is exclusively for mages,
  while Dragon-Man Kung Fu (pp. 208-209) can grant almost
  anyone “magical” powers. Many historical styles work as well.
  Traditional fantasy often takes place in a setting heavily 
  influenced by medieval Europe, so such medieval arts as
  Knightly Mounted Combat (pp. 175-177) and Quarterstaff
  (pp. 192-193) are appropriate. Well-rounded fighters should
  look at Masters of Defence Weapon Training (p. 182) – espe-
  cially if the GM allows the Weapon Master advantage. For
  barehanded fantasy warriors, Pankration (pp. 188-189) is an
  excellent choice. In a game world inspired by historical Asia,
  the many Asian styles that trace their origins to ancient times
  are similarly useful.
  Kalaripayit (pp. 168-169) and Pentjak Silat (pp. 189-191)
  are particularly well-suited to a game that features magic.
  The former has spell-like mantras, while practitioners of the
  latter ascribe magical powers to the kris. If magic is a real,
  active force, then it would greatly enhance either art.
  Most fantasy campaigns include magic use, so cinematic
  martial-arts abilities aren’t likely to pose much of a threat to
  game balance – in fact, they can actually strengthen it. If fight-
  ers can use Power Blow and Flying Leap, then their players
  are less likely to feel overwhelmed by mages who can fly and
  toss fireballs. A blend of some cinematic feats with generally
  realistic combat rules can also be fun, however; see Hybrid
  Campaigns (pp. 239-241). Any theme can work – “fantasy” is
  a broad category – but of course The Quest (p. 247) is a time-
  honored tradition.
  Yrth
  The land of Yrth, detailed in GURPS Banestorm, is an
  excellent setting for a Martial Arts campaign. Any medieval
  European or Islamic style might be present! Particularly suit-
  able are Furusiyya (pp. 159-161), the High Medieval variation
  on Knightly Mounted Combat (pp. 175-177), Longsword
  Fighting (pp. 180-182), Masters of Defence Weapon Training
  (p. 182), Pollaxe Fighting (p. 191), and Quarterstaff (pp. 192-
  193) – and Viking Spear Fighting (p. 197), at least in the
  Nomad Lands.
  There’s plenty of room for regional specialties, too.
  Classical arts, notably Ancient Greek Boxing (p. 153) and
  Pankration (pp. 188-189), might reemerge in Megalan arena
  combat. In Araterre, such fencing styles as the Italian School
  (p. 156), La Verdadera Destreza (p. 158), and Transitional
  French School (pp. 156-157) are suitable – albeit with less
  emphasis on lighter blades and more on swords capable of
  defeating armored opponents. Sahud is likely home to many
  Asian arts, including most kung fu styles and Japanese martial
  arts; Okinawan immigrants might even have brought Te
  (pp. 169-170). In any of these regions, the presence of multiple
  Earthly styles makes unusual combinations probable. Sahud
  in particular is a confusing blend of cultures and doubtless
  home to a bewildering variety of “fusion” martial arts.
  Later banestorms could convey students and instructors
  of more recent styles to Yrth. Bear in mind that Yrth is a com-
  bative place, though. Styles intended for fitness, artistic dis-
  play, or theatrics in a modern, gun-dominated environment
  simply won’t do as well as arts that employ melee weapons
  and teach techniques useful in combat.
  On top of all this, nonhumans on Yrth surely brought their
  styles; see Smasha (p. 210) for an example. And of course
  human and nonhuman systems will adapt, blend, and cross-
  train in strange ways, leading to variations unheard of on
  Earth. A campaign set outside Sahud is unlikely to fit the
  “kung fu movie” stereotype, but martial artists have a role to
  play in any combat-heavy game – or even in one that features
  tournaments and the accompanying courtly intrigues.
  CAMPAIGNS
  245
  
  MODERN DAY
  Modern-day games are among the easiest to stage. The
  players are intimately familiar with the setting. Adventure
  ideas are no further away than the daily news. Best of all,
  such campaigns can take advantage of an incredibly broad
  range of martial arts.
  For one thing, many of the traditional arts described in
  Historical and Modern Styles (pp. 148-207) exist in the mod-
  ern world. Styles formerly available only in remote locales or
  to select students have spread worldwide; usually, the sole
  requirement for training is a monthly fee. As well, recreation-
  ists have restored many “lost” styles using the original manu-
  als, making it possible to study Longsword Fighting (p. 180-
  182), historical fencing (pp. 156-159), and so on. The Internet
  gives anyone with access to a computer the ability to look at
  reproductions of priceless historical documents that would
  otherwise be available only to a lucky few scholars – and these
  are often digital copies of the originals, not merely text.
  There’s also a wealth of new martial arts to choose from.
  Styles such as Aikido (p. 149), Brazilian Jiu-jitsu (pp. 167-
  168), Jeet Kune Do (pp. 164-165), Kajukenbo (p. 168), Karate
  (p. 183), Krav Maga (p. 185), Sambo (pp. 169-172), and Tae
  Kwon Do (p. 200), to name but a few, are 20th-century cre-
  ations, even if they claim older roots. Mixed martial arts
  (p. 189) are exciting, popular, and an entirely modern inven-
  tion – one that owes a lot to no-holds-barred spectacles
  broadcast on TV.
  A few of the style lenses under Choosing a Style (pp. 144-
  146) are especially appropriate in a modern-day game. The
  “Police” lens suits cops, from patrolmen to SWAT. “Self-
  Defense” is common for those learning quick-and-dirty tech-
  niques to protect themselves from crime. And “Trained by a
  Fraud” fits both McDojo students and store-bought black
  belts.
  The main challenge in a modern-day game is “gun con-
  trol.” Dozens of points spent on martial-arts abilities can
  become irrelevant in a single burst of gunfire. The law is
  another obstacle: except in a cinematic game, punches and
  kicks that can incapacitate a foe can land you in prison. For
  more on this topic, see Martial Arts and the Law (pp. 26-27).
  Many themes can work in a present-day campaign, but
  today’s focus on the martial arts as sports makes The
  Contender (p. 250) especially fitting. To Serve and Protect
  (pp. 247-248) and Vigilante Justice (p. 249) are good for action-
  movie games. Any realism level is appropriate, but because
  players in modern-day games often expect something between
  Gritty Realism (p. 237) and Moderate Realism (p. 247), the GM
  should introduce cinematic elements with care.
  POST-APOCALYPSE
  Most post-apocalypse stories are set after a nuclear war,
  natural disaster (asteroid strikes and plagues are popular), or
  supernatural force (often zombies) has devastated the world.
  Civilization has collapsed or is rapidly disintegrating, and its
  comforts – from automobiles to mass-produced ammunition
  – are in short supply. In some scenarios, tiny pockets of sur-
  vivors carve out lives in the aftermath. In others, warlords
  forge empires from the ruins.
  This is an ideal backdrop for a Martial Arts game,
  because the GM can inject limited doses of the technology
  that makes modern-day campaigns amusing – snazzy
  firearms, explosives, etc. – into a world where melee combat
  enjoys the same importance that it has in a pre-gunpowder
  setting. Ammo and spare parts for high-tech gear are in
  short supply . . . but fists, feet, sticks, and knives always
  work. Any art that suits a modern-day game might survive.
  The “Military,” “Street,” and “Self-Defense” style lenses
  (pp. 144-145) are all useful for stripping down martial arts
  for combat. If there are unusual threats to confront, com-
  pletely new styles might emerge – just imagine one built
  around weapons and tactics effective against zombies!
  The role of martial artists can vary. If the GM emphasizes
  “might makes right,” then a pocket empire might grow
  around a martial-arts master and his loyal disciples – or a
  warlord could employ such fighters to train his army.
  Alternatively, martial artists might go into voluntary exile,
  shunning the shattered world to concentrate on their art.
  Hermit masters are a trope of martial-arts fiction. Campy,
  mutant-filled worlds are another post-apocalypse staple, and
  equally suitable for a Martial Arts game. Mutants might
  roam the hostile wastelands, and ultra-tech weapons could go
  hand-in-hand with kung fu. “Chi powers” could even be
  mutant powers!
  The Quest (p. 247) is the most important theme, and typi-
  cally involves the search for some lost bit of technology that
  can save the world. However, War is Hell (p. 248) works for
  soldiers serving a warlord, and The Contender (p. 250) suits a
  game centered on B-movie death sports played out in the
  ruins of civilization. Any realism level is possible. Mutants, or
  sword-wielding barbarians fighting sorcerers in the ruins, call
  for Epic (p. 239) or Over-the-Top (p. 239). For survivors eking
  out an existence in an unfriendly world, though, Gritty
  Realism (p. 237) is ideal.
  SCIENCE FICTION
  Most science-fiction settings fall into one of two broad cat-
  egories: “space opera” or “hard science.”
  Space Opera
  The space-opera genre is sometimes called “sword and
  blaster” for a reason: warriors of the future seem to rely as
  much on a trusty blade – be it a force sword or a material one
  – as on ultra-tech firearms. Stories often feature low-tech
  natives who have their own forms of swordsmanship for
  these futuristic fencers to contend with. All of this is ideal for
  a Martial Arts game!
  If martial artists use force swords, then they’re likely to
  study Precognitive Parry (p. 62) in order to deflect energy
  bolts. This puts swordsmanship and marksmanship on an
  equal footing. Force-Swordsmanship (p. 209) is tailor-made
  for such games. With sufficient investment in a chi-powered
  Innate Attack (pp. 45-47), a cinematic fighter can rival guns
  and missiles even at a distance.
  Alternatively, swordsmen might prefer traditional blades,
  or ultra-tech upgrades such as vibroblades and monomolecu-
  lar swords. The best-known example of this appears in Frank
  Herbert’s Dune, where force shields can stop swift blows but
  not a knife pushed slowly through the screen. In such a set-
  ting, Dagger Fighting (p. 155) and Combat Wrestling
  (pp. 204-205) – or even a renamed version of Jujutsu (pp. 166-
  168) – would be de rigueur for a serious martial artist.
  246
  CAMPAIGNS
  
  Any martial-arts style can work in a space-opera game.
  The more it relies on weapons amenable to ultra-tech
  improvements – whips become monowire whips, katanas
  become vibro-katanas, three-part staffs become flexible stun
  batons, etc. – the better. Unarmed arts also suit the genre,
  especially in swashbuckling games where two-fisted heroes
  fight bug-eyed monsters on any terms possible.
  Campaign themes for space-opera games include The
  Quest (p. 247), with the heroes seeking an elusive force-
  sword master; War is Hell (p. 248), for soldiers fighting for or
  against the Galactic Emperor’s legions; and Warriors of the
  Night (pp. 249-250), for ultra-tech ninja using cinematic abil-
  ities against aliens. Realism is strictly optional. Any of the
  lenses under Mad, Crazy Action (pp. 238-239) is appropriate.
  Hard Science
  Hard-science games are set in a future with little or no
  “superscience.” Blasters, bug-eyed aliens, faster-than-light
  travel, psionics, etc., are rare or nonexistent. Stories often
  take place entirely on near-future Earth or within the solar
  system.
  This kind of campaign faces the same challenges as a
  modern-day game – notably, the superiority of guns to
  muscle-powered combat – without the up side of player
  familiarity with the game world. Still, hard science fiction
  can be a good place for the martial arts. Indeed, if the cam-
  paign is set in Earth’s future, it would be difficult to justify
  the demise of the martial arts when they’ve already survived
  millennia of technological change!
  Appropriate styles are as described for Modern Day
  (p. 246). Moreover, if martial-arts history is anything to go
  by, new needs will inspire fresh styles. For instance, if peo-
  ple live and fight in low gravity, they’ll invent fighting arts
  for their environment. This is the logic behind Freefighting
  (p. 210), which doesn’t require superscience or chi powers
  to be effective.
  Such a campaign can still feature cinematic abilities.
  Consider William Gibson’s near-future tale Neuromancer,
  which includes a ninja who seems to possess the Blind
  Fighting skill. Cybernetic implants, biotech, and advanced
  physical and psychological conditioning can all provide
  believable explanations.
  Realism levels and campaign themes are as for Modern
  Day. Hard science generally favors a realistic game. The GM
  shouldn’t feel bound by this, however.
  CAMPAIGNS
  247
  CAMPAIGN THEMES
  After choosing a realism level and setting for his cam-
  paign, the GM should lend some thought to its tone. What’s
  its focal point, if any? What sorts of roles do the PCs play?
  In short, what’s the theme?
  Some campaigns have no real theme. The GM creates
  the setting, the players generate their characters, and then
  the heroes drift from adventure to adventure. This tends to
  give the campaign an amorphous feeling unless the GM is
  exceptionally skilled at thinking on his feet or the players
  really want a mindless slugfest (which can be fun . . . for a
  while).
  The gaming group that feels that a campaign should be
  like a collaborative novel (or series), with some sort of cen-
  tral plot, will probably prefer something more focused. The
  GM can either choose a theme based on the PCs his players
  create or select it beforehand and restrict the character
  types to those that fit. Below are several possibilities.
  The Quest
  The PCs are on a quest. They might be seeking enlight-
  enment, tracking down a lost artifact, searching for rare
  materials needed for high-quality weapons, or working
  toward a laudable goal. Appropriate goals include rescuing
  a prisoner, freeing a people from bondage, defeating a con-
  spiracy or an enemy, and bringing peace to the land. A com-
  mon quest in cheesy kung fu movies is recovering “lost”
  knowledge – typically a miraculous cure for a disease, a
  tome of all wisdom, or forgotten martial-arts secrets.
  The advantage of such a campaign is that the PCs have an
  excuse to wander around, looking into every mystery. Still,
  the GM should ensure some kind of steady progress or the
  quest will seem never-ending. A wide-ranging adventuring
  party can run into martial artists from around the world dur-
  ing their search. Some might be allies; others, enemies.
  Either way, such encounters enable the GM to introduce new
  martial-arts styles for the seekers to learn or contend with.
  Enemies might be genuine adversaries, but rivals for the
  quest object – willing to sabotage the heroes’ progress to get
  ahead – are equally fitting.
  Star Wars depicts a quest – the heroes seek to defeat a
  galactic empire – and includes a young martial-arts student
  seeking a master (see The Quest for the Master, p. 248). The
  Swordsman II is another example, the goal being to stop a
  power-crazed martial artist from becoming completely
  invincible. The Silent Flute is a classic quest: a martial artist
  seeks the ultimate truth, aided by an enigmatic guide!
  Don’t overlook the quest for revenge. The PCs might seek
  the enemy who killed their master, betrayed them in the
  past, or otherwise wronged them and theirs. Revenge quests
  are common in martial-arts fiction. The Count of Monte
  Cristo is of course a classic – but there are plenty of excellent
  modern tales, such as Kill Bill and Lady Snowblood.
  To Serve and Protect
  The PCs are law enforcers, private eyes, or security forces.
  Historical games can have them as cops in 1920s Shanghai,
  19th-century San Francisco . . . or Tokugawa Japan. The fur-
  ther back one goes, the less significant the role of firearms
  and the greater the importance of the martial arts. Modern
  campaigns have all of their usual drawbacks: the presence of
  guns and the relative scarcity of situations where martial-arts
  abilities make a difference. Even on the street, Driving, Guns,
  and social skills are more valuable than martial-arts training
  – at least in a realistic game.
  
  To make the martial arts central to a mod-
  ern police game requires cinematic combat
  realism, even if cinematic abilities don’t exist.
  “Buddy movies” regularly feature martial
  artists – usually one of an odd-couple detective
  duo – who use their arts to augment their
  shooting skills or who actually prefer fists and
  feet to firearms. Such cops draw their weapons
  only after using a few well-placed kicks to take
  down the bad guy and just before slapping on
  the cuffs! Television shows such as Martial Law
  are 
  inspirational, 
  as 
  are 
  innumerable
  Hollywood movies – the martial-artist lawman
  is a B-movie staple.
  War Is Hell
  A war campaign is an excellent place for the
  martial arts, obviously. The PCs needn’t belong
  to a national army – mercenaries are common
  throughout history. During global conflicts,
  such as the World Wars, “adventurers” on the
  fringes of major theatres or in minor theatres
  might choose sides on the basis of personal
  gain, not national allegiance. In smaller strug-
  gles, soldiers of fortune can nearly always find
  employment.
  World War II is especially fertile ground for
  a Martial Arts game. Japanese officers carry
  swords and have martial-arts training in the
  form of Aikijutsu (p. 149), Jujutsu (pp. 166-
  168), Kenjutsu (pp.173-175), or Kendo
  (pp. 175); their enlisted underlings practice
  Jukenjutsu (p. 197). Allied commandos learn
  Fairbairn Close Combat Training (p. 182-
  183p). Burmese, Filipino, and Indonesian
  guerrillas fight the Japanese with guns, sticks,
  and swords. Many 20th-century style origina-
  tors lived through and fought in WWII.
  In modern games, guns dominate warfare.
  Why drop your rifle to punch and kick if a
  three-round burst can settle the matter more
  effectively? The martial arts are still part of the
  military experience, though – from basic train-
  ing for green recruits to advanced arts reserved
  for special-operations forces. The more elite
  the troops, the more opportunities they have to
  learn and use martial arts. A “silencer” isn’t
  perfect, it merely makes a gun less noisy . . .
  but a stealthy, well-trained man with a knife
  can remove a sentry without a sound – at least
  in a cinematic campaign!
  Good examples of war-themed martial-arts
  fiction are The Duellists, which chronicles a
  private duel during wartime, and The Three
  Musketeers (the novel and many movies),
  which includes intrigue, private squabbles,
  and a siege. David Gemmell’s Legend features a
  Weapon Master and other larger-than-life mar-
  tial artists at war. The Seven Samurai follows
  mercenaries in a small, private war.
  248
  CAMPAIGNS
  The Quest for the Master
  In a cinematic game, the PCs will eventually want to learn cine-
  matic skills . . . or acquire Trained by a Master, Weapon Master, or
  Heroic Archer in order to be able to learn such skills. In any kind of
  campaign, they might want to study a new style. The GM could sim-
  ply charge points and move on, but the quest for the Master – the sole
  teacher who can impart the necessary training – is an ancient and
  honorable subplot.
  This could become a quest for any of several reasons. The most
  obvious is that the students don’t have a master. Even if they do, he
  might not be able to teach them. He might believe that they’re
  unready for the next lesson and send them on a mission, with the
  promise of training if they succeed. He might realize that he has
  taught them everything he knows and direct them to seek out his
  master. He might die of old age . . . or be killed.
  The quest itself should be an adventure – possibly long, definitely
  dangerous. And once the heroes find the Master, they needn’t imme-
  diately realize this. Most players expect the B-movie clichés: a wise
  old man, traditional in every way, who always knows what would-be
  students need (typically, the opposite of what they want). The Master
  doesn’t have to be anything like that.
  The Master might be a boy. Or a woman. Or skilled but stupid. Or
  a drunk. Or evil. Or greedy. (“Sure, I’ll teach you the Seven Secret
  Kicks. That’ll be $30,000, in gold. For each of you.”) In a cinematic
  game, the Master might be a member of another race, a spirit, or even
  a god. The Master might not be a single entity at all, but an entire
  temple, village, or planet full of special teachers.
  The adventure doesn’t end when the students find the Master. The
  Master may set tasks for them, and these might not appear to make
  much sense . . . they might even seem evil or illegal. Perhaps they are!
  There’s no law that says all masters must be good people. How the
  would-be students react to this is a roleplaying challenge.
  There’s also the matter of the time required. Instruction could take
  years (per Learning Secret Martial-Arts Techniques, p. B293) or be
  compressed into a few days or weeks (see The Training Sequence,
  p. 147). In a highly cinematic game, the adventurers might journey to
  a hidden valley or isolated monastery where years seem to pass but
  only a few weeks go by in the outside world.
  Then again, the quest might not lead the students to a person.
  Founders of real-world styles have named dreams, meditation, and
  watching animals fight as inspirations. Enlightenment might come
  from the quest itself, with the seekers learning from their journey – if
  they survive it! Each obstacle they pass might teach an important les-
  son. Such things take as long as learning from a Master – perhaps
  longer.
  The quest works best in a historical setting where teachers are rare
  and some schools are outlawed. In the modern world, where martial-
  arts schools advertise, the quest is usually part of a cinematic cam-
  paign. Searching for “hand of death” on 411.com won’t accomplish
  much!
  Still, a quest is possible in a realistic modern-day game. The
  Master need not advertise, or have a phone number or a fixed
  address. He could be an illegal immigrant with ties to organized
  crime. The PCs might not even know his name. Or the Master might
  be easy to find but temperamental, and the “quest” lies in convincing
  him to give lessons. Situations like this can be as trying and deadly as
  any journey – especially if the PCs must stay in the wrong end of town
  or an isolated village in a foreign country while they look for the
  Master or wait for him to make up his mind.
  
  A Learning Experience
  The PCs might be students. They might practice at a dojo,
  kwoon, salle, or boxing gym . . . or belong to a gladiator
  school . . . or train under a wizened old master in his remote
  hideout (or suburban home). Or perhaps they are the 
  instructors. Whatever the situation, the campaign focuses
  primarily on the students’ training and advancement.
  This type of game works well in settings where inter- or
  intra-school competition can turn violent, or where martial-
  arts academies are centers of political intrigue. Even in a
  modern-day campaign, street fights between schools can
  occur. Realistic rivalries are mostly friendly; rivals might
  compete and then go out together after the tournament to
  celebrate. But cinematic (and many historical) settings fea-
  ture more violent relationships.
  The Shaolin Temple is the most famous martial-arts
  school of all time. Scores if not hundreds of movies have fea-
  tured students training there. Historically, the Temple was a
  refuge for rebels and wanderers, and was ultimately
  destroyed by a besieging army. This catapulted its surviving
  students into a life on the run – a desperate situation, but an
  ideal premise for an adventure-filled campaign.
  This theme often segues into others. If the school teaches
  fighters for competition, the campaign can cross over with
  The Contender (p. 250) theme. If events force the academy
  underground, the game will take on elements of Wanted! (see
  below).
  The Karate Kid illustrates this theme well: a bullied teen
  in a new town pairs up with a wise old master. The Paladin,
  by C.J. Cherryh, is another example. It later adds elements
  of War is Hell (p. 248) and The Quest (p. 247), all in the same
  story!
  Vigilante Justice
  The PCs are rogue crimefighters – not merely maverick
  lawmen. They might be in cahoots with the police, tolerat-
  ed by them, or actively hunted by criminal and cop alike. If
  the vigilantes are wanted by the authorities, then a secret
  identity is a must.
  Suitable characters and martial-arts styles depend on the
  campaign’s location, time period, and realism level. In a
  realistic, modern-day game, guns are more useful than mar-
  tial arts. In cinematic settings, though, vigilantes tend to be
  as good with their fists as they are with firearms, and use
  Jeet Kune Do (pp. 164-165), Taijutsu (pp. 202-203), etc., to
  defeat crooks. Templates such as Crimefighter (pp. 32-34),
  Assassin (pp. 31-32), and Spy (p. 38) suit fictional heroes
  well. While implausible in real life, even Movie Star (pp. 36-
  38) or Stuntman (p. 40) could work, for a vigilante with a
  secret identity.
  Without investigation or some other form of activity, this
  kind of campaign quickly degenerates into a series of fights
  against the Bad Guy of the Week. To keep the game fresh,
  the GM might want to combine this theme with another. The
  Quest (p. 247) works well if the heroes are hunting a long-
  term foe or criminal mastermind, while stepping too far
  over the line can lead to a Wanted! (see right) campaign.
  This theme is extremely popular in martial-arts fiction.
  The Green Hornet television series is a perfect example, with
  secretly police-sanctioned vigilantes and a nod and wink to
  reality. Kung Fu features a Shaolin monk wandering the
  American West, dispensing fortune-cookie wisdom and
  hard kicks to bad guys. Other sources include Yojimbo, with
  a feudal Japanese ronin playing both sides of a conflict to
  further his personal sense of justice, and most Jackie Chan
  and Bruce Lee movies. In fact, all of Lee’s movies except
  Enter the Dragon feature him as a private citizen bent on jus-
  tice – in that movie, he’s a sanctioned agent!
  Wanted!
  A powerful enemy such as a rival school, the mob, or a
  ninja clan hunts the PCs. Or perhaps the authorities seek
  them, in which case they could be heroic rebels, vigilantes
  who went too far, or loyal spies who happen to work for the
  wrong side. Of course, they might simply be common crim-
  inals – assassins, thieves, etc.
  The protagonists must either keep moving or operate out
  of a hideout that their enemies can’t easily locate or pene-
  trate. Regardless, they can’t let down their guard because
  their hunters could be anywhere . . . or have gotten to any-
  one. To give them more to do than flee or hide, the GM
  should consider adding elements of The Quest (p. 247).
  Perhaps the fugitives seek the piece of information that can
  prove their innocence, the secret style that will let them turn
  the tables on their opponents, or the one person who can
  help them escape to freedom.
  The GM can run any Martial Arts game with a small
  group or a single player, but this theme works especially well
  under such circumstances. A small group is less prone to
  squabbles that risk compromising everyone. A single PC,
  however powerful, will often need to deal with NPCs to get
  by – exposing himself to adventure and possible betrayal.
  The Lone Wolf and Cub series is about a ronin-turned-
  assassin hunted by a powerful, government-connected ninja
  clan. It’s also a quest, because the hero seeks revenge – on a
  huge scale. Robin Hood and his Merry Men (a showcase for
  Heroic Archer, p. 45, and Quarterstaff, pp. 192-193) consti-
  tute another excellent example.
  Warriors of the Night
  The PCs might be ninja or sulsa . . . or members of a
  secret society such as a tong or a Triad . . . or guerrillas using
  their martial-arts skills to wreak havoc after an invasion.
  Alternatively, they might be on the other side, tracking down
  and destroying such a group. Or they might be on neither
  side, and caught in the middle.
  CAMPAIGNS
  249
  
  There are many variations on this theme. The “warriors of
  the night” might be loyal servants of a lord or commander,
  freedom fighters, mercenaries, or an evil cult. They might
  have no master or a single employer, or hire out to the high-
  est bidder. If they answer to someone, that person might have
  little loyalty to them and regard them as expendable. In a real-
  istic campaign, betraying such a valuable asset as a band of
  guerrillas or group of ninja after a job would be foolish and
  wasteful. In a cinematic game, it should happen often!
  This theme sometimes shows up alongside A Learning
  Experience (p. 249). The heroes are ninja-in-training – or per-
  haps someone is using their school as a cover for clandestine
  activities. Their master might work for good or for evil, and
  they might be his loyal dupes or willing partners.
  Almost any setting is possible. In feudal Japan, the PCs
  might be ninja, helping their lord unify Japan or keep the
  Tokugawa Shogunate in power. In China, they might belong
  to a secret society that’s trying to overthrow the Manchu. In a
  modern-day game, they might be special-ops troopers work-
  ing behind enemy lines or in remote lands where resupply is
  difficult and martial arts are a way to save ammo. A fun cin-
  ematic modern-day campaign has the heroes caught in the
  crossfire between rival tongs or ninja clans – and having little
  luck convincing anyone of their unlikely predicament!
  Timothy Zahn’s The Blackcollar exemplifies this kind of
  campaign: a tiny group of cinematic ninja spearhead the
  resistance against alien invaders. The Chuck Norris movie
  The Octagon is inspirational for a “good hero vs. evil ninja”
  campaign.
  The Contender
  The PCs are fighters on a competitive circuit. Perhaps all
  of them compete, or maybe only one or two are contenders
  while the rest are instructors, coaches, trainers, doctors,
  bodyguards, and friends. Many martial-arts schools enter
  multiple contestants in a tournament, so fighters could rea-
  sonably travel from event to event as a group – and occasion-
  ally even face each other in bouts.
  The focus of such a campaign is the tournaments. Fights
  might be legal and regulated or illicit and of dubious safety.
  Even legal matches can prove deadly, intentionally (as in
  Roman gladiatorial contests) or accidentally (as in modern
  boxing). Illegal events in the real world generally feature
  lower-quality opponents – the desperate fight illegally, while
  the talented fight in the big leagues for the real money. In a
  cinematic game, the opposite is true: underground death
  matches attract only the best!
  The activities that dominate the time in between tourna-
  ments depend on the setting and the realism level, and might
  suggest a whole different theme. Examples include training,
  working at jobs that use fighting skills outside the ring, and
  fending off rivals or money-hungry crime syndicates in order
  to survive to the next bout. Historical contenders moved in a
  variety of social circles, too, from the lowest to the highest.
  Roman gladiators, Japanese sumotori, and American boxers
  were all hired as bodyguards, desired as party guests, and
  retained as martial-arts instructors.
  This theme is surprisingly portable across history, and
  allows for travel and adventure. Pankrationists and boxers
  traveled between events in ancient Greece. Indian wrestlers
  and American bare-knuckle boxers might compete almost
  anywhere in the world in an early 20th-century game. Mixed
  martial artists and Lethwei (p. 186) fighters would compete
  in full-contact matches worldwide in a 21st-century cam-
  paign. South America’s vale tudo matches are an ideal venue
  for a modern-day game.
  Rocky and Raging Bull are both excellent fictional treat-
  ments of this theme – and see The Blood of Heroes for a post-
  apocalypse twist. For real-life inspiration, the best places to
  look are the professional boxing, kickboxing, sumo, and
  wrestling circuits, and the various MMA championships. The
  rules, format, and prize money for such contests are widely
  available, making it easy to stage a realistic modern-day
  game. Historical records for some older events are available,
  too – sumo records go back centuries.
  The Silly Campaign
  The GM can simply play the martial arts for laughs! One
  option is a campaign in the tradition of low-quality kung fu
  movies with bad dubbing, worse plots, and blatant continuity
  errors. Another is a game inspired by well-made martial-arts
  comedies.
  The shorter the campaign will run, the better silliness
  works as a standalone theme. In a one-shot game, you can
  have great fun with a paper-thin plot (“You killed my brother!
  Prepare to die!”), clichéd PCs, horrendous accents, and
  legions of disposable goons . . . but such things get old after a
  few sessions. In a long-running campaign, it’s advisable to
  mix silliness with a more serious theme: fighting imperialism,
  saving a school, etc. The silliness level can be the same in both
  cases. For instance, the movie Shaolin Soccer features high
  silliness (Shaolin monks use chi abilities to win soccer
  games!) but mixes it with The Quest (p. 247).
  Silly martial-arts movies abound. Slapstick is an excellent
  match with the martial arts, if only because the difference
  between a pratfall and a spectacular martial-arts move is a
  painfully small slip. This describes almost all the work of
  Jackie Chan and his frequent costar, Sammo Hung. Most
  Chan movies combine Borderline Realism (pp. 237-238) with
  lots of humor and quickly healing bruises. Kung Fu Hustle is
  definitely Over-the-Top (p. 239)! Silly stories don’t have to dis-
  pense with reality or tragedy, though: Magnificent Butcher is
  a classically silly martial-arts film, yet depicts a violent mur-
  der. There are also many “serious” movies with such low qual-
  ity and bad dubbing that they seem silly, although the dis-
  tinction can be hazy; for instance, Dirty Ho is intentionally
  silly and dubiously dubbed.
  Silly martial arts can lighten up even a non-Martial Arts
  game! For inspiration, see Blake Edwards’ “Pink Panther”
  movies or any 1960s super-spy flick that features “judo chops”
  and “Hi-keeba!” karate action.
  250
  CAMPAIGNS
  . . . what kind of powers do you
  have? Do you use them for good, 
  or for awesome?
  – Strong Bad, 
  Some Kinda Robot
  
  Martial Arts uses many foreign-language terms and assigns
  specific technical meanings to several everyday words.
  bushi: Japan. A warrior, most often a samurai (q.v.).
  capoeirista: Brazil. A Capoeira (pp. 153-154) practitioner.
  chambara: Japan. A genre of action cinema showcasing
  improbable martial-arts exploits, typically featuring ninja
  and samurai (qq.v.).
  chi: China. The life force found in all beings. Literally means
  “breath.” Also transliterated as “qi.” See Religion,
  Philosophy, and Fists (p. 11).
  cinematic: Describes campaigns inspired by action movies,
  martial-arts mythology, etc., and unrealistic traits or com-
  bat options suitable for such games.
  circular: Describes a style where attacks and defenses favor
  pivoting or sweeping motions around an axis, most often
  the stylist’s upright body.
  dojang: Korea. A martial-arts school.
  dojo: Japan. A martial-arts school. Might refer to any school in
  modern usage, not just a Japanese one; e.g., “Muay Thai
  dojo.”
  fechtbuch (pl. fechtbücher): Germany. A “book of fighting” or
  martial-arts manual – usually one that combines weapon
  play with no-holds-barred striking and wrestling.
  guard: 1. Any combination of stance and limb/weapon place-
  ment that enables a fighter to defend. 2. In ground fighting,
  when the bottom fighter, facing up, uses his legs to grapple
  his rival and gain a defensive and even offensive advantage.
  The top fighter must try to avoid this by passing the legs and
  achieving a mount (q.v.).
  gymnasium: Ancient Greece. A place for learning martial arts
  (which most Greek sports were or emulated, in some fash-
  ion). In modern usage, any space for practicing sports.
  -ka: Japan. The Japanese suffix for a person who does an activ-
  ity. A Karate practitioner is a karateka, a Judo stylist is a
  judoka, and so forth. Sumo wrestlers are rikishi (q.v.) or
  sumotori, though.
  kalari: India. A martial-arts training area – often a shallow,
  dirt-walled pit.
  kata: Japan. A preset – some would say dance-like – routine
  done to learn a style’s techniques. Also called “forms.” Some
  martial artists regard kata as a waste of time; others claim
  mastery of kata is a precondition to true mastery of the
  style.
  Kenpo: Japan. 1. A different transliteration of Kempo (pp. 172-
  173), used interchangeably. 2. A term for some forms of
  Kenjutsu (pp. 173-175).
  ki: Japan. The Japanese term for chi (q.v.).
  kiai: Japan. A shout or battle cry, usually done simultaneously
  with a technique. In cinematic games, it’s a chi-based attack
  in its own right; see Kiai (p. B203).
  kwoon: China. A martial-arts school.
  LINE: Acronym for “Linear Infighting Neural-override
  Engagement,” the U.S. Marine Corps’ predecessor to
  MCMAP (q.v.). LINE is a series of set responses to specific
  attacks rather than a genuine style.
  linear: Describes a style where attacks and defenses favor
  straight-line movement along one or two axes, either direct-
  ly toward/away from the enemy (a “|” or “+” shape, with the
  foe at the top) or at an angle to him (more of a “¥” shape).
  McDojo: A disparaging name for a martial-arts school per-
  ceived to be selling belts; a common place to be Trained by
  a Fraud (p. 145).
  MCMAP: “Marine Corps Martial Arts Program,” the current
  hand-to-hand combat style of the U.S. Marine Corps. See
  pp. 183-185.
  mestre: Brazil. A Capoeira (pp. 153-154) teacher.
  mixed martial arts (MMA): An umbrella term for modern
  sportive martial arts used in limited-rules, full-contact strik-
  ing and grappling matches (p. 189).
  mount: In ground fighting, when the top fighter kneels and
  straddles his rival’s chest or back, grappling or pinning him
  for an almost decisive advantage. The bottom fighter must
  try to escape, perhaps by putting the enemy in his guard
  (q.v.).
  ninja: Japan. Historically, a spy and/or assassin. Cinematically,
  a black-clad master of stealth and exotic weapons and
  techniques.
  prana: India. Another – arguably the earliest – term for chi
  (q.v.).
  ricasso: Europe. An unsharpened and sometimes leather-
  wrapped length of blade just above a sword’s hilt for the
  wielder to grasp when using a Defensive Grip (pp. 109-111).
  rikishi: Japan. A Sumo (pp. 198-199) practitioner.
  ronin: Japan. A masterless samurai (q.v.).
  ryu (pl. ryuha): Japan. A school or body of martial arts. Most
  ryuha teach multiple styles. See Ryu (p. 12).
  salle: France. A martial-arts school, typically for fencing
  (pp. 156-159) or Savate (pp. 193-194).
  samurai: Japan. A Japanese noble warrior in service to a lord.
  sensei: Japan. A title of respect for a teacher, properly given
  after the name he asks his students to use (e.g., “Peter-
  sensei,” not “Sensei Peter”).
  sifu: China. A title of respect for a teacher. Also transliterated
  as “shifu.”
  stop hit: An attack launched into an oncoming attack with the
  intent to preempt it. See Stop Hits (p. 108).
  technique: Training at one specific attack, defense, or other
  action covered by a skill.
  Triad: China. A secret society, originally with benevolent aims
  but more recently tied to crime.
  wuxia: China. A genre of martial-arts cinema based on the
  exploits of the xia (q.v.), commonly featuring over-the-top
  action, wirework, and magic!
  xia: China. A Chinese knight-errant. See Xia (p. 8).
  GLOSSARY
  GLOSSARY
  251
  
  Described below are works that the authors found useful,
  sprinkled with inspirational reading and viewing for gamers
  using Martial Arts. This list is hardly exhaustive – there are
  thousands of excellent martial-arts books and movies!
  Books (Nonfiction)
  Amberger, J. Christoph. The Secret History of the Sword
  (Unique Publications, 1999). This collection of articles on
  swords and dueling through history is valuable for those who
  wish to make swordfights seem more “real.”
  Anglo, Sydney. The Martial Arts of Renaissance Europe
  (Yale University Press, 2000). Outstanding coverage of the tit-
  ular subject. Considers martial arts as they were, not as less-
  er versions of modern arts. Covers armed, armored, and
  unarmed combat equally.
  Capo Ferro, Ridolfo (Jared Kirby, editor). Italian Rapier
  Combat (Stackpole Books, 2004). A translation of a highly
  influential rapier manual from 1610, well-illustrated and full
  of authentic tactics and details.
  Cuyler, P.L. Sumo: From Rite to Sport (Weatherhill, 1979).
  Excellent source on Sumo traditions and history.
  Draeger, Donn F. and Smith, Robert W. Comprehensive
  Asian Fighting Arts (Kodansha International, 1969). The
  authors recorded everything they could on Asian fighting
  arts – including styles that have since become nearly extinct.
  Some assertions are suspect or unsourced, but the book is
  truly comprehensive. Get the 1997 reprint.
  Fairbairn, W.E. Get Tough! How to Win in Hand-to-Hand
  Fighting (D. Appleton-Century Co., 1942). No-nonsense fight-
  ing techniques developed for WWII combat. Reissued by
  Paladin Press in 1979.
  Green, Thomas A. (editor). Martial Arts of the World: An
  Encyclopedia (ABC-CLIO, 2001). This excellent two-volume
  martial-arts encyclopedia overlooks no major style or geo-
  graphical location, although some arts get relatively little
  hard detail.
  Lee, Bruce (John Little, editor). Bruce Lee Library (Tuttle
  Publishing, 1997). A seven-volume collection of writings, let-
  ters, and notes by Bruce Lee, assembled from his personal
  library and organized topically. Highly recommended.
  Lee, Bruce. The Tao of Jeet Kune Do (Ohara Publications,
  1975). Bruce Lee’s reflections on Jeet Kune Do and martial-
  arts philosophy.
  Mol, Serge. Classical Weaponry of Japan (Kodansha
  International, 2003). An excellent, well-illustrated resource
  on obscure Japanese weapons, with weapon names in both
  kanji and English.
  Musashi, Miyamoto. A Book of Five Rings (The Overlook
  Press, 1974). A translation of Go Rin No Sho (1645). Many
  read the master swordsman’s reflections on swordsmanship
  as a philosophy of combat and even business.
  Oyama, Masutatsu. This Is Karate (Japan Publications,
  1972). Kyokushin founder Oyama’s text on karate and his
  style. Extremely complete, with lots of “showoff” techniques
  and practical instruction.
  Salzman, Mark. Iron & Silk (Vintage, 1987). A Westerner
  learns kung fu in China. A good look at a modern, cross-cul-
  tural master-student relationship. Made into a movie (dir.
  Shirley Sun, 1990).
  Twigger, Robert. Angry White Pajamas (Quill, 1997). A
  writer takes the Yoshinkan Aikido Tokyo Riot Police course.
  An excellent account of harsh civilian martial-arts training.
  Vegetius (M.D. Reeve, editor). Epitoma rei militaris
  (Oxford University Press, 2004). A translation of history’s
  most comprehensive treatment of Roman military training
  and tactics – which was a powerful influence on the devel-
  opment of Western martial tradition from its 4th-century
  publication until the 19th century. Also called De re militari.
  Zabinski, Grzegorz, with Walczak, Bartlomiej (transla-
  tors). Codex Wallerstein (Paladin Press, 2002). A translation
  of the famous 15th-century sword, dagger, and wrestling
  manual.
  Books (Fiction)
  Cherryh, C.J. The Paladin (Baen, 1988). A young warrior
  forces an old master to accept her as his student – an inter-
  esting play on Trained by a Master.
  Gemmell, David. Against the Horde (Ace, 1988). An aging
  warrior goes to battle one last time. Features a Weapon
  Master and psi-enhanced martial arts. Reissued as Legend in
  1997.
  Murphy, Warren and Sapir, Richard. The Destroyer (1971-
  present). A series of 110+ trashy adventure novels. Chiun’s
  Sinanju is an example of an “ultimate style.” Good fun!
  William Murray penned many later titles. Published by
  Pinnacle, followed by Signet, then Gold Eagle, and most
  recently Tor.
  Perry, Steven. The Man Who Never Missed (Ace, 1985).
  This and the rest of the “Matador Series” (Matadora, The
  Machiavelli Interface, etc.) blend science fiction with cine-
  matic martial arts – including Sumito, an “ultimate style.”
  Zahn, Timothy. The Blackcollar (DAW, 1983). Elite com-
  mandos use martial-arts weapons and techniques in a gueril-
  la war against aliens.
  Comic Books
  Hama, Larry. Nth Man, the Ultimate Ninja (Marvel, 1989-
  1990). Ultimate ninja John Doe confronts an insane supervil-
  lain during World War III and its aftermath. Cinematic ninja
  action mixed with super-powers and militaria.
  Koike, Kazuo and Kojima, Goseki. Lone Wolf and Cub
  (Dark Horse Comics, 2000-2002). A 28-volume comic (origi-
  nally a Japanese manga) set in Tokugawa Japan. Follows the
  adventures of samurai-turned-assassin Ogami Itto and his
  young son, Daiguro. Features almost every samurai trope –
  and most ninja tropes, too.
  BIBLIOGRAPHY
  252
  BIBLIOGRAPHY
  
  Miller, Frank and others. Daredevil (Marvel, 1964-pres-
  ent). Daredevil is a blind martial-arts master who contends
  with ninja, a supervillain Throwing Art expert, and other
  martial artists. Created by Stan Lee, but look for Miller-era
  comics (1979-1982). The spin-off comics and movie are of
  uneven quality.
  Movies
  36th Chamber of Shaolin (Chia-Liang Liu, 1978). This
  Gordon Liu kung fu classic has a horrible plot but some of
  the best Shaolin training sequences ever made.
  Above the Law (Andrew Davis, 1988). This Steven Seagal
  action flick plausibly combines gunplay and martial arts in
  a modern setting.
  Adventures of Robin Hood, The (Michael Curtiz, 1938).
  Features a Basil Rathbone vs. Errol Flynn fencing duel, plus
  cinematic archery!
  Batman Begins (Christopher Nolan, 2005). This Batman
  remake sets a quest for the master (with an interesting
  turn), ninja, and a revenge quest against a superheroic back-
  drop.
  Big Trouble in Little China (John Carpenter, 1986). An
  overconfident trucker gets entangled in magic and martial
  arts in San Francisco’s Chinatown. First American attempt
  at a wuxia film is a mixed bag, but fun.
  Bruce Lee: A Warrior’s Journey (John Little and Bruce
  Lee, 2000). This documentary on Bruce Lee’s life and his
  unfinished final film, Game of Death, has great footage of
  Lee in action – both in “cinematic” form and demonstrating
  his true skills.
  Dirty Ho (Chia-Liang Liu, 1979). Groundbreaking kung
  fu comedy, with death-touch, proxy fighting, and a gullible
  thief dragooned into helping a master with a secret.
  Drunken Master II (Chia-Liang Liu, 1994). Outstanding
  nonstop action and drunken-style kung fu. Possibly Jackie
  Chan’s best work – although every Chan movie should be
  considered inspirational for comic games!
  Duellists, The (Ridley Scott, 1977). Two Napoleonic offi-
  cers are locked in an affaire d’honneur. Features duels with
  sabers and smallswords, and even one on horseback. Based
  on a Joseph Conrad story.
  Enter the Dragon (Robert Clouse, 1973). Bruce Lee’s
  influential final film introduced many common “action
  movie” tropes. Also check out The Big Boss (Wei Lo, 1971),
  The Chinese Connection (Wei Lo, 1972), and Return of the
  Dragon (Bruce Lee, 1972) – the first two of which are both
  sometimes called Fists of Fury.
  Fatal Flying Guillotines, The (Raymond Lui, 1977).
  Cheesy kung fu action, unlikely weapons, bad acting, and
  poor dubbing make this worthy viewing for those running
  silly campaigns!
  Hero (Yimou Zhang, 2002). A story of assassination and
  philosophy – told and retold several times as lies and decep-
  tions are unmasked. Features beautiful wuxia action.
  Karate Kid, The (John G. Avildsen, 1984). A bullied teen
  gets tutored in karate by an Okinawan master (played bril-
  liantly by Noriyuki Morita).
  Kill Bill: Vol. 1 and Vol. 2 (Quentin Tarantino, 2003 and
  2004). Tarantino’s two-part homage to kung fu, revenge,
  samurai, and the Hollywood Western. Volume 1 features a
  samurai-movie swordfest and a killer schoolgirl. Volume 2
  features an Ancient Master, cinematic martial-arts training,
  and a Western-style brawl.
  Kung Fu Hustle (Stephen Chow, 2004). Gangster-
  wannabes trigger an escalating war between martial-arts
  masters. Mixes kung fu with dancing! The equally fun
  Shaolin Soccer (Stephen Chow, 2001) combines kung fu
  with soccer.
  Once Upon a Time in China (Hark Tsui, 1991). Features
  Jet Li as Wong Fei-Hung. This movie and its many sequels
  (especially the first two) feature great martial-arts action set
  amidst Chinese nationalism and Western colonialism in
  late-19th century China.
  Ong-bak (Prachya Pinkaew, 2003). A Thai villager – and
  Muay Thai and Krabi Krabong expert – uses flying knees
  and elbows to punish religious-artifact thieves.
  Raging Bull (Martin Scorsese, 1980). This searing look at
  mid-20th century pro boxing features brutal fight scenes.
  Required viewing for a contender campaign!
  Rocky (John G. Avildsen, 1976). A young boxer (a well-
  cast Sylvester Stallone) struggles for an unlikely title shot.
  Great training sequences. The sequels are formulaic.
  Seven Samurai, The (Akira Kurosawa, 1954). Seven ronin
  help poor villagers defend themselves against bandits. A
  classic plot – and a fine example of how to assemble an
  “adventuring team” with diverse martial-arts experience
  and backgrounds.
  Silent Flute, The (Richard Moore, 1978). A young seeker
  – accompanied by a blind, flute-playing master – sets out to
  defeat a legendary foe. Bruce Lee collaborated on the writ-
  ing. Originally released as Circle of Iron.
  Spartacus (Stanley Kubrick, 1960). A slave is trained as a
  gladiator before leading a revolt against Rome. Great train-
  ing sequences, a famous gladiatorial duel, and an inspiring
  transition from a contender theme to a quest/war story.
  Swordsman II (Siu-Tung Ching and Stanley Tong, 1991).
  A powerful warlord emasculates himself to achieve mystical
  powers. The heroes must use their own cinematic skills to
  stop him. Magic-heavy wuxia action ensues.
  Three Musketeers, The (Richard Lester, 1973). This film
  and its sequel, The Four Musketeers (1974), feature excellent
  swashbuckling action.
  Television
  In addition to fictional works like those below, mixed
  martial arts tournaments are becoming more common tele-
  vision fare.
  Cowboy Bebop (Hajime Yatate, 1998). This anime series
  includes an ex-gangster and bounty hunter who’s a Jeet
  Kune Do expert. The martial-arts action has both style and
  verisimilitude. Cowboy Bebop: Knockin’ On Heaven’s Door
  (2001) has two of the best animated martial-arts scenes ever
  made.
  Green Hornet, The (George W. Trendle, 1966-1967).
  Notable mainly as Bruce Lee’s first major Hollywood break:
  as Kato, the Green Hornet’s kung fu-using sidekick.
  Kung Fu (1972-1975). David Carradine as Kwai Chang
  Caine, a Chinese monk exiled in the Wild West. A classic, full
  of “Shaolin wisdom” and kung fu action.
  BIBLIOGRAPHY
  253
  
  With rare exceptions, weapons are
  not listed in this index. Instead, they
  have their own alphabetical glossary.
  See Weapons (pp. 212-226).
  ABA Bando style, 151-152.
  Abu Dhabi Combat Club, 19.
  Acrobatic Attack, 107, 131.
  Acrobatic Feints Skill Adaptation
  perk, 51.
  Acrobatic Kicks Skill Adaptation
  perk, 51.
  Acrobatic movement, 105-107.
  Acrobatic Stand, 98; technique, 65.
  Acrobatics skill, 54.
  Actions in combat, multiple, 128; see
  also Attack.
  Active defense options, 121-125.
  Advantages, 42-53; desirable, 43.
  Africa, history, 19; see also Iklwa
  Fighting.
  Aggressive Parry technique, 65.
  Aikido style, 149, 162.
  Aikijutsu style, 149.
  Aim combat maneuver, 97.
  All-Out Attack combat maneuver, 97-
  98, 128; grappling and, 114.
  Altered Time Rate advantage, 42.
  Applegate, Rex, 24, 182.
  Archers, yeomen, 16; see also Archery
  Styles and Heroic Archer
  Advantage.
  Archery styles, 7, 181; foot style, 181;
  see also Arrows, Horse Archery
  Technique, Kyudo Style, Kyujutsu
  Style, Ranged, Quick-Shooting
  Bows, Yabusame Style, and Zen
  Archery Skill.
  Arm or Wrist Lock technique, 65,
  116, 118-119.
  Armatura Equestris style, 150.
  Armatura style, 150.
  Armed Grapple technique, 67.
  Armor (for training or competition),
  234.
  Armor Familiarity perk, 49.
  Arrows, barbed, 232; blunt, 232;
  bowel raker, 232; frog crotch, 232;
  humming bulb, 232; willow leaf,
  232.
  Asia, history, 8-14.
  Assassin template, 31-32.
  Atarashii Naginata style, 187.
  Attack, combat maneuver, 98, 128,
  131; multiple, 126-128.
  Attack from Above technique, 67.
  Autohypnosis skill, 54.
  Axe Kick technique, 67.
  Back Kick technique, 67.
  Back Strike technique, 67.
  Backbreaker technique, 82.
  Bad reenactments, 26.
  Bajutsu style, 151.
  Bandaging severe wounds, 138.
  Bando style, 14, 151-152; animal
  forms, 151.
  Banister sliding, 105.
  Banshay style, 14, 176.
  Bartitsu style, 167.
  Barton-Wright, E.W., 18, 167.
  Basic attacks, 90.
  Bayonet fighting style, 197.
  Bear hug combat option, 117.
  Beat combat maneuver, 100-101.
  Beginning students as PCs, 30.
  Belts and grading, 172.
  Berserkers, 179.
  Bind Weapon technique, 67-68.
  Binding technique, 82-83.
  Biting Mastery perk, 49.
  Bleeding, 138.
  Blind Fighting skill, 54.
  Blinding a foe, 72.
  Block combat option, multiple, 123.
  Body Control, power, 46; skill, 54.
  Bodhidharma, 7, 9.
  Bojutsu style, 192.
  Botte segrete, 18, 86.
  Boxe Française, La, style, 193.
  Boxers (resistance group), 9.
  Boxing, Ancient Greek style, 153;
  Bare-Knuckle style, 153; skill, 55;
  styles, 6, 16, 162, 152-153.
  Brawling skill, 55.
  Brazil, history, 8, 20.
  Brazilian Jiu-jitsu, 8, 20, 167-168.
  Breakfall technique, 68-69.
  Breaking Blow skill, 55.
  Breastplate, sparring, 234.
  Breath of Dragon Innate Attack
  advantage, 45.
  Bullet Time optional rule, 133.
  Burma, history, 14.
  Bushi, 251; see also Bushido Code of
  Honor Disadvantage and Samurai.
  Bushido Code of Honor
  disadvantage, 7, 53.
  Buzzsaw ball-and-chain, 223.
  Campaigns, cinematic, 238-239;
  hybrid, 239-241; realistic, 236-238;
  secret abilities, 240; setting, 241-
  247; themes, 247-250.
  Cane fighting style, 157.
  Canne de Combat, La, style, 157.
  Capoeira style, 11, 20, 153-154, 251.
  Cavalry Training technique, 69.
  Chambara, 29, 239, 251; attacks;
  128-129; defenses, 129; fighting,
  128-130; movement, 128; special
  feats, 129-130; see also Campaigns
  Cinematic, Characters Cinematic,
  Cinematic Abilities and
  Prerequisites, and Combat
  Cinematic.
  Change Posture combat maneuver,
  98-99.
  Character templates, 31-41.
  Characters, cinematic, 30, 238;
  realistic, 236-237; see also Del
  Duque, Froste Adrian, Kai Lin, and
  NPCs.
  Charging foes, 106.
  Charlemont, Joseph, 193.
  Chi Projection power, 46.
  Chi Resistance perk, 50.
  Chi, 11, 50, 251; powers, 46.
  Chin Na style, 154, 162.
  China, history, 6-10, setting,
  242-243.
  Chinese horse-cutter fighting style,
  187.
  Chojun Miyagi, 170.
  Choke Hold technique, 69, 116.
  Cinematic abilities and
  prerequisites, 141.
  Classifying martial arts, 162.
  Claws advantage, 42.
  Clinch Skill Adaptation perk, 51.
  Close combat, body morphology and,
  114-117; long weapons and, 117;
  options, 114-119; pain and, 119;
  technique, 69; see also Combat and
  Techniques.
  Code of Honor disadvantage, 53.
  Combat Art skill, 55-56, 113.
  Combat Riding technique, 69.
  Combat Sport skill, 55-56, 113.
  Combat, cinematic, 125-133, 238-
  239; maneuvers, 97-108; options,
  109-125; options to speed up, 126;
  realistic, 237-238; skills, 55; see
  also Close Combat, Extra Effort in
  Combat, Melee, Ranged,
  Techniques, Throwing Dirt,
  Tournament Combat, Unarmed
  Combat, and Untrained Fighters.
  Combinations, optional rule, 80;
  techniques, 109.
  Committed Attack combat
  maneuver, 99-100, 128; grappling
  and, 114.
  Concealed carry rigs, 218.
  Concentration and the martial arts,
  130.
  Connoisseur skill, 56.
  Contender template, 32.
  Contest of Wills, 130.
  Cops, see Police.
  Corbett, James J., 23.
  Corpo fechado, 11.
  Cotton Stomach perk, 50.
  Counterattack technique, 70.
  Crack technique, 70.
  Crimefighter template, 32-34.
  Cross Parry optional rule, 121.
  Cups (guard), 234.
  Dagger Fighting style, 155.
  Damage Resistance advantage, 43.
  Death Fist style, 207-208.
  Decapitating hood, 223.
  Deceptive Attack, 121; common, 111;
  countering, 100.
  Defendu style, 24.
  Defensive, Attack combat maneuver,
  100, 128, 131; Grip, 102, 109, 111.
  Del Duque (character), 33, 140, 240.
  Delusions disadvantage, 53-54.
  Di, see Te.
  Dirty tricks, 76.
  Disadvantages, 53-54; common, 53.
  Disarming technique, 70.
  Dismemberment, 136.
  Diving, 107.
  Do, definition, 148.
  Dodges, limiting, 122-123.
  Doom pincers, 223.
  Dragon-Man Kung Fu style, 208-209.
  Drop Kick technique, 70.
  Drunken Fighting perk, 50.
  Dual-Weapon, Attack technique, 83;
  Defense technique, 83.
  Duelist template, 34.
  Ear Clap technique, 70.
  Egypt, history, 19.
  Elbow, Drop technique, 70-71; Strike
  technique, 71.
  Enhanced Defenses advantage, 
  43-44.
  Enhanced Time Sense advantage,
  44.
  Entangle technique, 71.
  Épée fencing style, 160.
  Escrima style, 12, 155-156.
  Esoteric Medicine, 56.
  Europe, history, 7-8, 15-18; setting,
  244-245.
  Evade technique, 71.
  Evading, 105.
  Evaluate combat maneuver, 100.
  Exotic Hand Strike technique, 71.
  Exotic Weapon Training perk, 50.
  Expert Skill skill, 56.
  External styles, definition, 162.
  Extra Attack advantage, 44.
  Extra effort in combat, 131.
  Extra Hit Points, 49.
  Eye-Gouging technique, 71.
  Eye-Pluck technique, 72.
  Eye-Poke, Defense technique, 88;
  Double technique, 88; lethal, 72;
  technique, 72.
  Eye-Rake technique, 72.
  Fairbairn Close Combat Training,
  182-183.
  Fairbairn, William E., 8, 23-24, 182.
  Faking abilities, 130.
  Fantasy settings, 245.
  Fast-Draw skill, 56-57, multiple
  actions, 103; odd positions and,
  103-104; turn order and, 103.
  Fear and martial artists, 113, 130.
  Fearlessness advantage, 44.
  Fechtbücher, 7, 16, 17, 251.
  Feints, 121; combat maneuver, 100-
  101; countering, 100; defensive,
  101; multiple attacks and, 127;
  non-combat skills and, 101;
  ranged, 121; spotting, 101;
  technique, 73; see also Beat
  Combat Maneuver and Ruse
  Combat Maneuver.
  Fencing parries combat options,
  122.
  Fencing styles, 156-159; see also
  Sport Fencing Styles.
  Feverish Defense combat option,
  131.
  Fictional styles, 207-210.
  Fighting While Seated technique, 83.
  Finger Lock technique, 73, 118-119.
  Flexibility advantage, 44.
  Flurry of Blows combat option, 131.
  Flying Atomic Wedgie technique, 88.
  Flying Attack, 107, 131.
  Flying Fists Innate Attack advantage,
  45.
  Flying Jump Kick technique, 83-84.
  Flying Leap skill, 57, 129.
  Flying Lunge technique, 83-84.
  INDEX
  254
  INDEX
  
  Foil fencing style, 160.
  Folk beliefs, 11.
  Foot guards, 234.
  Forceful Chi Talent, 47.
  Force-Swordsmanship style, 209.
  Form Mastery perk, 50.
  Frauds as characters, 35; see also
  Trained by a Fraud Lens and
  Faking Abilities.
  Freefighting style, 210.
  Freeing hands, 117-118.
  French Smallsword style, 159.
  Froste, Adrian (character), 28, 37,
  96, 211, 235.
  Funakoshi Gichin, 14, 23, 24, 169,
  170.
  Furusiyya style, 159-161.
  Gama, 23.
  Games skill, 57.
  Gatka, 10, 157.
  Ghost Knife Innate Attack
  advantage, 45.
  Giant Step combat option, 131.
  Gizmos advantage, 45.
  Gladiators, 6, 15.
  Glaive fighting style, 187.
  Gloves, boxing, 233; mixed martial
  arts, 233; open-palmed, 233.
  Goju Ryu style, 170-171.
  Gracie family, 8, 20, 167.
  Grand Disarm technique, 84.
  Grappling, 51, 67, 76, 79, 114,
  actions after, 117-119; all-out and
  strike, 118; defense while, 121-122;
  knock two foes together, 118;
  multiple attacks and, 128; one
  hand and, 116, pain and breaking
  free, 119; ramming target, 118;
  shifting, 117-118; using legs, 79;
  see also Armed Grapple Technique,
  Freeing Hands, Leg Grapple
  Technique, and Locks.
  Great Lunge combat option, 131.
  Greece, history, 6-7, 15-16; setting,
  241-242.
  Grip Mastery perk, 50.
  Ground Fighting technique, 73.
  Ground Guard perk, 50.
  Group Performance skill, 57.
  Gun Control Law optional rule, 132.
  Gunslinger advantage, 45.
  GURPS, Banestorm, 189, 245;
  Basic Set, 29, 45, 47, 48, 53,
  54, 56, 58, 60, 86, 96, 97, 98,
  114, 124, 126, 134, 136, 137,
  212, 215, 216, 217, 219, 222,
  237; Magic, 189; Powers, 30,
  46; Ultra-Tech, 211.
  Halitosis Attack technique, 88.
  Hammer Fist technique, 73.
  Hand Catch technique, 84.
  Hand of Death Innate Attack
  advantage, 46.
  Hand wraps, 233.
  Hand-Clap Parry technique, 84-85.
  Handcuffing technique, 73.
  Hands-Free Riding technique, 73.
  Hapkido style, 161.
  Hard styles, definition, 162.
  Head Butt technique, 74.
  Head Lock technique, 74, 116, 
  118-119.
  Heavy bag (for training), 233.
  Helmet, sparring, 234.
  Heroic Archer advantage, 45.
  Heroic Charge combat option, 131.
  Hidden Lore skill, 57.
  Hit locations, 137; limited by target’s
  posture, 98-99.
  Hobby skill, 57.
  Holds, see Grappling.
  Hook technique, 74.
  Hoplology Expert Skill, 56.
  Hoplomachia style, 161-162.
  Horse Archery technique, 74, 77.
  HRD, 163-164.
  Hsing I Chuan style, 162-163.
  Hung Gar Kung Fu style, 22, 163.
  Hwa Rang Do style, 163-164; see also
  Hwarang.
  Hwarang, 14.
  Hyoho Niten Ichi Ryu style, see Nito
  Ryu style.
  Hypnotic Hands skill, 61.
  I Ho Chu’an, 9.
  Iaido style, 175.
  Iaijutsu style, 174.
  Iklwa Fighting style, 197.
  Imperial Stormtrooper
  Marksmanship Academy optional
  rule, 132.
  Improvised Weapon perk, 50; see
  also Weapons Improvised.
  India, history, 10.
  Indonesia, history, 12.
  Initial Carving technique, 85.
  Injuries, cinematic, 139; lasting and
  permanent, 138; partial, 136;
  realistic, 136-139; stun vs. real,
  138.
  Injury Tolerance advantage, 45, 115.
  Innate Attack advantage, 45-47.
  Inner Balance Talent, 47.
  Instructor template, 34-35.
  Internal styles, definition, 162.
  Iron Body Parts perk, 50.
  Israel, history, 19.
  Isshinryu style, 171.
  Italian School fencing style, 156-157.
  Jam technique, 74-75.
  Japan, history, 7-8, 12-14, setting,
  243.
  Jeet Kune Do style, 24, 162, 164-165.
  Jojutsu style, 192.
  Jousting, 7, 135.
  Judicial combat, 135.
  Judo, skill, 57; style, 8, 135, 166, 162,
  172.
  Judo Throw technique, 75.
  Jujutsu style, 8, 166-168.
  Jukenjutsu style, 197.
  Jump Kick technique, 75.
  Jumping skill, 57.
  Jutsu, definition, 148.
  Kachin Bando style, 152.
  Kai Lian (character), 5, 39, 63, 235.
  Kajukenbo style, 168.
  Kalaripayit style, 10, 11, 20, 168-169.
  Karate, skill, 57; style, 8, 14, 162,
  169-172; see also Funakoshi
  Gichin and Mas Oyama.
  Kempo style, 172-173.
  Kendo style, 20, 135, 172, 175.
  Kenjutsu style, 173-175.
  Kenpo, 251; see also Kempo and
  Kenjutsu.
  Ki, see Chi.
  Kiai, 251; skill, 58.
  Kicking technique, 75-76; see also
  Acrobatic Kicks Skill Adaptation
  Perk , Axe Kick Technique, Back
  Kick Technique, Drop Kick
  Technique, Flying Jump Kick
  Technique, Jump Kick Technique,
  Lethal Kick Technique, Pole-Vault
  Kick Technique, Push Kick
  Technique, Shin Kicks Combat
  Option, and Stamp Kick
  Technique.
  Kirkpinar, 19.
  Knee, Drop technique, 76; Strike
  technique, 76.
  Knightly mounted combat styles,
  175-177.
  Knot-Tying skill, 58.
  Kobujutsu, 178.
  Korea, history, 8, 14.
  Krabi Krabong, 14, 176.
  Krav Maga, 19, 183.
  Kris, 11, 12, 219.
  Kumango Silat style, 190.
  Kung fu, 6, 7, 8, 155; northern vs.
  southern styles, 10; see also Chin
  Na Style, Hsing I Chuan Style,
  Hung Gar Kung Fu Style, Kuntao
  Style, Pa Kau Chuan Style, Pak
  Hok Style, Praying Mantis Style,
  Shaolin Kung Fu Style, T’ai Chi
  Chuan Style, Wing Chun Style, and
  Wushu Style.
  Kuntao, 178-179.
  Kusarigamajutsu style, 180.
  Kusarijutsu style, 179.
  Kyokushin style, 24, 135, 171-172.
  Kyudo style, 20, 181.
  Kyujutsu style, 179-180, see also
  Arrows.
  Law and martial arts, 26-27.
  Lee, Bruce, 8, 24-25, 164; see also
  Jeet Kune Do Style.
  Leg, Grapple technique, 76; Lock
  technique, 76-77, 116, 118-119.
  Lethal, Kick technique, 85; Strike
  technique, 85.
  Lethwei style, 14, 135, 186.
  Lichtenauer, Johannes, 17.
  Lichtenfeld, Imrich, see Sde-Or Imi.
  Light Walk skill, 58, 129.
  Lin Kuei, 13.
  Lizard Climb skill, 61-62, 129-130.
  Locks, pain and, 119; see also Arm or
  Wrist Lock Technique, Finger Lock
  Technique, Grappling, Head Lock
  Technique, Leg Lock Technique,
  and Throws from Locks.
  Longsword Fighting style, 180-182.
  Low Fighting technique, 77.
  Low-Line Defense technique, 77.
  Main-Gauche skill, 58.
  Marma, 169.
  Marshal, William, 21.
  Martial artists, famous, 21-25.
  Martial arts, definition, 6.
  Mas Oyama, 24, 171.
  Masks, fencing, 234.
  Masters of Defence, 7, 17, 172;
  Weapon Training, 182.
  MCMAP style, 183, 185, 251.
  Mega-Kiai Innate Attack advantage,
  46.
  Melee, attack options, 109-113;
  combat skills, 55.
  Melee weapons, hurled, 220; swing
  vs. thrust, 110; table, 226-231;
  weapon length, 110; weapon
  weight, 110.
  Melees (contests), 135.
  Mensur style, see Schläger Style.
  Mental Strength skill, 58.
  Middle East, history, 19.
  Mighty Blows combat option, 131.
  Military hand-to-hand styles, 
  182-185; purpose, 184.
  Military, lens, 144; styles, 145.
  Milo of Croton, 21.
  Mixed martial arts style, 8, 135, 189,
  251.
  Modern day settings, 246.
  Monk template, 36.
  Monks, 9, 13.
  Mounted Shooting technique, 77.
  Mouthguards, 234.
  Move and Attack combat maneuver,
  107, 128, 131.
  Move combat maneuver, 105-107.
  Movie star template, 36-38.
  Muay Thai style, 14, 135, 185-186.
  Muhammad, Ghulam, 23.
  Musashi Miyamoto, 21-22, 173, 174.
  Myths and misconceptions, 25-27.
  Naginatado style, 187.
  Naginatajutsu style, 186.
  Naval Training perk, 50.
  Neck Control perk, 50.
  Neck Snap technique, 77, 116.
  Ninja, 13, 251; characters, 202;
  weapons, 202; see also Taijutsu
  Style.
  Ninjutsu, 13, 202; see also Ninja and
  Taijutsu.
  Niten Ichi Ryu style, 12, 22; see also
  Nito Ryu Style.
  Nito Ryu style, 162, 174-175.
  Non-player characters, see NPCs.
  Noogie technique, 88.
  Nose Slap technique, 88.
  NPCs, 236, special case, 238; see also
  Characters.
  Off-Hand Weapon Training perk, 50.
  Okinawa, history, 7, 14.
  Olympic Games, 15.
  Oyama Masutatsu, see Mas Oyama.
  Pa Kua Chuan style, 11, 162, 187-
  188.
  Pads (training), 233.
  Pak Hok style, 188.
  Panache, 193.
  Pankration, 6, 15, 188-189.
  Parata universale, 18, 86.
  Parry Missile Weapons skill, 58.
  Parrying, 122; fencing, 122 flails, 122,
  221; legs or feet and, 123; skills, 58,
  62; techniques, 65, 
  84-85; two-handed weapons and,
  123; two weapons and, 121
  unbalanced, 125; see also Parata
  Universale.
  Pentjak Silat, 12, 20, 189-191.
  Perks, 49-53.
  Philippines, history, 7, 12.
  Piledriver technique, 85-87.
  Polearm fighting styles, 187.
  Pole-Vault Kick technique, 87.
  Police, lens, 144-145; styles, 145;
  training suits, 234.
  Pollaxe Fighting style, 191.
  Post-apocalypse settings, 246.
  Power Blow skill, 58.
  Power Grappling perk, 51.
  INDEX
  255
  Kukri
  
  Power level guidelines, 29.
  Prana, 10, 11, 251; see also Chi.
  Praying Mantis Kung Fu style, 
  191-192.
  Precognitive Parry skill, 62.
  Pressure Points skill, 58-59.
  Pressure-Point Strike technique, 87.
  Pressure Secrets skill, 59.
  Proxy Fighting optional rule, 
  132-133.
  Pummeling combat option, 111.
  Push Kick technique, 78.
  Push skill, 59.
  Qi, see Chi.
  Qian kun ri yue dao, 56, 222, 226,
  230.
  Quarterstaff fighting style, 192-193.
  Quick Mount technique, 78.
  Quick-readying nearby weapons,
  104.
  Quick-Sheathe perk, 51.
  Quick Sheathing, 102.
  Quick-shooting bows, 119-120.
  Quick-Swap perk, 51.
  Ranged, attack options, 119-121;
  combat skills, 55; weapons table,
  231-232.
  Rapid Fire, thrown weapons with,
  120.
  Rapid Recovery combat option, 131.
  Rapid Retraction perk, 51.
  Rapid Strike, combat option, 127;
  thrown weapons with, 120-121.
  Ready combat maneuver, 101-104.
  Realism level, 29-30.
  Regeneration advantage, 47.
  Religion, philosophy, and martial
  arts, 11.
  Religious tournaments, 135.
  Reputation disadvantage, 54.
  Resistant advantage, 47.
  Retain Weapon technique, 78.
  Retreat combat options, 123-124.
  Return Strike technique, 78.
  Reverse Grip technique, 78; see also
  Reversed Grip.
  Reversed Grip, 102, 111-112.
  Righteous and Harmonious Fist, see
  I Ho Chu’an.
  Riposte combat option, 124-125.
  Robin Hood, 16.
  Roll with Blow technique, 87.
  Rome, history, 6-7, 15-16; setting,
  241-242.
  Rudis, see Dusack.
  Ruse combat maneuver, 101.
  Ryu, 12, 251.
  Saber fencing style, 160.
  Sacrifice Throw technique, 78-79.
  Sambo style, 19, 185.
  Samozashchita bez orushiya style,
  see Sambo.
  Samurai, 7, 12-13, 251.
  San shou matches, 207.
  Savate, style, 193-194; rankings, 193.
  Savoir-Faire skill, 59.
  Schläger style, 160.
  Science fiction settings, 246-247.
  Scissors Hold technique, 79.
  Sde-Or, Imi, 19, 183.
  Self-Defense, lens, 145; styles, 145.
  Sensitivity skill, 62.
  Shaka, 19.
  Shaking It Off optional rule, 132.
  Shaolin Kung Fu style, 194.
  Shaolin Temple, 7, 8-9, 249,
  traditions, 195; see also Shaolin
  Kung Fu Style.
  Shields, grabbing, 112-113; see also
  Striking at Shields combat option.
  Shield-Wall Training perk, 51.
  Shimabuku Tatsuo, 171.
  Shinmen Musashi no Kami
  Fujiwara no Genshin, see Musashi
  Miyamoto.
  Shin Kicks combat option, 112.
  Shin pads, 234.
  Shinobi, 13.
  Shorinjikempo style, 11, 172-173.
  Shortsword Fighting style, 195.
  Shotokan style, 23, 170.
  Shout It Out optional rule, 132.
  Shoves with Weapons combat
  option, 112.
  Shoving combat option, 118.
  Shtick perk, 51.
  Shurikenjutsu style, 195-197.
  Silat, traditions, 190; see also Pentjak
  Silat.
  Silver, George, 17, 22.
  Singlestick style, 18, 157.
  Skidding, 105.
  Skill Adaptation perk, 51.
  Skills, 54-62.
  Slams, as All-Out Attacks, 98; with
  long weapons, 112.
  Smasha style, 210.
  Snap Weapon technique, 87.
  Soft styles, definition, 162.
  Sojutsu style, 197-198.
  Soul Blast Innate Attack advantage,
  46.
  Spear, fighting styles, 196-197;
  Chinese style, 196; heroic style,
  196; Viking style, 197; see also
  Iklwa Fighting Style, Jukenjutsu
  Style, and Sojutsu Style.
  Special Exercises perk, 51.
  Special feats for cinematic skills,
  129-130.
  Special Setup perk, 51.
  Spinning (Attack) technique, 79-80.
  Spinning, 105.
  Sport competitions, 134-135.
  Sport Fencing styles, 160.
  Sports skill, 59.
  Sprawling combat option, 119.
  Springing Attack technique, 87, 88.
  Spy template, 38.
  Staff fighting styles, 192.
  Stage Combat skill, 59.
  Stamp Kick technique, 80-81.
  Staying Seated technique, 81.
  Stickfighting styles, 7, 19, 157;
  African, 157.
  Stop Hit, 108, 251.
  Street lens, 145.
  Streetfighting styles, 145-146.
  Striker advantage, 47, 117.
  Striking at Shields combat option,
  112-113.
  Strongbow perk, 51.
  Student template, 38-40.
  Stuntman template, 40.
  Style Adaptation perk, 51.
  Style Familiarity perk, 49.
  Style Perks, 49-52.
  Styles, buying, 146-148; choosing,
  144-146; combining, 147-148;
  comparing, 143; components of,
  141-143; creating new, 146;
  historical and modern, 148-207;
  learning, 146-147; ultimate, 144;
  variations, 144-145.
  Suit Familiarity perk, 51.
  Sullivan, John L., 22-23.
  Sulsa, 13, 14.
  Sumo style, 7, 12, 135, 198-199, 251;
  rankings, 198; traditions, 198.
  Sumo Wrestling skill, 59.
  Sure-Footed perk, 52.
  Sweep technique, 81.
  Swinging, 105-106.
  Switching weapon skills, 104.
  Sword-and-Buckler Play style, 199.
  Sword-and-Shield Fighting style,
  199-200.
  Sykes, Eric Anthony, 24, 182.
  Tactics skill, 60.
  Tae Kwon Do style, 8, 14, 135, 172,
  200; ranks, 200.
  T’ai Chi Chuan style, 162, 200-201.
  T’ai Chi style, 201.
  Taihojutsu style, 201.
  Taijutsu style, 202-203.
  Talent advantage, 47-48.
  Tameshiwari, 25.
  Tao of Jeet Kune Do, 25, 164; see also
  Lee Bruce.
  Taoist kung fu styles, see Hsing I
  Chuan Style, Pa Kua Chuan Style,
  and T’ai Chi Chuan Style.
  Tapak Sutji Pentjak Silat style, 
  190-191.
  Targeted Attacks optional rule, 68.
  Targets for training, 233.
  Te style, 14, 169-170, 172.
  Teamwork perk, 52.
  Technique, Adaptation perk, 52;
  Mastery perk, 52.
  Techniques, building utility, 92;
  cinematic, 82-89; Combat Art/Sport
  skills and, 64; creating new, 89-95;
  designing cinematic, 94-95;
  designing defensive, 91-92;
  designing for nonhumans, 95;
  designing locks and holds, 91;
  designing offensive, 90-91;
  designing realistic, 93-94; learning,
  64; limited by posture, 98-99; “non-
  techniques,” 66; properties of, 63-
  64; realistic, 65-82; secret, 86; silly,
  88; useless, 95; using together, 64.
  Teeth, 115.
  Telegraphic Attack combat option,
  113.
  Thailand, history, 7, 14.
  Thaing, 14, 151, 176.
  Theogenes of Thasos, 21.
  Throwing Art skill, 60-61.
  Throwing dirt, etc., rules for, 76.
  Thrown weapons, rapid fire and, 120;
  rapid strike and, 120-121.
  Throws from locks, 118-119.
  Tic-tacs, 106.
  Tiger-crane style, see Hung Gar Kung
  Fu Style.
  Timed Defense technique, 88.
  Timeline, 6-8.
  Tip Slash combat option, 113.
  Tonfa, skill, 61.
  Tournament combat, 134-135;
  resolving, 134; types, 134-135.
  Trademarked styles, 27.
  Trained by a Fraud lens, 145; see
  also Frauds as character and
  Faking abilities.
  Trained by a Master advantage, 48.
  Training, equipment, 232-234;
  sequence, 147; adventures to
  acquire, 248; see also Techniques
  Learning, and Beginning Students
  as PCs.
  Transitional French School fencing
  style, 158-159.
  Traveling masters, 17.
  Triads, 9, 251.
  Tricky shooting, 121.
  Trip technique, 81.
  Tumbling, 106.
  Two-Handed Punch technique, 81.
  U.S. Marine Corps Martial Arts
  Program, see MCMAP.
  Ultimate combat style, 144.
  Unarmed combat, adding risk to,
  124.
  Unarmed Etiquette optional rule,
  132.
  Uniforms, 165.
  Unique Technique perk, 52.
  United States, history, 7-8, 20.
  Unorthodox attacks, 220.
  Untrained fighters, optional rules,
  113.
  Unusual Training perk, 52.
  Uppercut technique, 81.
  Vale tudo matches, 20, 167.
  Vaulting, 107.
  Verdadera Destreza, La, style, 158.
  Victorian Singlestick style, 18, 157.
  Wait combat maneuver, 108,
  cascading, 108.
  Warrior template, 41.
  Weapon, Adaptation perk, 52; Bond
  perk, 52; Master advantage, 48-49.
  Weapons, alphabetical list, 212-226;
  combination, 214; cross-cultural
  familiarity, 212; custom quality
  levels, 216; designing the perfect,
  221; disguised, 218; hidden, 218;
  improvised, 60-61, 224; melee
  table, 226-231; ranged muscle-
  powered table, 231-232; silly, 223;
  training, 234; trick, 218;
  unbalanced, 98, 100, 102, 108,
  110, 125, 131, 226; using two-
  handed with one hand, 220; see
  also Arrows, Melee Weapons, Proxy
  Fighting Optional Rule, and
  Switching Weapon Skills .
  Weights (for training), 234.
  Wet Willy technique, 88.
  Whirlwind Attack technique, 88.
  Wild Talent advantage, 49.
  Wildcard skills for styles, 60.
  Wing Chun style, 20, 162, 203-204.
  Women in the martial arts, 20.
  Wong Fei-Hung, 22.
  Wong Kei-Ying, 22.
  Wounds tables, 138-139.
  Wrench (Limb) technique, 82, 116.
  Wrench Spine technique, 82.
  Wrestling, Combat style, 204-205;
  Greco-Roman style, 8, 135, 205;
  Indian style, 10, 205-206;
  Professional style, 206; skill, 61;
  style, 6, 15, 162, 204-206;
  Submission style, 205.
  Wrist Lock technique, see Arm or
  Wrist Lock Technique.
  Wushu style, 10, 206-207.
  Wuxia, 8, 10, 26, 106, 128, 129, 207,
  239, 242, 243, 251; see also
  Chambara.
  Xia, 8, 242, 251; Code of Honor
  disadvantage, 53.
  Xingyichuan, 162-163.
  Yabusame style, 181.
  Yarijutsu style, 197-198.
  Yin and yang, 11.
  Yoshitsune, 16.
  Yrth, setting, 245.
  Zen Archery skill, 61.
  Zulus, 19; see also Iklwa Fighting
  style.
  256
  INDEX
  
  ISBN 978-1-55634-762-7
  $37.95  SJG 01-0105
  Printed in 
  Thailand
  9!BMF@JA:RSVUQVoY`Z^ZlZdZj
  3RD EDITION, 1ST PRINTING
  PUBLISHED AUGUST 2007
  Every culture has warriors who hone
  their strength, tactics, and aggression to a
  deadly edge. Legionaries, knights, samurai,
  fencers, wrestlers . . . all are martial artists.
  GURPS Martial Arts gives you the tools to
  create and play these dedicated fighters:
  • Descriptions and statistics for over 100 fighting styles 
  of all kinds.
  • Nearly 100 combat techniques covering realistic and 
  cinematic moves with bare hands and weapons.
  Customize a multi-attack Combination or a precise
  Targeted Attack – or use the design system to invent 
  new techniques.
  • Detailed statistics for more than 70 weapons and notes
  on over 200 – plus rules for improvising and customizing weapons.
  • Expanded combat rules that double the options in the Basic Set.
  • Dozens of flexible Style Perks that let you bend the rules to personalize your fighting
  style.
  • Advice to players on how to create any kind of martial artist. Includes quick-start 
  templates, innovative uses for existing abilities, and new cinematic skills.
  • Biographies of famous martial artists and a timeline to assist historical games.
  • Guidance for GMs on how to use all of this in an exciting campaign.
  GURPS Martial Arts requires the GURPS Basic Set, Fourth Edition. The research on 
  history, fighting arts, and weapons will enhance any game that features martial-arts action.
  By Peter Dell’Orto and Sean Punch
  Edited by Sean Punch 
  Additional Material by Volker Bach and C.J. Carella
  Cover Art by Bob Stevlic    Illustrated by Abrar Ajmal and Bob Stevlic
  
SOURCE: textdata/thevault/GURPS [multi]/4th edition/GURPS 4e - Martial Arts.pdf