TEXT: COMBAT SYSTEMS FROM ALL CULTURES
  Second
  By C. J. Carella
  Additional Material by J. C. Conners, Geoffrey E. Fagan,
  Burnie Fox, Lee Gold, Steve Jackson, Steffan O' Sullivan,
  Michael Phyillaier Jr., Scan Punch and Charles Wheatly
  Edited by Scan Punch and Lillian Butler
  Cover by Jeff Koke
  Illustrated by Dan Smith and Guy Burwell
  Additional Art by Shea Ryan
  GURPS System Design by Steve Jackson
  Alain H. Dawson, Managing Editor
  Sean Punch, GURPS Line Editor
  Michael Bowman, Errata Coordinator
  Page Layout and Typography by Lillian Butler
  and Jeff Koke
  Interior and Color Production by Jeff Koke
  Production Assistance by Joey Janisheck
  Print Buying by Russell Godwin
  Art Direction by Lillian Butler
  Ross Jepson, Sales Manager
  Playtesters and useful comments: Lynette R.F. Cowper, Peter Fleming, Lan Kelly, Kromm's Victims (Graham Cross, Terry Fong,
  Eric Leonard, Bill Letourneau, Bonnie Punch and Patrick Salah), Jason Levine, Paul Wrider, Earl Dana York and everyone else on
  the GURPSnet mailing list or rec. games. frp.gurps who took the time out to comment.
  GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and Illuminati Online 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, Second Edition is copyright © 1996, 1998 by Steve Jackson Games Incorporated. All rights reserved. Printed in the U.S.A.
  ISBN 1-55634-314-0
  3 4 5 6 7 8 9 10
  STEVE JACKSON GAMES
  
  INTRODUCTION ............4
  About the Authors . . . . . . . . . . . . . .4
  About GURPS . . . . . . . . . . . . . . . . A
  1 HISTORY.. ................. ..5
  China . . . . . . . . . . . . . . . . . . . . . . . .6
  Bodhidharma . . . . . . . . . . . . . . . . . .6
  Taoism ...................... .1
  Japan . . . . . . . . . . . . . . . . . . . . . . . .9
  Buddhism (Zen Buddhism) . . . . . . .9
  Miyamoto Musashi . . . . . . . . . . . .10
  Bruce Lee . . . . . . . . . . . . . . . . . . . 1 1
  Korea . . . . . . . . . . . . . . . . . . . . . . . 1 3
  Martial Arts and the Law . . . . . . . 1 3
  The Indonesian Archipelago . . . . . 1 4
  MYTHS AND MISCONCEPTIONS 
  . . . . . .14
  Women in the Martial Arts . . . . . . 1 5
  2.
  Point Cost . . . . . . . . . . . . . . . . . . . 1 8
  Beginning Students as PCs . . . . . . 1 8
  Choosing a Style . . . . . . . . . . . . . .19
  Reality-, Realism, and Fantasy . . . . 1 9
  CHARACTER TYPES . . . . . . . . . . . . . . .20
  Saburo: Ninja Assassin . . . . . . . . .20
  The Skull: 1930s Crimefighter . . .22
  ADVANTAGES, DISADVANTAGES
  & SKILLS 
  . . . . . . . . . . . . . . . . . . . .25
  ADVANTAGES . . . . . . . . . . . . . . . . . . . .25
  NEW ADVANTAGES (REALISTIC) . . . . . .26
  NEW ADVANTAGES (CINEMATIC) 
  . . . . .27
  DISADVANTAGES . . . . . . . . . . . . . . . . .28
  NEW DISADVANTAGES . . . . . . . . . . . . .30
  SKILLS . . . . . . . . . . . . . . . . . . . . . . . . .3 1
  NEW SKILLS (REALISTIC) . . . . . . . . . .32
  NEW SKILLS (CINEMATIC) . . . . . . . . . .36
  FOUR-COLOR MARTIAL ARTS . . . . . . .40
  Super Martial Artists . . . . . . . . . . .40
  Martial Arts Magic . . . . . . . . . . . .40
  3.
  The Martial Arts Record Sheet . . .42
  MANEUVERS . . . . . . . . . . . . . . . . . . . .42
  Learning Maneuvers . . . . . . . . . . .42
  Creating New Maneuvers ...... .42
  Dirty Tricks in a Campaign . . . . . .43
  Concentration and Martial Arts:
  An Optional Rule . . . . . . . . . . . .44
  Maneuvers and Combat/Weapon Art
  or Sport Skills . . . . . . . . . . . . . . .45
  Fright Checks & Martial Artists . .47
  The Contest of Wills . . . . . . . . . . .48
  Vital Organs 
  . . . . . . . . . . . . . . . . .49
  Partial Injuries .............. .50
  Example of Martial Arts Combat .51
  Optional Rule: Combinations ... .54
  Competition Types . . . . . . . . . . . . .55
  Cinematic Combat:
  Night of the Skull . . . . . . . . . . . .57
  CINEMATIC MANEUVERS . . . . . . . . . . . 5 7
  Faster Combat ............... .59
  Optional Combat Rules ........ .60
  TOURNAMENT COMBAT . . . . . . . . . . . .61
  Replaying Tournaments . . . . . . .62
  Nonhuman Foes .............. .63
  CINEMATIC RULES . . . . . . . . . . . . . . . . 6 4
  Chambara Fighting . . . . . . . . . . . .64
  Multiple Attacks . . . . . . . . . . . . . .65
  Multiple Attack Rules . . . . . . . . . .65
  Initiative ................... .65
  Controlling Multiple Attacks .... .66
  Damage and Recovery . . . . . . . . .67
  More Optional Rules
  For Stun Points ............. .68
  UNARMED CRITICAL Miss TABLES .. .68
  Striking & Parrying . . . . . . . . . . . .68
  Grappling, Locks & Throws .... .69
  4. STYLES.....................7O
  SKILLS . . . . . . . . . . . . . . . . . . . . . . . . . 7 1
  Primary, Secondary and
  Optional Skills . . . . . . . . . . . . . . . .71
  Creating New Styles . . . . . . . . . . .71
  Developing New Styles
  During Play ............... .72
  Cinematic Skills . . . . . . . . . . . . . .73
  MANEUVERS 
  . . . . . . . . . . . . . . . . . . . . 7 3
  Cinematic Maneuvers . . . . . . . . . .74
  STYLE COST 
  . . . . . . . . . . . . . . . . . . . . 7 4
  COMBINING STYLES . . . . . . . . . . . . . . . 7 5
  Cinematic Abilities &
  Prerequisites ............... .75
  Martial Arts Uniforms ......... .76
  Aikido Uniforms ............. .76
  HISTORICAL AND MODERN STYLES 
  .. .77
  Aikido/Aiki-jutsu . . . . . . . . . . . . .77
  An Ch'i . . . . . . . . . . . . . . . . . . . . .77
  Grading Systems ............. .77
  Okinawan Ranks . . . . . . . . . . . . . .77
  Bando . . . . . . . . . . . . . . . . . . . . . .78
  Life After the Black Belt . . . . . . . .78
  Bando Animal Forms .......... .78
  Capoeira . . . . . . . . . . . . . . . . . . . .79
  Style versus Style . . . . . . . . . . . . . .79
  Chin Na . . . . . . . . . . . . . . . . . . . . .79
  Escrima . . . . . . . . . . . . . . . . . . . . .80
  Running Amok . . . . . . . . . . . . . . . .80
  French Fencing . . . . . . . . . . . . . . .80
  Goju Ryu . . . . . . . . . . . . . . . . . . . .81
  Amok Adventure . . . . . . . . . . . . . .81
  Hapkido . . . . . . . . . . . . . . . . . . . . . 8 2
  Hashishin Style . . . . . . . . . . . . . . .82
  Rashid ibn Hasan al-Alamut . . . . .82
  Hsing-Yi Chuan . . . . . . . . . . . . . . .83
  External vs. Internal,
  Hard vs. Soft ............... .83
  Isshinryu . . . . . . . . . . . . . . . . . . . .84
  Chi 
  ........................ 
  .84
  Italian Rapier Fencing . . . . . . . . . .84
  Jeet Kune Do . . . . . . . . . . . . . . . . .85
  Judo . . . . . . . . . . . . . . . . . . . . . . . .85
  Martial Arts and Psionics:
  Optional Rules . . . . . . . . . . . . . .85
  Jujutsu . . . . . . . . . . . . . . . . . . . . . .86
  Kalaripayit . . . . . . . . . . . . . . . . . . .86
  Karate . . . . . . . . . . . . . . . . . . . . . .87
  Miyamoto Musashi ........... .88
  Kempo 
  . . . . . . . . . . . . . . . . . . . . . 8 8
  Kendo . . . . . . . . . . . . . . . . . . . . . . .88
  Kenjutsu 
  . . . . . . . . . . . . . . . . . . . .88
  Kobujutsu . . . . . . . . . . . . . . . . . . .89
  Kuk Sool Won . . . . . . . . . . . . . . . .90
  Kung Fu . . . . . . . . . . . . . . . . . . . . .90
  Kuntao . . . . . . . . . . . . . . . . . . . . . .91
  (Sgt.) Sergei Mikoyan . . . . . . . . . .91
  Kyudo . . . . . . . . . . . . . . . . . . . . .92
  Military Hand-to-Hand . . . . . . . . .92
  . Muay Thai . . . . . . . . . . . . . . . . . . .92
  Ninjutsu . . . . . . . . . . . . . . . . . . . . .93
  The Ninja Costume ........... .93
  Pakua . . . . . . . . . . . . . . . . . . . . . . .94
  Pancratium/Mu Tau . . . . . . . . . . . .94
  Pontius Pertinax . . . . . . . . . . . . . .94
  Pao Chuan 
  . . . . . . . . . . . . . . . . . .95
  Pentjak Silat . . . . . . . . . . . . . . . . .96
  Silat Grading System . . . . . . . . . . .96
  Pentjak Silat Uniform . . . . . . . . . .96
  Police Hand-to-Hand . . . . . . . . . . .97
  Praying Mantis Kung Fu . . . . . . . .97
  Professional Boxing . . . . . . . . . . .98
  Professional Kickboxing . . . . . . . .98
  Reina Queen ................ .98
  Professional Wrestling . . . . . . . . .99
  Savate . . . . . . . . . . . . . . . . . . . . . .99
  Savate Grades . . . . . . . . . . . . . . . . 9 9
  Savate Costume . . . . . . . . . . . . . . .99
  Self-Defense Hand -to - Hand ..
  
  The Shaolin Initiation . . . . . . . . .100
  Shaolin Kung Fu . . . . . . . . . . . . .101
  Shaolin Uniform . . . . . . . . . . . . .101
  Streetfighting . . . . . . . . . . . .....102
  Tommy Kwong . . . . . . . . . . . . . . . 102
  Sumo . . . . . . . . . . . . . . . . . . . . . . 1 0 2
  TaeKwonDo . . . . . . . . . . . . . . .103
  Sumo Dress . . . . . . . . . . . . . . . . . 103
  Tae Kwon Do Ranks . . . . . . . . . . 104
  T'aiChiChuan . . . . . . . . . . . . . .104
  UechiRyu . . . . . . . . . . . . . . . . . .104
  White Crane Kung Fu . . . . . . . . .105
  Wing Chun Kung Fu . . . . . . . . . .105
  Master Yi ............... ....105
  Wudong . . . . . . . . . . . . . . . . . . . .106
  Sha-Shan ............... ....106
  Wushu Kung Fu . . . . . . . . . . . . . . 1 0 6
  FICTIONAL STYLES . . . . . . . . . . . . . . 1 0 7
  Arlah ................. . . ...108
  ALIEN STYLES 
  . . . . . . . . . . . . . . . . . . 1 0 8
  Engaijutsu . . . . . . . . . . . . . . . . . . 108
  Kronin Karate . . . . . . . . . . . . . . . 109
  Swooping Kick .............. .109
  FANTASY STYLES . . . . . . . . . . . . . . . .109
  Aerie Fighting . . . . . . . . . . . . . . .109
  Dragon-Man Kung Fu . . . . . . . . .110
  Sister Magrethe Demonslayer . . .110
  Smasha . . . . . . . . . . . . . . . . . . . .111
  Staff Vault . . . . . . . . . . . . . . . . . .112
  Taurelen Laureril............ .112
  Sylvan War Lore . . . . . . . . . . . . . 112
  FUTURISTIC STYLES . . . . . . . . . . . . . . 1 1 3
  Cyberninjutsu . . . . . . . . . . . . . . . 113
  Force-Swordsmanship . . . . . . . . .114
  Kaa Martial Art . . . . . . . . . . . . . . 114
  Spacer Kung Fu . . . . . . . . . . . . . . 115
  5. Weapons &
  equipment.........11e
  CHINESE WEAPONS . . . . . . . . . . . . . . 1 1 7
  Swords . . . . . . . . . . . . . . . . . . . . . 1 1 7
  Knives . . . . . . . . . . . . . . . . . . . . . 1 1 7
  Staffs and Polearms . . . . . . . . . . .117
  Flails . . . . . . . . . . . . . . . . . . . . ..118
  Whips . . . . . . . . . . . . . . . . . . . ..118
  JAPANESE WEAPONS . . . . . . . . . . . . . 118
  Swords . . . . . . . . . . . . . . . . . . . . . 1 1 8
  Knives . . . . . . . . . . . . . . . . . . . . .118
  A x e s . . . . . . . . . . . . . . . . . . . . . . . 1 1 8
  Clubs and Staffs . . . . . . . . . . . . .118
  Polearms and Spears . . . . . . . . . . 1 1 8
  Flails . . . . . . . . . . . . . . . . . . . . ..118
  Ranged Weapons . . . . . . . . . . . . . 1 1 9
  Other Weapons . . . . . . . . . . . . . .119
  NINJA EQUIPMENT . . . . . . . . . . . . . . . 119
  WEAPONS 
  . . . . . . . . . . . . . . . . . . . . . 1 1 9
  Swords . . . . . . . . . . . . . . . . . . . . .119
  Polearms . . . . . . . . . . . . . . . . . . . 1 1 9
  Blowpipe . . . . . . . . . . . . . . . . . . . 1 1 9
  Ranged Weapons . . . . . . . . . . . . . 1 1 9
  Special Weapons . . . . . . . . . . . . . 119
  SPECIAL EQUIPMENT . . . . . . . . . . . . . 120
  Explosives . . . . . . . . . . . . . . . . . . 120
  Enhanced Weapons . . . . . . . . . . .120
  Poisons . . . . . . . . . . . . . . . . . . . . 1 2 1
  Delivery Methods . . . . . . . . . . . .121
  OTHER GADGETS . . . . . . . . . . . . . . . . 1 2 2
  Bamboo Snorkel . . . . . . . . . . . . .122
  Disguised Weapons . . . . . . . . . . . 122
  Climbing Spikes . . . . . . . . . . . . .122
  Gliders . . . . . . . . . . . . . . . . .....122
  Grapnel and Rope . . . . . . . . . . . . 122
  Inflatable Shoes . . . . . . . . . . . . . .123
  INDIAN WEAPONS . . . . . . . . . . . . . . . 1 2 3
  Swords . . . . . . . . . . . . . . . . . . . .123
  Staffs and Clubs . . . . . . . . . . . . .123
  INDONESIAN WEAPONS . . . . . . . . . . . 1 2 3
  Knives . . . . . . . . . . . . . . . . . . . . .123
  Swords . . . . . . . . . . . . . . . . . . . . .123
  Staffs and Clubs . . . . . . . . . . . . .123
  Polearms . . . . . . . . . . . . . . . . . . .124
  Ranged Weapons . . . . . . . . . . . . . 124
  KOREAN WEAPONS . . . . . . . . . . . . . . 124
  Swords . . . . . . . . . . . . . . . . . . . . . 1 2 4
  Staffs and Clubs . . . . . . . . . . . . .124
  Special Weapons . . . . . . . . . . . . . 124
  PHILIPPINE WEAPONS . . . . . . . . . . . . 124
  Knives . . . . . . . . . . . . . . . . . . . . . 124
  Swords . . . . . . . . . . . . . . . . . . . . .124
  Staffs and Clubs . . . . . . . . . . . . .124
  EUROPEAN FENCING WEAPONS 
  ..... 125
  Swords . . . . . . . . . . . . . . . . . . . . . 125
  Knives . . . . . . . . . . . . . . . . . . . . .125
  Cloaks . . . . . . . . . . . . . . . . . . . . . 1 2 5
  MODERN WEAPONS . . . . . . . . . . . . . .126
  Staffs and Clubs . . . . . . . . . . . . .126
  Flails . . . . . . . . . . . . . . . . . . . . ..126
  ULTRA-TECH WEAPONS . . . . . . . . . . . 126
  Clubs . . . . . . . . . . . . . . . . . . . ...126
  Swords and Knives . . . . . . . . . . .126
  Whips . .. . . . . . . . . . . . . . . . . . . 1 2 7
  Ranged Weapons . . . . . . . . . . . . . 127
  Cybernetic Weapons . . . . . . . . . . 127
  Special Weapons . . . . . . . . . . . . .128
  Training Equipment . . . . . . . . . . .128
  Rubber Weapons . . . . . . . . . . . . .128
  Electronic Foils . . . . . . . . . . . . . .128
  Digital Weapons . . . . . . . . . . . . .128
  Digital Sparring Armor . . . . . . . .128
  Virtual Reality Sparring Armor ..128
  Wing Chun Wooden Dummy . . .129
  ARMOR . . . . . . . . . . . . . . . . . . . . . . .129
  Ancient Chinese Armor . . . . . . .129
  Ancient Japanese Armor . . . . . . .129
  Kendo Armor . . . . . . . . . . . . . . . 129
  Ninja Armor . . . . . . . . . . . . . . . .129
  Boxing Gloves . . . . . . . . . . . . . . .129
  Modern Body Armor . . . . . . . . . .129
  WEAPON TABLES . . . . . . . . . . . .130
  6, CAMPAIGNS ..........136
  CINEMATIC vs. REALISTIC
  CAMPAIGNS . . . . . . . . . . . . . . . . . .137
  The Secret Abilities Campaign . .137
  Different Worlds . . . . . . . . . . . . .138
  Japan ..................... .138
  CAMPAIGN SETTING . . . . . . . . . . . . . .139
  China and Korea . . . . . . . . . . . . .139
  China . . . . . . . . . . . . . . . . . . . . . .140
  Fantasy: The Land of Yrth . . . . . .140
  Adventuring in Yrth . . . . . . . . . . .140
  Special Ops . . . . . . . . . . . . . . . . .141
  Japan . . . . . . . . . . . . . . . . . . . . . .142
  Cliffhangers . . . . . . . . . . . . . . . .142
  Other Settings . . . . . . . . . . . . . . .143
  Horror . . . . . . . . . . . . . . . . . . . . .143
  Swashbucklers . . . . . . . . . . . . . .144
  Old West . . . . . . . . . . . . . . . . . . . 145
  Time Travel . . . . . . . . . . . . . . . . .146
  Campaign Themes . . . . . . . . . . . .146
  Survivors . . . . . . . . . . . . . . . . . . .147
  Adventure Seeds . . . . . . . . . . . . .148
  Martial Arts in Other
  GURPS Backgrounds . . . . . . . .150
  Creating NPCs for Martial Arts
  Campaigns . . . . . . . . . . . . . . . . 152
  The Quest for the Master . . . . . . 153
  Silly Rules . . . . . . . . . . . . . . . . . .154
  Kung Fu for Laughs . . . . . . . . . . 154
  GLOSSARY
  .155
  BIBLIOGRAPHY ..........156
  RECORD SHEET..........157
  PLAN ......158
  .................159
  
  ABOUT GURPS
  Steve Jackson Games is committed to full
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  The GURPS Martial Arts web page is at
  www.sjgames.com/gurps/books/martialarts.
  Page References
  Rules and statistics in this book are
  specifically for the GURPS Basic Set,
  Third Edition (Revised). Any page refer-
  ence that begins with a B refers to the
  GURPS Basic Set - e.g., p. B102 means p.
  102 of the GURPS Basic Set. A P reference
  means GURPS Psionics. A J reference
  means GURPS Japan. A SU reference
  means GURPS Supers.
  The martial arts, in all their many forms, have captured the imaginations of
  generations. As a spectator sport, a mystic discipline or a way to shape the
  human body into a finely honed weapon, the skills of hand-to-hand combat and
  physical and mental conditioning are fascinating.
  Fantasy and adventure fiction have been deeply influenced by the martial
  arts. The unyielding samurai, always ready to lay his life on the line, has
  become the epitome of the warrior spirit. Dark-clad ninja noiselessly moving in
  the night have become classic villains - and occasionally heroes. The "code" of
  the martial arts master, who acts only in self-defense or in defense of the help-
  less, serves as a worthy guideline for any hero.
  This worldbook is dedicated both to the GMs and players who want to role-
  play in the martial arts world of the past and the present, and to those who wish
  to explore the cinematic universe of Brace Lee and Chuck Morris. I hope you
  will find martial arts history as rich and exciting as its fantasy, and that both can
  serve you well for roleplaying.
  This book may enrich other campaigns as well. A martial arts character can fit
  in any background (see Chapter 6); after all, they have been around for thousands
  of years, and have touched every corner of the world. GMs and players who enjoy
  mixing different backgrounds and settings should remember the TV series Kung
  Fu, where a Chinese monk traveled through America's western frontier.
  So put on your gi, tighten your obi, pack your katana and nunchaku, and
  enter the world of GURPS Martial Arts!
  ABOUT The AUTHORS
  C.J. Carella has finally worked his way up from being an amateur starving
  writer to becoming a professional starving writer. Born in New York, C.J. has
  lived in Peru, Venezuela and Connecticut, in that order. His realistic martial arts
  experience comes from the study of Karate-do Shitoryu. His cinematic martial
  arts background includes a few million hours of exposure to martial arts fiction
  in all possible mediums, from books to movies to video games.
  He has a B.A. in Medieval History from Yale University. His hobbies/
  obsessions include science fiction and fantasy, comic books and gaming, all of
  which he calls "research material."
  His love affair with GURPS began with the publication of the Man to Man.
  His writing credits include GURPS Imperial Rome, GURPS War Against the
  Chtorr and GURPS Voodoo for Steve Jackson Games, as well as Pantheons of
  the Megaverse and Rifts Mercenaries for Palladium Books. He is now working
  full time as a game designer in Detroit, Michigan; his last surviving cat is cur-
  rently in exile.
  Sean Punch is a former particle physicist who now works as GURPS line
  editor and overall system guru for SJ Games. He considers his change in
  careers to be a step up. He currently works via the Internet, where he is better
  known as Dr. Kromm. He has been a fanatical gamer since 1979.
  Sean and his wife, Bonnie, presently live in Montreal, Quebec with their
  three cats and one bird.
  
  Think about the term "martial arts." One envisions fighters leaping
  high in the air to deliver devastating kicks, or smashing bricks to
  pieces with their bare hands . . . a lone, small man defeating a hand-
  ful of enemies in a few seconds . . . strict lessons in a dojo or school,
  following ancient rituals and teachings . . . and moral and spiritual
  advancement that matches or surpasses mere physical abilities.
  
  This mythical Indian priest is reputed
  to be both the founder of Ch'an (Zen)
  Buddhism in China and the creator of
  Shaolin Chu'an, known today as Shaolin
  Kung Fu - see p. 101.
  Bodhidharma was born around 448
  A.D., the youngest son of a Brahmin king;
  he joined the Buddhist priesthood in India
  and rose high in its ranks, until he decided
  to teach his brand of Buddhism to the
  Chinese people. According to the legend,
  he walked all the way to China, surviving
  countless dangers. Upon arriving, he
  offended the Chinese emperor by dismiss-
  ing all his great works as "mundane" and
  therefore worthless (see Buddhism, p. 9).
  After leaving the Chinese capital, he trav-
  eled to the Shaolin temple, which at the
  time concerned itself mainly with translat-
  ing Indian sacred documents into Chinese.
  Bodhidharma was at first refused admit-
  tance to the temple; he sat down in a med-
  itation trance for nine years, doing nothing
  but staring at a cliff wall. Eventually, leg-
  end says, his intense gaze actually bored a
  hole in the cliff! After that, the leader of
  the temple relented and welcomed
  Bodhidharma, who became the spiritual
  leader of the monks.
  Bodhidharma decided that the monks
  needed some sort of exercise regimen, as
  they were so out of shape they fell asleep
  during meditation. From the set of exer-
  cises that Bodhidharma devised, Shaolin
  Kung Fu was eventually created. It is not
  certain whether Bodhidharma himself
  developed the combative aspects of the
  style. Being a nobleman, he probably had
  some military training, including
  wrestling techniques, so it is possible that
  he helped the monks to devise a system of
  self-defense (always desirable in remote
  areas fraught with bandits) as well as
  exercise.
  Another aspect of Bodhidharma's
  teachings had a powerful impact on the
  martial arts as a whole. The priest taught
  his monks about the development of the
  Chi (see sidebar, p. 84) through breath
  exercises and meditation techniques.
  Since Chi is one of the fundamental prin-
  ciples of most Chinese and Japanese mar-
  tial arts, this is perhaps Bodhidharma's
  most important legacy.
  Since the beginning of civilization, different cultures have developed and
  formalized combat skills. The Romans and the Greeks had systematic tech-
  niques for both weapon use and unarmed combat. Medieval warriors were
  trained in wrestling and swordsmanship. Fencing was a highly stylized art which
  eventually became a sport.
  Nowadays, however, the term "martial arts" is most strongly associated with
  the Asian styles of combat. Since the end of World War II, and especially as
  what has come to be known as "kung fu cinema" became popular, people in the
  West have become fascinated with the skills of the East. Myth and fact have
  become irrevocably mixed in the popular mind, thanks mainly to the film indus-
  try; the truth is less spectacular but considerably more complex.
  The Eastern martial arts are primarily forms of self-defense, usually created
  by people who were unable to use conventional weapons and tactics to defend
  themselves. Some styles were also used as part of the training of soldiers, partic-
  ularly elite units. Finally, many arts began as exercise or meditation methods for
  Asian monastic and philosophical systems.
  To better understand the origins of the martial arts (and the various styles),
  here is a brief look at important eras of martial arts development. For more
  information about the history of particular schools and styles, see Chapter 4.
  In many ways, China is the cradle of the martial arts; the most ancient styles
  trace their origins to there. The earliest mention of martial arts in a historical
  document dates back to 2674 B.C., when the near-mythical emperor Huang Ti
  won an important battle using martial artists. This proto-Kung Fu seems to have
  consisted mainly of weapons training, but it was a regimented system of combat
  much like later styles.
  The Chinese Knights-Errant
  In the period from 700 to 200 B.C., Chinese society was wracked by turmoil
  and internal warfare. Local lords were the supreme rulers of their domains,
  unconcerned about the country as a whole and constantly warring with their
  neighbors.
  In these troubled times, a new group appeared - wandering warriors who
  traveled through the small feudal states and fought for noblemen and common-
  ers alike. Their strict chivalric code would have satisfied a Knight of the Round
  Table; they had to succor the helpless and stand for right above all things. Their
  lofty ideals were matched by a high degree of martial skill. The Chinese
  knights-errant, also known as chun-tzu or gentlemen, were said to be superb
  swordsmen and masters of other arts, probably including early forms of empty-
  hand combat. Their philosophy was shaped by Confucianism, a philosophy that
  promotes public service, unselfishness and impartiality.
  As in medieval Europe, however, the ideals of the Chinese knights were not
  always followed, and some historians state that they rarely lived up to their leg-
  endary reputation. In some instances, they became nothing more than glorified
  
  mercenaries; in others, they themselves became feudal lordlings, contributing to
  the problem. Still, the ideal knights became models of good behavior and set
  the standards for many later would-be heroes.
  The Shaolin Temple
  During the 5th century A.D., a Buddhist temple was founded on the Shao-
  Shih mountain; it was called the Shaolin Ssu, meaning "Young Forest Temple."
  It became one of the most famous centers of learning for the budding Buddhist
  religion (see sidebar, p. 9).
  This is the place where Bodhidharma (see sidebar, p. 6) taught. In addition
  to his spiritual teachings, he is credited with imparting to his monks a series of
  exercises to increase their stamina so as to better withstand the strict mental and
  physical austerity that he demanded.
  These exercise techniques were not originally designed for combat, but
  soon a form of boxing became associated with the Shaolin temple. Called
  Shaolin Ch'uan Fa (Way of the Shaolin Fist), it eventually became the most
  famous style in the land. It became a matter of prestige to defeat a Shaolin
  monk or to join the temple. Neither was an easy task.
  According to the legends, would-be monks had to pass an arduous series of
  tests, both physical and mental, to begin learning the secret techniques of the
  temple. Acceptance only came after the prospective student underwent tests of
  patience and humility; he would be kept waiting for days, verbally abused and
  otherwise provoked into losing his temper. If he did, he would be summarily
  rejected. Thus, those who truly wished to learn were separated from the rest.
  The last test involved a master of the temple serving tea to the prospective stu-
  dents. If the students accepted the tea, they were dismissed for disrespect; they
  were supposed to refuse the offer and instead serve the master.
  Daily life in the temple was an arduous succession of physical and mental
  exercises. Students were expected to dedicate themselves solely to the Temple
  and its teachings, and were not permitted to leave; there are many tales of frus-
  trated students trying to escape the temple.
  Graduation from the school was even more challenging. A slightly watered-
  down rendition of the graduation trial was depicted in the TV pilot of the Kung
  Fu series. After strict questioning about Buddhist doctrine and philosophy, the
  physical examination began, testing both the monk's style and his restraint in
  using force; for a detailed description of the test, see the sidebar on p. 100.
  The final test was a maze, full of dummies and mechanical devices that
  were sprung as the student walked down the corridors. If the student failed to
  parry all attacks, he would fail the test (many monks underwent and failed the
  trial dozens of times). At the end of the maze waited an even harsher test: a red-
  hot metal cauldron filled with burning coals and weighing some 500 pounds.
  The only way to pass that last obstacle was to lift the cauldron and carry it out.
  During the process, the marks of the dragon and the tiger were branded on the
  monk's forearms, indicating the end of the test and marking the monk forever
  as a member of the Shaolin Temple.
  After almost a thousand years of splendor, however, the Shaolin Temple
  faced disaster. During the 17th century, a Chinese border tribe, the Manchus,
  conquered the rest of the nation and founded the Ch'ing dynasty. A number of
  monks were sympathizers of the old government and helped the underground
  groups that were fighting the new regime. Many would-be revolutionaries and
  members of the former government joined the Shaolin temple, using it as a
  cover. Eventually, the imperial government sent an army to arrest the Shaolin
  monks. This attack was successfully repulsed. A bigger army was dispatched
  and leveled the temple in 1735. According to legend, only five monks escaped
  TAOISM
  Taoism was founded by the Chinese
  philosopher Lao Tzu (who lived roughly
  580-480 B.C.). It is mainly a Chinese phi-
  losophy-religion, but it has influenced
  many parts of Asia, including Japan. Its
  influence on the martial arts is very deep.
  This ancient philosophy is very hard to
  understand, mainly because its practition-
  ers refuse to define it. Taoism is an anar-
  chistic philosophy - it asserts that people
  must remove themselves from society and
  live in nature, under primitive conditions.
  This is only a small part of its doctrine,
  however. Taoists believe that everything in
  the universe is part of Too. Tao can be lit-
  erally translated as "the Way" or "the
  Path," but can also mean "nothingness" or
  "emptiness." It is supposed to pervade
  everything, including living beings.
  Tao is composed of two opposing
  forces, the Yin and Yang, which make up
  the famous symbol of the divided circle.
  Yin represents negative energy, dark and
  cold; Yang is positive, white. They are
  opposites, but are linked together, and each
  carries a small part of the other. Every
  object and person carries Yin and Yang
  within. With this concept firmly in their
  grasp, the Taoists accept bad events with
  the same attitude with which they accept
  the good. It is all part of the balance, and
  things will change as the opposites interact.
  People must learn to live in harmony with
  the Tao.
  A Taoist PC should try to be above such
  things as greed, hatred and strong emotions
  (in game terms, he should either not have
  that type of Mental Disadvantage, or have
  several levels of Strong Will to resist them).
  A Taoist should also be cynical about the
  worth of worldly affairs; it should be hard
  to convince him to undertake a quest, for
  instance, unless he decided that it would
  help cure some imbalance in nature.
  Continued on next page . . .
  
  TAOISM
  Another principle of Taoism which has
  deeply influenced the martial arts is the
  idea of non-action (wu wei). Although
  many Westerners have interpreted this as
  laziness and apathy, wu wei does not real-
  ly promote idleness, but the removal of
  conscious intent in one's actions. Selfish
  motives create "active" movements; har-
  mony with nature begets "passive"
  actions. A passive action is one that
  occurs spontaneously, without conscious
  thoughts or desires disturbing it. This pas-
  sive principle can be better understood
  through its application to the martial arts.
  A normal martial artist practices his art
  until he believes he has mastered it; he
  knows the techniques that will bring
  results. When attacked, he counterattacks
  strongly and with deliberation. As a result,
  there is a clash of opposing forces. The
  martial artist may win, or the opposing
  force may be stronger and overcome him.
  A "passive" martial artist will practice
  his skill until it becomes part of his nature.
  He has absorbed the techniques to a degree
  that they manifest without thought. When
  attacked, he does not seek to oppose the
  attacking force; he moves spontaneously,
  in a harmonious way, and lets the attack
  "flow" around him. The attacker punches
  this master, but suddenly the target is else-
  where; instead of being hit, the master
  grasps the attacking hand and, effortlessly,
  he spins the enemy head over heels. To an
  observer, it looks as if the attacker had
  helped the master to perform the throw. A
  true master can never be surprised,
  because he does not need to think about
  what he is to do; his body will react.
  Wu wei can also be translated as "pas-
  sive achievement." A Taoist must strive
  never to disturb the harmony of nature.
  How this is to be done will vary depend-
  ing on one's personal interpretation;
  Taoism is a very individualistic philoso-
  phy. For some, to retreat from all worldly
  concerns may be the way. Lao Tzu, the
  leading mind behind Taoism, did just that.
  Others might wish to bring harmony into a
  violent and unbalanced world.
  This is a highly simplified version of a
  complex philosophy, of course. There is
  considerable debate among philosophers
  about what Tao, Yin and Yang and a myr-
  iad of other concepts truly mean. The doc-
  trine of Tao is not as popular as Buddhism
  in the Orient, mainly because its concepts
  are too complicated for most people.
  Among martial artists, however, Taoism is
  a very influential force.
  with their lives; they are known as the Venerable Five. With the help of other
  revolutionaries, some of the survivors helped found a second Shaolin temple, but
  it was destroyed shortly afterwards. Many monks escaped, however, and the
  Shaolin temple went underground.
  Triads, Tongs and Secret Societies
  After the destruction of the Shaolin temple, and as the Manchu dynasty
  uprooted other Chinese institutions, martial artists scattered through the country-
  side. Some taught their skills for a living, while others turned to banditry.
  Schools became centers of dissent where anti-Imperial propaganda was
  preached. They also became part of the local communities, serving as volunteer
  police forces, charity centers and, in some cases, as the actual seats of the town
  or village's governments.
  Some Shaolin monks eventually helped found the Triads, which were noto-
  rious secret societies. At first, they were among the most beneficial organiza-
  tions of this sort, helping small villages stand against corrupt officials, providing
  organization and cohesion for local communities, and working for charitable
  causes. In some ways, the secret societies revived the mythical kung fu hero as
  the defender of the poor and defenseless. Many of them concentrated on revolu-
  tionary activities. Almost all the revolutions against the Manchu dynasty can be
  traced to such societies.
  Over a century after the destruction of the Shaolin temple, one secret society
  eventually triggered the end of the Manchu dynasty, albeit unwittingly. The / Ho
  Chan, or "Righteous and Harmonious Fist," has gone down in history as the
  "Boxers," so called by Europeans both because of their fist symbol and for their
  martial arts practices, which Westerners considered an Asian analog of boxing.
  Among the Boxers' ideas was the mistaken belief that their martial arts expertise
  would make them invulnerable to modern weapons, much like the Amerindian
  Ghost Dancers. Originally an anti-Manchu organization, the Boxers soon became
  a hotbed of anti-foreign sentiment. This is understandable, considering the West's
  8
  
  actions against China at that time: several European nations had established trad-
  ing posts in China by force, even destroying Chinese installations when the
  Imperial government tried to curtail the opium trade (opium was legal in Europe
  in the 19th century). The Boxers murdered a number of Europeans and Chinese
  Christians with the tacit support (or at least inaction) of the Empress and the
  Chinese authorities, who had little love for the foreigners. Emboldened, the
  Boxers launched a massive attack and siege of the European delegations in
  Peking on June 17, 1900. After two months, the trapped Europeans were rescued
  by Western troops, including an American contingent. The Boxers, despite their
  avowed skills, were no match for modern firepower. Shortly thereafter, the
  Imperial government collapsed and the Chinese Republic was born.
  In the period of chaos and poverty that followed, most of the Triads and
  secret societies degenerated into gangs of thugs fighting among themselves for
  the control of territory. Since these societies had little to offer besides combat
  skills, fighting became their only way of life. Many turned to crime, such as
  drug smuggling and prostitution, to support themselves. These criminal groups
  exist to this day in Taiwan, Hong Kong and many Chinatowns across the world.
  They are called tongs (although the word can also refer to harmless fraternal
  societies). Many still use kung fu, but it is now supplemented with submachine
  guns and assault rifles.
  Since the end of the 19th century, this tiny island has become first a mili-
  tary and now an economic superpower. In the field of the martial arts, Japan has
  contributed the three most recognized popular martial arts figures: the samurai,
  ultimate warrior; the ninja, dark stalker with supernatural powers; and the
  white-clad karateka orjudoka.
  For a much more thorough overview of Japanese culture and history, see
  GURPS Japan.
  The Samurai
  This warrior caste, a symbol of Japanese culture, has also become the epit-
  ome of the warrior spirit to the rest of the world, displacing the medieval knight
  in popular imagination. During their thousand-year history, they built a tradi-
  tion that many martial artists seek to emulate.
  The roots of the samurai class date back to 792 A.D., when the younger
  sons of noble families were trained as professional soldiers and officers. They
  were taught to fight from horseback with sword and bow. But it was not until
  the 10th century, when Japan was plunged into constant warfare between rival
  clans, that the warrior class came into its own. The shogun (military governor)
  became the true power in Japan, followed by the local lords (daimyo) and their
  armed retainers, the samurai. The Confucian class system, placing warriors at
  the top of society, became firmly established.
  The privileges enjoyed by the bushi (warrior) class were accompanied by a
  number of duties, however. Samurai owed absolute fealty to their clan lords and
  other superiors. This obedience could (and often did) include giving up one's
  life in the service of the lord. The word samurai itself means "one who serves."
  Philosophical training in Zen and Taoist techniques helped the warriors to dis-
  tance themselves from base emotions and to be unafraid of dying. This is not to
  say that the samurai were insane suicide troops; rather, this detachment from
  concerns about the self helped them to perform in battle with calmness
  unstirred by fear of pain or death. Fear of death can paralyze and distract, thus
  becoming a self-fulfilling prophecy. One unconcerned with such things will
  fully utilize his skill and may avoid harm entirely.
  Buddhism began in India as the teach-
  ings of the historical figure Gautama, who
  died in 480 B.C. (the same year Lao Tzu
  died). During the following centuries, the
  philosophy he preached became a religion
  and spread to China, then to Korea, and
  finally to Japan. Buddhism views the life of
  each living being as entangled in the five
  passions: anger, joy, hatred, desire and
  grief. Its aim is to free the spirit from the
  three great sins of ignorance, greed and
  passion. This will allow it to become
  enlightened, and enter into Nirvana, a state
  of freedom from passion and the illusions
  of the material world.
  An unenlightened spirit is doomed to
  reincarnate time and time again. Depending
  on his life, the person can reincarnate as a
  man or animal, or even go to the Buddhist
  Hells and other less savory planes of exis-
  tence. The spirit's karma from previous
  lives will influence his current life. Karmic
  ties built during previous lives can come
  back and affect the person; thus, some peo-
  ple feel mysteriously attracted to somebody
  or feel a deep antipathy towards someone
  else - they had some tie with them in the
  past.
  A special discipline of Buddhism is
  Ch'an, or Zen Buddhism. Founded in
  China by the priest Bodhidharma (see side-
  bar, p. 6), Zen seeks to achieve enlighten-
  ment through meditation techniques (the
  words Ch'an and Zen literally mean "medi-
  tation") and a spontaneous, non-introspec-
  tive approach to everything from combat to
  cooking. This last principle is similar to
  Taoism's "passive achievement," and the
  two bodies of belief may have influenced
  each other. Many people in Asia espouse
  both Zen and Taoism at the same time.
  ignoring their contradictions.
  See GURPS Japan for a more complete
  description of Buddhism.
  
  This legendary swordsman lived dur-
  ing the tumultuous times of the 17th cen-
  tury in Japan. His martial arts prowess and
  ruthlessness are legendary. More recently,
  he has also become famous for his work
  on swordsmanship and philosophy, The
  Book of Five Rings, which has a huge fol-
  lowing among both martial artists and
  businessmen.
  Musashi (his full name was Shinmen
  Musashi no Kami Fujiwara no Genshin),
  was born in the Miyamoto village around
  1584. He soon developed an interest in the
  fighting arts, and at the age of 13, he
  killed an adult samurai by throwing him to
  the ground (perhaps with early jujutsu
  moves?) and then hitting him with a stick.
  This was but the first of a long string of
  victories.
  Musashi dedicated his life to the mas-
  tery of fencing techniques. He lived in the
  wilds, a wandering ronin, learning and
  developing his art to maximum efficiency
  and defeating all challengers. Musashi
  favored the wooden sword, or bokken,
  over the normal steel blade, although he
  used normal katanas extensively during
  his life. He successfully defeated almost
  all enemies, from swordsmen to exotic
  weapon-users. Due to his skill and dedica-
  tion, he became a Kenshi (sword saint).
  He also proved to be a master of strate-
  gy, helping lead the army that destroyed
  the Christian daimyos of Shimawara in
  1638. A few years after this, he became a
  hermit and wrote The Book of Five Rings
  less than a month before his death in 1645.
  Adventure Ideas: Samurai or ronin PCs
  might encounter Musashi. Picking a fight
  with him will most likely be a losing
  proposition (see p. 88 for a character
  write-up). But if the adventurers behave
  properly and courageously, he might take
  a liking to them (a Very Good or better
  reaction roll) and perhaps even give them
  a few lessons. Being trained by Musashi
  could be worth Id character points per
  month of training (he would not stay in
  one place much longer than this), all to be
  put in the Katana skill. Also, the PCs'
  Reputation would go up by 1 (paid for by
  unspent or future character points) if they
  let it be known that they were students of
  Musashi. This would gain them respect,
  but might also draw challenges!
  HISTORY
  To betray a clan lord was an unforgivable transgression that brought terrible
  dishonor to the betrayed; the only way to redress such a sin was to commit sep-
  puku, or ritual suicide. Seppuku was also required of samurai who failed to ade-
  quately perform their duties. Interestingly enough, many powerful noblemen,
  also of the samurai class, had no such qualms about betraying their superiors,
  such as the emperor and the shogun.
  Samurai were trained in bujutsu ("martial arts"). Swordsmanship and
  archery were the primary skills taught, but other weapon skills, such as the nagi-
  nata (light halberd), spear and knife were also imparted to the aspiring warriors.
  A few empty-hand techniques, mainly how to grapple opponents, were also
  taught, but they were completely secondary to weapon training. Since samurai
  were never unarmed (a samurai would almost always have at least his short-
  sword at hand), there were very few chances to put those skills to use.
  The katana, or Japanese longsword, was both a weapon and badge of office.
  Worn with the shortsword (wakizashi}, they formed the daisho, or paired
  swords. Only members of the samurai class were permitted to wear these
  weapons together. Eventually, the use of the katana was also restricted to the
  samurai - commoners could only use the wakizashi.
  The samurai class was not restricted to men. Women, too, belonged to this
  class; they were not required to fight in war (although there are many tales of
  women who did), but were trained in the use of weapons. The naginata was
  their weapon of choice.
  At first, the samurai class was fairly flexible in admitting new members.
  Many commoners rose in status through skill, luck and intelligence. As the
  shogun's power consolidated and eventually led to the pacification of Japan, the
  samurai title became hereditary, and the martial skills of the class began to dete-
  riorate. As firearms reduced swordsmanship to a secondary or even superfluous
  skill, other abilities such as calligraphy, poetry and philosophy grew in impor-
  tance in their training. Jutsu martial skills (designed exclusively for combat
  effectiveness) declined in popularity. They were supplanted by Do ( pronounced
  "dough") skills, which remove themselves from martial concerns and make the
  study of the martial art a way of life; many of the combat movements became
  stylized and less effective. Practicality and lethal intent gave way to artistic
  achievement and spiritual development. Thus Kenjutsu (swordsmanship) became
  Kendo (the Way of the Sword, or Sword Art). Also, since the use of the sword in
  combat declined, the number of experienced warriors who could teach others
  grew scarce.
  Many samurai did not take easily to the gradual undermining of their tradi-
  tional position. Some became ronin (literally "wave man," or person without a
  place; it referred to a samurai without a master) and made a living performing
  for the public, teaching sword techniques and other martial skills. Some resorted
  to banditry. Other samurai vented their resentment by committing acts of vio-
  lence in the streets. The cities' constables had to adopt new techniques to deal
  with troublesome (and often drunk) samurai (see Japanese Martial Arts, p. 12).
  Eventually, the samurai class evolved from a warrior caste into an adminis-
  trative and governmental group. Their traditional martial spirit was not forgotten
  completely; even today, many Japanese of samurai lineage own and train with
  the katana and wakizashi.
  The Ninja
  In ancient Japan, where everything had a place and society had rigid rules of
  behavior for all its members, the ninja seem an anomaly, a reflection of a culture
  with a split personality. The ninja were the dark side of Japan, an unacknowl-
  edged facet that was both used and feared.
  1O
  
  Serious historians trying to unravel the mysteries of the ninja (and very few
  do) are faced with an almost insurmountable problem: there are no written
  records dealing directly with this group, let alone written by them. Since they
  were a series of secret organizations, the ninja left no information about them-
  selves. Therefore, information about them comes from mainstream Japanese
  society, a prejudiced view.
  Since the ninja usually performed tasks that the samurai warrior class con-
  sidered beneath its dignity to do, it is possible that the original ninja were mem-
  bers of the hinin (or "non-person") class. Among these were entertainers, beg-
  gars, exiled criminals and the eta, hereditary outcasts who were almost com-
  pletely cut off from Japanese society. Killing an eta or any hinin was not con-
  sidered a serious crime. The ninja may have drawn members from the eta class;
  by their being removed from most of society, their movements would be harder
  to track.
  For their leadership, however, it is likely that the ninja drew from the many
  warriors and clan leaders who had lost in one of the power struggles that rav-
  aged Japan for most of its history. These new hinin, many of them experts in
  the arts of war, developed many guerrilla and covert operations techniques,
  probably among the first in history.
  A second theory claims that the ninja owe their origin to Chinese cults that
  found their way to Japan. These Chinese monks had a vast repertoire of martial
  arts knowledge that they used to inflict terror and gain reputations as master
  spies and assassins.
  The truth is probably a combination of all of the above. Due to the variety
  of abilities displayed by the ninja, it is likely that their members came from
  many different walks of life, from warriors to artisans to scientists.
  The ninja were among the first to use explosives and black powder
  weapons; their ability to adapt to changing times was one of the reasons for
  their success. Exiled noblemen were not likely to have had this flexibility. The
  eta, on the other hand, owed little loyalty to Japanese conventions - after all, it
  was their job to do the things that most Japanese could never bring themselves
  to do. The combination of the two, and the addition of sophisticated martial arts
  techniques from exiled warrior-monks, could indeed have created fearsome
  shadow-warriors.
  During the warring provinces era (the 16th century), ninja were used exten-
  sively in espionage and assassination missions. They were masters of disguise;
  although not members of any respectable social class, their trained agents could
  Bruce Lee
  The "Little Dragon," as he was called
  by his friends, was a powerful catalyst of
  the interest of the Western world in the
  martial arts, as well as an influential figure
  in the martial arts community.
  Although he was born in the U.S., Lee
  grew up in Hong Kong. His father was an
  opera comedian, and Bruce started partici-
  pating in films as a child actor. He was a
  quick-tempered, rebellious youth. This atti-
  tude got him into many fights, and he soon
  decided to learn how to defend himself -
  one of the most common reasons for learn-
  ing martial arts. His father introduced him to
  T'ai Chi, but the gentle art did not satisfy
  the impatient Lee. Seeking a quicker way,
  he learned Wing Chun from the best teacher
  in Hong Kong. He trained with the single-
  minded determination that characterized
  him, and he continued training and develop-
  ing his skills for the rest of his life.
  In the United States, he became famous
  among the martial arts community. He
  often gave public demonstrations of many
  of his famous techniques. In 1964, he was
  spotted by Hollywood talent-seekers, who
  were impressed by the seeming ease with
  which he knocked down a full-grown man.
  This led to Lee's first American dramatic
  appearance, as Kato in the short-lived
  series The Green Hornet. Although this
  Batman clone series did not last long, it
  was enough to make Lee famous for his
  fluid movements and devastating cinematic
  style.
  Lee was never content with his current
  level of development; he learned styles
  beyond Wing Chun, among them Filipino
  Escrima (p. 80) and American boxing. He
  was even seen reading a book on ballet,
  seeking a way to incorporate the high leg
  moves of that art into his fighting style. His
  quest for perfection eventually led him to
  reject most traditional martial arts. He
  believed that their rigidness in the number
  and types of techniques taught were a
  drawback in a real combat situation; his
  key to victory was spontaneity and unpre-
  dictability. In some sense, this "break"
  from traditional martial arts was a move to
  the Tao/Do way of forgetting the tech-
  niques and instead reacting "naturally" to
  threats (see sidebar, p. 7).
  Continued on next page . . .
  11
  
  Bruce Lee
  As Lee's martial arts skills developed
  further, his screen career also progressed.
  He appeared on numerous TV series, and
  had a small role in the 1969 movie
  Marlowe, but made little headway in
  Hollywood; racism made movie producers
  reluctant to cast a Chinese man as the lead
  of a movie. He decided to try his luck in
  Hong Kong instead, where he soon
  became a star with the films Fists of Fury
  and The Chinese Connection, both of
  which became international hits.
  Eventually, he achieved his dream of
  making it in the American film circuit
  when he was offered a starring role in
  Enter the Dragon. This movie has become
  the standard against which all martial arts
  movies are measured.
  Tragically, Bruce Lee died suddenly a
  month before the movie premiered in the
  United States, just as he was beginning
  work on a new film, The Game of Death.
  Although wild rumors flew about his death,
  with many claims that he had been assassi-
  nated by rival martial artists (supposedly by
  poison or by secret pressure-point meth-
  ods), the medical report showed that Lee
  died from a cerebral edema caused by an
  allergy to a headache remedy.
  Even though his life and career were so
  short, Bruce Lee became immortal in the
  minds and hearts of martial artists and
  action-movie fans everywhere. He lives on
  in his movies and in his martial art style.
  impersonate the higher classes with ease: priest and merchant, nobleman or com-
  moner. Their dedication and patience were legendary. A ninja assassin would
  wait in a hidden spot for hours or even days until the target was within range,
  then strike. They were unparalleled in the arts of deception; a ninja would pre-
  tend to commit suicide, but it would turn out that he had slit a bag of blood or a
  small animal concealed in his clothing. All manner of poisons and gadgets were
  utilized, calculated to instill fear in their enemies and even their clients.
  It is not strange that a body of popular culture grew around the ninja. In the
  eyes of many Japanese, the ninja were not human at all, but demons or
  shapeshifters. Rumors of their magical abilities abounded. It was said that they
  could walk on water or through walls, or wander through a crowd without being
  noticed. By the 20th century, movies, comic books and TV shows in Japan had
  firmly entrenched the ninja in the realm of myth. When the ninja became widely
  known in America, their already inflated image was hyped up in typical
  Hollywood fashion.
  Many ninja weapons and tactics were meant to overcome better armed and
  armored warriors, mainly through surprise. The ninja were consistently outnum-
  bered and less well-armed. In a face-to-face confrontation, a mounted samurai in
  full armor would have been more than a match for a single ninja. On the other
  hand, the same samurai could be caught by a noose, yanked off his horse and
  stabbed in the face with a poisoned shuriken thrown from yards away; that was
  the ninja's way.
  To most Western readers (including most roleplayers) the samurai way, with
  brave warriors challenging one another in individual duels, is the more romantic
  and heroic of the two. After all, the ninja were only interested in results, while
  the samurai and their huge armies could afford to "fight nobly and die well."
  Samurai could be counted on to obey orders and to fight to the death; ninja
  could be trusted to get things done. Both had their place.
  Japanese Martial Arts
  The martial arts as we know them today did not
  appear in Japan until the end of the 19th century. As
  the weapon skills of the warrior class became Do
  forms, a tendency toward overspecialization
  occurred. Schools began teaching a single weapon,
  or even a single weapon movement (as in the case
  of laido, a martial arts style that concentrates on the
  drawing and resheathing of the katana). Some of
  those schools concentrated on the empty-handed
  styles mentioned above.
  There were many reasons for this appearance of
  empty-hand schools. The Meiji government of the
  19th century prohibited commoners from using
  weapons, and the need for empty-hand techniques
  (as well as those teaching the use of staffs as
  weapons) became more popular. Some Chinese
  teachers arrived in Japan and taught their ch 'uan fa
  (boxing) techniques, which were translated in
  Japanese as kempo. Although Jujutsu was an
  indigenous Japanese martial art, there was some
  later Chinese influence. The names for these new
  skills were jujutsu (the gentle/supple combat form,
  which at first also included weapon techniques) and
  aikijutsu. Almost immediately after their appear-
  
  ance, "artistic" forms like Judo and Aikido also appeared. The main goals of
  those artistic forms were not to make fighters, but to discipline body and mind.
  Some early practitioners of the combat forms were bouncers at bars and
  houses of prostitution, who were required to unobtrusively subdue and remove
  drunken troublemakers (many of whom were samurai or ronin). Others were
  police officers, who supplemented these arts with such weapons as the jitte and
  the manriki-gusari (see Chapter 5) to subdue, again, troublesome samurai.
  Eventually, Japanese from all walks of life practiced diverse martial arts styles
  regularly, a tradition that continues to this day.
  ARTS
  The origins of martial arts in Korea can be traced to 400 A.D., since mural
  paintings dating to that time show some sort of unarmed combat system.
  Legend speaks of ancient techniques that were devised when men fought with
  flint implements. The skill of rock-throwing, for instance, was developed by
  legendary masters to the point that an expert could strike vital pressure points
  with skillful stone throws. Korean historians also claim that many Japanese
  martial arts are Korean in origin. There is some historical evidence that Korean
  swordsmiths were influential in the development of the Japanese katana.
  Korea has been invaded over and over during its history. It has been con-
  quered by the Chinese, Japanese, Mongols, Europeans and, again, the Japanese
  during World War II. Early Korea was divided into several warring kingdoms.
  All of them were influenced to a degree by Chinese culture, both religiously
  and in the martial arts.
  The Hwarang
  During the 7th century A.D., Korea was divided into three rival kingdoms -
  Koguryo, Paeckche and Silla. Silla was the smallest of the three. To defend
  itself, Silla created an elite body of warriors called the hwarang. These warriors
  were young noblemen who were extensively trained in combat skills and who
  had to abide by a strict honor code. In many ways, they were similar to the bet-
  ter-known samurai.
  Sword and bow skills were taught to the hwarang, as well as horsemanship.
  They were sworn to be loyal to their lord, to respect their elders, to always be
  honest with their fellows, to never kill unjustly and to never retreat in combat.
  These warriors were very successful, as Silla eventually conquered the other
  two kingdoms and unified Korea.
  AND
  At many times in history, weapons and
  weapon skills have been outlawed by local
  governments. Today, for instance, most
  European countries severely restrict the
  possession and use of firearms. Oriental
  hand weapons like the nunchaku and
  shuriken are also illegal in many regions.
  Although unarmed fighting skills tend
  to be less regulated in today's world, they
  can influence the attitude of the law
  towards people involved in an act of vio-
  lence. The tale that martial arts experts
  must "register" their hands at the local
  police station as if they were lethal
  weapons is a myth, but it has some founda-
  tions in reality, inasmuch as the use of mar-
  tial arts skill can be considered "excessive
  force" or even "lethal force." GMs should
  keep this in mind, should the PCs become
  too "fist happy."
  Whenever a fight or physical assault
  takes place and the authorities are
  involved, a number of judgments will be
  made about the situation. The police offi-
  cers on the scene, and later the prosecuting
  attorneys and judge or jury, will examine
  the event. Considerations include whether
  or not the initial attack was provoked,
  whether one of the parties was acting in
  self-defense, and whether "reasonable
  force" was being used. For example, shoot-
  ing somebody who punched you in a bar
  fight is not using reasonable force; it is
  manslaughter or murder. One can only use
  a lethal weapon when a life is at stake. This
  last point is very important if one of the
  participants in the fight is a martial arts
  expert (or even if he had any martial arts
  training at all; many judges and juries will
  know nothing about martial arts ranking
  systems). The rule of thumb is that, since
  the martial arts can be considered lethal
  force, they can be properly used only when
  the martial artist is in fear for his life or
  that of others.
  Let us examine the following situation:
  a drunken bar customer insults Andy (who
  happens to be a black belt in Jujutsu).
  Andy, who is not drunk, replies wittily,
  angering the drunk, who proceeds to throw
  a punch at him. If Andy parries the attack,
  subdues the drunk with a non-harmful arm
  lock and then hands him to the bouncers,
  he is using reasonable force, and probably
  the police need not be involved.
  Continued on next page . . .
  
  ARTS
  AND The LAW
  (CONTINUED)
  If Andy parries the attack and then
  punches the drunk back, he might be in
  trouble; although there was provocation
  and grounds for self-defense, an unsympa-
  thetic jury might rule that using violent
  martial arts skills could be deemed unrea-
  sonable force, since Andy was probably
  not in fear of his life.
  Should Andy lose his cool, decide to
  "teach this jerk a lesson" and use a punch,
  spin kick and jump kick combination on
  the drunk, knocking him unconscious and
  loosening a few teeth (and maybe doing
  some serious damage as well), he will
  probably face assault and battery charges.
  If in the same situation the drunk pulled a
  knife or a gun, then Andy would be within
  his rights to use all of his skills to repel
  the attack, as long as he thought his life
  was threatened. During the trial or investi-
  gation, he should state that he was in fear
  of his life; macho posturing and phrases
  like "Even with a knife, that guy didn't
  have a chance against me" will get the
  martial artist in trouble.
  If the PCs are too violent, the GM
  could give them a warning via a brush
  with the authorities; maybe a friendly
  police officer privately explains the facts
  to them. If they persist, then a criminal
  trial and a stay in jail (probably followed
  by a rash of civil lawsuits claiming outra-
  geous amounts of money for damages)
  will change their attitude.
  The Sulsa
  The sulsa ("knights of the night") were a special sub-group of the hwarang
  warriors. They specialized in covert missions such as espionage, assassination
  and scouting. Many of their weapons and tactics are very similar to the ones
  used by the ninja. Unlike their Japanese counterparts, however, the sulsa were
  official members of the Silla armies, and were fully accepted as such.
  A body of legend about the sulsa exists in Korea, as colorful as the stories
  about other such groups. These warriors were supposed to be able to put ene-
  mies to sleep at a distance, become invisible and perform similar feats.
  THE INDONESIAN ARCHIPELAGO
  This large group of islands includes the Philippines, Borneo, Sumatra,
  Indonesia and the Malay peninsula. This huge area has one of the richest cultur-
  al mixtures in the world. Over the centuries, the Chinese, Hindus, Japanese,
  Moslem Arabs, Catholic Spanish and Portuguese, the British and the United
  States have all influenced the myriad small nations and tribes that dwell there.
  The archipelago is made up of hundreds of tiny islands, with thick jungle
  surrounding high volcanic peaks. Its conditions make it ideal for guerrilla war-
  fare, and for highly mobile and lightly armed and armored troops - in short, the
  perfect setting for martial arts development.
  The basic Indonesian native group is a brown-skinned Asian people com-
  monly known as the Malay; they form the core of the population from Malaysia
  to the Philippines. Their original culture revolved around an animistic religion.
  They were fishermen, farmers and fierce warriors; many tribes were feared for
  their practices of headhunting and ritual cannibalism.
  Chinese and Indian explorers and traders influenced some of the islanders'
  culture and political systems. Kingdoms and principalities were established fol-
  lowing Hindu patterns. Buddhism and Hinduism were adopted by many; later,
  when Arab sailors reached the islands, Islam competed with those two religions
  and the local animistic beliefs.
  The Spanish and Portuguese, followed closely by the Dutch and
  English, were the next cultural wave. The Philippines were colonized
  by the Spanish and were the islands most influenced by Western cul-
  ture, although in the end they kept their language and much of their
  tradition.
  Amidst this racial and cultural maelstrom, violence was frequent.
  Intertribal warfare was common, growing in intensity as the first nations
  and principalities emerged and tried to expand at the expense of their
  neighbors. As a result, combat skills became highly valued. The Islamic,
  Hindu and Chinese cultures, with their own martial spirit, influenced and
  intermingled with the native systems of combat. As civilization spread,
  combat techniques became better organized; famous warriors became
  respected teachers, and formal styles first appeared. The three most
  famous forms thus created were Escrima, Kuntao and Pentjak Silat (see
  pp. 80, 91 and 96).
  The attention the martial arts have received in the West has given rise
  to a number of myths and mistaken notions about them. Understanding the
  truth behind these legends will aid in roleplaying the martial arts.
  
  Empty-Hand Techniques
  Most martial arts schools today concentrate mainly (or even solely) on
  unarmed combat training. As a result, most people think that the martial arts
  refer exclusively to this training. Ideas like "true masters do not need any
  weapon," or that Karate or Judo will allow an unarmed man to beat someone
  armed with a knife or even a gun, have become commonplace. These beliefs are
  a misinterpretation of the martial arts.
  Originally, the emphasis on martial arts training was on weapons. There are
  many sound reasons for this. First of all, weapons are (obviously) more effec-
  tive in terms of damage and reach. Even light armor will provide very effective
  protection against bare hands or fists. Also, it is far quicker and easier to train
  an average man to be reasonably competent with a weapon such as a sword or
  spear. This becomes doubly true when guns are introduced.
  The main reason for teaching and learning empty-hand techniques is the
  fact that weapons may not always be available. Depending on the culture,
  weapons may not be allowed in certain circumstances, or they may be forbid-
  den or restricted completely. With unarmed combat training, one can still
  defend oneself. All other things being equal, however, a weapon is more useful.
  While it is true that a master of unarmed combat can successfully defend
  himself from armed attackers, this feat requires enormous amounts of training.
  The myth that unarmed training removes the danger from weapons is a foolish
  and dangerous belief. Many martial arts instructors say that the best defense
  against an armed mugger is a quick escape, or the surrender of one's valuables;
  fighting an unknown and armed assailant, whose capabilities and willingness to
  hurt or kill are unknown, is a very dangerous proposition. In a realistic cam-
  paign (see p. 19), this should be emphasized. GURPS, with its low hit points
  and high weapon damages, exemplifies this; characters who carelessly get into
  fights with armed attackers are likely to be short-lived.
  Despite these drawbacks, the unarmed aspect of Asian fighting styles has
  been emphasized. This is mainly due to the social conventions that exist in most
  of the "civilized" world nowadays. In the 20th century, the main hand weapon
  is the firearm; in terms of lethality, range and ease of training, it far surpasses
  ancient hand weapons. On the other hand, its very deadliness has caused it to be
  severely restricted in the civilian population. If a person is unable or unwilling
  to use a gun, he has few other practical choices. Swords are too big and socially
  unacceptable to be used as self-defense weapons. Knives have the stigma of
  being associated with criminals, and the law does not view their use kindly.
  Before the martial arts were introduced in the West, cane techniques and boxing
  were the main methods with which "gentlemen" defended themselves. The
  Women in the
  Martial Arts
  Although women in Asia tend to be
  treated as second-class citizens, the martial
  arts have been unusually open to females
  since antiquity. Unarmed combat tech-
  niques have always been popular among
  oppressed peoples, since they provide a
  means of self-defense that the masters can-
  not detect or take away. Women in Asia
  certainly qualify in that respect.
  In Japan, samurai women were trained
  in swordsmanship and the halberd-like
  naginata (see p. 118). They were expected
  to defend themselves and their households
  in emergencies. The female attendants of
  noblewomen were also prepared to die in
  defense of their mistresses. Japanese
  mythology has several tales of female
  warriors as deadly as any of their male
  counterparts. The ninja, used to breaking
  social conventions, used female agents
  extensively both in espionage and assassi-
  nation missions.
  Buddhist nuns in China and Korea
  learned the same self-defense techniques as
  male monks. The staff was the most com-
  mon weapon of the wandering nun. In the
  Shaolin temple, some nuns became respect-
  ed teachers. One of them, a survivor of the
  temple's destruction, helped found the
  Wing Chun style of Kung Fu (see p. 105).
  Many Korean palace guards were
  female, since the presence of male guards
  might offend noblewomen. These guards
  developed a style best suited to combat in
  enclosed spaces while wearing little or no
  armor (a later version of their style is
  described under Kuk Sool Won, p. 90).
  Still, the martial arts have remained a
  predominantly male domain for most of
  their history. Even today, some styles, like
  Sumo, remain exclusively male.
  But the late 20th century has opened
  most of the martial arts to women, espe-
  cially in the West, as the "helpless" image
  is eradicated.
  Styles specializing in the defeat of larg-
  er opponents, like Aikido and Judo, now
  have many female practitioners, even at the
  highest levels. Women also participate in
  sporting events, although they compete in
  separate divisions from men.
  Because women have less upper-body
  strength than men, and a different distribu-
  tion of weight, some techniques work dif-
  ferently for them. In game terms, these are
  not important. In a modern campaign, there
  is no difference between male and female
  performance in any martial-art skill. In a
  historical campaign, a woman who has
  access to training can do as well as any
  man, but getting that training may be diffi-
  cult.
  
  martial arts replaced them as an alternative to guns and knives.
  Since empty-hand methods are perfectly legal (with some excep-
  tions; see the sidebar, p. 13), they are thus emphasized.
  The Black Belt
  In today's world, the words "black belt" indicate mastery in
  the martial arts. A black belt is thought to be an invincible fighter,
  or at least a deadly enemy. Originally, however, the black belt did
  not represent mastery, but only the beginning of true instruction.
  The Japanese "belt" system (originally created for Judo in
  the 19th century) was divided into two parts. Kyus (grades), des-
  ignated by colored belts (see sidebar, p. 77), represent the period
  in which the basics of the style are taught. Upon reaching the
  black belt, it is assumed that the student is ready for the
  advanced teachings of the art; the new grading system is divided
  into dans (steps). A "black belt" is a first dan. Ninth or tenth dan
  is the maximum level of achievement.
  Attaining a black belt is no mean feat, and its wearer will be
  able to take care of himself (although some schools are more lib-
  eral than others when awarding the coveted belts). But a first-dan
  black belt is not a "master." He can teach others the rudiments of
  the art, but he still has much to learn, himself. And if his style is
  an "artistic" form, he may be less able to defend himself than a
  common brawler.
  Superhuman Feats
  Ever since the 1960s and the rash of brick-breaking stunts of
  karatekas, the West has been flooded with stories about the incred-
  ible powers of the martial arts. Many of these stories had existed
  for centuries in Asia, but they grew in the telling as they were
  passed on to Europe and America. Tales abound about the martial
  artists' ability to smash solid objects, paralyze victims with a
  touch and even casually tear an enemy's limbs off without appar-
  ent effort. Ninja powers, including the abilities to turn invisible
  and to control minds, have also become the stuff of legend.
  It is hard to distinguish truth from reality. Many accounts
  told by impartial and credible witnesses describe seemingly
  impossible feats, including the smashing of huge blocks of ice or
  even concrete (some of which have been explained as very pre-
  cise applications of force along weak points), the ability to
  endure devastating blows from sticks and even metal bars, dis-
  plays of astounding strength and speed, the power to heal
  wounds and even affect things and people at a distance, without
  touching them. Some of these happenings must be classed with
  other "unexplained phenomena" such as telepathy and ESP abili-
  ties, the yogis' ability to temporarily suspend involuntary bodily
  functions, and the ability of some Polynesian men to walk over
  burning coals and emerge unharmed. Scientific research on these
  subjects has been minimal and usually tainted with prejudice -
  sometimes in favor, sometimes against.
  Even if extraordinary feats are possible, however, learning
  them requires a dedication and patience that most human beings
  do not have. In everyday life, they do not exist. The GM will
  choose what will be "real" in his campaign (see Chapter 3 for
  more information).
  
  martial artist is no? just any character who has Karate or Judo among his skills.
  What makes martial arts characters different from other roleplaying arche-
  types is their dedication to physical and (sometimes) spiritual development. It is
  usually assumed that a martial artist character began training at an early age
  (late teens at worst) and that for five or more years he devoted a substantial
  amount of his life (not just his free time) to practicing and learning his craft.
  Going to a Karate studio three times a week will not turn someone into a true
  martial artist.
  
  PCs
  Most of the character creation rules
  described in the main text presume that
  the PCs will all be experienced martial
  artists. A different character type (for a
  different campaign) is the student PC who
  has not achieved black belt level; in fact,
  the PCs could begin play as complete
  beginners (white belts)!
  A point total of 100 or less is appropri-
  ate for such students. Skills could be as low
  as default level, representing a few weeks
  of training, not enough to have gained
  character points to invest in them. They
  should have some decent physical stats, but
  nothing extraordinary. In short, they should
  be standard 100-point characters.
  The fun of this PC type is that the
  players get to see them grow during play,
  painstakingly advancing in rank and abili-
  ty between adventures. From a mechanis-
  tic standpoint, the gradual introduction of
  new maneuvers and skills will allow play-
  ers who are not familiar with the martial
  arts to learn how to use them in play.
  However, it will take a lot of campaign
  sessions before the student learns enough
  to become a "true" martial artist. Not many
  campaigns last that long, and not every
  player can sustain interest that long. GMs
  must be sure their players are up for such
  humble beginnings before starting this type
  of campaign.
  Many - if not most - dedicated martial artists either make their living
  through some aspect of the martial arts, or are independently wealthy or some-
  how able to spend many hours each day in training. To hold a normal job and
  still be an accomplished and recognized martial artist requires a determination
  bordering on the fanatical. A young (under 25 years old) martial arts master is
  either a phony or a truly extraordinary person.
  With this concept in mind, one can see that as long as that dedication exists,
  almost any character type can also be a martial artist. Players must roleplay that
  dedication. Good or evil, a martial artist is unlikely to be easily distracted from
  the pursuit of his goals.
  The campaign type will help narrow the choices, but the player should still
  have an idea as to the type of character he wants to play before he starts buying
  DX and combat skills.
  POINT COST
  The point cost for beginning characters in a GURPS Martial Arts campaign
  will vary widely. It is assumed here that most character types will be at "black
  belt" level or higher (for a beginner, see the sidebar). It must be remembered
  that in the original martial arts tradition, the black belt was the true beginning
  stage of study, a point where the basics had been mastered and the essential
  teachings could now be imparted (see p. 16).
  In general, dedicated martial artists will have a lot of character points. This
  book is designed to cover two different campaign types: the realistic campaign
  and the cinematic one.
  The Realistic Campaign
  The realistic campaign assumes that martial artists do not have superhuman
  abilities; they are just highly trained people, extremely competent at hand-to-hand
  combat. Even a master will not be able to defeat several trained opponents at the
  same time, nor can he perform superhuman feats.
  In a realistic campaign, PCs can be created with 100 points.
  However, a 150- or even 200-point roof is more adequate to create a
  "black belt" character. This reflects the amounts of training martial
  artists undergo to reach a level of mastery.
  Some limitations will prevent this higher point cost from turning
  a realistic campaign into a kung fu movie. First of all, no more than
  100 points (or even 80), should be spent on basic attributes; what
  sets martial artists above average people is not their physical attrib-
  utes, but their training. Additionally, the GM may want to set a max-
  imum attribute level (14 or 15 is a good limit), to keep characters as
  down-to-earth as possible. With these limitations, a 200-point mar-
  tial artist's stats will not be much higher than those of a 100-point
  character. His extra points have gone into skills, which is as it should
  be.
  Even with 200 points to spend, PCs will have at least eight or
  nine skills they must learn, and the reasonable physical stats will
  make it expensive to reach high levels with those skills.
  Disadvantages should be kept at the standard 40-point ceiling.
  The standard age limit on points spent on skills (see p. B43)
  should not apply to -martial arts skills. This reflects the intensive
  training that makes a dedicated martial artist unique. By the same
  token, however, non-martial arts skills should not benefit from this.
  The GM should limit the points spent on non-martial arts skills to
  the character's age - that is, half the standard amount. This means
  
  Realism,
  FANTASY
  that, outside unarmed or archaic combat skills and certain philosophical teach-
  ings, the martial arts character should not be much more knowledgeable or
  skilled than the "standard" GURPS 100-point character. GMs might even have
  mixed parties of "normal" adventurers with specialized martial artists; this will
  work best in modern-day or futuristic settings, where modern weaponry sub-
  stantially reduces the advantage of martial arts mastery.
  There are other ways to keep the game balance in a realistic setting. The
  characters should not over-concentrate on Karate, Judo and combat skills; the
  GM must be strict about the creation of combat monsters. There is also no reason
  why a civilian martial artist should have a high Guns skill, or even the Combat
  Reflexes advantage. If too many of the players want to play lethal fighters above
  all, then maybe a cinematic campaign would be more appropriate.
  The Cinematic Campaign
  A cinematic campaign is more closely related to the Supers milieu than the
  "mainstream" GURPS style. The assumption behind this campaign type is that
  at least some of the legends about the martial arts are true; characters will be
  able to wipe out six opponents at a time, and they will have extraordinary abili-
  ties. PCs with 200 to 400 points are appropriate for this campaign! GMs do not
  have to impose restrictions on attributes, since this campaign will allow a host
  of flashy (and expensive) skills and advantages.
  The ultimate cinematic campaign is the "four-color" campaign, which sim-
  ulates the most outlandish concepts of both movies and comic books.
  Metahuman abilities, psionics and magic may coexist, and martial artists can
  perform impossible feats with ease. This type of campaign requires characters
  built with 500+ points. The PCs will be the Lees, Morrises, Chans and Stallones
  that they may want to be. This of course means that the GM will have to work
  harder to come up with a challenge for his players.
  In a cinematic campaign, GMs may follow the GURPS Supers pattern (see
  p. SU5), which gives characters a limit of 100 points in disadvantages.
  CHOOSING A Style
  In a martial arts campaign, the style (or styles) chosen will help delineate
  the character. Nationality, personal preferences and philosophical beliefs will
  narrow the character's choice of styles, and vice versa. If two widely different
  or contradictory styles are chosen, the GM should require the player to come up
  with a credible history to explain it. This is particularly true if the campaign is
  set before the 20th century, when most martial arts were still deeply rooted in
  their place of origin. Chapter 4 lists diverse martial arts from around the world.
  The GM may wish to reduce the number of "legal" martial arts for a partic-
  ular campaign. PCs will only be allowed to learn the styles available, at the
  GM's discretion.
  Some concepts must be made clear in
  order to understand the different campaign
  types available in Martial Arts (and other
  GURPS settings). The first one is the role
  of reality in a campaign. In a truly "realis-
  tic" campaign, all PCs would be built on 25
  points or so, and any hazardous situation
  would wipe out half an adventuring party
  immediately.
  GURPS is a realistic system, inasmuch
  as brute force can rarely compensate for
  lapses in common sense, but its characters
  and situations are heroic.
  A realistic GURPS campaign can have
  such "unreal" elements as magic, psionics
  and supernatural horrors. The characters'
  abilities, however, will be limited to what
  an above-average, but still normal, human
  can do. Realistic fighters will not be able to
  face multiple opponents, realistic investiga-
  tors will not solve a crime with one quick
  look at the scene, and realistic mages will
  not be able to shatter armies with a spell.
  This is determined by the points allowed
  for character creation. At 100 points, char-
  acters are heroic, but down-to-earth.
  In a cinematic campaign, characters
  acquire a larger-than-life scope. Now they
  can be some of the best fighters, or sorcer-
  ers or circus performers of the campaign
  world, or competent in all three profes-
  sions! In this type of campaign, the unreal
  elements of most fictional stories are
  played up - the heroes rarely die, the bad
  guys are seldom as skilled as the good
  guys, and so on. Players can recreate the
  exploits of any fictional character without
  subjecting him to realistic limitations.
  The points allotted for that type of cam-
  paign (200 or higher) allow PCs to have
  physical stats at the upper reaches of
  human ability, or even some superhuman
  ones. The "reality" simulated is that of
  Hollywood adventure. Heroes have great
  advantages over "normal" people; they will
  be able to survive foolish actions that
  would get them killed in real life (or in a
  realistic campaign).
  A "four-color" campaign goes even fur-
  ther, recreating the worlds of comic books
  or the most fantastic movies and novels.
  PCs will be superhuman living legends.
  These characters are created with 500+
  points, and can perform incredible feats
  with ease. Mere mortals cannot match
  them.
  Note that none of these three campaign
  styles makes characters completely invul-
  nerable. GMs can always devise threats
  and enemies that will keep the heroes on
  their toes, and a brute-force approach is
  always likely to brings disaster to an
  adventuring party.
  
  SABURO;
  ASSASSIN
  Saburo is a historical ninja - a 100-
  point character, showing that "normal"
  GURPS characters can be built using the
  Martial Arts options. ST was left at an
  average level (lowering it to get more
  points would endanger the character) while
  70 points went into DX, HT and IQ. Saburo
  is not just a combat monster; the player
  wanted to create a "ninja poet" who had
  the Literacy advantage (10 points).
  When choosing disadvantages, the
  player did not have to look far. All ninja
  share a Secret, the discovery of which
  would mean a death sentence (-30 points).
  They also have a full-time Extremely
  Hazardous Duty to their clan (-20 points).
  In an all-ninja campaign, the GM could
  choose not to count these two disadvan-
  tages against the 40-point maximum, but
  in this case the GM did not want to exceed
  normal GURPS limits. Here, he ruled that
  the Duty and Secret often "overlap" -
  sometimes when the Duty comes up, it is to
  protect the clan's Secret. He allowed -40
  points for the combination, which is a rea-
  sonable way to handle a ninja!
  The player specified two quirks, and
  left three "open" to be chosen as the
  character develops.
  Armed with 65 points, the player starts
  buying the skills required by Ninjutsu. A
  minimum of 23 points must be spent
  according to the style description on p.
  93. Saburo takes primary skills at 14 and
  15, and other skills at lower levels. He is
  at the borderline of "black belt" level. It
  would make sense for his next earned
  character points to go into Karate skill. If
  he increases it by I , his unarmed combat
  damage, his parry, and his skill with sev-
  eral maneuvers will also increase by 1.
  Saburo is in his mid-20s, with nonde-
  script features. Depending on his current
  role, he will look like a humble peasant, a
  half-witted beggar or a haughty samurai -
  that is, when he is not clad in black and
  crawling towards an unsuspecting victim.
  He was born and raised in a ninja clan.
  Both his parents died in unsuccessful mis-
  sions before he knew how to talk. He was
  raised instead by Shigeru, the last survivor
  of a noble clan that was wiped out during
  one of the many civil wars that wracked
  Japan in the 16th century. Shigeru taught
  Saburo swordsmanship, poetry and callig-
  raphy, as well as courtly manners; he also
  taught the young ninja a lack of respect for
  traditional Japanese values.
  The history and legend of the martial arts includes several specific "arche-
  types." This section covers some of the types of characters that would fit in a
  Martial Arts campaign. Some suggested skills are given, as well as recommend-
  ed combat styles for each (see Chapter 4 for more information on styles).
  Contender
  An athlete, professional or amateur, competing in one of the many martial
  arts tournaments around the world. With a team, or perhaps only a trainer, the
  contender goes from place to place, participating in exhibitions, formal sporting
  events or darker, less publicized competitions where the stakes - and the risks -
  are higher.
  Advantages: A high Wealth level or a rich Patron will help pay for the rigor-
  ous training the contender must undergo. Toughness will help the fighter in full-
  contact competitions. An expert trainer/manager could be an Ally or Patron.
  Disadvantages: Rival martial artists make good Enemies; instead of being
  out to kill you, they want to publicly defeat and humiliate you. Many martial
  arts competitors are Struggling or Poor; in that case, getting the funds necessary
  to train and travel may constitute an adventure in itself!
  Skills: Other than the obvious, a number of physical skills (such as Running
  and Swimming) should be required. Tournament Law will help you avoid fouls
  - or get away with them.
  Recommended Styles: Judo, Karate and Tae Kwon Do are the best-known
  competitive styles. For tougher, full-contact events, Pro Kickboxing and Muay
  Thai are more appropriate.
  Campaign Type: Contenders are fine for a realistic campaign; a whole party
  can be made up of team members. In a cinematic campaign, winning a tourna-
  ment may lack melodrama, unless the stakes are upped - maybe the mob or the
  Yakuza is placing bets, or the contest is to the death.
  Cop
  Most police officers are overworked, underpaid, and face criminals who are
  often better-armed than they are. A few cops, however, can do more damage
  with their hands and feet than with their .38 service revolvers. Sometimes the
  bad guys provoke them into using their skills. The result is devastating.
  Continued on next page . . .
  
  Advantages: Legal Enforcement Powers, Patron (Police Department),
  Allies (fellow officers), among others. Some cops are former soldiers (see
  below), and might have Combat Reflexes or other appropriate advantages.
  Some have Rank in their departments.
  Disadvantages: All police officers have Duties to their departments, and
  many have specific criminal Enemies. Other police officers may be Dependents
  instead of Allies. Honesty and Sense of Duty are also common.
  Styles: Police Hand-to-Hand is mandatory. Other than that, any other style
  is possible; Karate and Judo are the most probable ones.
  Skills: Professional Skill: Law Enforcement, Driving, Shortsword (for a
  police baton) and Guns (except in the U.K.) are required. Stealth, Detect Lies and
  Streetwise help. Fast-Talk and Acting may save the lives of undercover cops.
  Campaign Type: This is primarily a cinematic character type; most real
  police officers do not have enough time (and character points) to have the skills
  of a dedicated martial artist as well as the required professional skills.
  Crimefighter
  This is a selfless philan-
  thropist who helps people with his
  considerable skills. He may be a
  private investigator, a civilian vigi-
  lante, or a costumed avenger. The
  result is the same for the evildoers
  who cross his path.
  Advantages: This character
  and the Monk (below) are the
  most likely to have the Trained
  by a Master advantage (see p.
  27). Other than that, all combat-
  oriented advantages (Combat
  Reflexes, High Pain Threshold,
  etc.) will be useful. Intuition and
  Common Sense may help ferret
  out criminals. This is one of the
  few character types who com-
  monly has above-average Wealth.
  If GURPS Supers is being used,
  you might also want to throw in a
  super ability or two.
  Disadvantages: Enemies and
  Dependents are common. Sense
  of Duty, Pacifism (Cannot Kill),
  and Vows are also typical.
  Styles: Jeet Kune Do, Muay Thai and Ninjutsu are all good, hard-hitting
  styles, appropriate for a tough job like battling evil. Some crimefighters also
  specialize in more exotic forms, such as Pentjak Silat. Escrima is a very useful
  style as well.
  Skills: Power Blow, Parry Missile Weapons, Pressure Points and Pressure
  Secrets are common among super-martial artists. Climbing, Stealth,
  Lockpicking and Research may provide useful information.
  Campaign Type: Cinematic, for the most part, but a team of realistic vigi-
  lantes (for instance, a band of former youth gang members, now battling criminal
  gangs) is feasible as well.
  SABURO;
  ASSASSIN
  Saburo's favorite weapon is the garrote.
  His ability with it makes him the choice
  man for missions that require sentry
  removal. His ability to mimic noblemen's
  behavior has served him well in infiltrating
  enemy castles and palaces. Once, escaping
  after a mission, he bluffed his way past sev-
  eral guards who tried to bar his way; his
  demeanor was so convincing that the guards
  did not dare stop him!
  Saburo has the habit of leaving a short
  poem by the side of his victims. The poem
  is a mockery of the traditional death-verses
  that samurai write before committing sep-
  puku. The implication is that crossing
  Saburo's clan is a sure way to commit sui-
  cide. He only does this when there is no
  risk to himself or the clan, though.
  Attributes
  ST10, DX 13, IQ 13, HT 11.
  Basic Speed 6, Move 6.
  Damage
  Basic damage is ld-2 Thrust, 1d Swing.
  Thus, basic unarmed damage is ld-4
  with a punch, or ld-2 with a kick. Karate
  skill of 14 gives a +2 to kicking and punch-
  ing attacks, so he strikes at ld-2 and kicks
  at 1d.
  Advantages
  Literacy.
  Disadvantages
  Extremely Hazardous Duty (Ninja clan,
  on a 15 or less); Secret (that he and his
  whole clan are ninja).
  Quirks
  Likes Poetry, Trademark (Leaves death
  poems by the side of victims).
  Martial Arts Style
  Ninjutsu (realistic version).
  Skills
  Acrobatics- 11 , Acting -13, Calligraphy -
  12. Climbing-12, Disguise-13, Fast-Talk-
  13. Garrote-15, Judo-14, Jumping-14,
  Karate- 14, Katana-14, Lasso- 13, Poetry-
  12, Savoir-Faire-13, Shuriken-13, Stealth-
  14, Swimming- 14.
  Maneuvers
  Aggressive Parry-7 (ld-2), Arm Lock-
  16, Back Kick-11 (1d), Ear Clap- 10, Elbow
  Strike- 14 (ld-2), Feint (Karate)- 15, Feint
  (Katana)-l5, Ground Fighting (Karate)-ll,
  Hand Parry-9, Hand Strike- 14 (ld-2), Head
  Butt- 10 (ld-3), Hit Location (Karate)- 12,
  Jump Kick-11 (ld+2), Knee Strike-15
  (ld-1), Riposte (Karate)-ll (ld-2), Spin
  Kick - 12 ( 1d), Stamp Kick- 13 ( 1d+1 ).
  
  Skull;
  1930s
  The Skull is a pulp-era vigilante. He is
  ideal for a cinematic Cliffhangers cam-
  paign, either as an NPC Patron for the
  PCs or as a character in a high-powered
  campaign. His stats border on the super-
  human, and he has a host of combat-ori-
  ented advantages. For styles, he chooses
  the unusual combination of Aikijutsu and
  Muay Thai (there were versions of both
  styles in Asia during the 1930s, although
  they were unknown in the West), which
  give him several cinematic abilities and
  hard-hitting moves. The Trained by a
  Master advantage gives him exotic abili-
  ties that will allow him to battle crime.
  Even with 350 points, none of the
  Skull's martial arts skill levels is over 20,
  and most are 18 or 19. This is due to the
  points he spent on the Trained by a
  Master advantage and several cinematic
  abilities. A 350-point martial artist with-
  out cinematic skills could have much high-
  er skill levels.
  Raymond Robeson was a wealthy
  socialite with only two loves: traveling to
  remote places, and his wife, Linda. Their
  honeymoon around the world ended tragical-
  ly when his yacht was hijacked off the coast
  of Burma by a band of Asian and Western
  pirates. Both he and his wife were horribly
  brutalized by the pirates and tossed over-
  board. As his victims thrashed in the water,
  the pirate leader gloated that they were in the
  pay of his stepbrother, Martin. Linda died
  within a few minutes. Raymond didn't.
  Continued on next page . . .
  Instructor
  The character is a teacher (also known as sensei, sifu or guru) at a martial
  arts school. If his school is traditional, he is probably a Monk (see below). The
  instructor works in a modern do jo, or school, imparting his knowledge to others.
  Sometimes special groups, such as police departments, hire him as a trainer or
  adviser. The Instructor may also be a Contender (see p. 20), and teach part-time
  to pay his bills.
  Advantages: His school can be a Patron, while his advanced students can be
  taken collectively as an Ally Group. An excellent teacher may have a good
  Reputation. Voice and Charisma are helpful.
  Disadvantages: Young students can be Dependents.
  Styles: Any, for obvious reasons.
  Skills: Teaching, of course, and probably Leadership as well. Savoir-Faire
  (Dojo) at a high level (15+) is a plus (see below). Tournament Law will be
  important in any school that enters formal competition.
  Campaign Type: An Instructor will work well in any campaign, although a
  martial arts teacher should be highly trained, and his point cost must reflect this,
  even in a realistic campaign.
  Monk
  This is one of the classic martial artists of fiction. Raised in a religious mar-
  tial-art school, he is likely to have a vast knowledge of combat skills and
  Oriental wisdom - and not much else. This character type is usually male except
  in fantasy worlds (though it must be remembered that the Shaolin temple had
  nuns trained in the martial arts).
  Advantages: Trained by a Master is almost a prerequisite in a cinematic
  campaign. In many nations, monks receive bonuses on reaction rolls. Clerical
  Investment is not necessary; some "monks" are practicing clerics, but others are
  simply people who were trained by the school.
  Disadvantages: Honesty, Pacifism (Self-Defense Only), Sense of Duty and
  diverse Vows are common. Some of the more sheltered monks may be Gullible
  or Primitive. Wealth should be average or lower.
  Styles: Any variety of Kung Fu (see p. 90) except Wushu is appropriate; in
  Japan, fighting monks (Yamabushi) would know early forms of Jujutsu,
  Aikijutsu and Kyudo.
  Skills: Theology, Meditation and Philosophy will reflect the monk's beliefs.
  Yin/Yang Healing, Calligraphy and Naturalist are also likely.
  
  Campaign Type: Mainly cinematic, although a party of sheltered monks
  suddenly released into the 19th or 20th century with nothing but their skills
  (kept at realistic levels) might make for an interesting campaign.
  Ninja
  Master of stealth and deceit, the ninja has
  become firmly embedded in popular mythology.
  Popular stories to the contrary, the ninja relied
  less on their martial arts expertise than on act-
  ing, disguise and trickery. Still, some of the
  claims that the ninja have mysterious abilities
  may be true . . .
  Advantages: Depending on their standing in
  a campaign, ninja may have the Trained by a
  Master and Weapon Master advantages. The
  ninja will have a fearsome Reputation which
  will occasionally provoke attacks; but which
  will more often make foes flee. This only
  applies when they are "in uniform," though!
  Disadvantages: Most ninja have a full-time
  Duty to their clan, worth 15 or even 20 points
  (see Extremely Hazardous Duty, below). Others
  are nukenin, renegade ninja, and probably have
  formidable Enemies in their former clans.
  Historical (and modern cinematic) ninjas' iden-
  tities are dangerous Secrets.
  Styles: Ninjutsu and Kobujutsu; some addi-
  tional styles may also be known by hand-to-
  hand specialists.
  Skills: Fast-Talk. Acting, Disguise and
  Stealth are indispensable. More exotic ninja
  may have all the cinematic skills of their style
  (see pp. 36-40).
  Campaign Type: Ninja in the present day are essentially cinematic. A real-
  istic campaign could be set in historical Japan, with all PCs as ninja (see
  GURPS Japan for more information).
  Secret Agent
  Many secret agents are trained in the martial arts. Also, a few dedicated
  martial artists work for such agencies. They are particularly handy in places
  where no weapons can be brought. In any case, the ability to kick one's way out
  of a tight situation makes a nice addition to the gadgets and the continental
  charm of the "typical" agent.
  Advantages: For dedicated artists, Trained by a Master will offset the edge
  of high-tech weapons. For the more common agent, above average Appearance,
  Voice and Charisma help make a good impression. All agents would have either
  Legal Enforcement Powers or Military Rank, and perhaps Patrons in their agen-
  cies, unless they are freelance operatives.
  Disadvantages: Duties and Enemies are almost unavoidable for this charac-
  ter type. Overconfidence is common.
  Styles: Military Hand-to-Hand is common. Chinese secret agents will prob-
  ably know Wushu. Hand-to-hand specialists may know any hard-hitting style,
  such as Muay Thai. Ninjutsu is appropriate for some exotic secret agents
  (James Bond himself took a Ninjutsu seminar in You Only Live Twice).
  The SKULL
  (CONTINUED)
  Ten years later, a rugged adventurer
  stepped from a merchant ship onto the
  New York docks. He identified himself as
  Raymond Robeson. His acquaintances
  barely recognized him: gone was his flip-
  pant demeanor. Raymond reclaimed his
  now-diminished fortune (Martin had
  enjoyed a spending spree for the past
  decade) and became a recluse. A few days
  later, Martin died of a heart attack; a
  signed confession of his plot against
  Raymond and a wooden skull-and-cross-
  bones carving were found next to his
  body. Soon after that, the Skull, merciless
  enemy of crime, began his exploits.
  The Skull wears a grinning death's
  mask under a wide-brimmed hat. That and
  his large black trench coat are his "cos-
  tume." He carries a pistol, but uses it
  rarely, preferring to depend on his hand-to-
  hand skills. Criminals live in utter terror of
  him; stories of his ability to move invisibly
  and his superhuman strength (actually
  applications of his Immovable Stance and
  Push skills) have only grown in the telling.
  The police would like to talk to him, too.
  Attributes
  ST 13, DX 17. IQ 14, HT 12.
  Basic Speed 7.25, Move 7.
  Damage
  Basic damage is 1d Thrust, 2d-l Swing.
  Thus, basic unarmed damage is ld-2
  with a punch, or Id with a kick. Karate
  skill of 18 gives a +3 to kicking and
  punching attacks, so he strikes at ld+1
  and kicks at ld+3.
  Advantages
  Combat Reflexes, Contacts (criminal,
  10 points). High Pain Threshold,
  Reputation (+3 among criminals, due to
  fear, 7 points). Strong Will +2, Trained by
  a Master, Wealthy.
  Disadvantages
  Enemy (several criminal groups, on a 9
  or less, -20 points). No Sense of Humor,
  Overconfidence. Reputation (-3 among
  police, because he's a lawbreaker, -7
  points), Secret (identity, -20 points), Sense
  of Duty (everyone but criminals, -15
  points), Stubborn, Trademark (leaves carv-
  ing of skull and crossbones, -5 points).
  Martial Arts Styles
  Aikijutsu and Muay Thai (cinematic).
  Continued on next page . . .
  23
  CHARACTERS
  
  Skull
  Skills
  Acrobatics- 17, Administration- 14,
  Boxing- 18, Driving (Cars)- 17, Escape- 15,
  Fast-Draw (Pistol)- 17, Guns (Pistol)-20,
  Hypnotism-16, Interrogation- 15, Judo-18,
  Judo Art- 16, Karate- 18, Katana Art- 17,
  Language (Japanese)-13, Language
  (Thai)-13, Shortsword Art-17, Stealth-17,
  Streetwise-15.
  Cinematic Skills
  Immovable Stance- 16, Invisibility Art-
  15, Mental Strength- 16, Pressure Points-
  18, Pressure Secrets-15, Push-16.
  Maneuvers
  Arm Lock-20, Axe Kick-18 (ld+5),
  Back Kick- 18 (ld+3), Breakfall-19, Elbow
  Strike- 18 (ld+1), Finger Lock- 18, Ground
  Fighting (Judo)-16, Hand Parry-13, Hand
  Strike-18 (ld+1), Hit Location (Karate)- 17,
  Hook Kick- 18 (ld+4), Jab- 17 (Id), Judo
  Throw-18, Jump Kick-18 (ld+5), Kicking-
  18 (ld+3), Knee Strike- 19 (ld+2), Riposte
  (Karate)-l5 (ld+1), Roundhouse Punch-17
  (2d+l), Shin Kick- 18 (ld+5), Spin Kick- 18
  (ld+3), Spinning Punch-17 (ld+1).
  Cinematic Maneuvers
  Flying Jump Kick-16 (ld+5, double
  knockback), Roll with Blow- 16.
  Combinations
  The Skull uses one particularly vicious
  combination move: Hand Parry/Arm
  Lock/Knee Strike. The Arm Lock is a
  grapple, so the victim defends against the
  Knee Strike at -4, and the Skull usually
  goes for the groin.
  Skills: As for the Ninja, who in essence is a member of one of the oldest
  secret agencies in history. A number of high-tech skills like Electronics
  Operation, Guns, Piloting and Driving will help deal with those inevitable
  gadgets.
  Campaign Type: The Hollywood secret agent is by definition cinematic. A
  realistic espionage campaign does have a place for unarmed combat specialists,
  however.
  Soldier
  Many martial artists have found homes in the army. Some are members of
  the Special Forces and other elite groups. Others are common privates who may
  even hide their skills. They can be active in the military, or they may have left,
  perhaps scarred by their war experiences. Some ex-soldiers become lone vigi-
  lantes with their own bloody crusades against crime, terrorists, or anything that
  offends their sensibilities. For a more detailed look at elite soldier character
  types, see GURPS Special Ops.
  Advantages: Some soldiers have high Military Rank, or their units as
  Patrons; smaller units may be taken as Ally Groups instead.
  Disadvantages: Active soldiers have Duties to the armed forces. Some are
  Fanatic patriots. Others may have one or more Phobias, physical disabilities and
  other mental disadvantages as a result of battle wounds.
  Styles: Military Hand-to-Hand, of course, as well as any other style for a
  cinematic soldier.
  Skills: Other than martial arts combat skills, soldiers are also proficient in
  modern weapons. All the Guns and Gunner skills are appropriate, as are
  Piloting, Driving, Strategy and Tactics. Leadership and Savoir-Faire (Military)
  are mandatory for officers and senior NCOs.
  Campaign Type: The Rambo-type soldier is obviously cinematic, but realis-
  tic soldier-martial artists are possible, particularly if they serve as Instructors
  (see above).
  Stunt Man
  These real-life heroes of the cinema are sometimes accomplished martial
  artists, particularly if they work on "kung fu" movies. There will be enough
  action and adventure in the dangerous stunts required by moviemakers, but a
  devious GM will undoubtedly come up with more complications.
  Advantages: Combat Reflexes and Toughness are helpful in keep-
  ing the character in one piece while driving a flaming car through a
  wall. Very successful stunt men have Comfortable or better Wealth.
  Disadvantages: Addictions, Compulsive Behaviors and
  Overconfidence are common. Many stunt men are Struggling or Poor.
  An Enemy rival stunt man is common, although the Enemy will usual-
  ly want to upstage or humiliate the character rather than kill him out-
  right. Dependents are also typical.
  Styles: Shaolin Kung Fu, Karate and Kickboxing are the most
  commonly used martial arts on the screen.
  Skills: For the well-rounded stunt man, Driving, Climbing,
  Jumping and Acrobatics are necessary. Many actors began their careers
  as stunt men, particularly in martial arts flicks; Acting can help them
  get their faces, as well as their bodies, in the movies. Fast-Talk is use-
  ful.
  Campaign Type: Realistic stunt men are possible. In a cinematic
  campaign, the stunt man can have a variety of secondary occupations -
  bounty hunter comes readily to mind.
  CHARACTERS
  
  Martial Arts adventures can take place in almost any back-
  ground. Most of the advantages, disadvantages and skills
  described below assume that the campaign world will be the late
  20th century (TL7). For different time periods, refer to GURPS
  Japan, GURPS Space and other GURPS worldbooks.
  Skills
  Allies 
  see p.B23
  For martial artists, the most common Ally is another mar-
  tial artist. This can vary depending on the character type. A cop
  or a private detective would be likely to have a partner. A crack
  pistol shot or a strong brawler makes a good Ally for a light-
  ning-quick Karate expert. In a four-color campaign, a wizard or
  a metahuman is also appropriate, although expensive.
  Contacts 
  Seep.B234
  A Contact is an NPC, like an Ally or a Patron. However,
  the Contact only provides information. Contacts may be any-
  thing from a wino in the right gutter to the head of state of a
  country, depending on the character's background. The Contact
  has access to information, and he is already known to and guar-
  anteed to react favorably to the character. The Contact may
  want a price, in cash or favors, for the information. The Contact
  is always played and controlled by the GM and the nature of the
  price must be set by the GM.
  The GM may assume that a Contact is, in general, well-dis-
  posed toward the PC. However, the Contact is not an Ally or
  Patron, and is no more likely to give help than any other gener-
  ally friendly NPC!
  A Contact does not have to be created when the PC is first
  developed. Contacts may be added later. When appropriate, the
  GM can turn an existing NPC into a Contact for one of more
  players, possibly in lieu of character points for the adventurer in
  which the Contact was encountered.
  Whatever the case, the Contact can provide information
  only about his own area of expertise. The technician at the
  forensics lab probably has no information about Nazi agents in
  New York, and the First Secretary of the British Embassy prob-
  ably can't do a ballistic comparison. The GM assigns a skill
  (Streetwise for a minor criminal, Forensics for a lab tech, etc.)
  to the Contact. All attempts to get information from him require
  a secret roll by the GM against the Contact's "effective" skill.
  Note that the effective skill is not necessarily the NPC's actual
  skill; the actual skill can be set by the GM if the NPC comes
  into regular play. For instance, the president of the Chinatown
  Chamber of Commerce might actually have business-related
  skills of 16-18, but he has an effective skill of 21, making him
  worth 20 points, because he himself has good connections!
  Point values for Contacts are based on the type of informa-
  tion and its effective skill, modified by the frequency with
  which they can provide information and the reliability of the
  information. Importance of information is relative and the list of
  possible Contacts is virtually endless; a few are listed below as a
  guide to help the GM determine value.
  Type of Information
  Street Contacts. These are minor criminals, derelicts,
  shoeshine boys, street entertainers, fences and other streetwise
  NPCs who provide information on illicit activities, local crimi-
  nal gossip, upcoming crimes and so forth. Base cost is 1 point
  for "unconnected" Contacts (not part of the local criminal orga-
  nization; Streetwise-12) and 2 points for "connected" Contacts
  (Streetwise-15).
  Business Contacts. Executives, business owners, secretaries
  - even the mailroom flunky - can provide information on busi-
  nesses and business dealings. Base cost depends on how much the
  contact can be expected to know: 1 point for a mail boy or typist
  (effective skill 12), 2 points for the president's secretary (effective
  skill 15), 3 points for an accountant (effective skill 18) or 4 points
  for the Chairman of the Board (effective skill 21).
  Police Contacts. This includes anyone connected with law
  enforcement and criminal investigation: patrolman, detectives,
  forensics specialists, coroners, federal agents and so on. Cost
  depends on access to information or services. Beat cops are 1
  point (effective skill 12); detectives, federal agents or records
  clerks are 2 points (effective skill 15); administrators (lieu-
  tenants, captains, Special Agents in Charge, etc.) are 3 points
  (effective skill 18) and senior officers (sheriffs, chiefs of police,
  District Superintendents, etc.) are 4 points (effective skill 21).
  Frequency of Assistance
  Frequency refers to the chance that the Contact can be
  found when needed. When creating the character, the player
  must define the way the Contact is normally contacted!
  Regardless of the chosen frequency, a Contact cannot be
  reached if the PCs could not reasonably speak to him. No
  Contact may be used more than once per day, even if several
  PCs share the same Contact. Multiple questions may be asked
  each day, at a cumulative -2 for each question after the first.
  Available almost all the time (roll of 15 or less): triple cost.
  Available quite often (roll of 12 or less): double cost.
  Available fairly often (roll of 9 or less): listed cost.
  Available rarely (roll of 6 or less): half cost, (round up;
  minimum cost is always 1).
  During the adventure, if a PC wants to talk with his
  Contact, the GM rolls against the availability number for that
  Contact. A failed roll means the Contact is busy or cannot be
  located that day. If the Contact is available, then the GM must
  roll against the Contact's effective skill for each general piece of
  information the PC requests. A Contact can never supply infor-
  mation outside his particular area of knowledge. Use common
  sense. Likewise, the GM must not allow a Contact to give infor-
  mation that short-circuits the adventure or part of it!
  If a PC gets a critical failure when trying to reach his
  Contact, that Contact can't be reached during that entire
  adventure.
  
  Reliability of Information
  Contacts are not guaranteed to know anything useful, and
  are not guaranteed to be truthful. Use the following modifiers
  (cumulative with frequency modifiers).
  Completely reliable: Even on a critical failure, the worst
  response will be "I don't know." On an ordinary failure he can
  find information in 1d days. Triple cost.
  Usually reliable: On a critical failure the Contact will lie;
  on any other failure he "doesn't know but check back in 1d
  days." Roll again at that time; a failure then means he can't find
  out at all. Double cost.
  Somewhat reliable: On a failure the Contact doesn't know
  and can't find out; on a critical failure he will lie; on a natural
  18 he will let the opposition know who is asking questions.
  Listed cost.
  Unreliable: Reduce effective skill by 2. On any failure he
  will lie; on a critical failure he will notify the enemy. Half cost
  (round up).
  Money Talks
  Bribery, whether cash or favors, motivates the Contact and
  increases his reliability level. Once reliability reaches "usually
  reliable," further levels of increase go to effective skill; bribery
  cannot make anyone totally reliable!
  A cash bribe should be equivalent to one day's income for a
  + 1 bonus, one week's income for +2, one month's for +3 and
  one year's for +4. Favors should be of equivalent worth. The
  favor should always be something the character actually per-
  forms in the game. The GM must maintain proper roleplaying; a
  professor might be insulted by a cash bribe, but welcome an
  introduction to someone who could help him in his researches.
  Patrons 
  see p.B24
  Some examples include martial arts schools, an inhumanly
  skilled teacher, or a secret agency. A Patron may be necessary
  for a martial artist to learn new tricks.
  Reputation 
  see p. B17
  "All martial artists" is a large class of people, giving a modi-
  fier of 1/2 to the Reputation value. Reputation is very important in
  establishing a respectable martial arts school. A +2 Reputation
  with a frequency of recognition of 7 or less should be the mini-
  mum a teacher should have before being able to found a dojo.
  Unfazeable 
  see p.B237
  Nothing surprises you - at least, nothing that's not obviously
  a threat. You are exempt from Fright Checks, and almost no reac-
  tion modifiers affect you, either way. Intimidation (p. 31) just
  does not work on you.
  This disadvantage is incompatible with all Phobias. A char-
  acter with this advantage is not emotionless - he just never dis-
  plays strong feelings. This advantage is especially appropriate for
  a martial arts master in a Cinematic campaign, perhaps as a side-
  effect of an extreme level of Meditation or Mental Strength.
  This advantage must be roleplayed fully, or the GM can
  declare that it has been lost.
  Unusual Background 
  see p. B23
  A special form of Unusual Background (Trained by a
  Master) is described below. Depending on the campaign world,
  GMs may require other Unusual Background requirements from
  martial artists. "Ninja" specialists, for instance, may have to pay
  10 or 15 points for such unusual knowledge. A pre-1950s
  Westerner with Asian martial arts training should also have to
  buy a 10-point Unusual Background.
  New
  Since Martial Arts is designed to work with two different
  campaign types - realistic and cinematic - advantages and skills
  will be classified accordingly. Realistic advantages can be used
  in any campaign type. The GM designing a cinematic campaign
  can decide which cinematic advantages and skills exist in his
  game world.
  Martial Arts Styles 
  Variable
  Martial arts are not taught one maneuver at a time. There
  are a number of different "styles," each of which covers differ-
  ent skills and maneuvers, different ways of using them, different
  training methods and often a specific philosophy.
  To simplify character generation (especially for NPCs), each
  martial arts style can be treated as if it were an advantage. The
  point value of the style will indicate the minimum number of points
  that must be set aside to purchase that style's skills and maneuvers.
  This cost reflects the amount of training that one must undergo to
  become proficient with the style. These points must be paid when
  the style is chosen during character creation, or when it is learned
  during the campaign. See Chapter 4 for more information.
  Note that a style is not a true advantage, and that the style
  cost simply acts as a "place holder" until the exact distribution
  of points amongst the style's various abilities is decided upon. A
  character who has already recorded the specific point costs for
  the skills and maneuvers of a style need not list the "package
  cost" of the style as well.
  Style Familiarity 
  1 -25 points
  This indicates a general knowledge about styles other than
  those with which the character is proficient. When facing an
  unfamiliar style, a character defends at -1; this advantage elimi-
  nates this penalty.
  The number of styles a character is familiar with determines
  the point cost. Each style chosen costs 1 character point.
  
  Familiarity with all known styles in the game world costs
  20 points. This will not identify secret styles that are only
  known to their students, unless the character specifies he has
  fought them in the past (which might cost up to 5 points more,
  depending on the role of secret styles in the campaign).
  Unless he buys the advantage at the 20-point level or better,
  the character must specify which styles he is familiar with. When
  a character encounters an opponent using a familiar style, he will
  recognize it after the first round of combat. On an IQ roll, he will
  recognize it before combat, by observing the opponent's stance.
  To acquire this familiarity during play, a student must not
  only spend the appropriate character points, but must also have
  access to appropriate teachers. Films are not an acceptable sub-
  stitute. However, a single day of sparring with a teacher would
  be enough to add familiarity with a new style.
  New
  These advantages are appropriate only for a cinematic cam-
  paign; they make no pretense of realism. The GM should deter-
  mine beforehand which of the following advantages (if any) are
  available in his campaign, and inform the players in advance.
  Harmony with the Tao 
  20 points
  Flexible and spontaneous, one who understands the Way
  (see p. 7) does not need training or preparation. He can simply
  do things, without knowing how. Someone in harmony with the
  Tao can attempt any one skill roll at his score in the appropriate
  attribute (usually IQ for Mental skills and DX for Physical
  skills), once per game session. The character does not incur any
  default penalties. Harmony with the Tao does apply to skills
  which normally have no default, including any Cinematic skill
  or maneuver. It does not, however, allow one to perform a task
  without the appropriate tools.
  Iron Hand 
  10/15 points
  This advantage represents the toughening of the hands that
  some martial artists undergo, literally reshaping one of their
  hands into a lethal weapon. This advantage can be acquired after
  character creation. There are many paths to the Iron Hand. The
  roughest one involves breaking the knuckles of one hand repeat-
  edly, with the healed hand becoming stronger than it used to be.
  In game terms, the character must cripple his hands no less than
  a dozen times each - Will rolls should be required to do this! -
  and make all of his recovery rolls, as per p. B129.
  Another way consists of a series of exercises where the
  hand is shoved into a jar full of pebbles or dry seeds, slowly
  moving to harsher materials, such as ball bearings or iron fil-
  ings. Any of these methods will take many months to produce
  results.
  The first level of the advantage costs 10 points and trans-
  forms one hand into an Iron Hand; pay 15 points for both hands.
  Most martial artists will modify only one of their hands in this
  manner, however.
  A character with the Iron Hand will do Thrust damage with
  that hand (rather than Thrust-2), plus Karate bonuses. The hand
  will gain a DR of 1 (cumulative with any levels of Toughness).
  This advantage also gives a +2 bonus to the Breaking Blow skill.
  However, any skill that requires delicate finger manipula-
  tion (such as Lockpicking, Sleight of Hand, Fast-Draw for small
  weapons and even Driving or Piloting) will be at -4 DX.
  Attempts to pull a punch (see p. B122) will require a DX-2 roll
  or full damage will be delivered anyway. This applies only to
  the hand modified by this advantage. If both hands are modified
  in this way, the character will make a very bad thief or juggler.
  Also, the Iron Hands are easy to spot (make a Vision roll), as
  they are covered by heavy calluses.
  Sharpshooter 
  45 points
  This is the cinematic ability that supernaturally accurate
  shootists possess, the equivalent of Weapon Master (see below)
  but for handguns. To a sharpshooter, the gun is a natural exten-
  sion of his hand, and he can make uncannily precise shots with-
  out aiming. Only handguns can be used in this manner. The
  character never takes a Snap Shot penalty, and he automatically
  gets the Accuracy bonus of his weapon, without a turn of aim-
  ing. Furthermore, he can use any handgun, from a flintlock pis-
  tol to a hand blaster, at a default value of DX or his highest gun
  skill-2, whichever is greater. The sharpshooter also has an
  innate understanding of the workings of any handgun; he can
  make Armoury rolls for any handgun, even models he has never
  seen (apply the TL penalties for guns of different Tech Levels,
  as per p. B185, but the maximum penalty is -6 to skill).
  This advantage is utterly cinematic, and is available only
  during character creation; someone is either born a Sharpshooter
  or he isn't. No amount of training will give another character
  this instinctual mastery of the gun.
  Trained by a Master 
  40 points
  Anyone can go to the nearest Karate school and learn to be a
  good martial artist. This training does not teach any of the "mysti-
  cal" abilities listed in the Cinematic Skills section (pp. 36-40). In
  order to learn these special skills, one must have been trained by a
  true master, most likely found in a remote, ancient school or temple.
  
  Characters buying this advantage must also learn the Philosophy or
  Theology skill appropriate to their style (usually Buddhism, Taoism
  or Shintoism) at IQ level or higher, to represent the spiritual training
  that usually takes places in such a school.
  Several disadvantages could be logically acquired by some-
  one Trained by a Master: an Enemy (a rival school, for
  instance), a Duty or Sense of Duty to the school or teacher, or
  even Primitive (someone born and raised in a Shaolin temple in
  a remote area of Asia might effectively be a TL3 Primitive, a
  disadvantage worth -20 points in a modern-day campaign).
  To acquire this advantage after character creation, the PC
  must first find a school or teacher. That might be an adventure in
  itself, with the PC undergoing a dangerous pilgrimage to an
  appropriately exotic locale. At the end of the training period, the
  temple or teacher will subject him to a series of hazardous tests,
  or maybe a quest to yet another remote land. The character must
  also have Karate or Judo at a skill level of 16 or higher, and
  enough points to buy the advantage. Once the school is found, the
  PC will disappear from play for ld+1 game years. Afterwards, he
  will re-emerge with the Trained by a Master advantage and 20
  extra character points to spend on any special skill allowed in the
  campaign. He will have to pay for those extra points; acquiring
  one or more of the disadvantages outlined above is the easiest
  way to do so.
  Trained by a Master is the prerequisite to learn all Cinematic
  skills. If the Chambara attack rules (see p. 65) are being used,
  this advantage is necessary to make Chambara multiple attacks;
  those rules apply both to armed and unarmed combat.
  Weapon Master 
  45 or 20 points
  A character with this skill has been trained intensively in
  the use of archaic weapons. He also knows where to strike the
  human body for the deadliest effect. A Weapon Master gets no
  bonuses for guns or modern weapons.
  When using an archaic weapon, a Weapon Master gets a
  damage bonus equal to 'A of his skill with that weapon (this does
  not apply to defaults). He is at least familiar, if not proficient,
  with virtually every sort of primitive weapon. Even with those
  weapons with which he is not trained, he has an improved
  default skill. Physical/Easy Combat/Weapon Skills default to
  DX-1; Physical/Average ones default to DX-2 and Phys-
  ical/Hard ones to DX-3. Weapon skills are purchased from their
  original defaults, not the improved defaults this advantage
  gives.
  A Weapon Master gets multiple attacks as per the
  Chambara Fighting Rules (see p. 64).
  If the master specializes in one weapon skill - Broadsword,
  Flail, or Two-Handed Axe/Mace, for instance - the advantage
  costs only 20 points; skill and damage bonuses apply only with
  that weapon type. If a weapon can be thrown, mastery of that
  weapon includes the skill used to throw that weapon.
  A master with all archaic weapons pays 45 points.
  A Weapon Master may learn the following cinematic skills:
  Blind Fighting, Drunken Fighting, Flying Leap, Kiai, Mental
  Strength, Power Blow, Precognitive Parry, Pressure Points,
  Throwing Art and Zen Archery. A Master who specializes in
  one weapon type can only learn skills that apply to that weapon.
  A Katana Master, for instance, could not learn Throwing Art or
  Zen Archery, since they relate specifically to different weapon
  types. Likewise, a Bow Master could not learn Precognitive
  Parry. Acquiring this advantage after character creation follows
  the same rules as Trained by a Master, above.
  Codes of Honor 
  seep.B31
  These are some codes of honor appropriate for Martial Arts
  campaigns.
  Bushido: One must obey one's liege lord in all things, and
  must not desert him under any circumstances. A samurai must
  answer any challenge or insult to his lord. Pain, discomfort and
  even death must be faced stoically. One must always be polite to
  one's equals and superiors. A samurai cannot stand disrespect
  from a social inferior; such disrespect is usually punished with
  death. -15 points.
  Tong Code of Honor: This is the code of criminal gangs
  and secret societies. A Tong member cannot betray a fellow
  member, or refuse him aid, or cheat him. He must never talk
  about his society to strangers, or reveal any names. The penalty
  for breaking any such rule is death, usually implemented in a
  highly creative manner. -10 points.
  Personal Codes of Honor can include several of the Vows
  listed below. The total cost of such a Code of Honor cannot
  exceed -20 points.
  CHARACTERS
  Fanaticism 
  see p. B33
  Members of strange cults and mysterious martial arts
  schools are often Fanatic. A PC who is Trained by a Master may
  take this disadvantage.
  Some cultists have Extreme Fanaticism. Point cost remains
  the same, but the character will have a +3 to Will rolls to resist
  Interrogation when the answers would betray his cult or organi-
  zation. On the other hand, the Extremely Fanatic character will
  not hesitate to die if a prominent member of his cult orders him
  to. Suicide missions are taken matter-of-factly. This attitude is
  not appropriate for a PC!
  Glory Hound 
  see p. B240
  This is an advanced case of Overconfidence (p. B34); a
  character may not have both Glory Hound and Overconfidence.
  It is especially appropriate for the Contender character type (see
  p. 20). You will always take time to talk to the press, pose for
  photographs or sign an autograph. You insist on being in the
  limelight - you will always take the greatest risks, accept any
  challenge match, lead the charge, etc.
  28
  
  You get a +1 reaction (at least publicly) from the press,
  small children, teenagers, etc. and a -1 reaction from other seri-
  ous martial artists, etc. If the glory-hounding is successful, it can
  lead to an improved Reputation with fans or with the general
  public; buy this separately during character creation, or earn it
  free during the course of the campaign.
  Intolerance 
  see p. B34
  Intolerance is as common in Asia as in the Western world.
  Extreme Intolerance (-10) is common among Japanese and
  Chinese characters; Intolerance against one or more
  ethnic/racial groups (-5 points) is also widespread.
  No Sense of Humor 
  see p.B241
  You never get any jokes and think everyone is earnestly
  serious at all times. Likewise, you never joke, and you are
  earnestly serious at all times. Others react to you at -2 in any sit-
  uation where this disadvantage becomes evident.
  see p. B241
  Obsession
  Your will is fixed upon a single
  goal. Everything you do is in further-
  ance of this goal.
  To play an Obsessed character,
  you must be able to rationalize all of
  his actions as an attempt to reach his
  goal. A Will roll is required any time
  the character is requested (or forced)
  to do something that does not further
  the goal.
  The point cost depends on how
  short or long term the goal is.
  Assassinating someone or successful-
  ly seducing a particular person would
  be -5 points, while larger goals like
  getting to a hard-to-reach place or
  becoming president would merit high-
  er point values. Some obsessions may
  cause others to react to the character
  badly; if so, an Odious Personal Habit
  or Delusion may also be required (the
  Obsession cost only covers the obses-
  sive behavior).
  If and when the goal is reached, the character must substi-
  tute a new goal or buy off the Obsession.
  Appropriate obsessions for a martial arts campaign:
  Become a master of an art. Cost depends on the starting
  point cost of the character. A 100-point character would get -10
  points for it - he has a long way to go. Higher-point characters
  will get proportionally less.
  Destroy an enemy school.
  Learn a secret technique.
  On the Edge 
  see p. 241
  Sometimes you don't care whether you live or die. You are
  not actively suicidal, but you will take unreasonable risks in the
  face of mortal danger. Whenever you face a life-threatening situa-
  tion (taking on six well-armed foes empty-handed, facing foes in
  a speeding vehicle while you are on foot), you must make a suc-
  cessful IQ roll before you can retreat (attempt once per turn; 14 or
  higher fails automatically).
  Each turn that you are in combat, make an IQ roll (again,
  14+ fails) to avoid making an All-Out Attack (or the near-
  insane, suicidal behavior of your choice). Most sensible people
  avoid you (-2 reaction from anyone who realizes that you're
  crazy). Primitives and low-lifes will mistake your disregard for
  your own life for bravery, giving +2 reactions. This disadvan-
  tage seems to be unusually common in bad martial arts films .. .
  Pacifism 
  see p.B35
  Self-Defense Only is the traditional disadvantage of the
  martial artist. Some also have the Cannot Kill type, and very
  humane ones will have both.
  Cannot Harm Innocents is a type of Pacifism especially
  appropriate for the Cinematic Crimefighter and Cop character
  types (see pp. 20-21). This is a "subset" or weaker form of
  Cannot Kill; you cannot take both. A character who takes
  Cannot Harm Innocents may use deadly force only on a foe who
  is attempting to do him serious harm. Capture is not "serious
  harm" unless the character is already under penalty of death, or
  has a Code of Honor that would require suicide if captured. A
  character with Cannot Harm Innocents will never intentionally
  do anything that causes, or even threatens to cause, injury to the
  uninvolved, especially uninvolved "normals." -10 points.
  Poverty 
  see p.B16
  In fiction, many martial
  artists do not own much; wealth
  is sometimes perceived as an
  obstacle to the physical and
  mental discipline necessary to
  become a master of martial arts.
  Struggling is the recommended
  poverty level.
  Secret 
  see p.B238
  A Secret is some aspect of
  your life (or your past) that you
  must keep hidden. Were it made
  public, the information could
  harm your reputation, ruin your
  career, wreck your friendships
  and possibly even threaten your
  life!
  The point value of a Secret
  depends on the consequences if
  the secret is revealed. The worse
  the results, the higher the value, as follows:
  Serious Embarrassment. If the information gets around, you
  can forget about ever getting a promotion, getting elected, or
  marrying well. Alternatively, your Secret could be one that will
  simply attract unwelcome attention if it is known. -5 points.
  Utter Rejection: if your Secret is discovered, your life will
  be changed. Perhaps you would lose your job and be rejected by
  friends and loved ones. Perhaps you will merely be harassed by
  admirers, cultists, long-lost relatives, or the press. -10 points.
  Imprisonment or Exile: If the authorities uncover your
  Secret, you'll have to flee, or be imprisoned for a long time
  (GM's discretion). -20 points.
  Possible Death: Your Secret is so terrible that you might be
  executed by the authorities, lynched by a mob, or assassinated
  by the Mafia if it were ever revealed - you would be a hunted
  man. -30 points.
  If a Secret is made public, there will be an immediate negative
  effect, as described above, ranging from embarrassment to possible
  death. There is a lasting effect - you suddenly acquire new, perma-
  nent disadvantages whose point value equals twice that of the
  Secret itself! The points from these disadvantages go first to buy off
  29
  
  the Secret, and may then (at the GM's option only) be used to buy
  off other disadvantages or (rarely) to buy new advantages. Any
  unused points are lost, and the character's point value is reduced.
  The new disadvantages acquired must be appropriate to the
  Secret and should be determined (with the GM's assistance)
  when the character is created. Most Secrets turn into Enemies,
  Bad Reputations and Social Stigmas. They might also reduce
  your Status or Wealth - going from Filthy Rich to merely Very
  Wealthy is effectively a -10 point disadvantage. Some Secrets
  could even turn into mental or physical disadvantages, though
  this would be rare. Similarly, if the GM allows you to buy off
  old disadvantages with the new points, these too must be appro-
  priate to the Secret. The most common disadvantages that could
  be bought off are Duties and Dependents.
  In general, a Secret appears in a particular game session if
  the GM rolls a 6 or less on three dice before the adventure
  begins. However, as for all other disadvantages of this type, the
  GM need not feel constrained by the appearance roll - if he
  thinks a Secret should come into play, it does!
  When a Secret appears, it is not necessarily made public.
  The character must somehow prevent the Secret from being
  revealed. This may require him to cave in to blackmail or extor-
  tion, to steal the incriminating documents, or even to silence the
  person who knows the secret. Regardless of the solution, how-
  ever, it's only temporary - the Secret will appear again and
  again until it is finally bought off. Secrets may be bought off
  either automatically through exposure (see above) or with
  earned character points over the course of play.
  Membership in some martial arts schools, depending on the
  time and place, is in itself a very dangerous Secret.
  Social Stigma 
  see p. B27
  Depending on the campaign world, Asians or people of
  Asian descent can be second class citizens (-5 points), or even
  Minorities (-10 points) in Europe and America. The same could
  be true for Westerners in Asia, or even worldwide in a futuristic
  or cyberpunk world where Asians have become the most power-
  ful ethnic group. Furthermore, in some parts of Asia a
  Westerner may be an Outsider (-15 points).
  Vow 
  seep.B37
  Some appropriate vows include: vegetarianism or chastity
  (-5 points each); poverty, "never use firearms" or "won't strike
  a fallen opponent" (-10 points each), and "use no weapons at
  all" (-15 points).
  New
  Extremely Hazardous Duty 
  -20 points
  This is an enhanced version of the Duty disadvantage (p.
  B39). The character is "on duty" almost all the time, and risks
  death or serious injury more often than on ordinary duty. There
  are significant penalties for failure to perform the duty when
  demanded: dismissal in disgrace, imprisonment and even death.
  This type of Duty is appropriate to members of ninja clans,
  fanatical cults, secret agencies or elite military units.
  Trademark 
  Varies
  Some characters, especially crimefighters, have a special
  symbol - a Trademark that they leave at the scene of action, as a
  way of "signing their work." Not only does this satisfy the char-
  acter's ego, but it serves as a warning to the criminals that the
  hero is on the job. Villains are even more likely to have a
  Trademark, leaving it at the scene of their crimes to establish
  without a doubt who did it, or as a challenge to any heroes in the
  area.
  Characters may have only a single Trademark, even if it is
  just a Quirk. Multiple actions (e.g., painting the foreheads of
  your victims white, leaving a small gemstone and carving your
  initials into the ceiling) simply count as a higher level of
  Trademark, not as multiple ones.
  -1 point: Your Trademark takes very little time to leave and
  cannot be used to trace your identity; it is essentially a Quirk. A
  typical example is something left at the scene - a playing card, a
  small stuffed animal and so on - as long as it can't be traced and
  it takes little time.
  -5 points: Your Trademark is still simple, but you absolute-
  ly must leave it. You cannot leave the scene until you do, even if
  your enemies are breaking down the door.
  -10 points: As above, but leaving your Trademark increases
  your chances of capture - initial carving, notes, traceable clues,
  and so on. Leaving this sort of Trademark takes a minimum of
  30 seconds. Anyone searching the crime scene and examining
  your Trademark receives a +2 to their Criminology roll.
  CHARACTERS
  -75 points: Your Trademark is so elaborate - dousing the
  captured thugs with a certain cologne, painting the entire crime
  scene pink, writing a long poem to the police - that it virtually
  ensures your eventual capture (with this disadvantage, the GM
  may give clues without a successful Criminology roll).
  Remember that a Trademark is an action separate from cap-
  turing the crooks or committing a crime. Knocking out villains
  with a ninja gas bomb is not a Trademark; leaving them hand-
  cuffed for the police, with a Yin-Yang button stuck on each
  crook's shirt, is.
  
  SKILLS
  Acrobatics 
  see p.B48
  This skill is important to Cinematic martial artists, allowing
  them to perform many special maneuvers (see Chapter 3). It is
  also a prerequisite for the Light Walk skill (see below).
  Breath Control 
  see p.B48
  Many advanced martial artists know this skill, and it is the
  prerequisite for some Cinematic skills, including Body Control
  (p. 39).
  Escape 
  see p.B65
  This skill is important to ninja and other Cinematic martial
  artists, and is a prerequisite for the Dislocating skill (see p. 37).
  Fencing 
  see p.B50
  Some Asian sword techniques, particularly in China, use light
  thrusting weapons that rely on the quickness of the wrist and fast
  movements for effectiveness. In terms of precision and scientific
  and artistic use of the blade, they are the equivalent of Western
  fencing, and can be treated as the same for game purposes.
  To use the fencing maneuvers and styles described in
  Chapters 3 and 4, fencers must specialize in a specific weapon. In
  the case of Western fencing, this means rapier, smallsword or
  saber. Each defaults to the other at -4; it takes several hours of
  practice to become familiar with each weapon. One way to deal
  with this is to treat the other two sword types as Average
  Maneuvers defaulting to the primary skill at -4, and invest points
  as per the Maneuver Table on p. 42. For 4 points, the -4 penalty
  would be completely eliminated for one other weapon.
  Hypnotism 
  see p.B56
  This skill is commonly a part of the Cinematic martial
  artist's repertoire, and is a prerequisite for the Hypnotic Hands
  and Invisibility Art skills (see p. 38).
  Intimidation (Mental/Average) 
  see p. B246
  This is a social "influence" skill, used for persuasion. The
  essence of Intimidation is to convince the subject that you are
  able and willing, and perhaps eager, to hurt him. In many cases,
  a good Intimidation roll may prevent a fight.
  Intimidation may be substituted for a reaction roll in any
  situation, though it is at a -3 penalty when used in a request for
  aid. A successful Intimidation roll gives a Good (though not
  friendly) reaction. A failed roll gives a Bad reaction. Most peo-
  ple will remember an Intimidation attempt whether successful or
  not, for a long time; it can permanently affect an NPC's attitude.
  When Intimidation is used against a PC (or, at the GM's
  option, against an NPC), this can also be rolled as a contest of
  Intimidation vs. Will. See Influence Rolls, sidebar, p. B93.
  Modifiers: Up to +2 for displays of strength and b
  l
  o
  o
  d
  -
  t
  h
  i
  r
  s
  t
  i
  -
  n
  e
  s
  s
  . Appropriate Reputation modifie
  for every 6" of height you have over the subject, -1 if you are
  shorter (-2 if you are more than 6" shorter). +2 for hideous
  appearance. +2 for every level of Status over the subject. +2 if
  you have some sort of power over the subject.
  Judo and Karate 
  see p. B51
  In GURPS, these skills represent all known martial art
  forms. In GURPS Martial Arts, more detail is needed to simu-
  late the large diversity of unarmed combat styles. Judo and
  Karate will represent two sets of maneuvers which may be part
  of a style. Karate includes all techniques that involve direct
  aggression - strikes, kicks and punches. Judo involves "softer"
  attacks; throws, locks and other ways to turn the attacker's
  strength against himself. Each style will have elements of one
  or both techniques to some degree. See Chapter 4 for more
  detail.
  Jumping 
  see p. B48
  This skill is important to Cinematic martial artists, as it is
  necessary to perform certain maneuvers (see Chapter 3). It is
  also a prerequisite for the Flying Leap skill (p. 37).
  Stealth 
  see p.B67
  This skill is vital for almost any realistic martial artist, since
  it is about the only way that an unarmed character can get close
  enough to an armed foe to safely deal with him. It is also a pre-
  requisite for the Invisibility Art (p. 38) and Light Walk (p. 39)
  skills.
  Theology 
  see p. B62
  In many martial arts schools, spiritual training goes hand in
  hand with physical conditioning. This training is usually a type
  of Buddhism, although some schools may teach Hinduism,
  Islam, Shinto or Taoism. In any case, many martial arts charac-
  ters will have a religious and philosophical background. Some
  of these "religions" are in reality philosophical systems - and
  most of them are both. PCs may substitute Theology for an
  equivalent Philosophy skill (p. 34).
  Throwing 
  see p. B49
  This skill is a prerequisite for the Throwing Art skill (see
  p. 40).
  31
  
  New
  Boxing (Physical/Average) 
  No default
  Although not considered a martial art by the average
  Westerner, boxing is a scientific unarmed combat technique,
  and as such has a place in a martial arts campaign, if only to
  provide Western characters with a more effective skill than
  Brawling. Boxing falls somewhere between Brawling and
  Karate in terms of precision and finesse.
  Boxing punches add 1/5 of the character's Boxing skill to
  damage. There is no similar bonus for kicks. In fact, the Boxing
  skill does not teach one how to kick; use DX-2 or Brawling-2
  instead. Parries are % of the skill, at -3 against weapons other
  than thrusting attacks, and at -2 against kicks (boxing does not
  train to specifically defend against kicks).
  Where Boxing does excel, however, is in teaching fighters
  how to dodge, by reading the foe's body language before a punch
  is thrown. Against bare-handed or thrusting attacks, a boxer gets a
  Dodge bonus equal to 1/8 his skill (rounding down). This Dodge
  bonus does not count against swinging or ranged attacks.
  In a cinematic campaign, Boxers get the same extra attack
  bonuses as martial artists (see p. 64). They cannot have the
  Trained by a Master advantage, however, so they cannot make
  Chambara attacks.
  Note: In the same way that the Judo and Karate skills are
  used in GURPS Martial Arts to represent "generic" grappling
  and striking ability, the Boxing skill is used to represent "gener-
  ic" ability with footwork and dodging; therefore, the fact that
  Boxing is included as part of a style should not be taken to
  imply that the style is either Western or a sport!
  Body Language (Mental/Hard) 
  Defaults to
  Psychology-3 or Detect Lies-3
  This skill lets you "read" subtle motions and stance shifts in
  the subject. A martial artist with this skill can predict an incom-
  ing attack. It also works in non-combat situations, by letting the
  user interpret body posture and nuances. If multiple attackers
  are present, the character must pick one foe to watch each turn.
  In combat, a Body Language roll can be attempted once every
  turn (the GM makes those rolls in secret). On a success, the GM
  will inform the user of his enemy's general intentions (i.e., he will
  Step and Attack, try to Slam or Grapple, etc.). The user will get a
  +1 to all his Active Defenses and Close Combat rolls for that turn.
  If the roll is made by 3 or more, the GM tells the player the spe-
  cific maneuver the enemy will attempt (a Spin Kick, for instance).
  This gives the user a +2 to all defense rolls, as above. Additionally,
  any Feints tried against him will fail automatically. On a critical suc-
  cess, the user defends automatically (he still spends an active
  defense, though). Failure reveals nothing. On a critical failure, he
  misread the signals; the GM lies to the PC, who defends at -3.
  This skill can also be used to gauge the feelings of a person.
  Treat the skill as an Empathy (p. B20) or Detect Lies roll (p.
  B65), rolling against Body Language-3.
  Modifiers: all Vision modifiers apply. An enemy with a shield
  or cloak will be harder to "read"; reduce skill by the PD of either.
  Cloak (Physical/Average) 
  Defaults to DX-5,
  Buckler-4 or Shield-4
  This is the skill of using a cloak, both offensively and
  defensively. This was actually studied as a skill. Treat a cloak in
  close combat as if it were a shield (see sidebar, p. Bl14).
  There are two types of cloak used in combat: a large, heavy,
  full-length cloak such as travelers wear, and the smaller, light-
  weight, torso-length dress cloak of a 17th-century gentleman.
  They are described on pp. 125-126.
  Combat/Weapon Art or Sport 
  Variable
  These skills are combat skills turned to peaceful uses, aiming
  at beauty, exercise or tournament competitions, rather than lethal
  intent. An Art skill emphasizes graceful movements and perfect
  stances, while the Sport concentrates on speed of movement and
  inflicting no actual damage in attacks. Art and Sport skills have
  the same base and default as the equivalent combat skills, with
  defaults between them at -3 (e.g., Karate Art or Karate Sport at 15
  gives an effective Karate skill of 12, and vice versa).
  Many martial arts styles are mainly "artistic" in the sense that
  their style is more aesthetically pleasing than effective in combat
  (see Martial Arts Styles, Chapter 4). Others have become sports,
  with rules that impair their use in the streets. This explains the
  many instances of skilled martial artists being beaten by street
  fighters. This may be an instance where reality would interfere
  with playing, however; most players would not like to have a -3
  penalty in a combat situation, accurate as that might be.
  On the other hand, a "street" fighter (one with normal
  Karate skill, for instance) will perform less well in exhibitions
  of skill and in no-contact tournaments; hence the -3 penalty to
  perform either the Art or Sport version. A failure on the Art roll
  for someone defaulting from the combat skill probably indicates
  a less than perfect move in an exhibition. A failure on a Sport
  roll is likely to indicate a foul that may get the user disqualified!
  Fast-Draw (Balisong) (Physical/Easy)
  No default
  This is the skill needed to quickly ready the Filipino folding
  knife (see p. 124). If the roll is missed by 2 or more points, the
  user cuts himself, taking 1 point of damage to the knife hand
  and amusing all spectators. However, a successful fast-draw of
  this weapon is a beautiful move; a success by 2 or more points
  will give a +1 on reaction from any observer.
  
  Garrote (Physical/Easy) 
  Defaults to DX-5
  This is the skill used to strangle a victim with rope or wire.
  It can only be used on an unaware or helpless victim. The first
  attack is made from behind (a number of Stealth rolls may be
  required to reach the intended victim), at -5 for attacking the
  throat but +4 since the victim is unaware, giving the attacker a
  net -1 to skill. The victim (if he is not stunned) may attempt to
  parry at -3. On a success, he manages to put his hand (or any
  ready one-handed weapon) between his throat and the garrote.
  The hand takes no damage unless a wire garrote (see below) is
  being used.
  On the turn of the attack, and every turn thereafter, the
  attacker does thrust damage to the throat (this damage is multi-
  plied by 1.5 if it is crushing, or by two if it is cutting). A rope
  garrote does crushing damage; a thin wire one does cutting dam-
  age; with either, the target also starts to Suffocate (see sidebar,
  p. B122). The victim can try to break free by winning a Quick
  Contest (ST-5 or Judo-3 against the attacker's Garrote skill).
  If an improvised Garrote is used (almost any piece of rope
  will do), the skill is at -2. A wire garrote must have wooden or
  plastic handles on both ends, or the attacker will take thrust/cut-
  ting damage to each hand! However, a genuine garrote is an ille-
  gal weapon almost everywhere.
  Jitte/Sai (Physical/Average) Defaults to DX-5
  or Shortsword-3
  This skill is a variation of the Shortsword skill. The jitte, or
  sai, is hilled like a sword, but the "blade" is tined like a huge
  fork. It may be blunt, or have a sharp point, but it has no edge. It
  can be used as a baton or stabbing weapon, or to disarm by
  twisting the sword from an opponent's hands.
  A jitte wielder can initiate the disarm by striking at the
  opponent's weapon with the declared intention to disarm (see p.
  B111). If he hits, roll a Quick Contest of weapon skills; the Jitte
  skill is at +2. If the jitte wielder wins, the foe drops the weapon;
  if he loses, there is no result. If the jitte wielder loses by 5 or
  more, he loses the jitte.
  On any successful parry, by either opponent, the jitte wield-
  er can immediately try to disarm his opponent by twisting his
  weapon from his hand. Roll a quick contest of weapon skills, as
  above.
  A weapon held in two hands is at +2 to resist the disarm
  attempt. Note that a jitte can only be used to disarm a foe armed
  with a rigid weapon; it is ineffective against flexible weapons
  such as whips.
  Katana (Physical/Average)
  Defaults to DX-5; see below
  This is the skill of using the Japanese longsword, the
  katana. This weapon can be used either one-handed or two-
  handed. Style and stance are totally different from Western tech-
  niques. Swinging damage is increased by 1 when swinging the
  sword two-handed.
  Parry when used one-handed is 1/2 skill. Used two-handed,
  and carrying no more than Light Encumbrance, Parry is % skill.
  Default is Broadsword-2 for one-handed use, or Two-Handed
  Sword-2 if used in two hands.
  Kusari (Weighted Chain) (Physical/Hard)
  Defaults to DX-5 or Flail-2
  A kusari is a weighted chain of length equal to about twice
  the wielder's height. It is difficult to defend against: -2 to block,
  -4 to parry. The kusari is used two-handed: the wielder uses one
  hand to hold the chain while his other hand whirls it around
  over his head until he lets it fly. He can shorten the reach of the
  chain to fit the situation; maximum reach is 4 yards. A kusari
  cannot be used if there is no head room (for instance, inside an
  average-sized room) or in an area full of obstacles (for instance,
  a bamboo grove). People standing around the wielder count as
  obstacles.
  A successful kusari attack is like a successful hand-to-hand
  Grapple (see p. B111). An entangled victim cannot move, attack
  or make any active defenses until he frees himself; this requires
  a DX-4 roll. A kusari Grapple can also be used to grab the foe's
  weapon. If a weapon parry against a kusari succeeds, the kusari
  wielder must immediately roll against his skill. Success means
  the kusari wrapped around the foe's weapon or weapon arm; a
  critical failure means the kusari flew from its user's hand! On
  the next turn, roll a Contest of ST. The loser loses his weapon;
  the lost weapon falls to the ground. On a tie, the kusari pulls
  free. The kusari cannot be readied until it has been freed.
  Like a ranged weapon, a kusari miss can hit someone else,
  including the wielder (see p. B117). On a critical miss, a roll of
  3, 4, 17 or 18 indicates that the wielder has hit himself in the
  head.
  A kusari is an unbalanced weapon and becomes unready as
  soon as it is swung. It takes 1 turn to ready for each hex of length,
  and 2 turns to wrap up and put away for each hex of length.
  Main-Gauche (Physical/Average)
  Defaults to DX-5
  This is the skill of using a knife in the off-hand, offensively
  and defensively, in conjunction with a weapon in the other
  hand. It includes the Knife skill, but not Knife Throwing.
  The advantages of this skill over the Knife skill are:
  1. The parry is 2/3 of the skill.
  2. There is no penalty for using the off-hand on defense.
  3. There is no -1 penalty for parrying with a knife.
  Attacking with a knife in the off hand is still at -4 for using
  the off-hand, unless the user is Ambidextrous or knows the OFF-HAND Weapon Train
  A main-gauche is primarily used with a rapier, but may be
  used with other fencing weapons, or other light hand weapons.
  The main-gauche user may parry one attack per turn, using the
  knife, at 2/3 skill. A different attack in the same turn may be par-
  ried with the other weapon, at its normal parry.
  This skill can be used with any sort of knife or dagger, or
  even with a jitte. Note that a light weapon may break on a parry
  - see sidebar, p. B111.
  33
  CHARACTERS
  
  Maneuvers 
  Variable
  Many martial arts maneuvers can be improved as if they
  were separate skills. See Chapter 3.
  Meditation (Mental/Very Hard) 
  No default
  This is the ability to reach a state of self-induced trance in
  which the mind is totally relaxed but able to react immediately.
  A concentration period equal to 18-Skill turns (minimum 1) is
  required. A successful Meditation roll keeps an injured person
  from falling unconscious, being shocked or stunned. It also
  allows the character to concentrate on the task at hand and
  ignore outside disturbances. A Meditation roll will give the user
  a +2 on any Mental skill (other than magic, psionics and other
  metahuman abilities) used in the next turn, and the intense con-
  centration also gives the user +2 to resist direct mental control
  by psionic or magical means; all other IQ rolls on that turn will
  be at -2, however.
  Parry Missile Weapons (Physical/Hard)
  No default
  This skill allows a sword, staff, spear or similar weapon to
  parry thrown or missile weapons. A character with Toughness +2
  or higher, or wearing armored wristbands or gloves, may parry
  with his hands. Characters still cannot parry bullets. Arrows and
  shuriken are parried at no penalty; darts and crossbow bolts are
  parried at -5. Thrown hand weapons are easy to parry for some-
  one with this skill: +2 for knives, +4 for larger weapons. The
  actual Parry is 1/2 of the Parry Missile Weapons skill.
  Philosophy (Mental/Hard) 
  Defaults to IQ-6
  This is the study of a body of beliefs similar to Theology (p.
  B62). Unlike Theology, a character who knows Philosophy does
  not necessarily believe in those principles, or, if he believes,
  does not necessarily think they are divinely ordained. Also, the
  beliefs of Philosophy are not necessarily related to a religious or
  supernatural concept.
  This skill is particularly appropriate in the situation where the
  character knows martial arts with different (and even antagonis-
  tic) spiritual teachings; by adopting both schools' philosophical
  teachings, the character can combine them without conflict (note
  that in Asia many people combine opposing religions m
  a
  t
  t
  e
  r
  -
  o
  f
  -
  f
  a
  c
  t
  , despite blatant contradictions bet
  If during an adventure a PC is dubious about the Tightness
  of a course of action, the GM should let him roll against his
  Theology or Philosophy (Buddhism, Shinto, Taoism or other
  specialized religion). On a successful roll, and depending on
  how good the roll was, the GM can "enlighten" the PC, if possi-
  ble with a clever phrase or even a parable. The GM should not
  tell the player what to do, but to indicate to him how a person
  with the character's background would feel.
  Savoir-Faire (Dojo) (Mental/Easy)
  Defaults to IQ-4
  This skill will tell you the correct way to behave in the dojo
  or school. Some basic rules include removing footwear and
  bowing on the edge before entering the wooden mat, when to
  bow to an opponent, traditional greetings, etc. Failure to follow
  these traditions will at best earn a reaction penalty, and at worst
  invite violent retribution.
  This skill defaults to any appropriate Tournament Law-3.
  Sensitivity (Mental/Very Hard) 
  No default
  This skill represents training in being very aware of one's
  foe - including his exact location, stance and balance - while at
  close quarters. It is not the same as Blind Fighting, and does not
  directly allow combat in the dark or under similarly adverse
  conditions.
  Modifiers: Add a permanent +1 for DX 12+, or +2 if DX is
  14+. Add 1/3 of any Telepathy Power (the Empathy advantage
  gives +1).
  A successful Sensitivity roll gives +1 to the Blind Fighting,
  Immovable Stance and Push skills, and to the Close Combat,
  Corps-a-Corps and Sticking maneuvers. Success by 3 or more
  gives a +2. These bonuses apply only when fighting a single foe
  in close combat. This is cumulative with any bonuses from the
  Sticking maneuver.
  Opinions vary widely regarding the real-life status of sensi-
  tivity training. Masters debate whether or not it is useful to
  study it as a separate skill, and even whether or not it really
  works. As such, Sensitivity has not been included in any style,
  but the GM should feel free to add it to any style that includes
  some or all of the skills and maneuvers listed above.
  Short Staff (Physical/Hard) Defaults to DX-5
  or Staff-2
  This skill lets you use a one-handed stick (usually no longer
  than 15 inches in length) with great speed and agility. Parry is -A
  skill. Parrying with the off-hand is done at no penalty, although
  attacks are still made at -4 unless the Off-Hand Weapon
  Training maneuver is learned.
  Shuriken (Physical/Hard) 
  Defaults to DX-6
  or Throwing-2
  This is the ability to throw razor-sharp shuriken stars and
  similar non-hafted blades without cutting yourself (see Weapons
  Table for descriptions).
  Style Analysis (Mental/Hard) 
  Defaults t
  BodyLanguage-6 or Tactics (Hand to Hand)-
  to
  6
  This skill allows you to analyze your foe's style by observ-
  ing his combinations, guards, stances and so on. Style Analysis
  can only be used on a foe who is engaged in combat (although
  the character who is using Style Analysis need not be - observa-
  tion from afar is a perfectly valid technique). If multiple fighters
  are present, the character must pick only one to watch each turn.
  There is no benefit in using this skill against a foe whose style
  you are already familiar with.
  To use this skill, a martial artist must be able to see his foe
  and may take no actions other than All-Out Defense or
  Concentrate for a minimum of one full turn. At the beginning of
  his next turn, he may roll against Style Analysis to analyze his
  foe's style.
  CHARACTERS
  
  Modifiers:
  All Vision modifiers.
  Foe is observed for only 1 second of combat 
  -2
  Foe is observed for 4-7 seconds of combat 
  +1
  Foe is observed for 8+ seconds of combat 
  +2
  User is wounded while observing 
  - Wounds
  User has less than 5 points of Style Familiarity 
  -1
  User has 10-14 points of Style Familiarity 
  +2
  User has 15-19 points of Style Familiarity 
  +5
  User has 20+ points of Style Familiarity 
  +10
  Success permanently eliminates the -1 unfamiliarity penalty
  against that particular opponent; failure reveals nothing, and a
  repeated attempt may be made. Critical success also acts as a
  Body Language roll, giving +2 to all defenses for the next turn
  only. Critical failure indicates a gross error - such as mistaking
  a Muay Thai practitioner for a Judo stylist - and gives a -3 on
  the next defense roll made against that attacker, whether that
  roll is made in a second or in a year.
  If combinations are being used, a successful Style Analysis
  roll (as outlined above) counts as being "familiar with the attack-
  er's style," and gives the usual +1 to see the combination coming.
  Any martial arts school may teach Style Analysis. Since
  this is more a function of school than style, Style Analysis has
  not been added to any particular style. The GM should decide
  which schools teach Style Analysis in his campaign, and require
  students of these schools to learn it as if it were a Secondary
  skill. Schools that teach modern, composite styles such as Jeet
  Kune Do are good candidates for this skill.
  Sumo Wrestling (Physical/Average)
  No default
  A Sumo wrestling match consists of Grappling (a Contest
  of DX, see p. B87) and Slam attacks (a Contest of ST, see p.
  B112). You can substitute Sumo Wrestling for DX in these con-
  tests, and for any other use of DX in unarmed Close Combat.
  Furthermore, the wrestler can either get a ST bonus equal to 1/5
  of his Sumo Wrestling skill or replace his ST with his skill,
  whichever is better, for the purposes of any Close Combat
  maneuver such as an attempt to Break Free.
  In a regular Sumo contest, the wrestler loses if he is thrown
  out of the 15' diameter ring, or if he loses his balance and touches
  the ground with anything besides his feet. If any blood is drawn,
  both fighters lose and the ring is sprinkled with purified rice.
  Sumo wrestlers may take Fat as a Disadvantage to increase
  their weight. The extra weight makes the wrestler harder to
  throw in the wrestling ring. For each 25 Ibs. by which a wrestler
  outweighs his opponent, add +1 to his effective Sumo Wrestling
  Skill and ST in the Contests of Skill.
  Tonfa (Physical/Hard) 
  Defaults to DX-6 or
  Shortsword-3
  The tonfa is a baton with a protruding handle on one of its
  sides. It is used for striking, much like a billy club. As a defen-
  sive weapon, however, it is grasped by the handle and held
  against the forearm. Parry is 2/3 skill.
  Tournament Law (Mental/Easy)
  Defaults to IQ-6
  This is the study of the history and rules of martial arts
  competition. A roll on Tournament Law might be required to
  detect a subtle foul, for instance. This is also the skill to roll
  against when the GM must test a character's knowledge of the
  history, personalities, etc., of a given style.
  Characters must specialize in one specific type of tourna-
  ment; rules can vary widely between different styles, so there is
  no default between them, unless the GM determines otherwise.
  However, a roll against Tournament Law-3 can be used in place
  of a Savoir-Faire roll when dealing with any tournament judge
  in his official capacity, regardless of style.
  Wrestling (Physical/Average) 
  No default
  This is a Western sport that can also be useful in combat.
  Wrestling teaches how to take down opponents, pin them and
  apply some holds and locks. While not as effective as Judo, this
  skill gives its user an edge in Close Combat.
  You can use your Wrestling skill to replace DX in Close
  Combat or in an attempt to grapple, just as for Judo. You also
  add 1/8 of your skill to your effective ST to attempt a Grapple, a
  Takedown or a Pin, to use an Arm Lock (see p. 44) or to Break
  Free (see p. B112).
  Yin/Yang Healing (Mental/Hard)
  Defaults to IQ-6
  This is the skill of using acupuncture, massage or moxa
  burning at various key body points to readjust the body's med-
  ical balance, which is thrown off by injury or illness. GMs may
  decide whether Yin/Yang Healing counts as the care of a com-
  petent Physician for treatment of damage and illness (see pp.
  B56, B128), or whether it does not work at all. In the first case,
  depending on the campaign world, he may assign an Unusual
  Background advantage as a prerequisite.
  
  New Skills
  Cinematic skills can only be bought by characters with
  either the Trained by a Master advantage or (in some cases) the
  Weapon Master advantage, unless the GM rules otherwise. This
  restriction applies to default use as well, even where a default to
  a non-cinematic skill is listed. Eidetic Memory is no help in
  learning these skills.
  Blind Fighting (Mental/Very Hard)
  No default
  Users of this skill have learned to fight blindfolded or in
  absolute darkness. As a result, they "sense" their targets without
  having to see them. There are legends of blind masters who are
  deadlier than any sighted man.
  This skill allows you to use your other senses, mainly hearing,
  but also smell and even touch, to exactly pinpoint where your
  attackers are. Each successful roll allows one hand-to-hand attack
  or active defense without any lighting modifiers, even in total
  darkness; the user will also have no penalty in fighting against
  invisible enemies. A blind (either temporarily or permanently)
  character with this skill can attack and defend without penalty (see
  p. B27). However, attacks in total darkness, blindness or against
  invisible enemies are at -2 to target specific parts of the body.
  If a character has this skill and Zen Archery (see below), he
  can actually shoot targets without seeing them, by making rolls on
  both skills at -6.
  Modifiers: Acute Hearing and Alertness. Background noise
  will affect the roll negatively; -1 for rain, -2 for heavy rain or a
  storm, -3 for a crowded, noisy area or a place with heavy machin-
  ery, -4 for a full football stadium, -5 in the middle of an artillery
  barrage. If the character cannot hear at all, the roll is at -7, but he
  can still attempt a roll, as the skill is not completely based on
  hearing. If the user has any Telepathy or ESP Power (see the
  Basic Set or GURPS Psionics), he can add 1/3 of his total Power to
  this skill. (For other ways of enhancing cinematic skills with psi,
  see the sidebar Enhancing Martial Arts with Psi, p. 86.)
  An attacker can try to use Stealth against a foe with the
  Blind Fighting skill; in that case, roll a Quick Contest between
  those skills, with Stealth at -4 on any turn the stealthy fighter
  tries to attack. Invisibility Art (see below) is completely useless
  against a character with this skill.
  Blinding Touch (Mental/Very Hard)
  No default
  Prerequisite: Pressure Points-15+
  This is an attack to a specific pressure point that blinds the
  target temporarily. To use the skill, the attacker first has to suc-
  cessfully hit the target's forehead in a particular spot, making a
  Karate-8 roll or Hit Location (Karate)-5 roll, whichever is higher.
  This attack does no damage, but roll a Quick Contest between the
  attacker's Blinding Touch skill and the defender's HT. If the
  defender loses, he is blinded for 2d seconds. During that time, all
  attacks will be at -10, and active defenses will be at -4 if the vic-
  tim makes a Hearing-2 roll; otherwise he cannot defend at all!
  Body Control (Mental/Very Hard)
  No default, Prerequisites: Breath Control
  and Meditation
  This skill allows the user to control and affect involuntary
  biological functions like heart rate, blood flow and digestion. A
  character with this skill can enter into a deathlike trance; 30-Skill
  turns of concentration (minimum 1) are required. A doctor must
  win a Quick Contest (Physician-2 vs. Body Control) to realize
  that the character is alive, and no one else will have a chance of
  determining otherwise.
  This skill can also be used to flush poisons out of the sys-
  tem. First, a successful Poisons roll (or Naturalist, for a natural
  venom or poison) must be made to recognize the type of poison.
  This roll cannot be attempted, of course, until the first symp-
  toms show, unless the victim knows beforehand that he has been
  poisoned. A roll against the skill will flush the poison, in 1d
  hours, without further damage. The roll is modified by any HT
  modifier to resist the poison (see p. B132).
  Breaking Blow (Mental/Hard) 
  No default
  This skill allows the user to mystically find the weakest
  spot in any object. 20-Skill turns of concentration (minimum 1)
  are required. On a successful roll, he can break the object if he
  inflicts over 10% of its hit points.
  Modifiers: +1 if the object is made of wood or a similar
  material; -1 if it is made of brick or concrete, -3 if it is stone, and
  -5 for metal.
  In combat, this skill can be used to find the weakest spots of
  any artificial armor or force field; on a successful roll, only 20%
  (1/5) of the target's DR for armor only is counted against the
  attack. For each additional attack, another Breaking Blow roll is
  required.
  On a failed roll, the attack is carried out normally. On a
  critical failure, the user does the damage to his hand or foot; if
  he was using Power Blow in the attack, it's time to break out the
  plaster and the bandages!
  This skill can be allowed in a realistic campaign. Martial
  artists can and do break solid objects with seemingly impossible
  ease. The following restrictions apply, however. First, eliminate
  the ability to bypass armor; that is cinematic. Second, the skill
  works at an additional -6 unless it is performed in a carefully
  controlled environment, i.e., the object must be on a well-
  braced, well-balanced stand, the user must have time to concen-
  trate (double concentration time) and any other restriction the
  GM finds convenient. Any ordinary failure in a non-controlled
  situation is considered a critical failure (see above).
  
  Dislocating (Physical/Hard) 
  No Default
  Prerequisite: Escape-15+
  This advanced escape technique is rumored to be taught to
  some ninja clans and other assassin cults. The user can temporary
  dislocate limb joints in order to slip through bonds. For instance,
  by displacing certain hand bones, the character can easily slip out
  of handcuffs. To use this skill, the character has to concentrate for
  20-Will minutes (minimum 1 minute) and make a Dislocating
  roll, at half the penalties to the Escape roll; if successful, he
  receives a +3 bonus to his Escape skill, or can add 1/5 of his
  Dislocating skill to the Escape roll, whichever is higher. On a fail-
  ure by 2 or less, nothing happens. On a failure by 3 or more, the
  character hurt himself, taking 1d damage if he was dislocating the
  hand or ankle, or ld+1 if he was trying to dislocate an arm or leg
  joint, which may cripple the limb. On a critical failure, the charac-
  ter automatically takes enough damage to cripple the limb.
  Drunken Fighting (Physical/Hard)
  No default, Prerequisites: Karate or Judo
  at DX+3 or 16, whichever is higher
  This skill cannot be higher than the character's skill with
  Judo or Karate. Many martial arts styles have a "Drunken" sub-
  style. This complex skill is considered by some to be a fancy
  technique, unsuited for practical purposes. Others claim that
  master Drunken Fighters are deadly opponents. The rules below
  subscribe to the latter school of thought.
  In theory, the staggering, unpredictable movements of the
  Drunken Fighter confuse attackers; the fighter seems to stumble
  just in time to dodge a blow, or trip and "accidentally" hit an
  enemy. To simulate this deceptive movement, whenever a
  Drunken Fighter is in combat, roll a Quick Contest between the
  Drunken Fighting skill and the opponent's IQ at the beginning of
  every turn. Roll IQ at +3 if the attacker knows about the Drunken
  Fighting style; he must be Familiar with the attacker's style, as per
  the Style Familiarity advantage on p. 26. If the Drunken Fighter
  wins the contest, his enemy is at -1 to either hit or defend during
  the round (Drunken Fighter's choice) for every point by which he
  lost the contest. If the Drunken Fighter loses, however, he suffers a
  similar penalty. On a tie, combat is resolved normally.
  Experts (Skill 18+) can fight while intoxicated without penalty.
  Flying Fists (Mental/Very Hard) 
  No default
  Prerequisites: Karate-20+, and Power Blow,
  Breaking Blow, Mental Strength and
  Meditation at 16+
  This is the mythical skill that allows martial artists to strike
  enemies from a distance. No established martial art teaches it; to
  learn the skill, qualified students must search for a teacher that
  knows it. Only a handful of masters in any given game world
  know the secret of the Flying Fists - if it exists at all.
  The attacker must be able to see the target and concentrate
  for 25-Skill turns (minimum 1). At the end of the round, he can
  make a Flying Fists roll against the target, minus any
  distance/speed modifiers (see p. B201). If the roll is successful,
  the attacker can then make a Karate punch or kick in the air,
  also minus all distance/speed modifiers, and the target will take
  damage as if he had been hit. No defense roll is possible, unless
  the target knows he is being attacked in this manner, in which
  case he can "project" his Chi to defend against the attack; this is
  resolved by rolling a Quick Contest, the defender's Mental
  Strength or Will roll (whichever is higher) against the Flying
  Fist skill. If the defender wins or ties, he takes no damage.
  Flying Leap (Mental/Hard) 
  No default
  Prerequisites: Power Blow and Jumping
  This skill allows martial artists to make incredible leaps,
  covering 10+ yards in a single bound. The character must con-
  centrate for 20-Skill seconds (minimum 1). For the following
  round, his strength will be tripled for jumping purposes (see p.
  B88). On a failure, jumping rolls will be at -5. A critical failure
  means the character falls down automatically.
  Someone making a Drop Kick, Jump Kick, or Flying Jump
  Kick can use the ST multiplier given by the Flying Leap skill
  for damage purposes. All attacks done in this manner are at an
  additional -2 to hit, due to the increased difficulty in timing.
  Hand of Death (Mental/Very Hard)
  No default
  Prerequisites: Breaking Blow,
  Pressure Secrets and Power Blow at level 20+
  In martial arts circles, legends abound about a secret tech-
  nique that can kill a man, no matter how strong, with only a touch.
  Theories about this power are numerous: some say it is a mystic
  ability by which the victim's very soul is destroyed, while others
  hypothesize that the touch sets off vibrations that slowly destroy
  internal organs. Rumors claim that some of the world's top martial
  artists have been murdered by dark masters with this ability.
  The Hand of Death is the ultimate version of the Pressure
  Points skill. A master of this skill can somehow cause the grad-
  ual deterioration of a victim's nervous system simply by touch-
  ing him. The touch can be delivered in combat, or even casual-
  ly; a victim with the Trained by a Master advantage can roll
  against IQ-3, or his own Pressure Points skill, to know that he
  has been attacked. No effects are immediately apparent.
  One hour after the Hand is applied, and every 3 hours there-
  after, a Quick Contest between the character's HT and the
  attacker's Hand of Death skill (maximum 16) is rolled. A failure
  results in the loss of 1 HT; a critical failure causes the loss of 3d
  HT. This goes on until the victim scores a critical success or
  
  wins three consecutive contests (either of which will shake off
  the effects of the Hand) or he dies. Western doctors will be baf-
  fled; no Medical skill will help or explain this HT loss. Only
  Yin/Yang Healing will work. Roll a Contest of Skills between
  the healer and the attacker; one success removes the effects of
  the Hand for one day, and three successful Contests in a row
  will cure the patient. Also, the person who inflicted the Hand of
  Death can remove its effect if he is persuaded to do so. Magical
  and psionic healing will restore lost HT, but cannot remove the
  Hand.
  This skill can be unbalancing in some campaigns. In a 20th-
  century world, for instance, PCs could use the Hand to kill with
  impunity - no jury would believe they had killed somebody by
  touching him. In pre-modern worlds, of course, rulers and lynch
  mobs can be more readily convinced to deal with murderous
  characters. If PCs abuse the Hand in a campaign, the GM should
  introduce countermeasures - perhaps a medical cure is found for
  the Hand, or an assassin cult learns of the PCs' skills and decide
  to eliminate them to preserve the secret. Alternatively, GMs
  could restrict this skill to NPCs.
  Hypnotic Hands (Mental/Hard) 
  No Default
  Prerequisite: Hypnotism-15+
  The character makes hypnotic motions with his hands,
  lulling the enemy into a trance-like state. To use the skill, the
  target must be within (Skill/2) yards, and he must be able to
  see the attacker. The martial artist then must spend at least 1
  turn performing the hand motions; during that time he can not
  make any attacks, and all Active Defenses are at -2. At the end
  of this period, the martial artists projects his Chi at the (hope-
  fully) now suggestible victim. A Quick Contest between
  Hypnotic Hands and Will or Mental Strength is rolled; if the
  target wins, he is unaffected. The victim is at -1 for every turn
  above 1 that the attacker spent making the motions - if per-
  formed long enough, the technique will wear down the
  strongest-willed character.
  If the victim loses the contest, he is Mentally Stunned (see
  p. B127) for 1 turn for every point by which he lost the Contest
  (roll against IQ normally to recover after that). During that peri-
  od, the character will also be vulnerable to hypnotic sugges-
  tions: all Hypnotism rolls made against the victim for that peri-
  od are resisted at -5 to Will (this -5 penalty also applies to such
  Hypnotism-based skills as Invisibility Art).
  Immovable Stance (Physical/Hard)
  No default
  This skills allows the user to anchor himself to the ground
  in such a way that it may take many strong men to move him. It
  works as a combination of expert balance and the channeling of
  one's Chi (see sidebar, p. 84) in the proper way.
  A character with this skill can resist Slam attacks with it, by
  either using the Immovable Stance skill in place of ST, or
  adding 1/5 of his skill to ST, whichever is greater. The character
  can also resist Judo throws (see p. B51), and the Push skill (see
  below) with this skill.
  Invisibility Art (Mental/Very Hard)
  No default
  Prerequisites: Hypnotism and Stealth at 16+
  This is the fabled skill of the master ninja and other assassin
  cults. A user of this skill can stand in plain sight without being
  noticed; it is said that true masters can walk through a crowd
  unobserved.
  To use this skill, the character must take a turn of concen-
  tration after announcing this action. If he is standing perfectly
  still (a Meditation or Breath Control roll will achieve this), he
  gets a +2 on all his rolls. He must then win a contest of skills
  (Invisibility Art vs. Vision roll) against each and every person
  that can see him. Each win for the user means that one subject is
  unable to see him.
  Modifiers: If the viewer is concentrating on something else,
  or is otherwise distracted, the resistance roll is made at -3. By
  the same token, anyone specifically looking for intruders will
  resist at +3. If someone sees him and raises the alarm, by point-
  ing and crying out, anyone who believes the warning will resist
  at +3 on the next turn.
  Once a person notices the user of Invisibility Art, that per-
  son will continue to be able to see him until the "invisible" per-
  son can get out of sight somehow. (In a darkened area, this can
  be as easy as stepping into a shadow.)
  If the ninja uses a nageteppo (p. 120) before attempting his
  roll, the resistance roll is also at -3. Thus, the ninja seems to
  vanish in a cloud of smoke.
  The person making the Invisibility Art roll gets a bonus
  equal to the darkness penalty in the area, if any; this ability
  works best in the dark. Movement, on the other hand, impairs
  the use of this skill; if the character is moving slowly (walking
  speed or less), the roll is at -2, and he must also make a Stealth
  roll to avoid being heard. If he is running or participating in any
  strenuous activity, his skill is at -5. This skill cannot be used
  once the user is in combat; he will have to remove himself from
  the subject's line of sight before trying again.
  A successful roll allows the character to remain invisible
  for one turn.
  Kiai (Physical/Hard) 
  No default
  This skill is based on HT, not DX. The martial artist chan-
  nels his Chi outward, giving a mighty shout that freezes lesser
  foes. Once every 20-Skill turns, the fighter can attempt the Kiai
  on a victim; this counts as an attack. Roll a Quick Contest (Kiai
  skill vs. Will). If the target loses, he is mentally stunned, as per
  p. B127.
  Modifiers: -1 to Kiai skill for every full 2 hexes of distance.
  The victim resists at +1 if he is Hard of Hearing, at +2 if Deaf!
  CHARACTERS
  38
  
  Normally, this skill only works against one victim at a time;
  although everyone can hear the shout, the attacker's Chi is
  focused against a single foe. However, when a skilled martial
  artist announces his presence with a Kiai, all foes may be affect-
  ed if the Fright Check rules on p. 47 are being used. A Kiai
  delivered with this skill subtracts 2 from the Will of all enemies
  when they roll Fright Checks.
  At the GM's option, this skill may be learned by any mar-
  tial artist who is Trained by a Master, regardless of style. This
  skill characterizes the Okinawan styles of karate (see Goju Ryu,
  Isshinryu (p. 84), Karate (p. 87) and Uechi Ryu (p. 104)), and is
  already included as part of those styles.
  Light Walk (Mental/Hard) 
  No default
  Prerequisite: Acrobatics and Stealth at 15+
  This skill, called Ch'in Kung, allows a character to walk
  without leaving visible traces. The training involves walking on
  the edge of a large jar without tipping it over; the jar is at first
  filled with water, but at the end of the training the character will
  be able to walk over an empty jar without moving it. More
  intensive training follows, and eventually the student will be
  able to walk over snow or mud leaving no trace. Experts were
  rumored to be able to walk over thin paper without breaking it.
  On a successful Light Walk roll, the user will leave no visi-
  ble tracks; no Tracking rolls will succeed unless they rely on
  something more than sight. Thus, a human tracker would be
  baffled, but bloodhounds would suffer no penalty at all.
  A character with Light Walk can also attempt to walk over
  thin ice or flimsy surfaces. His move during these circumstances
  is 1/3 normal, modified as the GM sees fit. Thin ice will require a
  normal Light Walk roll; attempting to walk over rice paper
  strung over a room, on the other hand, requires a roll at -8!
  Furthermore, add 1/5 of the Light Walk skill to Stealth skill
  when the intention is to move quietly.
  Mental Strength (Mental/Hard) 
  No default
  The character has learned to focus his Chi to resist mental
  attacks. This skill replaces IQ in any resistance roll against
  spells and psionic abilities, as well as Hypnotism, Hypnotic
  Hands and Invisibility Art.
  Modifiers: Strong and Weak Will. This skill does not
  replace most normal Will rolls.
  Power Blow (Mental/Hard) 
  No default
  The user draws from his inner strength to deliver a devas-
  tating punch or kick. 20-Skill turns of concentration (minimum
  of 1) are required, followed by a Power Blow roll. Then the
  attack is made, with all normal modifiers. If successful, the
  character's ST is doubled for damage purposes. With a skill
  level higher than 20, ST can be tripled if the user concentrates
  for 30-Skill turns.
  This skill can be used in non-combat situations. For
  instance, a character trying to move a heavy object can try to
  use Power Blow to momentarily double or triple his Strength.
  This could explain the tale that Shaolin monks were able to lift a
  500-pound metal cauldron (filled with hot coals to boot!) as the
  last part of their initiation test. Prodigious leaps can also be
  achieved with this skill, although the Flying Leap skill (above)
  is more effective in this regard.
  Example: A martial artist with ST 11 and Power Blow-17
  could leap almost 5 feet straight up, or make a standing broad
  jump of 19 feet!
  Using Power Blow for feats of strength costs 1d Fatigue.
  Precognitive Parry (Mental/Hard)
  No Default
  Prerequisites: Danger Sense or ESP Power 3
  and Precognition-15+,
  and one weapon skill at 20+
  This is a combination of psionic and Chi skills that allows
  martial artists to parry attacks they could not possibly defend
  against, like bullets and beam weapons. This is done by sensing
  where the incoming attack will arrive, and intercepting it with one's
  limb or weapon before the attack gets there. To use this skill, one
  must be aware that he is about to be attacked (a gunman aiming at
  him, for instance). A roll against Precognitive Parry is then made.
  On a success, the character can make a Parry roll normally.
  This doesn't mean the character can swat bullets away with
  impunity, however. All the martial artist is doing is interposing a
  weapon (or maybe a limb) between himself and the bullet or beam.
  The attack will do damage normally against the weapon (use the
  Breaking Weapons rules on p. Bill) unless the character makes
  his Parry roll by 5 or more, or scores a critical success; any dam-
  age past that necessary to break the weapon (or cripple the hand or
  arm parrying the attack) will affect the defender. The only weapon
  exempt from this rule is the Force Sword (see p. 127), which either
  bums up the bullet or deflects the energy beam. In fact, the skill is
  almost useless without Force Swords, so it is best limited to space-
  opera campaigns (see the Force Swordsmanship martial art
  description on p. 114). When used against normal attacks, the skill
  gives the character a +1 bonus on any Active Defense.
  Pressure Points (Mental/Hard) 
  Defaults to
  Yin/Yang Healing-4 in a Cinematic campaign
  This is the application of acupuncture techniques to combat.
  The attacker seeks to strike pressure points in the body that allow
  him to paralyze, and even kill, an opponent. In game terms, the
  character must make a successful attack roll using Karate or the
  appropriate combat skill (see below); use the Parts of the Body
  modifiers (p. B203) at an extra -2. At least a point of damage
  must get through clothing or armor; natural Toughness does not
  protect. Then, roll a Quick Contest of Skills between the attack-
  er's Pressure Points skill and the victim's HT. If the attacker
  wins, the body part is paralyzed; otherwise, nothing happens other
  than normal damage.
  Arms or legs struck this way are considered crippled for 5d
  turns. A hit to a torso pressure point will diminish, or even total-
  ly arrest, the victim's breathing. He starts suffocating as per p.
  B122 and must make a HT roll every second to recover. A hit to
  the head will stun the victim; he must roll versus IQ to recover.
  The Pressure Points skill can be used with Judo techniques,
  in conjunction with the Arm or Wrist Lock Maneuver (see p. 44).
  The Pressure Points skill is used after a successful lock has been
  applied; the attacker can choose to do damage in addition to the
  momentary crippling. This skill can also be used with missile
  weapons, if learned through a style like Kyudo (see p. 92).
  Limitations: This skill is designed to work on the human body.
  Attacks on animals are at -6 unless a Zoology-2 or a Naturalist-4
  roll is made. Nonhuman beings of basically humanoid physiology
  (Dwarves or Elves, for instance) are affected at -2 (same for an Elf
  attacking a human). More alien creatures (a human-looking being
  with three hearts in different parts of the body, for instance) have
  penalties - perhaps huge ones - or may be impervious to this type
  of attack (GM's call). All these penalties can be reduced or elimi-
  nated if the character can make appropriate Xenology (see GURPS
  Space, p. 37) and Physiology (p. B61) rolls.
  39
  CHARACTERS
  
  There is enough documentation about the use of this skill to
  warrant an open mind. GMs may allow this skill in a realistic
  campaign; the difficulty of the hit rolls will make practical use
  of this skill very hard for most characters, so the potentially
  unbalancing effects can be kept in check. The GM may also
  change this skill to Mental/Very Hard, making high levels of the
  skill almost impossible for beginning characters.
  Pressure Secrets (Mental/Very Hard)
  No default
  Prerequisite: Pressure Points skill at 18+
  This powerful skill teaches the user the most vulnerable
  vital points in the human body. A character with this skill can
  kill a normal man with a light blow, by crushing and tearing
  vital organs and nerve clusters with deadly precision. Due to its
  lethality, Pressure Secrets is very rarely taught. Many masters
  teach this skill only to one or two carefully chosen pupils after a
  long apprenticeship; others take the secret to their graves.
  On a successful roll, the user's next hand-to-hand attack
  will do double damage after penetrating armor and Toughness;
  his hands or feet have in effect become impaling weapons.
  Attacks on normal "vital organs" (see p. B203) will do triple
  damage. This also applies to Arm Locks (see p. 44); the damage
  or DX penalty resulting from a lock is doubled, representing the
  ability to know exactly where to apply the pressure to tear or
  sprain joints and ligaments.
  Limitations: The same as for the Pressure Points skill
  (above).
  This is definitely not a realistic skill; GMs may restrict or
  forbid this skill if they consider it too unbalancing for their cam-
  paign. Alternatively, they can limit it to NPCs, thus creating ter-
  rifying enemies for the heroes.
  Push (Physical/Hard) 
  No default
  This difficult skill allows a character to "gently" push away
  an adversary, or to cause him to lose his balance. A small man
  with a high level in this skill could knock down or push away a
  weightlifter. The T'ai Chi style (see p. 104) is reputed to teach
  this form of attack to advanced students.
  To use this skill, the character must score a hit in combat;
  the target can attempt any active defense, but PD from armor
  does not protect. This "blow" does no damage, but can be used
  in either of two ways. The first option is to cause the opponent
  to fall; the victim must roll against DX, at -1 for every point the
  Push roll was made by, or fall down. Alternatively, the attack
  can be treated as a Slam attack (see p. Bl12 and B106), with the
  Push skill replacing ST and DX.
  Throwing Art (Physical/Hard) 
  No default
  Prerequisite: Throwing at 16+
  This skill transcends mere throwing and turns almost any
  object into a deadly weapon. Forks, kitchen knives, and other
  long sharp objects can be thrown as daggers; any blunt object can
  do thrust+1 damage; baseball bats do swing+1 crushing, pencils
  do thrust-3 impaling; playing cards do thrust-3 cutting damage!
  Furthermore, when using a balanced throwing weapon, the
  character is even more lethal; add 1/5 of his Throwing Art skill to
  the damage he does with those weapons. This is not cumulative
  with bonuses from the Weapon Master advantage.
  Zen Archery (Mental/Very Hard) 
  No default
  Prerequisite: Bow at level 20+
  The archer must concentrate for 20-Skill turns (minimum 1).
  Successful use of this skill allows use of a bow with only 1/3 (round
  down) the normal penalties for target speed, range and size.
  This section represents the "reality" of martial arts comic
  books, particularly Japanese and Chinese comic books, in which
  martial artists are portrayed as truly superhuman beings, far
  above even cinematic standards. Even so, some martial artists
  claim that true masters have some or all of these abilities.
  The usual explanation for these powers is the development
  of one's chi or ki. The Chi is (to overly simplify a very complex
  concept) a combination of one's life-force and soul; it flows
  inside all human beings. The goal of many martial arts is to
  learn to channel one's Chi in a number of ways. Martial arts leg-
  ends and fiction claim that some master practitioners are able to
  heal wounds, resist powerful blows, and even kill with their Chi.
  In game terms, Chi can be represented either by super-abili-
  ties or by magic.
  Super
  ARTISTS
  Using GURPS Supers, it is easy to create a campaign in
  which metahuman martial artists have speed, strength and dexteri-
  ty impossible to normal humans. The flow of chi, expressed differ-
  ently in different characters, can grant not just combat abilities, but
  also healing powers, levitation and even extrasensory perception.
  The Nimba Cult, described in Super Scum, is a logical
  Enemy for any super-powered martial artist.
  An interesting challenge in a super-powerful game is to build
  (for instance) a 500-point martial artist with no super-abilities, just to
  see how he stacks up against his metahuman competition. He may
  not be as strong or fast, but his training will be marvelous indeed . . .
  ARTS
  GMs may decide that some or all of the superhuman abili-
  ties of martial arts legend are just good old-fashioned sorcery
  (this would be most useful if the GM owns GURPS Magic.) In
  that case, he may devise a list of spells that are allowable for his
  campaign. Most of those spells should be subtle in nature (i.e..
  the College of Mind Control), with a few aggressive spells (such
  as Deathtouch) thrown in.
  CHARACTERS
  
  he martial arts have a huge repertoire of techniques and methods for attack and
  defense. Most of them can easily be played out with the standard GURPS com-
  bat system. Still, players - especially those who are familiar with the many
  Eastern techniques of combat - may want more detail. The rules in this chapter
  will provide it. These maneuvers also give special flavor to the different martial
  arts "styles" described in Chapter 4, as each school favors some maneuvers
  over others. Martial artists will be able to roleplay this in combat, attacking and
  defending with maneuvers determined by the styles they choose.
  COMBAT
  
  New
  The list of maneuvers presented here
  covers the basics - yet it only scratches
  the surface of martial arts tradition.
  Players and GMs of martial arts cam-
  paigns will want to add their favorite tech-
  niques to the list.
  To translate a maneuver into GURPS
  terms, decide the following:
  Name of the maneuver.
  Difficulty. Most maneuvers are Hard.
  Is it Cinematic or Realistic? It should
  be fairly easy to determine whether a given
  maneuver belongs in Chambara movies or
  whether it's taught in a local dojo!
  Defaults. Base the default on a similar
  but simpler maneuver, or on an appropri-
  ate weapon skill, if one exists. Otherwise,
  hard-contact maneuvers can default to
  Karate or Brawling, while soft maneuvers
  can default to Judo or Wrestling, at appro-
  priate penalties. Maneuvers with no obvi-
  ous martial-arts default can be based on
  ST, DX, Acrobatics skill, or perhaps some
  other skill.
  Limitation. Can the maneuver be
  learned at a level higher than the level of
  the ability from which it defaults? This
  makes sense for some maneuvers, and
  doesn't for others. See the listed maneu-
  vers for examples.
  Description. Describe the operation of
  the maneuver in game terms. Any maneu-
  ver with the potential for spectacular suc-
  cess should either be very hard to learn, or
  carry the risk of spectacular failure. This
  is not only for game balance . . . it's the
  way martial arts combat really works. If
  there were a master technique that won all
  fights, every master would teach it.
  On the other hand, some maneuvers
  are especially good against certain oppos-
  ing maneuvers, and weak against others.
  This can be described in as much detail as
  your particular campaign enjoys.
  What styles teach this maneuver? If the
  maneuver is appropriate to any of the exist-
  ing styles in Chapter 4, add it to the list for
  those styles. Otherwise, the maneuver must
  belong to a new style which is part of the
  campaign; to no style (in which case it can-
  not be learned above default); or to a secret
  style (in which case no one can learn it at
  all unless they find a master in that style).
  For guidelines on creation of a whole
  new style, see the sidebar on p. 71.
  Despite the variety presented here, this remains a bare-bones description;
  there are dozens of variations of each maneuver! Each GM may customize these
  rules (see sidebar) to fit the level of detail of his campaign. Sortie may find extra
  detail unnecessary, particularly in a campaign where combat is not a primary fea-
  ture. On the other hand, with some of the maneuvers described below, fights could
  be over a lot sooner! See the sidebar for suggestions on creating new maneuvers.
  The Martial Arts Record Sheet
  In GURPS Martial Arts, a fighter's combat maneuvers are like a magician's
  spells or a super's abilities. Since the character (and the player) must keep track of
  at least a half-dozen maneuvers, the best thing to do is to write them down. A
  fighter with only a few maneuvers can use the Skills column of the Character
  Sheet. Alternatively, a separate Martial Arts Record Sheet (see p. 157) can be
  added to the character sheet; it has space to describe each maneuver, as well as
  space for notes on cinematic skills and other useful information for martial artists.
  A martial arts maneuver is a specific type of attack or defense. Maneuvers
  are treated like skills; each one defaults to one or more prerequisite skills, or to
  DX. Kicking, for instance, is a Hard maneuver defaulting to Karate-2. Some
  maneuvers can also default to other maneuvers (all special kicks, for instance,
  have two different defaults: one from Karate and another from the basic Kicking
  maneuver); this is a special exception to the Double Defaults restriction on p.
  B45. When figuring a maneuver from default level, always use the best default.
  When a maneuver defaults to "any combat skill" (e.g., Feint), this means
  that a version of the maneuver is available for any hand weapon skill, or for any
  bare-handed combat skill. For maneuvers like this, a separate version is required
  for each combat skill (see Specialization, below).
  Many fighters, especially in low-point-level campaigns, will have put no
  points into any maneuvers except those required by their style. They can still use
  any of the maneuvers below at the listed defaults !
  LEARNING Maneuvers
  If a style teaches a particular maneuver (styles are described in Chapter 4), a
  fighter who knows that style can study and improve it. Otherwise, the character
  can only have it at default level. Thus, a fighter can attempt any move, but his
  best maneuvers will be those taught by a style which he knows.
  Maneuvers are learned according to the table below:
  Default
  Default+1
  Default+2
  Default+3
  Default+4
  Average
  0 points
  1/2 point
  1 point
  2 points
  4 points
  Hard
  0 points
  1 point
  2 points
  4 points
  6 points
  Further increases cost 2 points per level
  When DX or a default skill goes up, each maneuver which defaults from it
  will increase as well. Some maneuvers, like Arm Lock and Feint, can be
  improved beyond the level of the controlling skill. Others, like Ground Fighting,
  cannot be improved beyond the level of the prerequisite; a fighter isn't likely to
  be a better swordsman while lying on the ground than he is while standing. This
  will be noted in the individual entries.
  COMBAT
  
  Specialization: Some maneuvers (e.g., Feint, Hit Location) also require
  specialization to a particular skill. In the case of some styles, these maneuvers
  could default from several different skills. If this is the case, the user must
  decide which specific skill(s) these maneuvers will actually be learned for.
  Example: Saburo (see p. 20) has both the Karate and Katana skills at level
  14. His style (Ninjutsu) gives him 2 points in the Feint maneuver for Karate or
  any weapon skill. This does not mean that his Feint with Karate and all of his
  weapon skills becomes 16! Instead, he must choose either to put 2 points into
  one Feint maneuver or 1 point into each of two Feints. He decides to spend 1
  point to buy Feint (Karate)-15 and 1 point to buy Feint (Katana) 15. If he later
  increases his Karate skill to 15, his Feint (Karate) will go up to 16.
  Depending on the difficulty of the maneuver, it will cost as much to
  increase it by 5 or 6 levels as it will to raise the whole underlying skill by one
  level! This makes it possible to create "one-trick" fighters - but it will usually
  be more cost-effective to divide points relatively evenly between skills and
  favored maneuvers.
  Aggressive Parry (Hard) 
  Defaults to Karate Parry-4
  Prerequisite: Karate
  Cannot exceed 2/3 Karate skill level
  This maneuver is taught by only a few styles, as it is not sportsmanlike by
  any means! Instead of trying to deflect a punch or a kick, the martial artist
  attacks the incoming hand or foot! He rolls a Parry at -4; a successful roll indi-
  cates that he has hit the attacker's limb. Roll damage normally. On a missed
  roll, the parry fails and the attack hits normally; on a critical failure, the defend-
  er's hand is hit, and takes +2 damage!
  This maneuver can be used against hand-to-hand attacks only (in a cine-
  matic campaign, GMs can allow characters to attack weapons in this manner,
  following the rules on p. B111). Only the PD of rigid or metal armor on the
  parrying arm or hand adds to the Aggressive Parry roll. Using this maneuver,
  either in a competition or in a dojo, is a sure way to be disqualified and
  expelled, and to acquire a bad Reputation. On the streets, on the other hand,
  expediency counts more than manners.
  At the GM's option, any combat skill that can normally be used to parry
  might have a version of this maneuver, if the style that it is part of calls for it.
  Weapons could then be used to shatter other weapons, and even Brawling could
  have a version, as part of a particularly vicious style. No matter what skill it is
  based on, Aggressive Parry can never exceed the regular Parry for that skill.
  DIRTY Tricks
  Some of the maneuvers described in
  this section are considered "fighting dirty"
  - Eye Gouging and Face Attacks being the
  most glaring examples, as are the Head
  Butt and Ear Clap. These maneuvers are
  unsportsmanlike, brutal, and unseemly.
  They can win a fight quickly, however.
  This may lead to some PCs relying on them
  a lot. Using dirty tricks continually to win
  fights may derail the tone of a Martial Arts
  campaign, which is usually designed
  around flashy maneuvers and heroic fights.
  If the big tough brawler that you painstak-
  ingly design is going to get his eyes poked
  out and his groin smashed on the first
  round, the tone of the campaign is going to
  change.
  There are ways to limit dirty tricks in a
  campaign. First, most typical martial arts
  PCs will not come from a background that
  teaches those tricks. Most traditional
  schools do not condone such behavior.
  This means that most characters trying
  dirty tricks would be doing them from a
  default, and may be better off trying a more
  conventional method.
  Secondly, PCs who gain a reputation as
  dirty fighters will receive a different treat-
  ment from both friends and enemies.
  People they defeat by using such brutal tac-
  tics are a lot more likely to hold a grudge
  than those bested through "honorable"
  means. A failed attempt to dishonestly
  cripple an enemy will probably lead to a
  nastier fight than it would have been other-
  wise, with worse consequences for the
  brawler if he loses. The GM has several
  options open to him if he wishes to limit
  the use of these tricks, such having the
  PCs' peers frown on them, increasing the
  default penalties for non-streetwise charac-
  ters, etc.
  This is, of course, assuming the GM
  wishes to limit dirty tricks in a campaign.
  The more gritty and realistic a campaign is,
  the less likely dirty tricks will get in the
  way. A low-point cyberpunk campaign
  where all the PCs are street-bred thugs
  should have plenty of room for dirty tricks
  - and their enemies will be using them too!
  COMBAT
  
  CONCENTRATlON
  MARTIAL ARTS;
  OPTIONAL Rule
  Although many martial arts techniques
  eventually become instinctive, like swim-
  ming or riding a bike, a minimum concen-
  tration is necessary to perform them cor-
  rectly. In the martial arts, losing your cool
  may mean losing the fight!
  Martial artists with the Bad Temper
  disadvantage will fight at -2 DX if they
  fail a Will roll to keep their emotions in
  check. Other mental disadvantages can
  lead to similar problems. A Lecherous
  combatant will be in trouble if a beautiful
  woman starts cheering him during a tour-
  nament - or if he faces a sexy foe. An
  Intolerant character may feel too contemp-
  tuous of his enemy - after all, a miserable
  (fill in the blank) can be no threat to me, a
  true-blooded (fill in the blank)! Will rolls
  will keep these disadvantages at bay, but
  an unmodified roll of 14 or more is always
  a miss (see p. B93).
  Quirks will create a similar problem,
  but Will Rolls to resist are at +1 and the
  DX penalty if the roll is failed is -1 to DX.
  Aggressive Parrying Kick (Hard) Defaults to Parrying Kick-4
  Prerequisite: Brawling or Karate
  Cannot exceed prerequisite skill/2
  An aggressive version of the Parrying Kick (see p. 53). This works exactly
  as an Aggressive Parry (above), except that it can only be used against low-line
  attacks (usually kicks to areas 11-16; see p. B211), and a successful parry does
  kicking damage instead of punching damage. Stopping a kick this way is some-
  times referred to as "jamming a kick."
  Arm or Wrist Lock (Average) 
  Defaults to Judo or Wrestling*
  Prerequisite: Judo or Wrestling*
  A character with the Judo or Wrestling skill can twist an opponent's limbs,
  paralyzing or crippling him. First, you must either successfully parry an attack in
  hand-to-hand combat (this can be a weapon attack, if the foe is no more than 1
  yard away) or make a Grapple (using DX, Judo or Wrestling). If you succeed, you
  grab one of the victim's arms. On the same turn, roll a Quick Contest: your Arm
  Lock skill vs. his DX, Wrestling or Judo skill (whichever is best). If you win, you
  have trapped his arm in a lock. The attacker may indicate the particular nature of
  the lock (i.e., behind the foe's back, his arm extended from his side, etc.). Your foe
  may try to break free; use Arm Lock+4 or ST against his ST or Judo in another
  Quick Contest. If you win, you have immobilized the arm; the victim can try to
  break free in subsequent rounds, but at a cumulative -1 penalty.
  On the next turn, you may choose to inflict pain or damage on the
  trapped limb. A third Quick Contest (Arm Lock or ST vs. HT) is
  required. The victim is at +3 if he has the High Pain Threshold advan-
  tage and your intention was only to cause pain. If you win, you inflict
  one point of damage or pain (causing DX and IQ penalties without actu-
  al damage) for every point by which you make the roll. If you do crip-
  pling damage, you break the arm or hand you were holding; no further
  damage can be inflicted, but all further attempts to cause pain are at +3!
  The arm lock counts as torture on an Interrogation roll (see p. B66). The
  victim must also make a Will roll minus the damage inflicted, or drop
  any weapon he was holding in that hand. Of course, if the hand or arm is
  crippled, any weapon held by it is automatically dropped.
  Furthermore, other attacks may be inflicted on the victim. Close
  Combat attacks can be used against someone held by the lock; the vic-
  tim defends at -4, in addition to any other penalties caused by the dam-
  age or pain caused by the lock itself.
  *Some styles use a stick, tonfa or other weapon as a lever to inflict an
  Arm Lock. Use the rules above, except that the default and prerequisite
  skills become the appropriate weapon skill (usually Short Staff,
  Shortsword or Tonfa).
  Axe Kick (Hard) 
  Defaults to Karate-4 or Kicking-2
  Prerequisite: Karate or Kicking
  Cannot exceed prerequisite skill level
  This attack consists of lifting the leg over the target and then bring-
  ing it down in a chopping motion. The attack does more damage than a
  normal kick, but is difficult to execute. An Axe Kick can only be used
  on targets that are less than one yard in height (a kneeling man, for
  instance), unless it is executed like a Jump Kick, in which case the roll
  is at an additional -1 but the attack does +1 damage. Damage is thrust+2
  (+3 if jumping), plus Karate bonuses. If jumping, treat a miss like a
  missed Jump Kick (p. 52).
  COMBAT
  
  Back Kick (Hard) 
  Defaults to Karate-4 or Kicking-2
  Prerequisite: Karate
  Cannot exceed Karate skill level
  This maneuver lets a fighter attack back hexes without changing facing.
  The roll is at Karate-4, in addition to any other modifiers. The user must be
  aware of the attacker behind him. The kicker's active defenses against all
  attacks are at -2 for that round.
  Breakfall (Average)
  Defaults to Judo or Acrobatics
  Prerequisite: Judo
  This is a basic Judo maneuver, involving slapping the mat or ground to
  absorb the shock of landing. When the user is thrown for damage (see Judo
  Throw, p. 51), a successful Breakfall will avoid damage. In any fall, a roll
  against Breakfall will reduce the effective distance of the fall by one yard. This
  is not cumulative with the results of a successful Acrobatics roll (p. B48).
  Cat Stance (Average) 
  Defaults to Karate-3
  Prerequisite: Karate
  Cannot exceed Karate+2
  The Neko-Ashi-Dachi, or Cat Stance, was developed in Okinawa, and is
  used mostly by Okinawan styles and some Chinese forms (although it could be
  easily incorporated into fantasy and science-fiction styles). Almost all balance
  is shifted to the back leg as the slightly raised front leg comes perpendicular to
  the left foot. The result is a leg that is prepared to strike almost instantaneously.
  It takes 1 second to enter Cat Stance, or no time at all if a roll is made.
  On a successful Cat Stance roll, anyone entering the fighter's front hex may be
  kicked, without that kick counting as an action - essentially a "free" attack,
  although this can only be done once per turn. This allows the fighter to attack and
  then be ready to counterattack or defend. This kick is treated like an ordinary
  Karate kick. Roll at Cat Stance-2, or Karate-5 if the default has not been improved
  at all. A failed roll will unbalance the kicker; -2 to DX and active defenses that turn.
  Going into a Cat Stance is also useful in breaking Grapples from the rear
  (as long as the Cat Stance is performed after being grappled). If the fighter is
  grappled from the rear, he may attack with an Elbow Strike and attempt to
  Break Free on the same turn.
  A person performing a Cat Stance may either change facing (any direction)
  or move 1 hex forward on his turn.
  Choke Hold (Hard) 
  Defaults to Judo-2 or Wrestling-3
  Prerequisite: Judo or Wrestling
  Cannot exceed prerequisite skill level
  This special Grapple consists of locking one forearm around the target's
  neck, applying pressure to the windpipe and effectively shutting off the victim's
  oxygen supply. A Choke Hold is very difficult to break: the more the target
  struggles, the tighter the choke becomes. This maneuver can also result in per-
  manent damage to the target's throat. It was used by police to control dangerous
  criminals until its potential lethality prompted the authorities to ban it.
  To effect a Choke Hold, the attacker must have Grappled the victim with
  both hands from behind. After a successful grapple, a Choke Hold roll is neces-
  sary to place the victim in the hold (the target can make any Active Defense
  against this; PD does not protect). Once the hold is in place, the victim starts to
  suffocate (see p. B122). Breaking Free is very difficult; the victim is at -5 to all
  rolls to do so (attacks like Elbow Strikes can be used without any additional
  penalties, however). Also, the Choke Hold can inflict damage as per Strangling
  see p. B112), if the user so desires; it may happen accidentally, if the victim is
  COMBAT/WEAPON
  ART OR SPORT
  Skills
  There are a few purely artistic or ath-
  letic styles (such as Kendo, p. 88) whose
  Primary skills include only Com-
  bat/Weapon Art or Sport skills and not
  "true" combat skills. In such a case, the
  listed Maneuvers of that style can default
  from the Art or Sport form of the skill, but
  such maneuvers are themselves Art or
  Sport forms, and are used at -3 in real
  combat.
  For each artistic style, there is also a
  related combat-oriented style (Kenjutsu,
  in the case of Kendo); characters who plan
  to enter combat should consider learning
  that style instead.
  COMBAT
  
  struggling wildly. Against an uncontrolled victim, make a Choke Hold roll at an
  additional -2 to avoid inflicting damage; if the attacker intends to hurt a thrash-
  ing victim, add +3 to the ST of the attacker for damage purposes.
  Close Combat (Average) 
  Defaults to any close combat
  weapon skill-2 or other weapon skill-6
  Prerequisite: Any weapon skill; must specialize
  Cannot exceed prerequisite skill level, or skill-3for long weapons
  In close combat, weapon attacks made with legal close combat weapons are
  normally at -2, while longer weapons may not be used to attack at all. This
  maneuver can be learned to eliminate the -2 for using a close combat weapon at
  reach C, or to allow longer weapons to attack in close combat.
  For a legal close combat weapon (Blackjack, Knife, etc.), this maneuver can
  be improved to allow the weapon to be used at no penalty in close combat,
  although the Close Combat maneuver cannot exceed the prerequisite skill level.
  For a longer weapon, this maneuver allows an attack to be made at a reach 1
  hex short of its normal range, but at -6. This involves holding the weapon as far
  away from the target as possible and requires at least 1 hex of clearance behind
  and to one side of the attacker. Characters can reduce the penalty with certain
  weapons by learning to shift grips on their weapon, practicing attacks that maxi-
  mize the available maneuvering space, etc. By improving this maneuver, the
  penalty for using a longer weapon can be reduced to as little as -3.
  This maneuver must be learned for each weapon skill the character wishes
  to improve. Improving this maneuver is useful if it is used in conjunction with
  the Corps-a-Corps maneuver (see below).
  Corps-a-Corps (Hard) 
  Defaults to Fencing or Jitte/Sai
  Prerequisite: Fencing or Jitte/Sai
  Cannot be improved beyond prerequisite skill+2
  A fencer uses this maneuver to keep an enemy in Close Combat by locking
  blades. To do this, the attacker must begin his turn in a front hex of his oppo-
  nent. He then steps into the opponent's hex and attempts to bind the opponent's
  blade. He must win a Quick Contest (Corps-a-Corps versus the enemy's weapon
  skill) to lock blades that turn, taking one action, successful or not.
  Modifiers: Corps-a-Corps is at -3 vs. a Stop Hit (see p. 55).
  If the attacker does not win the Quick Contest, treat it as a case of two char-
  acters in the same hex. Either a Stop Hit or a Riposte (see p. 54) will give the
  opponent a chance to hit the attacker before this happens. If the attacker wins,
  the blades are locked, and the opponent is free to perform any normal action (at
  an additional -2) that doesn't involve his sword. However, if the opponent wish-
  es to leave the hex, with his weapon, he must win or tie a subsequent contest
  between his weapon skill+2 and the attacker's Corps-a-Corps. Each attempt
  counts as an action. He may try each turn (stepping out of the hex the turn he
  succeeds), or perform some other legal action. Simply dropping the weapon will
  allow him to step back out of the hex that turn, but the opponent may flip the
  weapon to any adjacent hex with a weapon skill roll.
  The fencer who initiated Corps-a-Corps does not need to do anything to keep
  the two blades locked together. He may release the bound blade at any time. He
  may perform any other close combat action at an additional -2 (improving the
  Close Combat maneuver does not eliminate this penalty), such as stabbing with a
  dagger in the off-hand, attempting to grab with an empty off-hand, etc. In a
  locked-blades situation, apply a -2 to all actions (except an attempt to break free of
  the bind) by either opponent, above and beyond any close combat modifiers.
  COMBAT
  
  Any fencing weapon can bind any other fencing weapon. Jitte/Sai weapons
  can bind fencing weapons, light swords (2 Ibs. or less) and knives. Knives,
  shortswords, broadswords, katanas, etc., cannot bind other blades.
  Disarming (Hard) 
  Defaults to DX, Judo or weapon skill
  Prerequisites: None
  This maneuver allows an unarmed man to take an attacker's weapon. The
  defender must have successfully parried the weapon attack, or must grab the
  foe's weapon arm, as per p. B111, substituting Disarming for DX. On the next
  turn, a Quick Contest between Disarming and DX is necessary to remove the
  weapon. A failure means the attacker keeps the weapon; a critical failure means
  a hit on the hand! For weapons that have disarming capabilities, replace
  Disarming with the appropriate weapon skill.
  For another way to disarm an opponent, see Arm and Wrist Lock, above.
  Drop Kick (Hard) 
  Defaults to Karate-4 or Wrestling-3
  Prerequisite: Karate or Wrestling
  Cannot exceed prerequisite skill level
  This kick uses both feet in an attack designed to knock a foe down. The kicker
  must move at least one yard before attempting it. A roll against Drop Kick is
  required. The target can Dodge or Block, but cannot Parry. The kick does thrust+2
  damage, and has a reach of 2 hexes. Additionally, this kick is treated as a Slam (p.
  Bl12) at +2 ST for the attacker. The attacker automatically falls down after the
  kick, whether he connected or not. (In a cinematic campaign, an Acrobatics-5 roll
  can be attempted to let the kicker bounce off the foe and regain his feet.)
  Ear Clap (Average) 
  Defaults to Karate-6 or Brawling-6
  Prerequisite: Karate or Brawling
  Cannot exceed prerequisite skill level
  An attacker can pop an enemy's eardrums, stunning and deafening him.
  Two skill rolls must be made at the same time; each counts as an attack. If the
  multiple attack rules are not in use, the attacker must make an All-Out Attack to
  perform this maneuver.
  After hitting, roll a Quick Contest: Ear Clap vs. HT. If the target loses, he is
  physically stunned (see p. B127); he is also at DX-2 and deaf for 2d seconds.
  On a critical miss on the HT roll, or a critical success on the Ear Clap, the vic-
  tim is deafened for the rest of the combat, and must roll to recover as if from a
  crippling injury (see p. B129). A permanent injury can result in the Hard of
  Hearing or even Deaf disadvantage.
  A One-handed ear clap would require only one attack. If the victim loses
  the Quick Contest, he is deafened in one ear for 2d seconds (treat as hard of
  hearing) at -1 DX. He is still stunned if he loses the Quick Contest. The result
  of a critical miss on HT or critical success on Ear Clap is potentially permanent
  Hard of Hearing, not deafness.
  Elbow Strike (Average) 
  Defaults to Karate-2
  Prerequisites: Karate
  Cannot exceed Karate skill level
  This maneuver is particularly useful if somebody is attacking or grappling
  you from behind. To attack enemies behind you in Close Combat, roll against
  Elbow Strike, with no modifiers for not facing the enemy (attacks to a specific
  part of the body, such as the vitals or head, are at an extra -1, for a total of -3, in
  addition to the standard penalties on p. B203). Frontal attacks are resolved as
  for a normal punch. The attack does the same damage as a Karate punch.
  Eye-Gouging (Hard) 
  Defaults to Brawling-9 or Karate-9
  Prerequisite: Brawling or Karate
  Cannot exceed prerequisite skill level
  This is the basic eye-poke attack. Damage is thrust-4 plus Brawling or Karate
  bonuses. Any damage past 3 points is ignored; an eye gouge is very unlikely to
  Checks
  ARTISTS
  Getting scared can be disastrous to a
  martial artist. If he is overcome by his
  fear, he may suddenly forget all the tech-
  niques he has learned until he regains his
  composure.
  A martial artist who fails a Fright
  Check (see p. B93) will suffer a temporary
  loss of his skills. Hand-to-hand attacks
  will be made at DX level, and weapon
  attacks at default level! This is in addition
  to all other Fright Check effects. This
  effect will last for 1d rounds; at the end of
  it, he will make the same Fright Check.
  with a +1 bonus. If he still misses, the
  same effect will take place. Each subse-
  quent roll will get an additional +1. If the
  fighter enters combat during that period,
  he will get a +5 bonus for the next Fright
  Check. Combat Reflexes give a +4 bonus
  to resist this effect only (not cumulative
  with the +2 to resist the Fright Check
  itself, as per p. B93).
  This effect is useful to GMs combining
  Horror and Martial Arts in a campaign,
  but it can help the PCs as well. Whenever
  a swarm of cannon-fodder NPCs is con-
  fronted by a true master of the martial
  arts, they should all make a Fright Check.
  Modifiers: the attacker's Reputation
  (negative and positive levels all count
  against the roll); -3 if he has just wiped
  out a roomful of similarly-outfitted NPCs;
  -1 for every additional PC of high status
  facing the group. Failed rolls will work as
  above, giving the heroes the edge.
  PCs who are not highly skilled may try
  to deceive the NPCs, convincing them that
  they are deadly masters. Fast-Talk and
  Acting rolls must be made; every point by
  which each roll was made will subtract
  from the NPCs' Will rolls! GMs may
  require the player to roleplay the attempt
  at deceit.
  COMBAT
  
  CONTEST
  of WILLS
  This is a typical martial arts staple,
  particularly in samurai legends and films.
  Two warriors face each other, and stare
  intensely into each other's eyes; suddenly,
  one breaks eye contact, and walks away
  beaten, or makes a desperate charge,
  knowing that he will lose. The characters'
  willpower, poise and skill all influence
  this battle of the chis.
  To engage in a Contest of Wills, both
  fighters must be able to take the Step and
  Concentrate maneuver (see p. B106).
  Either character can initiate it by locking
  eyes with the opponent during the
  Concentrate maneuver. If the foe accepts
  the challenge, move on to the next sec-
  tion. If he wishes to reject it, he must
  make a Will roll to avoid being drawn in
  anyway; if successful, he can take any
  other action (including attacking the
  challenger) normally.
  To resolve this contest, the two oppo-
  nents enter a normal contest of skills - in
  this case, Will versus Will - with the fol-
  lowing modifiers. The better fighter gets
  +1 for every 3 points by which his best
  skill exceeds the foe's best skill. Add each
  character's Reputation to his effective
  Will. A negative Reputation may help or
  hurt, at the GM's option. For instance, a
  character with a -2 Reputation as a ruth-
  less killer may actually get a +2 to his roll.
  A successful Acting roll will give a +1 to
  the roll, unless the opposing character has
  Body Language, Detect Lies or Empathy.
  Characters may replace their IQ with their
  Hypnotism or Mental Strength skill, if it is
  higher. Other reaction modifiers can be
  included, at the GM's discretion.
  Roll the contest until one opponent fails
  his roll, as specified in p. B87. The loser
  must them make a reaction roll, at +1 for
  every point by which he lost the contest;
  refer to the Potential Combat table for the
  result. Even if the loser attacks, he will
  have a DX penalty of -1 for every point by
  which he lost the contest of wills.
  The Contest of Wills is usually
  reserved for heroic PCs and NPCs. When
  a PC is confronted with cannon-fodder
  characters, resolve their reaction with the
  Fright Check rules (see sidebar, p. 38).
  go past the eyes into the brain. However, even if no damage is done, eye-gouging
  is extremely painful. Roll 1d for every point of damage rolled (maximum 2), or
  ld-1 if no damage is rolled; that's the DX and IQ penalty for the next turn.
  Furthermore, the character must make a HT-3 roll (HT if he has High Pain
  Threshold) or be stunned; roll against HT or IQ (whichever is higher) to recover.
  Face Attacks (Hard) 
  Defaults to Brawling-5
  Prerequisite: Brawling
  Cannot exceed prerequisite skill level
  This nasty attack consists of grabbing a facial feature (ears and lips are
  favorites) and pulling it until something gives! Damage is thrust-3 plus Brawling
  bonuses (maximum damage is 1d, no matter how strong the character is). Like
  eye-gouging, this will induce a lot of pain: the victim will be at -2 DX and IQ or
  twice the damage rolled, whichever is higher (halve the penalties if the victim
  has High Pain Threshold).
  Feint (Hard) 
  Defaults to any combat skill
  Prerequisite: Any combat skill; must specialize
  Cannot exceed prerequisite skill+4
  This maneuver is identical to the Feint described on p. B105. It can be
  raised up to four levels past the prerequisite skill level.
  Example: Tsung has Karate-16. Using Karate as a default, he has a Feint
  skill of 16. He can raise his Feint (Karate) to 17 with 1 point. 2 points will
  increase this to 18, and each additional 2 points will increase his feint one more
  level, to a maximum of 20.
  Finger Lock (Hard) 
  Defaults to Arm Lock-3
  Prerequisite: Arm Lock
  This Arm Lock variant allows the martial artist to grab fingers and twist them
  painfully, often snapping them. Use the rules for Arm Locks (p. 44) but all rolls
  are at -3 (except damage rolls). If enough damage to cripple the hand is done, the
  finger or fingers grabbed have been broken and any extra damage is lost. This
  maneuver allows for a quick disabling attack; on the other hand, if the victim
  makes a Will roll to ignore the pain (no roll is necessary if he has High Pain
  Threshold); he can throw punches at -3 skill with the crippled hand (a failure
  inflicts an extra 1d of damage to the arm), or use Elbow Strikes at no penalty.
  Fleche (Average) 
  Defaults to Fencing-3
  Prerequisite: Fencing; cannot exceed Fencing skill level
  This attack consists of a swift advance to close the distance with the enemy,
  ending with a thrusting attack with a fencing weapon. An attack in fleche allows
  the attacker to move one extra hex with his Step and Attack maneuver. Attacks
  COMBAT
  
  during this advance are at -3. The effective skill of the attacker to resist Feints,
  Ripostes and Stop Hits is also at -3: the swift advance opens the character up
  for counterattacks.
  Floor Lunge (Hard)
  Defaults to Fencing-4
  Prerequisite: Fencing
  Cannot exceed Fencing skill level
  The Fencing equivalent of a Jump Kick, this maneuver consists of a lunge
  so long and low that the fencer loses his balance and places his free hand on
  the floor to support himself. Treat this as a crouch; he will have to spend a turn
  getting up, during which he will not be able to add the bonus of a Retreat to
  his defenses. The floor lunge adds 1 hex of reach to the fencer's attack, and +2
  damage; furthermore, it subtracts 2 from the defender's Parry or Block
  because it comes in so low. All active defenses by the attacker are also at -2 on
  the turn of the lunge. If the multiple attack rules are being used, the floor lunge
  takes the place of 2 normal attacks. This maneuver is illegal in modern fencing
  tournaments.
  Ground Fighting (Hard) 
  Defaults to any combat skill-4
  Prerequisite: Any combat/weapon skill; must specialize
  Cannot exceed prerequisite skill level
  Fighting while lying down has a penalty of -4 to all hand-to-hand attacks
  and -3 to all active defenses. Some styles teach techniques to fight from the
  ground; these techniques are represented by extra required points in this maneu-
  ver. Fighters can use Ground Fighting (Combat Skill) at no penalty to attack,
  and a roll against Ground Fighting allows an active defense at only -1.
  Hand Parry (Special) 
  Roll vs. 2/3 Karate, Brawling or Boxing
  All styles with Karate, Brawling or Boxing have hand parries. A bare-hand-
  ed parry is made exactly as described in the Basic Set. It can be improved only
  by buying Enhanced Parry (see p. 58). Many combinations - in some styles,
  almost all important combinations - begin with a hand parry to deflect a blow,
  followed by a counterattack. Note that there are restrictions on what can be par-
  ried bare-handed with each combat skill; see the individual skill descriptions
  for details.
  Any style with Karate, Brawling or Boxing as a primary skill has the Hand
  Parry maneuver at no extra cost.
  Hand Strike (Special) 
  Roll vs. Karate, Brawling or Boxing
  Cannot be improved
  All styles with Karate, Brawling or Boxing have hand strikes, from the
  basic closed fist to exotica like stiff-finger thrusts, knife blows and the ubiqui-
  tous "karate chop." Any unarmed bout - even in a style that emphasizes kicks -
  will have more hand strikes than any other type of blow, just because these
  attacks are quick and relatively safe for the attacker.
  All these hand strikes do Thrust-2 damage plus skill bonuses, and use the
  basic Karate, Boxing or Brawling skill; skill in this maneuver cannot be
  improved. A Karate or Boxing practitioner adds 1/5 of his skill to the damage he
  does; a Brawling practitioner without Karate or Boxing skill adds 1/10 of his skill.
  Use only the best bonus. For more damage, use the Pressure Points or Pressure
  Secrets skills.
  Any style with Karate, Brawling or Boxing as a primary skill has the Hand
  Strike maneuver at no extra cost.
  VITAL
  The following are optional rules for
  players who want more detail in combat.
  Certain parts of the body are more suscep-
  tible to damage than others. Below are the
  effects of successful attacks on them, in
  addition to normal damage effects.
  Groin
  The groin is included in area 11 on the
  Parts of the Body Table on p. B203. It has
  a -3 penalty to hit, and can only be target-
  ed with a thrusting attack. A miss by 1 hits
  the body or the leg (roll a die). On human
  males, this is excruciatingly painful; on a
  hit, the target must make a HT roll, at -1
  for every point of damage, or be physical-
  ly stunned. If an unmodified HT roll is
  missed, the victim falls unconscious (see
  p. B127). High Pain Threshold gives a +5
  to the roll. Low Pain Threshold doubles
  the penalties.
  Jaw
  The jaw is at -6 to hit; if the attack
  misses by 1, the face is hit. The victim
  must roll against HT-2 or HT minus dam-
  age taken (whichever is less) or be physi-
  cally stunned.
  Kidneys
  The kidneys can only be targeted on an
  attack to the victim's back. They are at -4
  to hit; a miss by 1 indicates a hit to the
  body. Crushing attacks do 1.5x damage;
  other types do damage like an ordinary hit
  to the vitals (see p. B203).
  Nose
  The nose is targeted at -6; a miss by 1
  hits the face. Hollywood movies and pulp
  novels to the contrary, it is almost impos-
  sible to kill a person by driving nose splin-
  ters into the brain. A blow to the nose is
  extremely painful, however. On a hit, the
  victim must make a roll against HT-1
  (HT+4 if he has High Pain Threshold, -1
  per point of damage if he has Low Pain
  Threshold) or be physically stunned.
  Throat
  Attacks on the neck can be lethal. The
  throat is at -5 to hit; a miss by 1 hits the
  body. Crushing attacks do 1.5x damage;
  cutting and impaling attacks both do 2x
  damage. The victim is stunned if he takes
  total hits over 1/3 HT to the neck. If he
  takes over HT from a crushing attack, the
  throat may be crushed. Roll vs. HT; if the
  victim fails the HT roll, his throat has
  been crushed. He must make an additional
  HT roll each turn, losing 1 hit if he fails,
  until he dies or receives the appropriate
  first aid. If the neck takes over HT dam-
  age from a cutting attack, a successful HT
  roll is necessary to avoid decapitation!
  COMBAT
  
  PARTIAL Injuries
  A realistic fact of combat is that an
  injury that will not cripple a body part will
  still decrease the effectiveness of a fighter.
  Usually, adrenalin will compensate for
  pain and injury over the first furious sec-
  onds of a fight, so most normal GURPS
  combats need not bother with the pain in
  an arm or a leg. Long tournaments with
  fights lasting several minutes, or a long
  string of separate fights, however, will last
  long enough to make bruises and minor
  sprains tell on the characters. To simulate
  this, GMs may wish to use the optional
  rules below.
  A fighter can ignore the effects of all
  non-crippling injuries for (2xHT) seconds.
  At the end of that time, he will start suf-
  fering some impairment. The severity of
  this will be determined by the amount and
  location of the damage. Characters with
  High Pain Threshold halve all penalties,
  rounding down (so, a -1 penalty is fully
  ignored); a Meditation roll will also halve
  all penalties.
  Arms: A character who takes damage
  to an arm will lose some effectiveness in
  its use. If he has taken less than 1/5 HT
  damage, the limb is hurt but still fully
  functional; the character suffers pain when
  he uses the arm, but that is all. He is at -1
  DX for any action that involves that arm;
  this includes using two-handed weapons.
  If he has taken more than 1/5 HT but less
  than 1/3 HT damage, the arm is severely
  damaged, and motor abilities are lost; he
  is at -3 DX, and using the arm for strenu-
  ous activities may require a Will roll
  (GM's decision). If the damage is more
  than 1/3 HT, and up to 1/2 HT (which auto-
  matically cripples the arm), the character
  is at -5 DX for actions involving the arm.
  Continued on next page . . .
  COMBAT
  Head Butt (Average) 
  Defaults to Karate-6* or Brawling-6
  Prerequisites: Karate or Brawling
  Cannot exceed prerequisite skill level
  This common brawling technique has been adopted by some pragmatic mar-
  tial arts styles. It can only be used in close combat. The head butt is an attack
  against the opponent's head, using one's own head as a weapon. Roll against the
  Head Butt maneuver; roll at +1 if you have Grappled the enemy with both
  hands. The victim cannot Parry; Dodges are at -1 due to the close quarters; a
  Block at -3 may also be attempted. The attack does Thrust-1 damage to the
  Brain (see p. B203); a steel helmet or something similar gives +1 damage. A
  miss has no effect; a critical miss results in the attacker taking Thrust-1 to his
  own brain! If the victim has a DR of 4 or higher (including the 2 points from his
  natural DR), the attacker must roll vs. HT or take ld-3 damage to the brain.
  This is not an orthodox martial arts maneuver. Most styles will not teach it;
  if Head Butt is not listed in a character's style, that fighter must use the
  Brawling default instead of his Karate skill.
  Head Lock (Hard) 
  Defaults to Judo-4 or Wrestling-4
  Prerequisite: Judo or Wrestling
  Cannot exceed prerequisite skill level
  This attack consists of putting the target's head in a lock, similar in some
  ways to a Choke Hold, but holding it in such a way that the target can be thrown
  while using the neck as the axis of the throw - which will almost certainly break
  the target's neck. After Grappling the foe, the attacker must roll against Head
  Lock to grab the neck (the target can make any Active Defense against this; PD
  does not protect). On a success, the target's head has been put in a lock. The fol-
  lowing round, the attacker can try to either Choke the victim (treat this as a nor-
  mal Strangling roll), or he can throw him; the throw is resolved as a Quick
  Contest between the attacker's Judo or Wrestling skill and the defender's ST,
  DX, Judo or Wrestling, whichever is highest. If the attacker wins, the target
  takes swing damage (plus a bonus equal to % Wrestling or Judo skill) to the
  neck, which is multiplied by 1.5. If the defender wins or ties, no damage is taken
  and the victim can try to Break Free.
  See the Neck Snap maneuver (p. 53) for the lasting effects of neck damage.
  Hit Location (Hard) Defaults to any combat skill-3
  Prerequisite: Any combat/weapon skill;
  must specialize
  Cannot exceed prerequisite skill level
  This maneuver lets the attacker reduce the penalties for hit
  location. Hit Location must be bought separately for each combat
  skill. One does not roll against the Hit Location maneuver to use
  it; instead, each level of Hit Location gives the attacker a bonus
  that can be used to offset hit location penalties. This bonus is +1 if
  Hit Location is known at Skill-2, +2 if it is known at Skill-1 and
  +3 if it is known at Skill. No further improvement is possible. This
  bonus can never result in the attack being made at a higher level
  than the prerequisite skill; it can only be used to offset hit location
  penalties.
  Example: Geoff has Karate-15 and Hit Location-15. This gives
  a bonus of +3. He can attack the brain (-7 to hit) at only -4 and the
  vitals (-3 to hit) at no penalty; he may also attack the arms or legs
  (-2 to hit) at no penalty, but not at +1.
  5O
  
  Hit Location has no effect on maneuvers that are already targeted on specif-
  ic parts of the body (e.g., Eye Gouging, Face Attacks, Head Butt, etc.). To
  improve your chance of hitting with such a maneuver, improve the maneuver.
  Hook Kick (Hard) 
  Defaults to Karate-3 or Kicking-1
  Prerequisite: Karate
  Cannot exceed Karate skill level
  The attacker pivots on one foot, spinning his body and delivering a power-
  ful kick. It does thrust+1 damage, plus Karate bonuses; it is also at -1 to Parry.
  If the attack misses or is successfully parried, the attacker must make another
  Hook Kick roll or lose his balance (-2 to all defense rolls).
  Jab (Average)
  Defaults to Boxing-3 or Karate-3
  Prerequisite: Boxing
  Cannot exceed Boxing skill level
  This is a quick snapping blow which can either allow multiple light attacks or
  be used as a feint for a more powerful attack. A Jab allows one extra attack that
  round, but both attacks must be jabs. Jab damage is Thrust-3 plus Boxing bonuses.
  Also, a single Jab can be used instead of a Feint maneuver; the Jab is counted as an
  attack, and if it hits can do damage normally, but the same to-hit roll is used as a
  Feint roll (see p. B105); the next attack will get the bonuses of the Feint (if any).
  Example: Leon "the Drill" Martinez has Boxing-14 and Jab-13. He attacks
  an adversary with Boxing-12 with a Jab. He rolls a 9, making his Jab roll by 4;
  the other boxer rolls his Parry successfully. However, the boxer also has to roll
  against his Boxing skill; he rolls a 12, losing the Contest by 4 points. On the
  next round, Leon throws a punch; his enemy will be at -4 to defend.
  Judo Parry (Special) 
  Roll vs. 2/3 Judo
  Cannot be improved
  The Judo skill includes training in subtle footwork and evading blows. This
  maneuver allows the character to guide a foe's attack away from or past him-
  self, effectively allowing him to dodge the attack. This still counts as a Parry,
  not a Dodge, and the character is still limited to his usual number of parries per
  turn. Contact is not required but it is common, and a Judo Parry can be used to
  initiate an Arm Lock, Judo Throw, or any other maneuver that can be initiated
  with a Parry. There is no aggresive version of this skill, however.
  Unlike a true Dodge, Judo Parry may not recieve Acrobatics or Boxing
  bonuses, nor may it be used against ranged weapons.
  Any style with Judo as a primary skill has the this maneuver at no extra cost.
  Judo Throw (Special) 
  Roll vs. Judo skill
  Cannot be improved
  This maneuver is described on p. B51. A martial artist may also inflict damage
  with the throw. A thrown foe, if the attacker wishes, will take ld-2 damage. A suc-
  cessful Judo throw at -6 to skill will result in the victim falling on his head, taking
  that damage to the brain. A successful Breakfall roll will avoid this damage.
  PARTIAL Injuries
  (Continued))
  If any of the Multiple Action rules are
  being used, at least 1/3 of all the character's
  attacks will be at the penalties described
  above, because they will be using the
  damaged arm.
  Legs: If less than 1/5 HT damage is
  taken to one leg, the fighter will be at -1 to
  kick with either leg (either he is using the
  injured leg to kick, or he is supporting his
  body with it!). Any action requiring the
  character to travel at his full Move will
  require a Will roll to overcome the pain.
  Damage between 1/5 HT and 1/3 HT will
  reduce Move by 1. Kicking with the
  injured leg will be done at -3 DX; using
  the good leg to kick is done at -1 DX, but
  the character must make a HT roll or he
  will aggravate his leg injury, taking 1
  point of damage. Injuries between 1/3 HT
  and 1/2 HT reduce Move by 3, the fighter is
  at -5 to kick with the injured leg, and he
  cannot stand on the injured leg.
  Body: Body injuries can hurt combat
  performance. Reduce Move and DX by 1
  if someone takes more than 1/2 HT damage
  to the body, and by 2 if he takes more than
  2/3 HT damage.
  Of
  MARTIAL ARTS
  COMBAT
  In a dark alley, the leaders of two rival
  gangs confront each other. Hiro Ngyen
  has ST 12, DX 12, IQ 10 and HT 12. He is
  proficient in Tae Kwon Do. Important
  skills and maneuvers are Karate-15, Back
  Kick-14, Elbow Strike-13, Hook Kick-15,
  Jump Kick-13, Kicking-15, and Spin
  Kick-14, Dodge 7 and Parry 11. His oppo-
  nent, Pedro Garcia, has ST 11, DX 13, IQ
  11 and HT 10. His style is Jujutsu and his
  skills and maneuvers are Judo-14, Karate-
  14, Arm Lock-14, Dodge 6 and Parry 10.
  Both fighters have Combat Reflexes
  (already figured into their defenses), but
  neither is familiar with the other's style,
  so all defenses are at -1. Neither of them is
  wearing armor.
  Turn #1: Hiro goes first (his Move is
  higher) and attacks with a Spin Kick
  (which means he must roll twice; see p.
  55). His first roll (the feint) is an 8 - he
  made it by 6. Garcia rolls an 11 on his
  Karate; he made it only by 3, so he is at -3
  to Parry this round. Hire's second roll is
  successful. Garcia needs to roll a 6 or less
  to parry. Not surprisingly, he misses and
  takes 3 points of damage; probably some
  cracked ribs.
  Continued on next page . . .
  
  ARTS
  COMBAT
  (Continued)
  Gritting his teeth, Garcia tries a Judo
  Grapple (Judo+3, but at -3 because of the
  injury, which brings it down to Judo). His
  roll is an 11, making it by 3. Hire's own
  roll was also an 11 - he only makes it by
  1, and his left arm is caught. Garcia tries
  to twist Hiro's arm (Arm Lock vs. DX).
  Garcia rolls a 6, making his roll by 5 (he
  is still at -3 for shock); Hiro's resistance
  roll is a 10, so his arm is twisted. Garcia
  moves behind Hiro.
  Turn #2: Garcia gets initiative, since
  he is holding Hiro's arm. He tries to break
  the arm. He makes his Arm Lock roll by
  2; Hiro makes his HT roll by 2 - a tie, so
  no damage is taken. Hiro goes for an
  Elbow Strike, and rolls successfully.
  Garcia tries to Parry with his free hand,
  but rolls an 11; he takes 6 points of dam-
  age, which brings him down to 1 hit point
  and also stuns him. Garcia releases Hiro.
  Turn #3: Garcia fails his HT roll; he is
  still stunned. Hiro goes for the kill with a
  Jump Kick. He makes his roll. Garcia is
  already at -5 to Parry, and the Jump Kick
  gives an additional -2. He tries a Parry and
  Retreat (total modified roll of 6). His roll
  is a 7, not good enough, and he takes 9
  more points of damage. Garcia's HT is at
  -8; he has severe internal injuries. He rolls
  an 8 to remain conscious, but rolls a 14 to
  stay on his feet. Garcia falls down.
  Turn #4: Garcia makes his roll to stay
  conscious. Hiro tells him "You'd better
  stay down, man," but does not interfere
  when Garcia (who has the Stubborn disad-
  vantage) gets up anyway.
  Turn #5: Hiro tries his Spin Kick again
  and rolls an 11 (made it by 3). Garcia rolls
  a 10 against a needed 14, so he is at +1 to
  Parry. His Parry roll is successful (an 8;
  he made it by 2). He tries a Leg Grapple
  (a quick contest between Garcia's Judo
  skill of 14 against Hiro's DX of 12).
  Garcia grabs the leg.
  Turn #6: Emboldened, Garcia does an
  All-Out Attack. First, he tries a Takedown,
  with a +3 bonus since he is holding Hiro's
  leg. Garcia wins the Quick Contest and his
  opponent hits the ground. Hiro tries a kick
  from the ground (at -4, for a total roll of
  11) and misses. Garcia kicks Hiro's groin
  (needs to roll a 9 or less) and hits. Hiro's
  own Parry is unsuccessful (his defenses are
  at -3 for being on the ground) and he takes
  3 points of damage. He must make a HT-3
  roll to avoid being stunned, and misses.
  Now Garcia has the advantage; unlike
  Hiro, he does not let his opponent get up
  (in all fairness, he is hurt pretty badly, so he
  feels no compulsion to be sporting).
  Continued on next page . . .
  COMBAT
  This skill cannot be improved beyond Judo skill, since it is the main applica-
  tion of the skill. As such, it is not included in the maneuvers listed for any par-
  ticular style. Any style that includes Judo skill will include the Judo Throw.
  Jump Kick (Hard) 
  Defaults to Karate-4 or Kicking-2
  Prerequisite: Karate
  Cannot exceed Karate skill level
  A classic maneuver in fiction, although most martial arts teachers discour-
  age its use in real life situations. This kick increases the attack's reach to 2
  hexes; damage is thrust+2 (plus Karate bonuses), and the attack is at -2 to parry.
  If you miss, roll vs. DX-4 or Acrobatics-2 to avoid falling.
  Kicking (Hard) 
  Defaults to Karate-2 or Brawling-2
  Prerequisite: Karate or Brawling
  Cannot exceed prerequisite skill level
  Some styles put a great emphasis on kick attacks. A style that lists Kicking
  among its maneuvers can learn it as a separate skill. Other types of kick can default
  to either Kicking or Karate; use whichever default is higher. The skill level with the
  kicking maneuver does not affect damage; use the unmodified Karate skill for this.
  If a kick misses, roll vs. Kicking skill or DX to avoid falling. Damage from a regu-
  lar kick is thrust/crushing, plus 1/5 (round down) of Karate skill or 1/10(round down)
  of Brawling skill.
  Knee Strike (Average) 
  Defaults to Karate-1 or Brawling-1
  Prerequisite: Karate or Brawling
  Cannot exceed prerequisite skill+2
  This attack does thrust-1 damage, plus Karate or Brawling bonuses. If the
  target has been grappled successfully, he defends at -2. If the target has been
  grappled from the front, the natural target of a Knee Strike is the groin (e.g., the
  vitals), and there is no hit location penalty to attack the groin! Knee Strike has
  reach C.
  Leg Grapple (Special) 
  Roll vs. Brawling, Judo or Karate
  Cannot be improved
  This is a common maneuver employed against kicking attacks; practitioners
  of almost all martial arts will be familiar with it. This option is available to a
  fighter who is kicked in an upper body part (areas 3-11; see p. B211). If an
  unarmed Parry against the kick is made by 2 or more, the defender may choose
  to grab the attacker's leg. Roll as for a Grapple (see p. B111); in this case, it is a
  contest between the defender's skill and the attacker's DX or Kicking skill. If
  the defender wins the contest, the kicking leg has been captured. The victim's
  attacks and defenses are at -4 as long as the foot is grappled. If the grappler then
  wants to attempt a Takedown (see p. Bl12), he gets a +3 on the attempt.
  This maneuver, even if known, is usually frowned upon in some formal
  events. In the streets, it is one of the reasons street fighters so often win against
  martial artists. Also, this realistic rule may spoil the fun of high-kicking cine-
  matic characters.
  Lunge (Average) 
  Defaults to Fencing-2 or Katana-2
  Prerequisite: Fencing or Katana
  Cannot exceed prerequisite skill level
  This is a full-extension thrust, with the fencer stepping as widely as possible to
  reach as far and as fast as he can. Lunges have more reach and do more damage,
  but the defensive capabilities of the attacker are reduced. Attacks do +1 damage,
  and the reach of the weapon is increased by 1, but all Active Defenses are at -2 that
  52
  
  turn. This bonus applies to thrusting attacks only. Characters with the Katana skill
  can use the lunge, but only when holding the katana two-handed.
  Neck Snap (Hard) 
  Defaults to ST-4
  Prerequisite: None
  Cannot exceed ST+3
  This brute-force attack consists of grabbing and suddenly twisting the vic-
  tim's head, hoping to snap the neck. A very strong person can kill instantly with
  this maneuver.
  First, the character must Grapple the victim by the head with both hands. On
  the following round, the attacker rolls a Quick Contest, his Neck Snap maneuver
  versus the victim's ST or HT (whichever is greater), plus Toughness, if any. If the
  attacker wins the contest, he does swing/crushing damage, which is multiplied by
  1.5 against the neck. On a tie, or if the victim wins, no damage is inflicted. Neck
  damage, even if not lethal, can be crippling; if the victim survives, he must roll
  against crippling, as per p. B129; a lasting injury will keep the character in a neck
  brace for the allotted period, and all crushing damage done to his neck during that
  time will be doubled (representing the chance that the injury will aggravate itself).
  Off-Hand Weapon Training (Hard) 
  Defaults to any
  Combat/Weapon skill-4
  Prerequisite: Any Combat/Weapon skill
  Cannot exceed prerequisite skill level
  Anyone who has learned to use a weapon with the master hand can learn to
  use the same weapon with the off hand. This maneuver allows one to eliminate
  the -4 off-hand penalty, but only for that particular weapon. This maneuver is
  very useful when using paired weapons (see also the cinematic Dual-Weapon
  Attack maneuver). Off-hand training can also be applied to other skills, and to
  train the off-hand skill up if the master hand is lost or crippled.
  Parrying Kick (Special) 
  Defaults to Karate/2 or Brawling/2
  Prerequisite: Brawling or Karate
  Cannot be improved
  This rarely-taught maneuver uses the defender's leg to parry a low attack.
  The difficulty in using the leg as a parrying tool makes the parry equal to half
  the character's Karate or Brawling skill instead of 2/3.
  ARTS
  COMBAT
  Rabbit Punch (Average)
  Defaults to Brawling-3
  Prerequisite: Brawling
  Cannot exceed Brawling skill level
  This is a swinging blow that uses both hands like a mace. The blow does
  swing damage plus Brawling bonuses. With his hands locked together, howev-
  er, the character cannot parry very well; parry is only 1/2 Brawling skill. Locking
  one's hands together is risky: on a critical failure, both hands take thrust dam-
  age in addition to any other effects of the critical failure.
  Retain Weapon (Hard) 
  Defaults to weapon skill or DX
  Prerequisite: Any weapon skill (see below)
  This represents training in how to hold on to your weapon when someone is
  trying to take it away from you, and is commonly taught to soldiers and police.
  The default is to weapon skill for hand weapons, or to DX for ranged weapons
  such as bows or guns (in which case it must be learned separately for each type
  of weapon - pistol, rifle, etc.). The Retain Weapon maneuver replaces weapon
  skill or DX when resisting an attempt to disarm, and can be used in place of ST
  when someone is trying to grab your weapon (as per p. B111).
  Turn #7: Hiro makes his HT roll: he is
  no longer stunned. Garcia makes his own
  HT roll to stay conscious. Hiro kicks from
  the ground with his free leg. Garcia rolls a
  15 on his Parry roll, and takes 8 points of
  damage. This knocks him back a hex, so
  he lets Hiro go. He must make a DX roll
  (at -8 for the injury) to stay on his feet. He
  misses that roll, and topples backwards.
  Finally, since he is at -16, he needs to
  make two HT rolls to stay alive. He miss-
  es the first one.
  Hiro gets up and cautiously approaches
  his foe. He sees that Garcia' s chest is
  caved in from one kick too many. In the
  distance, a police siren howls. Hiro van-
  ishes into the night.
  COMBAT
  
  OPTIONAL Rule;
  Combinations
  In real martial arts training, students
  learn more than simple kicks, punches and
  throws. As they progress in training, they
  learn to combine different moves in quick
  sequences. For instance, a punch and a
  follow-up kick can be practiced until
  punching and kicking become almost one
  motion. The traditional kata is an exercise
  which practices these linked maneuvers,
  or combinations.
  Combinations allow a martial artist to
  flow smoothly from one motion to the
  next. The main drawback of using combi-
  nations is that an opponent familiar with
  the particular fighting style may be able to
  predict those moves.
  For gaming purposes, a fighter can link
  up to three Step And . . . maneuvers or
  Active Defenses into a combination. This
  costs 4 character points to link two
  maneuvers, or 6 for three maneuvers. He
  can use the whole combination instead of
  an attack or defense. A combination that
  begins with an attack can be used instead
  of an attack, while one that starts with an
  active defense will be counted as a
  defending parry.
  Only one combination can be used
  each turn, even if the cinematic multiple
  attack rules are being used. No cinematic
  skill can be used in a combination.
  Example: Terry the karate master has
  two combinations: Spin Kick-Punch, and
  Parry-Punch-Kick. On his combat turn, he
  can make one normal attack, and use the
  Parry-Punch-Kick combination as his
  Active Defense. Alternatively, he can
  attack with the Spin Kick-Punch set, and
  defend normally.
  The player must announce his intention
  to use a combination at the beginning of
  the round. The GM secretly rolls a Quick
  Contest between the first skill used in the
  combination (for instance, if the first
  maneuver is a Karate parry, use the unmod-
  ified Karate skill) and the opponent's high-
  est combat skill. If the combination user
  wins, he proceeds with the combination.
  The target can only defend until all the
  combination moves are finished. If the user
  loses, he can only use the first maneuver,
  and his opponent defends at +3.
  Defenders who are familiar with the
  attacker's style, or have the Body
  Language skill, get a +1 bonus in the con-
  test against attackers using combinations.
  Defenders with both get a +2 bonus.
  This rule can be unbalancing, as it
  allows characters to perform multiple
  attacks on each turn. If it distorts your
  combats, increase the bonus allowed to
  the defender if he wins the Quick Contest.
  COMBAT
  Riposte (Hard) 
  Defaults to weapon skill-4
  Prerequisite: Fencing or other combat skill (see below)
  Cannot exceed prerequisite skill level
  This maneuver is taught in fencing schools as well as martial arts dojos. It
  consists of a quick counter-attack after successfully parrying an enemy attack. It
  can only be employed with thrusting weapons and hand attacks.
  The character can choose to use this maneuver if he has been successfully
  attacked by a thrusting or hand attack. He must Parry the attack; if successful, he
  can instantly attack (or Feint) at -4. The enemy is at -1 to defend (he is still
  recovering from the attack), and at an additional -1 for every point by which the
  Parry was successful (do not count Passive Defense bonuses). The riposte
  replaces the character's next attack; it is not an extra attack.
  Example: if the character has Parry-10 and PD 2, rolling an 11 means he
  parried successfully, but the enemy does not have any penalty to parry the
  riposte beyond the automatic -1; if the parry roll had been 7, on the other hand,
  the enemy's total defense penalty would be -4!
  Roundhouse Punch (Average) 
  Defaults to Brawling-3
  or Boxing-3
  Prerequisite: Brawling or Boxing
  Cannot exceed prerequisite skill level
  This heavy punch is a wide swing with the whole body behind it. It is often
  used in an All-Out Attack (see p. B105). Damage is swing-1, plus Brawling or
  Boxing bonuses. This attack is both slow and easy to defend against, however;
  by using it, the attacker automatically surrenders initiative (he is "readying" his
  punching hand) and the target gets a +2 on active defenses against the round-
  house. Experienced fighters usually reserve the attack for use against a stunned
  foe; it makes a good coup de grace.
  Shin Kick (Hard) 
  Defaults to Karate-3 or Kicking-1
  Prerequisite: Karate and appropriate style
  Cannot exceed Karate skill level
  This attack uses the shin, instead of the foot, as an striking weapon.
  Practitioners smash their shins on hard objects until they do not feel pain. As a
  result, their kicks do more damage than normal. This attack is mainly used by
  the Muay Thai practitioners (see p. 92), but other styles, such as Tae Kwon Do
  and some Kung Fu variants, may also have it. The attack does thrust+2 plus
  Karate bonuses. When striking an object or person with DR 3+, the attacker
  must roll against HT or take thrust damage to the leg.
  Shuto (Hard) 
  Defaults to Karate-3
  Prerequisite: Karate
  Cannot exceed Karate skill level
  This attack is a hand strike designed to go under the defender's guard.
  Damage is as per the normal hand strike, but the attack is -2 to Parry (there is no
  modifier to Dodge, though).
  Slip (Hard) 
  Defaults to Dodge-3
  Prerequisite: Boxing
  Cannot exceed unencumbered Dodge
  This is an attempt to duck past an opponent's attack and come up inside his
  guard, ready to attack. A Slip can be used instead of a normal Dodge against any
  punch or weapon attack aimed above the defender's waist (areas 3-11; see p.
  B211) by an attacker in a front hex. If the Slip is successful, the attack is dodged
  and the defender can step forward one hex, into close combat with the attacker.
  
  Spin Kick (Hard)
  The Boxing/8 Dodge bonus adds to the Slip maneuver, even against swung
  weapons. A Slip benefits from PD, like any Dodge, but cannot be combined
  with an Acrobatic Dodge (p. B48) or a Retreat. On a critical failure, the defend-
  er walks into the attack and takes +1 damage!
  Defaults to Karate-3 or Kicking-1
  Prerequisite: Karate
  Cannot exceed Karate skill level
  This is similar to the Hook Kick (p. 51) but it has a different goal. It con-
  sists of a quick pivot of the body resulting in a back kick or a side kick against
  an enemy in front of the attacker. The intended result of the sudden shift in the
  attacker's center of gravity is to surprise the enemy, but an experienced martial
  artist is not likely to be fooled by it.
  The Spin Kick allows a simultaneous Feint and attack. The attacker must
  roll twice. First, roll a Quick Contest of Spin Kick vs. the opponent's Karate,
  Brawling or DX for the Feint, then roll a second time to deliver the attack. If
  the Feint is successful, use the Feinting rules on p. B96 to determine the
  enemy's defense penalties. However, if the defender wins the contest, he gets a
  bonus equal to the amount by which he won the contest; the kick was badly
  delivered and the attacker "telegraphed" the kick, making it easier to defend.
  The Spin Kick does normal kicking damage.
  Defaults to Karate-2
  Prerequisite: Karate
  Cannot exceed Karate skill level
  This is the hand-attack equivalent to the Spin Kick (described above). It uses
  the same game mechanics, but damage is equal to normal punching damage.
  Defaults to Fencing-4
  Prerequisite: Fencing
  Cannot exceed Fencing skill level
  This is a risky maneuver in real combat, although it is frequently used in
  sports fencing, where only the thrust that hits first counts for scoring purposes.
  The Stop Hit is an attack launched at the same time an enemy attacks! The
  combatant using the Stop Hit is effectively surrendering his Active Defense. On
  the other hand, the original attacker cannot defend either, unless he abandons
  his attack and tries to use an Active Defense; if he does that, he is still at -1 to
  defend against the Stop Hit.
  If both fighters press on with their attacks, roll a Quick Contest between the
  attacker's weapon or Fencing skill and the defender's Stop Hit; the one with the
  highest Move gets a +1 on the contest. The winner rolls to hit first; if he hits
  and does damage, assess any shock and stunning penalties on the wounded
  character and halve them before applying them to his own attack. Even if the
  Spinning Punch (Hard)
  Stop Hit (Hard)
  C o m p e t i t i o n
  Types
  There are three types of competition
  fighting. The strictest (and safest) type is the
  no-contact competition, where no actual
  blows are supposed to be exchanged. Less
  restrictive is the protected full contact ones,
  where actual blows are exchanged but pro-
  tective material is worn. The last type is full
  contact with no protection, almost indistin-
  guishable from real combat.
  No-Contact Events
  Since the beginning of the martial arts,
  but especially in the last century, there has
  been a need to avoid injuries during the
  training and practice of the arts. As the
  Asian styles gained acceptance in the West,
  they soon established safety rules for com-
  petitions. Today, most martial arts tourna-
  ments are no-contact events. Speed is
  emphasized over strength and power, since
  the goal of such competitions is to score
  first, not to hurt the opponent.
  In game terms, no-contact fighting can
  be resolved in two ways. The first way is to
  play it as normal combat, except that if a
  hit is scored, the character must roll against
  his Combat/Weapon Sport skill-2 (this
  means that a character using a normal
  Combat skill will make his rolls at -5!) to
  avoid causing damage; on a failed roll,
  damage is rolled and the Judges will get a
  +2 roll to spot a foul (see p. 64). If no dam-
  age is done, the judges get to roll to deter-
  mine if the point was awarded. The GM
  keeps track of the points. At the end of the
  fight, the judges declare who the winner is
  (in other words, the GM adds up the
  points). This method is used if the detailed
  competition rules are being used (see
  Tournament Combat, p. 61).
  If the Quick Method is being used, there
  is a foul only if one of the opponents loses
  the Contest by more than three points.
  Continued on next page . . .
  COMBAT
  
  C o m p e t i t i o n
  Types
  ( C o n t i n u e d )
  Protected Full Contact
  In this type of competition, punches or
  kicks do connect with the target, but some
  sort of protection is worn. This protection
  ranges from Boxing's padded gloves and
  mouth guard to Tae Kwon Do body
  armor. Actual damage will be small
  (although there are always dangerous
  exceptions), but endurance will play a big-
  ger role than in the type of contest men-
  tioned above.
  Combat proceeds normally; punches or
  kicks that land will gain points to the con-
  testants. The GM can rule that if actual
  damage is inflicted or many punches land-
  ed on one of the contestants, the character
  receives a -1 on the HT roll to resist
  fatigue loss (see p. 63). Alternatively, the
  Stun Damage rules can be used for the
  ring; the punches do full Stun Damage
  (ignore the protective garments) as well as
  normal damage (reduced by the gloves or
  body armor). If a character loses all his
  Stun points, he is knocked out.
  Full Contact Without Protection
  This is the most dangerous type of
  tournament, and the oldest. Bare-knuckle
  fights were common in Europe since the
  18th century, and in Asia most contests
  were also conducted without protection
  until very recently (and there are still a
  number of - sometimes illegal - full-con-
  tact events around the world).
  Treat this as normal GURPS combat;
  the contestants may or may not pull their
  punches, depending on the type of fight
  this is, but mostly they will not.
  COMBAT
  wound is enough to stun the enemy, he can still roll for his attack, at -4 or minus
  the damage taken, whichever is higher. On a tie, rolls to hit and damage are
  taken simultaneously, with effects taking place in the following turn.
  This maneuver can result in both fighters being killed or incapacitated, so is
  rarely used in lethal combat. A character using a Stop Hit is very vulnerable to
  Ripostes and Feints; a common fencing tactic consists in inviting a Stop Hit with
  a Feint, and then attacking the off-balance character. If someone uses a Stop Hit
  in response to a Feint, he is at -3 skill to resist the feint.
  Stamp Kick (Average) 
  Defaults to Brawling-3,
  Karate-3 or Kicking-1
  Prerequisite: Karate or Brawling
  Cannot exceed prerequisite skill level
  This attack consists of a swift, downward stamp with the heel, using the attack-
  er's entire body weight to give additional force to the kick. The attack does more
  damage than a normal kick, but can only be used to attack the foot of a standing
  opponent or to attack an opponent who is lying on the ground. It is commonly used
  as a finishing move on a downed foe. Use of this attack in a tournament is frowned
  upon. Damage is thrust+1, plus Brawling or Karate bonuses. On a miss, the attack-
  er must roll vs. HT or take this damage to the foot he was striking with.
  Sweeping Kick (Hard) 
  Defaults to Karate-3 or Kicking-1
  Prerequisite: Karate
  Cannot exceed Karate skill level
  This is an attempt to kick the adversary's legs out from under him. If the
  attack is not successfully parried or dodged, roll a contest between Sweeping
  Kick skill and the victim's DX. Modifiers: +1 to the stronger of the two. If the
  victim loses, he is knocked down, unless he can make an Acrobatics-5 roll to
  somersault in the air and land safely.
  Trip (Special) 
  Roll vs. Judo skill
  Cannot be improved
  This attack allows a martial artist to trip or throw a charging foe. The foe must
  have either moved two or more hexes into the martial artist's hex or any of his front
  hexes, or stepped into one of those hexes after running at full Move the previous
  turn. The martial artist must either be taking a Wait or else be the target of the foe's
  Slam attack. This maneuver is declared as soon as the foe enters a legal hex.
  Before any action on the target's part is resolved, roll a Quick Contest
  between the attacker's Judo skill and the defender's DX. If the defender has run
  more than half his Move this turn, or his full Move last turn and a Step this turn,
  then the attacker is at +2. As well, the stronger fighter gets +1. If the attacker wins,
  the defender is thrown as per the Judo Throw maneuver (see p. 51), which ends
  the defender's turn. On a tie, the defender spends one extra movement point to
  keep moving. If the defender wins, he overruns the attacker and knocks him over!
  Any style that includes Judo will include the Trip.
  
  Yawara (Average) 
  Defaults to Karate-3 or Brawling-5
  Prerequisite: Karate or Brawling
  Cannot exceed prerequisite skill level
  A yawara is a short, weighted stick. The martial artist grips the stick in his
  fist and uses the weighted ends to do additional damage to his opponent.
  Yawara is not considered a weapon skill, but a Karate maneuver. A martial
  artist using a yawara does +3 damage with all hand attacks.
  Yawara doesn't affect the martial artist's parry - just his chance to hit and
  his damage.
  Cinematic Maneuvers
  Some unrealistic martial arts maneuvers are commonly seen in movies and
  comic books. They are more appropriate for cinematic campaigns, so they are
  separated from the rest. The GM may wish to include some of them in a realis-
  tic campaign, as he wishes. These maneuvers do not require the Trained by a
  Master advantage as a prerequisite.
  Acrobatic Kick (Hard)
  Defaults to Acrobatics-4
  Prerequisites: Acrobatics and Kicking
  This maneuver consists of an acrobatic tumble or somersault preceding a
  kick attack. The idea behind the unexpected movement is to confuse the oppo-
  nent. The fighter must make an Acrobatics roll to perform the tumble; this
  counts as an attack. Then, roll a Quick Contest between Acrobatic Kick and the
  target's Karate or appropriate weapon skill; if the attacker wins, he can kick
  normally, and the defender is at -1 to defend for every point by which he lost
  the contest. If the target wins the contest, he is at +2 to defend.
  Binding (Hard)
  Defaults to Judo
  Prerequisite: Judo
  In legend, this maneuver was used by Japanese guards and police to arrest
  criminals, and by ninja in abductions. In theory, the attacker binds the subject,
  limb by limb, while parrying the victim's attacks. The attacker must have a rope
  ready in his hands (in modern times, handcuffs can be substituted).
  The Binding maneuver can only be attempted in Close Combat. After a
  successful Parry or Grapple, the attacker must win a Quick Contest (Binding
  vs. DX) to bind the targeted limb. The process is repeated for each arm and leg.
  If the target's legs are both bound, he must roll vs. DX-6 every turn or fall
  down, and DX and ST are at -6 to resist Takedowns and Slam attacks. After
  both arms and legs are bound in this manner, the victim must make an Escape
  or DX-6 roll to free himself, as per p. B65; he is helpless in the mean time.
  This maneuver can be improved beyond the basic Judo level.
  Dual-Weapon Attack (Hard) 
  Defaults to combat skill-4
  Prerequisite: Any one-handed combat skill; must specialize
  Cannot exceed prerequisite skill level
  The attacker may strike with two weapons at once, at the same foe or two
  adjacent ones. Each weapon is at -4, in addition to any off-hand and hit location
  penalties. Such attacks are difficult to defend against if aimed at a single foe.
  The defender's attention is divided: -1 to defend against each attack of a Dual-
  Weapon Attack aimed at a sole opponent. This applies to any number of attacks
  made with paired weapons.
  In the Chambara and multiple attack rules (see pp. 65-66), an attacker with
  wo weapons can add one extra attack to his total, at -4. The other attacks receive
  no modifiers. He can distribute his attacks between the two weapons as he desires.
  Cinematic
  COMBAT:
  of The Skull
  The Skull (see p. 22) has been cornered
  by five Japanese agents. The agents have
  the stats given below. None of them is
  armed:
  ST11, DX 11, IQ9, HT 10, Move 5.
  Skills: Judo-13, Karate-13.
  Maneuvers: Arm Lock-13, Dodge-5,
  Kick-11 (ld+1), Parry-8, Punch-13 (ld-1).
  Cinematic Rules: This campaign uses
  all the multiple attack rules (giving the
  Skull three attacks and parries every turn),
  and the Stun rules, modified with the
  Different Damage Type optional rule
  (crushing attacks other than bullets do Stun
  damage; bullets, cutting and impaling
  weapons do normal hit point damage). The
  Skull has a beginning stun of 60, and each
  of his foes has Stun 50; he also has a Move
  of 7, so his first attack has an initiative
  number of 7, his second an initiative of 6,
  and the last one is down to 5. The GM rules
  that the agents get to attack before the
  Skull's last attack. Neither the thugs nor the
  Skull is familiar with each other's style (all
  defenses at-1).
  The enemy agents attack the Skull
  from 5 different points (see diagram).
  Turn #1: The nearest thug is 3 yards
  away, so the Skull moves one hex and uses
  a Jump Kick. The kick counts as two of the
  Skull's attacks. His roll is successful. Thug
  #1 tries to Dodge, and misses. The kick
  does 10 points of damage. The agent is
  knocked back one yard, and must make a
  DX roll to stay on his feet. Since his DX is
  at -10 for the damage taken (see Shock, p.
  B126) he fails and hits the ground.
  The other thugs move. Only #2 is close
  enough to attack immediately. He makes a
  Wild Swing, punches, and misses. The Skull
  uses a Spin Kick on him. He makes his first
  roll by 6. The agent misses his roll, giving
  the agent -6 to his defense roll (-7 counting
  unfamiliarity). The Skull kicks for the brain
  (his player would have had to announce this
  before attempting either roll), at -7 for tar-
  geting the brain, but +2 for having Hit
  Location at skill-1, for a net -5. He rolls a
  10. The target misses his Parry and takes 9
  points of damage, modified to 7 (-2 head
  DR). The damage is quadrupled to 28
  points; #2 is down to 12 Stun, but in any
  case, the damage is enough to knock him
  out.
  Thugs 3 and 4 are now next to the Skull.
  5 is behind him, trying to cut off his retreat.
  Continued on next page . . .
  COMBAT
  
  ClNEMATlC
  COMBAT:SKULL
  Turn #2: The Skull uses his Push skill
  on #3, who fails his defense roll. The
  Skull uses his skill as a Slam, and makes
  his roll by 7. The agent only makes his ST
  roll by 1, so he is knocked back 3 hexes,
  and falls down. The Skull makes his sec-
  ond attack, a punch, at #4, but is parried.
  #4 then punches the Skull from the side;
  the crimefighter is at a -3 penalty (attack
  from the side and unfamiliarity) to Parry,
  and misses. The punch does 4 points of
  damage (his stun is down to 56). The
  Skull counters with his last attack for the
  turn, a hammer blow (Hand Strike) to the
  brain. His roll is successful, and the agent
  misses his Parry - he takes a total of 20
  points of Stun damage and is knocked out.
  Thug #5, from several yards away,
  tries a flying tackle (see p. B113) on the
  Skull. The Skull does not try to Dodge, so
  the attacker succeeds on a DX roll. A
  Quick Contest ensues between the Skull's
  Immovable Stance skill (16) and the
  thug's modified ST (15). The Skull rolls a
  9, and #5 rolls a 12. The thug actually
  bounces back 2 hexes and falls down.
  downed by the crimefighter's passive
  maneuver. #1 crawls toward the Skull,
  hoping to trip him.
  Turn #3: The Skull tries to Grapple #1,
  and succeeds (with a modified skill of 21 ,
  it is almost impossible to fail). The crime-
  fighter tries to twist the agent's arm, using
  his Arm Lock (level 20) against the thug's
  DX of 11 . He does it and applies pain for
  his next attack (Arm Lock against victim's
  HT). The Skull wins by 8, so the thug is
  writhing on the floor at -8 DX and IQ. The
  other two conscious thugs scramble to
  their feet and run. The Skull lets them go;
  he only needs one conscious prisoner. The
  battle has taken just three seconds.
  The Enhanced Block, Enhanced Dodge and Enhanced Parry "maneuvers"
  below represent the idea that some styles have secret techniques that carry
  defensive techniques past their normal limits. Like Cinematic skills, they are
  only available to one who has been Trained by a Master in a style that offers the
  particular ability. Enhanced Parry is also available to those with the Weapon
  Master advantage.
  Enhanced Block 
  6 points
  For game purposes, this is actually an advantage, not a skill. It comes from
  training, and can be acquired after a character is created. It gives +1 to a Block
  with those martial-arts styles that use a buckler, cloak or shield. It must be spe-
  cialized to a particular Block defense. No more than a +1 is possible.
  Enhanced Dodge
  15 points
  This advantage gives a +1 to any Dodge maneuver. It represents superhuman
  training in evasion; this may be thought of as use of the chi force, careful observa-
  tion allowing attacks to be predicted before they are launched, or anything else
  that fits the cinematic mystique of the particular style. It comes from training, and
  can be acquired after character creation. No more than a +1 is possible (for truly
  excessive Dodge scores, use the Increased Speed advantage, p. SU41).
  The point cost is high because a fighter may Dodge any number of attacks in
  one turn; an Enhanced Dodge is a powerful defensive ability!
  Enhanced Parry 
  6 or 10 points
  This advantage may be gained separately for bare hands (6 points), for any
  one weapon (6 points), or for all weapons (10 points). It comes from training,
  and can be acquired after a character is created. Each advantage gives +1 to a
  parry with the appropriate weapon or with the bare hand. No more than a +1 is
  possible. Note that, for instance, a style that gives an Enhanced Parry with the
  bare hand would give no bonus with the sword, and vice versa.
  Fighting While Seated (Hard) 
  Defaults to combat skill-2
  Prerequisite: Any combat skill; must specialize
  Cannot exceed prerequisite skill level
  Some highly-trained martial artists show their contempt for lesser opponents
  by remaining seated when attacked. Attacks'made while sitting are at -2, as are
  all active defenses. This can be attempted with any style. On an Acrobatics-2
  roll the fighter can leap from the chair and make a normal Step and. . . action -
  if the roll fails, the fighter stood up but did nothing else.
  COMBAT
  
  Flying Jump Kick (Hard) 
  Defaults to Karate-6 or Kicking-4
  Prerequisite: Karate or Kicking
  Cannot exceed prerequisite skill level
  This is a common cinematic maneuver, in which a fighter flies through the
  air and lands devastating kicks.
  A Jumping or DX-4 roll is first required. If successful, roll against the
  Flying Jump Kick skill. On a miss, roll against Acrobatics-4 or DX-8 to avoid
  falling, taking ld-3 crushing damage for every two yards you traveled. All
  active defenses are at -4 during this maneuver, and this is also the only attack
  you can make during the round, even if using the Multiple Attacks rules.
  The advantage of this difficult kick is that you can hit anything you can reach
  with a standing or running broad jump (see p. B88); a character can run his full
  Move, jump and launch a flying Jump Kick! The kick does thrust+2 damage;
  double the damage for knockback purposes. This attack is parried at -3.
  Hand-Clap Parry (Hard)Defaults to Parry (Judo or Karate)-5
  Prerequisite: Karate or Judo
  Cannot exceed normal Judo or Karate Parry
  This cinematic maneuver was used by the most skilled (or foolhardy)
  samurai of old to defend against sword-strokes bare handed and then disarm the
  enemy. The maneuver consists of trapping the attacking blade between your
  hands! The precise timing this requires makes this all but impossible. On a
  missed Parry, the attacker can choose whether to hit a hand or his original tar-
  get. On a success, the defender can try to disarm the swordsman with his next
  attack by winning a contest between his Karate or Judo skill and the enemy's
  weapon skill-3. Alternatively, he can launch a kick attack; the swordsman can-
  not Parry unless he lets go of his sword and uses his bare hands. Dodging is
  possible, but at -2 for as long as he holds the sword.
  Initial Carving (Average) 
  Default varies
  Prerequisite: Fencing; must specialize in each letter
  Cannot exceed Fencing skill level
  Swashbucklers who wish to carve an initial while fighting can attempt to do
  so. Determine where the initial is to be carved and the number of strokes neces-
  sary to carve the initial - a Z takes three, for example. The first cut of the initial
  is at no penalty beyond the normal penalty to hit that particular body part. Thus,
  an initial on the chest is at -0 for the first stroke, a letter on the forehead is at -5,
  and so on. If the first stroke does at least 1 point of cutting damage, anything
  but metal or a similarly hard material will be marked. An impaling weapon may
  make a 0-HT scratch for initial-carving purposes. This will cause a scar if
  made on skin (meaning that it may be used to deliver particularly vile poisons),
  and will rip cloth but not armor.
  The remaining strokes of the initial are more difficult to place accurately.
  They are at -4 (in addition to any body part modifiers) for an initial roughly 4
  inches by 4 inches. This modifier is necessary to ensure that the strokes are
  aligned well with the first stroke. If a subsequent stroke attempt is failed by 4 or
  less, the slash is made, but is not properly connected to the previous lines - there
  is either a gap or an overlap - roll a die. This can be very bad form - it might
  even change the initial to another letter! It is possible to attempt to connect lines
  that are too far apart (try again, same modifier), or simply start over in another
  spot. The victim might object to the erasing process, however, which involves at
  least half a dozen criss-cross lines. Initial-carving should only be attempted in a
  combat situation by the very skilled, or those named Inigo, Ignatz or Irene.
  The maneuver must be improved for each letter.
  COMBAT
  In a cinematic or "four-color" cam-
  paign, some characters will have such a
  high Dodge that it is almost impossible to
  hit them, no matter what the attacker's
  skill level. This has the advantage of sim-
  ulating cinematic combat very well -
  heroes rarely get hit by gunfire, fragments
  or flying shuriken. Unfortunately, this can
  also slow combat down to a crawl, as only
  critical successes or failures will make a
  difference in the fight.
  There are several mechanisms that can
  be used to speed up combat. All of these
  are optional rules.
  Critical Success
  Normally, a 3 or 4 is always a critical
  success, a 5 when modified skill is 15, and
  a 6 if modified skill is 16+. To make criti-
  cal success more likely, a 7 is a critical
  success for a modified skill of 20, an 8 for
  25, a 9 at 30 and a 10 at skill level 35. The
  progression stops here, giving the fighter a
  50% chance of achieving a critical success
  each time he attacks!
  Quick Contests
  For fighters with a Dodge of 13+, it is
  recommended that combat be resolved
  with a Quick Contest of Skills between
  the attacker's weapon or skill level versus
  Dodge. This will keep combat from bog-
  ging down into an interminable series of
  dodged attacks.
  Parry and Block should be used nor-
  mally, as these can be used only a few
  times per turn.
  
  optional
  COMBAT Rules
  Described below are some options
  GMs can introduce into their Martial Arts
  campaigns. Some may help speed play
  along, and others may increase the power
  of martial artists. Some GMs and players
  may find them potentially unbalancing, at
  least in some settings.
  Only the Best Shall Win
  When two highly-skilled martial artists
  mix it up, fights can last almost endlessly
  because attacks on both sides are easily
  defended against. One way to deal with
  this problem is to increase the chance for
  critical hits (see above). Another system is
  presented here. Note: this optional rule
  will give high-skilled characters an enor-
  mous advantage over inferior foes.
  When an attack is rolled, keep track of
  how much the modified skill roll succeeded
  by; for every two points the attack succeed-
  ed by (rounded down), the defender is at -1
  to any Active Defense against that attack
  (not just Dodge, as in the case of the Quick
  Contest optional rule presented above).
  Example: Master Lung has Karate-24,
  and he is fighting the Skull (Karate-18,
  Kicking-18). Master Lung chops at the
  Skull's neck (Karate-5 roll), and rolls a
  12, making his modified skill roll by 7.
  The Skull's normal Parry is 13, but he is
  at -3 (7 divided by 2, rounded down) for a
  total of 10. He rolls an 8 and defends. The
  Skull's counterattack is a kick to the body;
  he rolls a 9, beating his Kicking maneuver
  by 9. Master Lung's super-high Parry of
  16 is at -4; he rolls a 13 and is hit!
  This rule will tend to make characters
  aim at easy targets in combat with skilled
  opponents, since they will want to inflict
  the maximum penalty possible on their
  enemies' defenses. A huge difference in
  skill will usually spell doom for the lesser
  character (it usually does anyway, but with
  this method it happens more quickly).
  Continued on next page . . .
  COMBAT
  Example: Don Lorenzo Estrada wishes to leave the initials L.E. on the skin
  of several (unwilling) acquaintances, so he practices long and hard. He spends 2
  character points on the L and 4 on the E (which takes 4 strokes, so he wants to
  get it right the first time). His Fencing skill is 14; he will 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
  his skill - he needs a 13. The E is at default+4: he has no penalty to carve it at all.
  Piledriver (Hard) 
  Defaults to Wrestling-4
  Prerequisite: Wrestling
  This is a devastating elbow strike delivered by the attacker's whole body, which
  is slamming down on the foe. This attack can be used against a foe while he is
  kneeling, sitting or lying down; the piledriver is an ideal follow-up to a Takedown.
  The attack does swing damage plus 1/5 of the attacker's Wrestling skill. This also
  counts as a Slam. The victim can only Dodge; if the attacker misses and hits the
  ground, he takes 2d-2 damage unless he makes an Acrobatics or Breakfall roll. The
  Piledriver is more commonly called an elbow drop. It is distinct from another
  manuever known as a piledriver in which the attacking wrestler smashes his oppo-
  nent's head into the ground after grappling him and turning him upside-down.
  Roll with Blow (Hard) 
  Defaults to Acrobatics-2 or DX-6
  Prerequisite: Acrobatics or Judo
  With this maneuver, the defender presents little resistance to the force of a
  punch or other crushing attacks, taking less damage. If the defender misses his
  defense roll against a crushing attack, he may attempt a Roll with Blow roll to
  reduce damage. On a successful roll, he takes half damage (rounded up) from
  the attack, and is knocked 1 hex for every 2 points of the damage he took, before
  it was halved. The defender must roll against DX, minus 1 for every hex he was
  knocked back, or lose his footing and fall down.
  On a critical success, the defender takes only one hit of damage. On a fail-
  ure, he takes normal damage but is still knocked back as above. On a critical
  failure, he takes normal damage, falls down, and is physically stunned!
  Springing Attack (Average) 
  Defaults to Acrobatics-3
  Prerequisites: Acrobatics and Karate
  The martial artist using this maneuver must first adopt a low, crouched posi-
  tion; this requires a Karate roll. The intention behind this crouch is to store ener-
  gy and spring forward in an explosive, powerful attack. On the turn following
  the crouch, the martial artist can roll against his Springing Attack; on a success,
  his next attack will do +2 damage. An ordinary failure means the martial artist
  loses his balance and is at -2 DX and Active Defenses; a critical failure will
  cause the attacker to fall down!
  Sticking (Hard) 
  Defaults to Judo-2
  Prerequisite: Judo at 14+
  If this maneuver does not appear in a style, the default is Judo-4, and it can-
  not be improved.
  In this maneuver, a fighter touches the opponent and leaves his hand in con-
  tact with him, "stuck" to his skin. By doing this, he can "feel" his opponent's
  intentions, and counter them more easily.
  To perform the Sticking maneuver, the attacker must make a Judo+2 roll;
  this indicates he is in contact with his enemy. Every round, he must win a Quick
  Contest (Sticking vs. DX) to remain in contact. As long as he is "stuck" to the
  opponent, he can attack and parry at +2. The attacker cannot dodge without los-
  ing contact, however.
  6O
  
  Whirlwind Attack (Hard) 
  Defaults to Katana-5 or Staff-5
  Prerequisite: Katana or Staff
  Cannot exceed prerequisite skill level
  This highly cinematic maneuver is a fabled samurai attack which allows a
  beleaguered fighter to attack each and every foe besetting him with lightning
  speed! If this maneuver is used, it counts as all of the attacker's actions for that
  turn, regardless of how many actions that character might normally have.
  A Whirlwind Attack is an All-Out Attack, but rather than choosing one of the
  usual All-Out Attack options, the attacker spins in his hex, attacking each and
  every foe in any adjacent hex. He must choose his first foe and then engage the
  remaining foes in either clockwise or counterclockwise order (attacker's option).
  Each attack is resolved before proceeding to the next attack, rolling against the
  Whirlwind Attack maneuver rather than weapon skill. A Whirlwind Attack must
  be a swung attack and cannot be combined with any other maneuver. Hit location
  is determined randomly for each foe, and the foes may defend normally.
  At the end of the attack, the attacker may choose to be facing in any direc-
  tion. If there are any foes left standing, it may be wise not to put one's back to
  them. As a result of the Ail-Out Attack, the attacker is now defenseless as well.
  If any attack critically misses during a Whirlwind Attack, then that attack
  and all remaining attacks are considered to be critical failures. Roll on the criti-
  cal miss table for each attack and assess the penalties cumulatively!
  TOURNAMENT COMBAT
  Not all martial arts combat is resolved in darkened alleyways and villains'
  hideouts. In reality, most martial arts action is seen in (for the most part) blood-
  less tournaments. Tournament fighting, both professional and amateur, is a
  place for PCs to test their mettle and even make a living (see p. 20).
  Tournament combat is not like "normal" fights to the death. Unlike the
  streets, there are rules to be followed. Although in both cases winning is impor-
  tant, competition fighting goes about it in a different way.
  OPTIONAL
  COMBAT RULES
  Reduced Concentration
  for Cinematic Skills
  This option allows characters to use cin-
  ematic skills more quickly. If the GM uses
  this rule, Trained by a Master practitioners
  will have an enormous edge over normal
  martial artists, so he must consider it care-
  fully.
  This rule replaces "turns of concentra-
  tion" with "attacks." For instance, Power
  Blow takes 20-Skill turns to ready; now it
  would take 20-Skill attacks to ready. Both
  the attack and an Active Defense are lost for
  every attack used in concentrating on the
  cinematic maneuver. Since Trained by a
  Master characters have several attacks every
  turn, this dramatically reduces the time to
  ready several cinematic abilities. If the char-
  acter has more attacks than it takes to ready
  the skill, he can attack on that turn.
  Regardless of how many attacks he has on
  that turn, he can only make 1 attack (and has
  1 Active Defense) that turn. Further-more,
  his initiative goes down by 1 for every
  attack he spent concentrating.
  Example: The Purple Mantis is Trained
  by a Master, and has Karate-24 and Power
  Blow-17. His Karate skill gives him 5
  attacks per second; it takes him 3 attacks to
  ready his Power Blow skill. That means that
  he can perform 1 Power Blow every turn; he
  could only do 1 attack per turn in this way,
  however. His Move is 8, but it would be
  treated as 5 for initiative purposes for that
  turn.
  The cinematic skills that would benefit
  the most from this rule would be Breaking
  Blow, Flying Fists, Flying Leap and Power
  Blow, which ordinarily take at least one
  full turn of concentration. As a result, mar-
  tial artists could deliver devastating blows
  with ease, possibly even starting from a
  safe distance. This rule might therefore be
  best left for highly cinematic or "four-
  color" campaigns.
  Continued on next page . . .
  COMBAT
  
  OPTIONAL
  COMBAT RULES
  Concentrated Defense
  In real combat, a fighter can protect one
  part of his body at the expense of others.
  For example, when fencing with a foil, a
  leg and arm are forward to protect the
  torso, which is the only valid target. When
  the whole body is fair game, as with the
  epee, the fencer must move the leg back to
  prevent it from being hit, making the torso
  an easier target. The following rule simu-
  lates the concentration of defense.
  Before an attack is initiated, defender
  may decide to more heavily defend a cer-
  tain portion of his body. The defender
  should write down the area of the body
  where he wishes to concentrate his defense.
  He gains a +1 bonus to the defense of this
  one area for every -1 penalty he takes for
  all other areas, up to a maximum bonus of
  +5 or a minimum effective defense of 4
  after the penalty. For simplicity, the parts
  of the body can be divided into four areas:
  1) Head (includes the brain, eyes, jaw,
  nose and throat)
  2) Torso (includes the vitals and groin)
  3) Arms (includes both hands and arms)
  4) Legs (includes both feet and legs)
  A defense of the vitals only may be
  attempted for a +2 bonus for each -1 penal-
  ty to all other body parts, up to a maximum
  +6 - e.g., if a defender takes a full +6
  bonus to guard the vitals, the defense of the
  rest of his body would be at -3.
  A skilled opponent will notice a con-
  centrated defense. For an attacker to real-
  ize that his opponent is favoring a certain
  body location, he rolls vs. 2/3 his highest
  weapon skill, plus the amount of bonus
  the defender is attempting to gain. Roll
  once before each attack. Success means
  the attacker can predict where the concen-
  trated defense will be, and a critical failure
  means that he misinterprets the defense.
  Example: Jean-Luc wants to keep his
  sword arm safe, so he concentrates his
  defense to give himself a +2 bonus to defend
  against attacks to his right arm or hand. He
  now has a -2 to defend against attacks to any
  other body part. His attacker, Frederick, rolls
  to see if Jean-Luc is favoring a certain body
  part. His Fencing skill is 15, so he rolls
  against a 10 plus the +2 bonus Jean-Luc is
  attempting, or a 12. He rolls a 14, indicating
  failure, and attacks Jean-Luc's sword arm.
  The defender rolls vs. a 12 to parry (his nor-
  mal parry is 10, plus the concentrated
  defense bonus) and rolls an 11 . He parries.
  Competition or tournament combat is different from standard fights.
  Depending on the emphasis of the campaign, it can be minimized or ignored
  altogether. With the rules below, however, the GM can make it as exciting as a
  "real" hit-point-draining battle.
  Combat Length
  Depending on the rules of engagement, tournament fights last between 30
  seconds or so to several rounds of two or three minutes each. Obviously, to role-
  play every round in even the shortest fight is next to impossible, considering that
  the GURPS combat turn is one second long. Two different ways to roleplay
  competition fights are described below, depending on the situation and the
  amount of detail the GM desires.
  The Detailed Method: For a fully roleplayed, movie-like description of the
  fight, the battle will focus on some "highlights" of action separated by a number
  of turns where nothing much happens (this reflects the reality of most sports
  fights). In other words, the opponents will trade punches for a couple of sec-
  onds, circle each other for several more, and so on. At the beginning of the
  round, the GM rolls four dice, or fewer if he wants more detail. This is the num-
  ber of seconds that elapse before any telling blows are exchanged; during this
  time it is assumed that the opponents circled and threw jabs at each other. Then
  a two- or three-turn fight is played out; whenever one of the antagonists man-
  ages to break free from the fight (a successful Dodge and retreat, for instance) or
  at the GM's discretion, the fighters disengage and the same number of dice are
  rolled for the next exchange of blows.
  Example: "Dutch" McNamara is squaring off against Jose "Shatterhands"
  Rodriguez. Each round lasts 2 minutes (120 seconds). At the start of the fight,
  the GM rolls 4 dice, and gets a 16; he tells his players that they circled and
  sparred for 16 seconds before closing. Three seconds of fighting are roleplayed
  (Dutch lands one solid punch and defends successfully against Jose's attacks).
  The fight is now 19 seconds long. The GM rolls again, and gets a 10, so they
  will get to fight again on the 29th second of the round. On the average, Dutch
  and Jose will play out about 24 seconds of the 120 seconds in the round.
  The GM alone keeps track of the time, unless one of the characters has
  Absolute Timing, in which case he knows how much time is left. When the
  round is over, the foes return to their corners (or their equivalent); thus, a fighter
  can be literally saved by the bell. This method produces a long, detailed fight,
  and is most useful in situations where the stakes are high (the climactic fight for
  the world championship, for instance).
  The Quick Method: This alternative system can be used for GMs who want
  less detail or for less important fights. Resolve each "round" (ranging from 30 sec-
  onds to several minutes) as a Quick Contest of Skill (see p. B87); the contestants
  get one roll for every 30 seconds of the engagement (round up). If nobody wins,
  the round ends as a draw; otherwise, the winner gets one "point" (not related to
  any competition point system, but a tool for the GM to resolve the fight). The fight
  ends when one contestant accumulates 5 points more than his opponent. On a
  Critical Success on the contest, the winner gets ld+1 points immediately.
  COMBAT
  62
  
  Example: In the fight above, the GM uses the Quick method. Each round
  lasts 2 minutes, so each round is four Quick Contests of Skill between Dutch
  and Jose (Karate Sport skills of 17 and 15, respectively). In the first round,
  Dutch wins three of the four rolls, so he wins that round and gets one point.
  The second method will solve the battle more quickly, but will give the
  players a more passive role, leaving it up to the GM to convincingly describe
  the fight.
  Fatigue
  This will be an important consideration in all types of tournament fights.
  While real combat usually lasts only a few seconds, a sports fight (boxing, for
  instance) can go on for as long as half an hour, an hour or even longer! Fatigue
  loss (described on p. B134) can cause a fighter to lose as surely as his opponent's
  skill.
  If a match (or a number of matches on the same day) lasts more than three
  minutes, Fatigue will start building up. Each fighter will automatically lose 1
  point of Fatigue after 10 seconds. After 3 minutes, each contestant will roll
  against their HT; if they succeed there is no effect. On a failed roll, they lose
  another Fatigue point; on a Critical Failure, they lose two points.
  Modifiers: -1 for every previous two-minute bout of fighting.
  These rolls assume that there is a rest period of at least 30 seconds between
  rounds; otherwise, fighters must roll every minute, at -1 for every minute they
  have already fought. If the rounds of a particular competition are shorter than
  three minutes (most are), make the rolls whenever the total fighting time reach-
  es three minutes.
  Optional Rules: To better represent the effect of fatigue on a contestant, use
  these rules. When a fighter's fatigue is reduced by 2/3 he will suffer the effects
  of the Low Pain Threshold disadvantage (see p. B29). If he has the High Pain
  Threshold advantage, he temporarily loses it instead, while if he already had the
  Low Pain Threshold disadvantage he suffers twice the standard penalties! This
  represents the weakening effect of a long fight, making a tiring fighter more
  susceptible to a knockout. When his ST goes down to 3, his Move is halved, as
  per p. B29; he also gets a -1 penalty to all his Active Defenses, or loses his
  Combat Reflexes bonus.
  63
  Nonhuman foes
  GMs may wish to introduce the martial
  arts in a super campaign, or introduce non-
  human races from GURPS Aliens or
  GURPS Fantasy Folk. Here are some
  optional rules for combat with nonhuman
  (or metahuman) enemies.
  Vital Points
  When fighting humanoid aliens, vital
  points are targeted at -1 or more, depending
  on how different the alien's internal struc-
  ture is. This modifier also affects the
  Pressure Points and Pressure Secrets skills.
  Completely alien creatures cannot be hit in
  vital points unless the character is familiar
  with their anatomy.
  Multiple Arms
  For every arm above two, multilimbed
  characters get a +2 to all attempts to
  Grapple or Pin, or break free from a
  Grapple or Pin. A six-armed alien with
  Judo-15 would have an effective skill of 23
  to Grapple (a total of 26 with the +3 bonus)
  and Pin! When attempting an Arm Lock,
  each additional arm adds +1 to the Judo
  roll, both to immobilize and to inflict dam-
  age.
  Superhuman Strength
  A fighter with Judo can throw an oppo-
  nent after a Parry, no matter how strong it
  is (see p. B51), since the martial artist is
  using the attacker's own strength.
  However, if a Judo practitioner engages an
  extremely strong foe using close combat
  maneuvers that normally require a Quick
  Contest of ST or DX (see pp. B111-112),
  he will have more difficulties.
  Continued on next page . . .
  COMBAT
  
  foes
  (Continued)
  Moreso than strength, weight is the
  determining factor here. A nonhuman
  creature or superhuman that is no heavier
  than humans can be affected as easily as a
  normal. If the creature's weight is within
  human ranges, use its DX instead. Give
  the creature a +1 bonus in the Quick
  Contest for every 10 points of strength
  above the human average (+1 for ST 20,
  +2 for 30, etc.) if the creature's weight is
  greater than 300 Ibs. but less than 500 Ibs.
  Increase this bonus to +2 if weight is
  greater than 500 Ibs. If the creature weighs
  more than 800 Ibs., use its full strength.
  For close combat maneuvers that do not
  normally require a Quick Contest, such as a
  Judo Throw initiated with a Grapple as
  opposed to a Parry, read the bonus above as
  a penalty instead, and apply this penalty to
  the attacker's Judo skill.
  Judges and Fouls
  Most competitions will have a number of impartial observers watching the
  fight, both to decide who the winner is and to spot and penalize fouls. They vary
  in quantity, from a single referee to six or more. Every time a point is scored, a
  foul is committed, or anything happens that the judges must rule about, the GM
  must make a Vision roll for each judge.
  Modifiers (optional): +3 to -3 depending on their position with respect to
  the contestants at the moment (the GM can determine it randomly, or depending
  on the judges' arrangement; in some competitions, a judge sits on each corner,
  so it stands to reason that whenever something happens, some of them will have
  a better view than the rest); a random modifier (roll ld-3 and apply the bonus or
  penalty), to determine whether the judge was paying attention at that particular
  moment; others, including the judges' personal biases (they should not be great;
  the judge is supposed to be impartial, after all).
  On a successful Vision roll, the judge will vote accurately; on a failure he
  will not see the point or foul; on a critical failure, he will interpret the event in
  the worst manner possible (ranging from giving the point or foul to the wrong
  contestant to declaring the fight won in favor of the wrong person). Of course, if
  someone bought the judge, his votes will be predetermined.
  If the Quick Method is being used, the judges roll only once per round.
  The rules below belong exclusively to a cinematic martial arts campaign;
  don't try them at the dojo, or in a realistic game. GMs running a down-to-earth
  campaign should disallow most or all of them. Alternatively, a GM can choose
  the ones he prefers, customizing his campaign to achieve a balance between
  heroics and realism. Be sure to tell your players beforehand which rules apply to
  your campaign!
  Chambara is the Japanese name for a (not highly authentic) movie or TV
  show featuring heroic, highly skilled martial artists, usually ronin and ninja.
  This word is also sometimes applied to martial arts movies in general, particu-
  larly those where the main characters have superhuman abilities.
  Chambara fighting style is fast and furious, with characters jumping through
  the air over enemy blows. This is the ideal Cinematic style for a Martial Arts
  campaign. Only fighters with combat skills at 15 or better and the Trained by a
  Master advantage may use these Chambara "bonuses."
  A Chambara fighter using bare hands or a ready, balanced weapon may
  make one additional attack and Parry per turn for each three points of weapon or
  Karate skill over 12. This will give a fighter two attacks at skill level 15, three at
  level 18, and so on. The Chambara fighter can skip one attack in order to change
  facing - that is, each facing change (to any facing) "costs" one attack.
  A Chambara fighter's Wild Swing (see p. B105) is at -5 hit penalty, but is
  not limited to a maximum attack roll of 9.
  Chambara Defenses
  A Chambara fighter with the Combat Reflexes advantage can sense a sur-
  prise attack from behind. Even if the fighter does not change facing, the attack
  still counts as coming from the side, not the rear, just as in a "runaround" attack
  (see p. B108) - it is only -2 to the defender's active defense.
  The typical Chambara defense is to dodge by jumping. A DX (or Jumping
  or Acrobatics) roll is required. If the roll is successful, the fighter has double his
  COMBAT
  
  normal Dodge defense against that attack. If the roll fails, he gets only the nor-
  mal Dodge defense. On a critical failure, he falls. Each attempt to dodge by
  jumping means the fighter may make one less attack on his next turn.
  A Chambara fighter may also Evade in close combat, passing through a
  foe's hex, by Jumping. This tactic also requires a successful DX (or Jumping or
  Acrobatics) roll and costs 4 Move points (virtually ruling it out for average
  people with heavy encumbrance). If the roll fails, the attempt to evade failed. If
  the roll succeeds, the jumper is at +5 on the Contest of DX to evade (p. B113).
  GMs should require the Trained by a Master advantage as a prerequisite for
  these rules. Chambara combat is best suited to adventures with enormous num-
  bers of NPC spear-carriers whose only function is to be carved up by the hero.
  multiple ATTACKS
  Martial arts fiction is full of warriors who can fight two, three, or more
  opponents at the same time, moving with unnatural speed (helped in the movies
  by obliging stunt men who wait in place to be hit by the protagonist). Even
  real-life martial artists have demonstrated incredible reaction time that would
  probably allow them to attack more than once in a second. To simulate this
  "fact" of martial arts fantasy, three sets of optional rules can be used.
  Cinematic Combat: As described on p. B183, this rule allows extra Parries per
  round. This, however, does not truly duplicate the frenzied action of kung fu flicks.
  Skill Bonuses: For every 8 points of skill, the character gets one attack or
  Parry. In other words, a fighter gets one extra attack and Parry at level
  16, two at level 24, and so on. This allows only expert and better char-
  acters to have this huge advantage in combat. This rule can also be
  applied to weapon skills as well as Karate and Judo.
  Chambara Rules: As described above, these rules allow a fighter to
  make one extra attack and Parry for every three points of skill over
  level 12, but they are limited to those with the Trained by a Master (or
  Weapon Master) advantage.
  All of the Above: All three of the above rules, used together, can
  allow for an interesting mix of character types, adding variety to the
  martial artist character. In this case, the Cinematic Fighting rules of p.
  B183 would apply to characters with Brawling and other Western fight-
  ing skills, as well as martial artists with low skill levels. Highly trained
  "normal" martial artists would use the second rule, and Trained by a
  Master fighters would use the Chambara fighting style.
  multiple ATTACK Rules
  Skill bonuses and the Chambara rules will easily lead to fighters
  who can attack and Parry two, three or even more times in a round.
  Although this represents cinematic "reality," players may unbalance
  games by abusing those rules, and combat may become the center of
  the game. Also, a number of questions will arise about the application
  of those rules under special circumstances. Here are some guidelines
  for multiple attacks; the GM should use some or all of them to control
  game balance.
  Ail-Out Attacks
  If a character with multiple attacks makes an Ail-Out Attack, he
  loses all his active defenses, but can still Dodge once (he cannot use
  the Chambara jumping dodge on p. 64, however). By using the All-Out
  Attack, he can add one extra strike for every two attacks he normally
  has, rounding down. Alternatively, he can choose any one of the
  65
  INlTIATIVE
  "Initiative" is a term used to express the
  concept of "who goes next." In most cases,
  initiative in martial arts combat should be
  determined by the Move value, as per the
  sidebar on p. B95.
  To determine the turn sequence of
  attackers with multiple attacks, use the fol-
  lowing rule. The first attack uses the char-
  acter's Move value; the second uses Move
  -1, the third Move-2, and so on.
  Example: The Skull has 3 attacks and
  Move 7; he faces a thug with one attack
  and Move 6. The Skull attacks first; his
  second attack has the same Move as his
  opponent's (in that case, let the character
  with the highest Basic Speed go first); his
  third attack will come after his enemy's
  turn.
  If one fighter has an opponent pinned, or
  in an arm or leg hold, the immobilized fight-
  er takes his turn normally if he is slower
  than his foe. If he is faster than his foe, he
  does not go first; he goes immediately after
  the foe who has immobilized him.
  COMBAT
  
  CONTROLLlNG
  ATTACKS
  The optional Multiple Attack rules on
  p. 65 lead to problems in some campaigns.
  Some players contrive to have their char-
  acters stretch the already unrealistic limits
  of those rules to their breaking point.
  Characters with half a dozen attacks per
  second or more become commonplace,
  and then are given some advantages from
  GURPS Supers to allegedly give them
  12+ attacks per second! Outlined below
  are some ways for GMs to prevent abuses.
  A Second's Still a Second
  No matter how extraordinary the reac-
  tion times of a character are, there are lim-
  its to how much he can accomplish in one
  second. GMs should feel free to disallow
  any complex maneuver used with other
  attacks. Most of the multiple attacks
  should be straightforward kicks and
  punches. A Jump Kick should count as
  two attacks, for instance. An attack which
  actually causes the attacker to fall down
  (e.g., a Drop Kick, or any Kick on a failed
  DX roll after a miss) should immediately
  end the attacker's turn, regardless of how
  many attacks the attacker has left.
  Continued on next page . . .
  COMBAT
  bonuses applicable to an Ail-Out Attack (+4 to hit, +2 damage, etc.; see p.
  B105) and apply it to all of his normal attacks, still at the cost of all his active
  defenses. This makes All-Out Attacks rather inefficient and undesirable, as well
  it should be. Even in the movies, very few martial artists are berserkers who will
  use such maneuvers (unless their emotions overpower their skills - see sidebars,
  p. 44 and 47).
  Feinting
  A character can Feint and attack on the same round, by sacrificing one
  attack for the Feint. He still keeps his Parry. The Feint will help the next attack,
  as per p. B96, but not any subsequent blows.
  Missile Weapons
  Martial arts legends tell of master archers who could draw and shoot several
  times each second. Characters with multiple attacks may reduce the ready time
  of a missile weapon by one second for each attack spent, effectively trading
  those extra attacks for Ready maneuvers.
  For instance, a bow takes two seconds to ready (p. B96). An archer with
  three attacks can ready and shoot an arrow in one turn; one with four attacks can
  ready and shoot an arrow, then draw another arrow just in time for the next turn.
  As well, when using these cinematic rules, Fast-Draw (Arrow) rolls will allow
  the archer to fire once for every attack he has! The Fast-Draw roll must be made
  for every arrow shot, at a cumulative -1 for every arrow fired after the first one.
  None of these shots will be aimed; if the archer's modified skill is less than the
  bow's Snap Shot number, each shot will be at an additional -4 (see p. B115).
  GMs may impose some special requirements for multiple attacks with ranged
  weapons, such as the Zen Archery skill, the Trained by a Master or Weapon
  Master advantages, or all of the above.
  Opponents with Multiple Attacks
  The Multiple Attack options were designed mainly to allow
  PCs to chop through large numbers of cannon-fodder flunkies.
  When opponents with multiple attacks face each other, a player
  may make nine or ten attack and defense rolls in a single turn.
  The GM should use the rules for Initiative (see sidebar, p. 65) to
  determine the turn sequence. The fighter with the highest Move
  attacks first, regardless of the number of attacks. Note that a
  pinned fighter cannot move before the opponent who is pinning
  him.
  Parrying and Ail-Out Defense
  For every attack he has, a combatant can Parry once. The
  number of Blocks and Dodges he has remain the same. If he
  chooses the All-Out Defense maneuver, the number of parries
  he has doubles, and he can defend twice against the same
  attack. However, a fighter cannot use the All-Out Defense with
  one of his attacks and still attack normally with the others. By
  using this maneuver, he loses all his attacks for that turn.
  Readying
  Weapons that become unready after attacking or parrying
  (such as axes, nunchakus, etc.) can be readied on the same turn
  by spending one attack and one parry. For instance, a fighter with
  three attacks could attack with an axe once, ready it, and strike
  66
  
  with it a second time on the same turn. If he used the unbalanced
  weapon to parry as well, it would cost him another attack and
  parry to ready it. In that case, he could attack and parry only once,
  but his weapon would be ready for the next turn.
  Thrown Weapons
  If a fighter has several attacks, any or all of them may
  involve thrown knives, shuriken, etc., with the following condi-
  tions. The attacker must have all the weapons to be thrown in
  his hand; if not, he must have them in an easy to reach
  pocket/sheath, making a Fast-Draw-3 roll for each weapon
  drawn after the first one in a turn. As with missile weapons, the
  GM may limit this maneuver by requiring the Throwing Art
  skill, the Weapon Master advantage, or both.
  RECOVERY
  Martial Arts movies resemble super comic books in that
  people are shown trading punches, kicks and blunt weapons
  damage with seeming impunity; other than a few nosebleeds
  and split lips, even cannon-fodder NPCs get up time and time
  again after punches that should by rights have killed or seriously
  injured them.
  In real life, the martial arts can be deadly; even in training and competi-
  tions, severe injuries or even death can occur. The GURPS injury system repre-
  sents this accurately. A ST 10 man with a high Karate skill (15+) can kill anoth-
  er with a few well-placed blows. In a realistic campaign, this will teach charac-
  ters not to run headlong into fights - as it should. In a cinematic campaign,
  however, this would not be appropriate; combat is an essential part of this type
  of campaign, and the characters cannot be expected to avoid it. PCs and NPCs
  live to fight another day, except, perhaps, at the climactic battle. Here are some
  optional rules to limit damage in a cinematic battle.
  Optional Rule: Flesh Wounds
  This cinematic rule, from p. B183, will prevent premature deaths in Martial
  Arts battle without changing the combat system. Anyone who is not actually in
  combat may spend one unused character point, immediately healing all damage
  except crippling injuries, all fatigue and (if that optional rule is being used) all
  stun damage.
  Optional Rule: Stun Damage
  This rule, first introduced in Supers (p. S86) has a place in a cinematic
  martial arts campaign. With this rule, all characters have "stun points" equal to
  five times their hit points; this is a new stat, and the player must keep track of it
  separately. When a character's Stun reaches 0, he is knocked unconscious.
  Consciousness is recovered normally (see p. B129). A conscious character
  regains lost Stun at 1 point per minute of rest.
  Unless an attacker specifically declares an attack as "shoot to kill" before it
  is made, all damage taken is stun only. The GM may also treat damage from
  falling (or falling objects) as stun damage.
  This will result in people being knocked out just as frequently as in normal
  GURPS combat, but it will extremely hard for them to be killed. The advantage
  of this rule is that PCs and NPCs will have a much lower mortality rate. The big
  disadvantage of this rule is its total unreality. Being run through by a katana
  doesn't just stun someone!
  multiple
  ATTACKS
  ( C o n t i n u e d )
  Super-Martial Artists
  The Altered Time Rate advantage from
  p. SU35 allows a character to "live" two sec-
  onds for each real second that passes; addi-
  tional levels increase this time accordingly.
  Some players have then gleefully designed a
  Chambara-style martial artist and given him
  that advantage, doubling or tripling his
  already numerous attacks. This is an abuse;
  the Chambara fighting rules already assume
  the character is moving faster than is human-
  ly possible. Each level of Altered Time Rate
  should increase the number of attacks by
  one. So, a character with Karate-21 (normal-
  ly giving him 4 attacks per second) and 2
  levels of Altered Time Rate (which would
  give him 3 seconds of subjective time per
  turn) would not have 12 attacks per second,
  but only six attacks per second.
  The real advantage of Altered Time
  Rate is that it allows actions other than
  extra attacks to be made. The character
  above could opt to simply take his usual 4
  attacks, for example, and use his two extra
  seconds of subjective time to ready two
  weapons, or to concentrate on some power
  for two seconds.
  Circumstances
  No matter how many attacks a charac-
  ter has, some situations will prevent him
  from using them. If the martial artist is
  dodging the full RoF of a submachine gun,
  he should probably be limited in the num-
  ber of actions he can take - he has been lit-
  erally dodging bullets for a full second!
  
  More OPTIONAL
  RULES FOR
  STUN POINTS
  Adding the Stun stat will raise a num-
  ber of questions about crippling attacks,
  vital points, knocking a person uncon-
  scious, and so on. The GM can use some
  of the optional rules described below to
  solve those problems, or, based on them,
  create his own rules to deal with special
  situations regarding injuries. These rules
  can also be helpful for a Supers campaign
  using the Stun rules.
  Vital Points A blow to the Brain (Area
  3-4) does quadruple Stun damage; the vic-
  tim is stunned if he takes Stun damage
  over HT/2, knocked out if over HT. If nor-
  mal hit point damage is also taken, it takes
  precedence over this and its effects are as
  per B203. Blows to the vitals do not inflict
  extra Stun damage (but see below).
  In any event, when struck in the head
  or vitals by a crushing blow, the victim
  must roll to avoid being knocked out,
  again following the rules of the Basic Set.
  Continued on next page . . .
  Optional Rule: Damage Reduction
  Another Supers optional rule modifies the Stun Damage rule. The GM sets
  a particular rate - 1/4, 1/3, 1/2 or whatever he chooses. When someone takes damage,
  only the amount determined by this modifier is applied to HT, with the full value
  being applied to Stun. This method allows the GM to fine-tune the amount of
  "unreality" in combat, but requires more bookkeeping, as the players must keep
  track of how much damage is real and how much is Stun.
  Example: Chuck Stalnowski, karate expert, has a HT of 12 (and therefore
  Stun 60) in a campaign with 1/3 Damage Reduction. He is hit by a burst of three
  9mm bullets, which do 10, 4 and 13 points of damage. The total 27 points are
  subtracted from Stun, bringing it down to 33. 1/3 of 27 is 9 points, so his HT is
  reduced to 3, slowing him down and probably stunning him as well. Of course,
  without this rule he would be rolling against HT to stay alive!
  Optional Rule: Different Damage Types
  This is another optional rule that suits cinematic "reality" in the martial arts.
  Most crushing attacks (except bullets) do Stun damage, but cutting and impaling
  weapons, as well as firearms, do full HT damage (or, alternatively, have a Damage
  Reduction ratio, as described above). This allows for more "relative" realism: it is
  easier to believe that a victim can be knocked out but be relatively unscathed after
  being kicked in the head a few times, as opposed to being stabbed in the vitals for
  the same result. This rule simulates the "reality" of the milestone kung fu movie
  The Chinese Connection. At first, the bad guys attack Brace Lee's school with
  sticks and bare hands. The result is a number of braised but relatively unhurt fight-
  ers. At the end of the movie, on the other hand, the attackers return with swords
  and knives, and kill a large number of people.
  If this rale is used, bloodthirsty PCs may end up carrying knives and swords
  more often than nunchakus and jo sticks, since bladed weapons will have a defi-
  nite "edge" in lethality! Of course, such serial-killer PCs would face equally well-
  armed foes ... not to mention law-enforcement agencies equipped with firearms.
  Unarmed combat has its own unique hazards. When an unarmed fighter crit-
  ically fails at an attack, parry or other maneuver, use these tables instead of the
  usual Critical Miss Table on p. B202.
  Unarmed CRITICAL Miss TABLE —
  STRIKING and PARRYING
  3 - You trip and knock yourself out! If kicking, you slip and fall on your
  head; otherwise, you fall face-first into your foe's fist, knee or forehead. Roll vs.
  HT every 30 minutes to recover.
  4 - You connect using the wrong part of your body! You immediately take
  enough damage to cripple the body part that you were striking with (HT/3 for a
  hand or foot, HT/2 for an arm or leg). DR has no effect on this damage. On a
  Head Butt, see #3 above.
  5 - You hit a solid object (wall or floor) instead of your opponent. Take normal
  punch or kick damage to the body part you were striking with; DR protects normally.
  6 - As #5 above, but for half damage only.
  7 - You stumble forward. Advance one hex past your opponent and end the
  turn facing away from him. Your foe is now behind you !
  8 - You fall down. It will take you two turns to get up (one if a successful
  Acrobatics roll is made immediately).
  COMBAT
  
  9, 10, 11 - You lose your balance. You can do nothing else until your next
  turn. All your active defenses are at -2 until your next turn.
  12 - You trip. Make a DX roll to avoid falling down. This roll is at -4 if
  kicking, or at twice the usual DX penalty for any maneuver that requires a DX
  roll to avoid mishap even on a normal failure (e.g., Flying Jump Kick).
  13 - You let your guard down. All your active defenses are at -2 for the
  next turn, and any successful Feint made against you during this turn counts
  double! This will be obvious to your foe.
  14 - You stumble forward. See #7 above.
  15 - You pull a muscle. Take ld-3 damage to your arm (if punching or
  attacking with the arm), leg (if kicking) or neck (on a Head Butt). You are off
  balance and at -1 to all attacks and defenses for the next turn. You are at -3 to
  any action involving that arm or leg (or to any action, if you injure your neck)
  until this damage heals. This penalty is reduced to -1 if you have the High Pain
  Threshold advantage.
  16 - You strained your shoulder! If parrying or punching, that arm is "crip-
  pled" for the rest of the encounter. You cannot use that arm to attack or defend
  for 30 minutes. All subsequent punches and parries with the other arm will be
  at -1. If kicking, you fall down hard instead, taking ld-1 damage. DR protects
  normally.
  17 - You connect using the wrong part of your body. See #4 above.
  18 - You trip and knock yourself out. See #3 above.
  Unarmed CRITICAL Miss
  grappling, Locks AND THROWS
  3 - You knock yourself out! You smash your forehead against your opponent's,
  or catch a knee in the solar plexus. Roll vs. HT every 30 minutes to recover.
  4 - You throw your back out (ld-3 damage) and are at -6 DX and -4 IQ from
  the pain until someone resets your back with a First Aid-2 roll. These penalties
  are halved if you have the High Pain Threshold advantage.
  5 - You fall down hard, taking ld-1 damage. DR protects normally.
  6 - As #5 above, but for ld-3 damage only.
  7 - You stumble forward. Advance one hex past your opponent and end the
  turn facing away from him. Your foe is now behind you! Alternatively, if you
  were attempting an Arm or Finger Lock or a Judo Throw and if your oppo-
  nent's style includes that maneuver, he has the option of immediately inflicting
  that maneuver upon you if he can make an unmodified Judo or Wrestling roll!
  8 - You fall down. It will take you two turns to get up (one if a successful
  Acrobatics roll is made immediately).
  9, 10, 11 - You lose your balance. You can do nothing else until your next
  turn. All your active defenses are at -2 until your next turn.
  12 - You trip. Make a DX roll to avoid falling down.
  13 - You let your guard down. All your active defenses are at -2 for the
  next turn. You are also at -2 to DX in any Quick Contest made in Close
  Combat, and any successful Feint against you counts double! This will be obvi-
  ous to your foe.
  14 - You stumble forward. See #7 above.
  15 - You pull a muscle. Take ld-3 damage to your back (Torso). You are
  off balance and at -1 to all attack and defense maneuvers for the next turn. You
  are at -3 to any action until this damage heals. This penalty is reduced to -1 if
  you have the High Pain Threshold advantage.
  16 - You fall down hard. See #5 above.
  17 - You throw your back out. See #4 above.
  18 - You knock yourself out. See #3 above.
  More OPTIONAL
  RULES
  STUM POINTS
  (Continued)
  New Vital Points
  The GM may assign new vital areas
  that increase the number of Stun points a
  victim loses. A hit to the Head (Area 5) or
  to the Groin (Area 11) can do double Stun
  Damage (but no extra hit point damage).
  This is in addition to any other effects (see
  sidebar, p. 49).
  Crippling Damage
  A limb is considered crippled if it
  takes Stun points equal to the character's
  HT; rolls to recover (p. B129) are made at
  +5. If HT point damage is also inflicted,
  and is enough to cripple the limb, then
  proceed normally.
  Poison Damage
  Poisons and Venoms do stun damage,
  at first. However, if the victim does not
  receive medical aid within HT hours, min-
  utes or even seconds (depending on the
  severity of the poison - GM's call), a sec-
  ond HT roll to resist the poison must be
  made, with all its modifiers; on a failure
  the victim takes normal hit point damage.
  For poisons with a specific effect other
  than HT loss (like Curare, p. 121), assign
  those effects instead.
  
  he term "martial arts" covers a huge variety of disciplines. There are many dif-
  ferent objectives, philosophies and weapon forms. Each school, or collection of
  Teachings and techniques, is called a "style."
  Styles with a similar background may vary widely in stances, maneuvers and
  overall character. There are "hard" styles that work aggressively, "soft" ones that
  concentrate on defense, and combinations of the two. Traditional techniques
  compete with pragmatic, modern ones for supremacy. Some styles are designed
  for exercise and tournament events; others work best in the streets. And, beyond
  all this, each style has a specific "flavor" that individualizes it and its users.
  
  In a Martial Arts campaign, choosing one or more styles for a PC provides
  another roleplaying angle. In combat, his actions will be shaped by his training.
  In the dojo or school, and in everyday life, his behavior will be influenced by
  the spiritual teachings (or lack thereof!) of his style. It will also provide guide-
  lines for choosing skills and special maneuvers for the fighter.
  This chapter describes many different styles, some historical, some futuristic
  and some fantastic, but these descriptions need not be set in stone. The 20th centu-
  ry has seen a great deal of blending between martial arts techniques, as experts
  seek to combine the best elements of different styles - and who knows what the
  future will bring? At the same time, there are so many variations within the same
  styles (there are probably hundreds of Karate schools, for instance), that a martial
  arts connoisseur could probably find fault with a general statement about any style.
  Each GM should feel free to modify the style descriptions to suit his cam-
  paign and his perspective of the skills in question. And some GMs will dis-
  pense with most or all of the rules in this chapter; some players may not want to
  deal with the extra bookkeeping involved. On the other hand, the extra dimen-
  sion added to the martial artist character should be worth it.
  Each style will be described briefly, with its history and background and a
  general overview of its specific tactics and philosophy. The style's characteris-
  tic skills and maneuvers will be listed and described.
  skills
  Each style will teach more than one skill; most will include several, not all of
  which will be combat skills. A martial artist will be proficient in many different
  fields, transcending the limits of the Judo and Karate skills (see p. 31 for the
  applications of Judo and Karate). Common examples of the physical skills
  include Combat/Weapon skills, Jumping, and Acrobatics. Many martial arts also
  teach a religion or philosophy. Furthermore, many styles claim to have secret
  skills of great power; these are most likely to appear in a cinematic campaign.
  The rules below influence character creation and points earned through study
  (see p. B82); those points are learned through the school, and will follow the
  guidelines given below. Points earned through adventure may be spent as the
  player pleases, within the guidelines imposed by the character's chosen style.
  PRIMARY, SECONDARY AND OPTIONAL Skills
  Each style will emphasize some skills over others, and some may be taught
  only to advanced students. To translate this into game terms, they will be divid-
  ed into Primary, Secondary and Optional skills.
  Primary Skills
  Primary skills reflect the main focus of the individual style; they are usually
  taught first, and students dedicate more time and energy to master them. All
  Primary skills must be at a similar level; no difference greater than two levels is
  allowed (except for those who study more than one style - see p. 75).
  When a character selects a style, he must spend at least one point on each
  Primary skill; this is figured into the style cost.
  For example, the Primary skills for the Aikido style are Judo and Judo Art.
  These are the main skills used by this graceful, "soft" form.
  Secondary Skills
  Secondary skills are also part of the style's repertoire, but are either taught
  only at higher levels, or are not given as much attention throughout. Until all
  Primary skills reach 15 (Black Belt level), Secondary skills cannot be emphasized.
  71
  New
  There are hundreds of martial arts
  styles, and thousands of variations within
  styles. No book can cover them all.
  Furthermore, there is constant disagree-
  ment among martial arts practitioners as to
  what the strong points of each style are. It
  is easy to describe new styles within the
  GURPS Martial Arts framework. In fact,
  creative GMs and players can invent their
  own brand-new styles.
  The mechanics of creating a new style
  are fairly easy. The GM should first have
  a clear idea of what type of form he is cre-
  ating. Is it an aggressive style (concentrat-
  ing on kicks and punches), a defensive
  one (using locks and throws primarily) or
  a combination of the two? Is there a par-
  ticular emphasis on some maneuver
  (kicks, for instance)? What weapons (if
  any) and non-combat skills (such as a
  philosophical background) does the style
  have? If the GM is not personally familiar
  with the style, he can look up books and
  magazine articles on it; photographs of
  sample maneuvers can be particularly
  enlightening in deciding what bonuses or
  penalties the style will have.
  After that, the GM can draw up a list
  of Primary, Secondary and Optional skills;
  in a cinematic campaign, some Cinematic
  skills should also be added. Maneuvers,
  with some bonuses and maybe some
  penalties, are chosen, setting a point cost
  for the style. When GMs are designing a
  style, they should try to keep the total
  point cost below 25 points (35 points for
  the cinematic version); a more reasonable
  limit is 15 to 20 points. Remember - this
  is the point cost for a competent student of
  the style, not a master!
  Finally, the GM can decide what place
  the style has in the campaign. Is it publicly
  known, or is it a "secret style," taught by
  only a few hidden masters? The style may
  even be illegal in its home territory.
  A player with a skilled martial-artist
  character may even want to have his cre-
  ator invent and popularize a new style
  during the campaign. For guidelines, see
  the next sidebar.
  
  New STYLES
  DURING PLAY
  Martial arts history is full of advanced
  students of classic forms who branched
  off and creating their own. Bruce Lee's
  development of Jeet Kune Do is one of the
  most recent such situations (see sidebars,
  pp. 11-12). PCs may wish to replicate this
  situation, creating their own art. It isn't
  easy, though. The would-be creator should
  be an expert in at least one style before
  developing his own! Even then, the style
  may not be accepted by the martial arts
  community; they may shoot it down as
  plagiarism or opportunism. The martial
  artist must be very sure of himself to try to
  become the founder of a style.
  The PC must develop the mechanics of
  the style, as described in Creating New
  Styles on p. 71. The GM should work with
  the player, and in any case will have final
  say on whether the proposed style is
  "legal" or not. Some restrictions: the style
  should not have any maneuvers the creator
  cannot perform at Black Belt level or bet-
  ter (i.e., a modified success roll of 15 or
  higher). The same applies to skills; the
  style developer must know all skills he
  plans to include in his style (including
  Secondary or Optional skills) at level 15
  or higher.
  If two or more PCs join forces to cre-
  ate a style, the GM can allow them to pool
  their resources (i.e., styles known), with
  one limitation: all PCs involved must be
  able to perform all the maneuvers includ-
  ed in the new style at the required levels
  (see above).
  A new martial art cannot be created
  overnight; at least a game year must be
  spent in its development, and GMs may
  require more time. Adventures will detract
  from this; add one more month to the
  required time for every week the creator is
  off adventuring. Development includes
  brainstorming with co-creators, practicing
  the new moves, developing new katas,
  teaching, and demonstrating the new
  moves to members of the martial arts
  community.
  After all this work, the GM must gauge
  the new style's reception . This will depend
  on the campaign world. In 19th-century
  Japan, new styles were appearing through-
  out the land, and people were receptive to
  new forms, particularly if the teacher
  proposing them was highly respected.
  Ancient China, on the other hand, was a
  very traditionalist land; a new style would
  be seen as a transgression against the sacred
  teachings of the old masters.
  Continued on next page . . .
  All Secondary skills must remain at least one level lower than the lowest
  Primary Skill (i.e., if the lowest Primary skill level is 13, no Secondary skill can
  go above 12). Before raising Secondary skills, the student will have to improve
  Primary skills accordingly.
  If a martial artist's default level in a Secondary (or Optional) skill is higher
  than these guidelines would allow, then of course he is not penalized for this.
  Once all of the trainee's Primary skills have reached 15 or higher, however,
  he can learn Secondary and Optional skills at any level, even matching (or sur-
  passing) the Primary ones. This reflects the fact that a student with a high level
  of expertise will be given more leeway to explore, and also because some facets
  of the style are only taught to advanced students.
  There is no minimum level for Secondary skills until a student's Primary
  skills have all reached level 15 (Black Belt level). Once all Primary skills have
  reached 15, a student may not raise Primary skills further until at least one
  point has been put into each Secondary skill. No further improvement in
  Secondary skills is ever required, though the well-rounded student would of
  course seek it. For example, the Secondary skills for Aikido are Katana Art and
  Shortsword Art. These techniques are not central to the circular throws of
  Aikido, but are taught to advanced students.
  Optional Skills
  Optional skills may or may not be taught in any particular school (GM's
  choice), or the PC may choose not to learn them; either way, they are not empha-
  sized in that style, at least until the student has learned all the basics. Until all
  Primary skills reach level 15, each Optional skill must be at least 2 levels lower
  than the lowest Primary skill (in the example above, no Optional skill could be
  learned above level 11). Optional skills may be higher than Secondary ones.
  All this applies to skills taught by that style only. A fighter who has learned
  some skills elsewhere might know them at any level; the guidelines here repre-
  sent the normal learning process a student of a style would follow.
  For example, the Optional skills for Aikido are the Japanese language,
  Staff, and Theology (Shinto). None of these is ever necessary to the skilled
  practice of Aikido, but all can contribute to a full understanding, and advanced
  students would be encouraged to study them.
  
  Rule Variations
  The rules for Primary and Secondary skills simulate the way those skills
  are taught in an actual school. In a situation where a student could learn a skill
  outside his school, the GM can allow it to be learned at any skill level . . .
  though, of course, the PC's master may disapprove of his spending time on
  extraneous forms or maneuvers. This is entirely up to the GM.
  Skills
  Many styles carry a body of legend . . . tales of the feats which true masters
  can perform. These are the "Cinematic skills." Not every style includes
  Cinematic skills. There are no tales of the miraculous feats of ninja policemen,
  for instance, so Police Hand-to-hand has no Cinematic skills. In general, the
  Cinematic skills given for a style will represent a heroic exaggeration of the
  style's true techniques.
  For example, the Cinematic skills associated with Aikido are Immovable
  Stance, Invisibility Art, Mental Strength, Pressure Points, Pressure Secrets and
  Push - all "gentle" techniques.
  In a cinematic campaign, the cinematic style cost (see p. 74) includes one
  point to be spend on each Cinematic skill it teaches. The student must have all
  Primary skills at level 16 or higher before learning any Cinematic skills; this
  type of teaching is only begun at black belt level. The student who does not yet
  have Primary skills at this level will not be able to use Cinematic skills. He will
  acquire the understanding to use these esoteric skills when his mastery of the
  "mundane" skills reaches the appropriate level (as his master will no doubt
  assure him!). Under these rules, the GM could require a character to pay one
  point per Cinematic skill (i.e., charge the full cinematic style cost) regardless of
  his Primary skill levels. However, it is probably wise simply not to charge these
  points initially and only require characters to spend points for Cinematic skills
  as the skills are actually learned.
  Normally, the Trained by a Master advantage (or, in certain cases, the
  Weapon Master advantage) is required to learn any Cinematic skills, regardless
  of skill level.
  Maneuvers
  Most styles have a specific set of defensive and offensive Maneuvers,
  sometimes to the exclusion of all others. A character trained in any style will be
  most proficient in its Maneuvers. The character must spend at least a half-point
  on every regular Maneuver in the style, and he can improve the Maneuvers as
  described on p. 42.
  Some styles require students to learn certain Maneuvers at higher levels, even
  at the beginning, and no fighter can reach Black Belt status until he puts at least 2
  points into each of his style's Maneuvers, unless that would raise the Maneuver
  above its maximum allowable level. Other than that, each student may emphasize
  whatever Maneuvers he and his master feel are most important.
  If a Maneuver is not part of his style, the character cannot learn it beyond the
  default level (GMs can allow exceptions to this at their discretion). Having PCs
  stick to their style's Maneuvers is helpful in two ways. First of all, it gives a role-
  playing dimension to combat, with each fighter having his own "repertoire" of
  moves. Secondly, it makes it easier for players to remember the Maneuvers avail-
  able to them; knowing four or five Maneuvers is easier than trying to memorize
  all of them, especially for players with no hands-on martial arts experience who
  may have problems visualizing the action. Lastly, it reflects martial arts reality:
  many martial artists tend to specialize in particular moves.
  73 A
  Mew
  (continued)
  Other helpful factors include the
  endorsement of other renowned martial
  artists, particularly if they start studying the
  new form; the support of martial arts publi-
  cations and the "grapevine"; and public
  demonstrations of the strong points of the
  style. Much of this should be roleplayed,
  with the PC approaching diverse figures in
  the community, (along with his original
  teacher), and showing them his new style;
  the use of the form in tournaments (or, in
  older times, in duels), and even promotional
  tactics (from interviews in reputable martial
  arts magazines to hiring runners and rumor-
  mongers throughout the countryside).
  After enough time and effort has been
  spent creating and advertising the new art,
  the GM rolls on the Reaction Table to
  determine the overall response. (Reaction
  rolls are optional, depending on the game
  world and how the GM wishes to deter-
  mine NPC reactions.)
  Continued on next page . . .
  Styles
  
  New Styles
  Modifiers: -1 to -10, depending on the
  community's openness to new ideas; the
  PC's Reputation (if more than one PC
  developed the style, use the highest one);
  +1 for every renowned martial artist (aver-
  age skill of 18+, Reputation +2 or higher)
  who publicly supports the style; +1 to +5
  for successful public demonstrations; -1 to
  -7 if a demonstration ends in a disaster; +1
  to +3 for successful promotion attempts
  (double the negative modifiers if the
  attempt is a flop); a base modifier between
  +5 and -5, based on GM's opinion about
  the quality of the new style, as well as the
  PCs' roleplaying of key situations.
  A Good or better reaction means the
  martial art is accepted and liked; many
  students will be interested, and the PC can
  open schools dedicated exclusively to that
  style. The new style can become an ele-
  ment in the campaign. The creator of the
  style can justify an enhanced Reputation;
  whether the GM wants to make him a gift
  of the required character points should
  depend on the skill with which the style's
  development was roleplayed.
  A Neutral or Poor reaction indicates a
  "cold shoulder." Some people mock or
  denounce the innovation; most simply do
  not notice it. The creators may spend
  another year in development, trying for
  more endorsements and successful demon-
  strations, and roll again at a -1 penalty.
  A Bad reaction means most respectable
  martial artists blast the style publicly, and
  want nothing to do with it; the creator is
  perceived as an opportunistic and unworthy
  attention-seeker. Reduce the PC's Repu-
  tation by 1. There is no point in trying
  again; the wise PC will let the matter drop
  - or take his style underground, developing
  his skills away from hostile eyes!
  A Disastrous reaction means not only
  that the style is not accepted, and will be
  lambasted by everyone, but the PC's repu-
  tation will be tarnished; reduce his
  Reputation by three points. In some cultures
  and environments (i.e., an ancient temple),
  the creator may be exiled or persecuted.
  Continued on next page . . .
  styles
  The Cinematic Maneuvers of a style are simply the least realistic
  Maneuvers commonly attributed to that style. They are usually more appropri-
  ate for cinematic campaigns than for realistic ones; thus, they are separated
  from the regular Maneuvers, and their cost is included only in the cinematic
  style cost. Whether or not these Maneuvers can be learned by a character is
  chiefly a function of the campaign mode (realistic or cinematic); the GM may
  wish to include some of them in a realistic campaign as he wishes, increasing
  the style cost appropriately.
  These maneuvers do not require the Trained by a Master advantage as a
  prerequisite, with the exception of the various Enhanced Defenses (Block,
  Dodge or Parry), which do.
  COST
  Each style has a point cost, which represents the minimum number of
  points that must be set aside to learn the style's skills and maneuvers well
  enough to get the benefits of familiarity with the style. This is based on the
  number of Primary skills and Maneuvers in the style. Each Primary skill and
  each Maneuver increases the style cost by 1 point. For most styles, there is a
  minimum cost of 5 points (representing 1,000 hours of study). This is not to say
  that you can't learn something about the martial arts in less time; after all, a
  half-point (100 hours) will buy skill in Judo or Karate. However, that represents
  some training in wrestling holds or effective striking - not the full scope of a
  true martial art. There are exceptions, like Self-Defense Hand-to-Hand, which
  are deliberately simple to learn and have no "art" or philosophical element.
  These have very low point costs.
  Note that most styles have two point costs. The second represents the
  style's increased point value in a cinematic campaign (see below). If the GM
  decides that certain Cinematic skills are simply unavailable, or that all charac-
  ters can learn certain Cinematic Maneuvers, then the style costs should be
  adjusted appropriately.
  Spending Initial Points
  The points spent for the "cost" of a style go directly toward purchasing the
  Primary skills or improving the Maneuvers. At least 1 point must be spent on
  each Primary skill; at least a half-point must be spent on each Average
  Maneuver, and at least 1 point on each Hard Maneuver. Any remaining points
  may be divided between the Primary skills and Maneuvers of the style in any
  way the character wishes.
  Example: Aikido has two Primary skills and four Maneuvers. This makes
  its point cost is 6. When a character takes Aikido as a style, he must spend a
  minimum of 1 point on each of the Primary skills (Judo Art and Judo). He must
  put a half-point into each of the Average Maneuvers (Arm Lock and Breakfall),
  and a full point into each of the Hard Maneuvers (Finger Lock and Ground
  Fighting). This adds up to 5. The remaining point may be divided between
  Maneuvers and Primary skills in any way. The player may always choose to
  spend more, but the minimum is 6 - thus, the style's "point cost" is 6.
  Some styles will require extra study in certain skills or Maneuvers; this will
  be specified for the individual style, and the extra cost is included in the style
  cost. For instance. An Ch'i has the notation [2 points] after the Feint Maneuver.
  When adding this style, the fighter must put at least 2 points into Feint, because
  the style emphasizes feint moves.
  
  Cinematic Style Cost
  Most styles have a second, Cinematic, point cost listed. In a cinematic cam-
  paign, the character must pay an additional point for every Cinematic skill and
  Maneuver in the style. This extra cost does not include the Trained by a Master
  advantage, which must be purchased separately if the character wishes to learn
  any Cinematic skills at all.
  These extra points are spent on the Cinematic skills and Maneuvers in the
  same way: at least 1 point for each skill, at least a half-point for each Average
  Cinematic Maneuver and at least 1 point for each Hard Cinematic Maneuver,
  with any remaining points being divided between these Cinematic skills and
  Maneuvers as the player wishes. Note that the student may not use the Cinematic
  skills until he has learned all the style's Primary skills at level 16 or better. The
  GM may require that he still pay for them, but at the minimum 1 point each. In
  such a case, the skill is listed on the character sheet without a skill level to reflect
  the fact that the character is still learning the skill and cannot use it.
  A few styles also have the cinematic abilities Enhanced Block, Dodge or
  Parry. The cost of these abilities adds directly to the style cost. These points give
  the student a +1 to the appropriate active defense, representing the style's strong
  emphasis on defensive moves. While these are listed as Cinematic Maneuvers,
  they cannot be learned without the Trained by a Master advantage, even in a cine-
  matic campaign where other Cinematic Maneuvers are allowed to all characters.
  Students of a style do not have to learn all its cinematic abilities. If they elect
  not to buy some of the skills and maneuvers, or if the GM decides that certain
  abilities are simply unavailable, then reduce the total cost of the style by 1 for
  each "dropped" ability. Assume that the master didn't know these secrets, or
  declined to teach them for some reason. The student cannot learn them at all
  unless he finds another master (a quest) or learns another style that teaches them.
  New styles
  PLAY
  Secret Development
  Alternatively, the founder of the style
  may not want to practice it publicly; this
  may be dictated by his philosophy (Zen
  Buddhism and Taoism do not look kindly
  on self-promotion), or by circumstances (in
  Japanese-occupied Okinawa, teachers of
  combat styles had to practice in secret or
  face a death-by-torture execution ). In that
  case, he can approach potential students
  privately. Use reaction rolls, modified as
  above; they should be roleplayed before the
  rolls are made and modified accordingly. A
  Bad or Disastrous reaction will mean the
  potential student will want to reveal the
  secret, and must be dealt with accordingly.
  If the GM rules that all characters can learn certain Cinematic Maneuvers,
  then the cost of these maneuvers should be added to the realistic style cost. The
  cinematic style cost will not be changed, since it still includes all of the style's
  skills and maneuvers.
  cinematic
  COMBINING
  Many famous martial artists of the past and present have studied more than
  one style in their lifetimes. PCs who are dedicated martial artists may try to do
  the same. The student must normally pay the full point cost of each style, sub-
  ject to the special rules below.
  Styles Bought During Character Creation
  When a new character is created with more than one style, he must know all of
  the Primary skills of each style. Thus, a character with many styles will have high
  levels in a wide variety of skills. The same skills are not taken repeatedly; charac-
  ters will have only one Karate skill level, for instance. The changes introduced by
  different styles are reflected by the new Maneuvers available. The PC must pay the
  full cost of all the styles with which he is proficient. However, if two styles have
  common Primary skills or Maneuvers, the character does not put multiple points
  into those abilities; see below for what to do with these "left over" points.
  In some cases, the prerequisite(s) for a
  style's cinematic abilities are not listed as
  Primary skills of the style, but as
  Secondary or Optional skills instead. In
  order to learn or improve a cinematic abili-
  ty, however, the student must know all of
  its prerequisites at skill level 12+, even if
  they are Secondary or Optional skills.
  Since Primary skills must be at least one
  level higher than Secondary skills and two
  levels higher than Optional skills until
  black belt level (15+) is reached, this
  means that a student who has taken a 12+
  in a Secondary or Optional skill to meet a
  prerequisite will need to know his style's
  Primary skills at level 13, 14 or higher right
  from the start. This effect is intentional! A
  master will only teach such difficult and
  jealously-guarded tricks to the most
  promising of students - which is one of the
  reasons why these abilities are considered
  cinematic.
  
  ARTS
  The most common martial art uniform
  is the gi: a kimono-like costume consisting
  of a jacket and pants, designed to allow
  maximum flexibility. Judo uniforms have
  some padding on the jacket, since the prac-
  titioners spend a large amount of their time
  landing or being thrown into a mat (this
  padding is too light to be considered
  armor). Karate uniforms are lighter. In gen-
  eral, these uniforms are white. After the
  ninja craze of the 1980s, some schools
  have changed to black uniforms.
  The gi is worn in most martial arts
  schools. Lately, some dojos have changed
  to plain exercise gear. While traditionalists
  frown upon this, keep in mind that the gi
  was originally nothing but a simplified
  form of Japanese everyday wear, so there is
  no inherent mysticism in the clothing.
  Many schools, especially Western ones,
  will decorate the jacket with embroidered
  patches representing the school. Some
  competitions also give patches to winners,
  or even to all participants. A traditional
  master will not allow these Westernized
  distractions.
  Most martial arts styles now use this
  type of uniform, even when a different cos-
  tume was worn traditionally. When a mod-
  ern style uses different dress, this will be
  discussed in the sidebar beside that style's
  description.
  AIKIDO Uniforms
  The modern Aikido uniform is similar
  to the Judo uniform (see above). The more
  traditional one (still used in many schools)
  uses the judo jacket worn over a black
  hakama ("split skirt").
  STYLES
  Example: Pentjak Silat, Tae Kwon Do and Muay Thai all
  have Karate as a Primary skill. A character buying all three
  styles will put only one point into his Karate skill, not three;
  as a result, two points are "left over" from the style costs.
  The points "left over" from style costs as the result of
  the duplication of abilities can, at the GM's option, be con-
  sidered "lost." This can be taken to represent the extra train-
  ing needed to master each style's different stances and
  moves. This option is probably best for a realistic cam-
  paign.
  Alternatively, the GM can allow "left over" points to be
  spent on the Primary skills and Maneuvers of any of the char-
  acter's styles, using the justification that the cross-pollination
  of styles can lead to an improved understanding of the com-
  mon techniques. This method probably works best in a cine-
  matic campaign.
  In either case, it is strongly recommended that the GM
  require at least one point per style beyond the first be "lost,"
  simply to balance the multiple points of Style Familiarity
  (see p. 26) that the character will effectively get for free
  upon learning each new style.
  Learning New Styles During Play
  A character may also learn a new style during the course of play. He must
  first find a teacher. Depending on the campaign and the style he wants to learn,
  this may be as simple as opening the Yellow Pages, or it may require a quest!
  As a rule, one must have a teacher to study the martial arts. See sidebar, p. 153.
  Once the teacher is found, the student begins to spend character points to
  add the required abilities - Primary skills first, then Maneuvers. The required
  character points may come from "saved" points or from points earned in adven-
  turing (if the adventure exercises the appropriate skills). The most realistic way
  to get these points is, of course, by assigning hours of study: 200 hours per
  point.
  The student gains familiarity with the style (see p. 26) after he spends his
  first point studying it. He may gain it after a single sparring session with the
  master or an advanced student, but many masters won't allow sparring until
  many hours have been spent in simple exercise and katas!
  The student does not "know" the style until he has spent new points equal
  to the style's cost, according to the rules given above. For instance, Judo and
  Aikido both have Judo and Judo Art as Primary skills. But no matter how good
  you are at Judo, you cannot be considered to "know" Aikido until you have
  spent 6 points in Aikido training after finding an Aikido teacher.
  Optional Rule: Extra Detail
  Those who want a very detailed and realistic simulation of multi-style pro-
  ficiency may require the skills of each style to be learned separately. In the
  example above, the PC would have three different Karate skills: Karate (Silat),
  Karate (Tae Kwon Do) and Karate (Muay Thai). He would get one point for
  each skill, and could know them at different levels. However, each skill would
  have to be raised separately; there would be no default between them. The
  Maneuvers for a style only work with the skills that are part of that style. In
  combat, the PC must announce, each turn, which style he is going to use.
  76
  
  systems
  Aikido/Aiki-JUTSU 
  6 POINTS/13 POINTS
  Aikido is primarily an artistic or "do" style (p. 10). It has become very popular
  in recent years, both as a self-defense method and a sport. Its value in self-defense
  is rather overrated, due to its being an art rather than a combat technique. Its prede-
  cessor, Aiki-jutsu, on the other hand, was a highly effective combat system. Aiki-
  jutsu is an ancient Japanese martial art, attributed to the legendary Yoshitsune.
  Aikido was founded by Morihei Uyeshiba, during the 1920s and '30s in Japan. It
  is said that Uyeshiba was capable of superhuman feats, whose secrets may (in a
  cinematic campaign) have been handed down to some selected students.
  Aikido's main technique is the throw. Theoretically, a circular motion must be
  described by the throw. In Aikido, the attacker is supposed to flow with the motion,
  actually assisting the throw and using the Breakfall maneuver (p. 45) to land on the
  ground. This type of training would cause problems in a real fight. Aiki-jutsu uses
  the same theory, but in a more pragmatic way. The opponent is expected to resist
  being thrown, and a number of moves are used to "persuade" him.
  Primary Skills: Judo Art, Judo.
  Secondary Skills: Katana Art, Shortsword Art.
  Optional Skills: Language (Japanese), Staff, Theology (Shinto).
  Maneuvers: Arm Lock, Breakfall, Finger Lock, Ground Fighting (Judo).
  Cinematic Skills: Immovable Stance, Invisibility Art, Mental Strength,
  Pressure Points, Pressure Secrets, Push.
  Cinematic Maneuvers: Roll with Blow.
  Ch'i 
  9 POINTS/12 POINTS
  This unusual Chinese style concentrates on hidden weapons and gadgets,
  and is taught in secret. Its reliance on exotic tools makes it a distant cousin of
  Ninjutsu, and An Ch'i exiles in Japan might have been among the original ninja.
  This style concentrates on the use of thrown weapons. It is said that masters
  of this style can turn any common household object into a deadly weapon (see
  the Throwing Art skill, p. 40). This form also specializes in concealing tech-
  niques for small throwing weapons, such as spring-loaded arrows, shuriken dis-
  guised as common items like coins, harmless-looking darts, and countless others
  (players and GMs are encouraged to use their imagination here). In combat, an
  An Ch'i specialist will try to take his opponents by surprise. He will seem help-
  less. Suddenly, weapons will appear in his hands, and he will start raining them
  on his enemies, aiming for vital points. An Ch'i masters are also well-known for
  filling their hiding places with exotic booby-traps.
  In a cinematic campaign, this style is ideal for Weapon Masters. In fact, some
  of the extraordinary claims made about this style make it more appropriate for
  cinematic roleplaying. Masters of the skill can learn Pressure Points and Power
  Blow, which can be used with thrown weapons only.
  As a style, An Ch'i is rather incomplete and was probably not meant to be
  studied alone, but in combination with other styles, particularly external Kung Fu
  forms. This style was common among the Chinese equivalent of the ninja - the
  Lin Kuei, or "forest demons."
  (Note: GMs may restrict this style to cinematic campaigns only.)
  Primary Skills: Fast-Draw (Knife and Shuriken), Holdout, Throwing, Traps.
  Secondary Skills: Armoury /TL3 -4 (Thrown Weapons), Blowpipe.
  Optional Skills: Karate, Judo, other weapon skills.
  Maneuvers: Hit Location (Throwing) [2 points], Feint (Throwing) [2 points].
  Cinematic Skills: Power Blow, Pressure Points, Throwing Art.
  Cinematic Maneuvers: None. 
  7 7
  Many styles have a structured grading
  or rank system, going from beginner or
  novice to master of the art. The most com-
  mon system is that of "belt" ranks, used in
  Judo, Karate, Aikido and many other
  Japanese forms. One of the most common
  "belt systems" is shown below, with
  approximate corresponding skill levels.
  This skill level should be the average level
  of all Primary skills (see p. 71) of the
  form being learned.
  White, or Red Belt: beginner; this is
  the lowest rank. Skill level ranges from
  default (DX-6) to 10.
  Yellow Belt: A beginner after some
  training. Skill level 11 . At least two char-
  acter points should have been spent on
  each Primary skill.
  Orange Belt: Skill level 12.
  Green Belt: A more or less competent
  student. Skill level 13.
  Blue Belt: At this level, the student
  may help to assist the class in some small
  ways. Skill level 14.
  Brown Belt: A competent martial
  artist, who will help teach the simpler
  techniques. Skill level (average) 14.5.
  Black Belt: All the basic techniques
  have been mastered. Skill level 15.
  Note that, contrary to popular belief,
  training does not end with the black belt.
  In fact, most Asian martial artists feel that
  this is the stage at which, with the basic
  physical moves mastered, the true study of
  the art can begin. The Western tendency
  to view the black belt as a goal in itself is
  considered absurd.
  For more advanced levels, see the side-
  bar on p. 78.
  Okinawan Ranks
  Most Okinawan styles (see Isshinryu
  and Goju Ryu) use a belt system similar to
  the one above. These ranks (called kyu)
  have names as well as colors, with ten
  ranks before reaching the black belt. The
  names and belt-colors, as well as average
  skills, are described below. The skill level
  is the average of all Primary skill levels:
  Jukyu (White Belt): 10 or less.
  Kyukyu (Yellow): 10.5.
  Hachikyu (Orange): 11.
  Shichikyu (Green): 11.5.
  Rokkyu(Blue): 12.
  Gokyu (Purple, First Level): 12.5.
  Yonkyu (Purple, Second Level): 13.
  Sankyu (Brown, First Level): 13.5.
  Nikyu (Brown, Second Level): 14.
  Ikkyu (Brown, Third Level): 14.5.
  
  BLACK BELT
  The black belt is but the first of a series
  of levels of mastery. In Karate, those
  grades are known as Dan (degree). A "reg-
  ular" black belt is a First Dan. Each subse-
  quent Dan represents an improvement of
  two skill levels, or three at the higher Dans,
  as detailed below.
  First Dan: (Black Belt): Skill Level 15.
  Second Dan: Skill Level 16-17.
  Third Dan: Skill Level 18-19.
  Fourth Dan: Skill Level 20-21.
  Fifth Dan: Skill Level 22-23.
  Sixth Dan: Skill Level 24-26.
  And so on, 3 levels per Dan. There are
  very few masters of Fifth Dan level or
  higher. Tenth Dan martial artist (minimum
  skill level 36!) are extremely rare. Martial
  artists that claim such a level will be con-
  sidered fakes unless they have a good
  Reputation or can provide solid documen-
  tation to back their claim; this documenta-
  tion (the equivalent of a diploma) must
  come from a well-known school or master.
  Winning duels will not prove a claim, espe-
  cially in the present; your skill as a brawler
  is not the issue. 10th Dans under 40 years
  old will be met with great skepticism.
  Animal forms
  The Bando style described above is the
  Boar form of Bando. Each animal form has
  a different emphasis, with different
  Maneuvers and skills. They are briefly
  described below. All the other skills of
  Bando remain unchanged.
  Bull Form: Strong stances and power-
  ful takedowns are used in this form.
  Skills: Wrestling.
  Cinematic Skills: Immovable Stance,
  Push.
  Cobra Form: This form emphasizes
  attacks on the vital points.
  Maneuvers: Finger Lock, Hit Location
  (Karate).
  Cinematic Skills: Pressure Points,
  Pressure Secrets.
  Eagle Form: Concentrates on double-
  handed parries and swift strikes.
  Maneuvers: Riposte [2 points].
  Panther Form: Like their namesakes,
  Panther practitioners circle around the vic-
  tim, then pounce.
  Skills: Acrobatics, Jumping.
  Cinematic Skills: Flying Leap.
  Cinematic Maneuvers: Springing Attack.
  Python Form: Gripping and strangling
  maneuvers are the main focus.
  Maneuvers: Choke Hold, Neck Snap.
  Cinematic Skills: Pressure Points.
  Scorpion Form: Aping the stinger of
  the scorpion, practitioners seize and strike
  nerve clusters in painful ways.
  Maneuvers: Hit Location (Karate).
  Cinematic Skills: Pressure Points,
  Pressure Secrets.
  (Burmese Martial ART)
  15 POINTS/19 POINTS
  Developed in the former British colony of Burma, Bando has long been
  valued by military men for its combat effectiveness. Among its better known
  practitioners are Britain's famed Gurkha soldiers. Because of its emphasis on
  practicality, it is sometimes referred to as "the jeep of the martial arts."
  Bando was introduced in America in 1959 by Dr. Maung Gyi, whose father
  was instrumental in modernizing the system in his native Burma.
  Developed by military men for training and conditioning, modern bando
  combines self-defense (thaing), unarmed combative sport (bando) and armed
  combative training (banshay). While thaing and bando weren't fused into one
  system until the 1930s, the roots of the system reach back to ancient Burma
  where bama lethway, or Burmese boxing, was once the national sport of nobility.
  The primary targets for the Bando fighter are the legs, followed by the torso
  and finally the head. Training in the art is not picked up overnight; the mental
  and physical aspects of the art are ingrained over a period of several years.
  Advanced students then can train in one of the advanced "animal forms" that
  the style offers (see sidebar). The basic combat philosophy behind Bando calls
  for speed, deception and a continuous attacks: the enemy is to be defeated
  quickly and decisively. The targeting of limbs means that the attack needs not
  be lethal, as long as the enemy is rendered incapable of further aggression. That
  quest for a fierce and decisive victory has gained Bando practitioners a reputa-
  tion as formidable opponents.
  Bando may not be the flashiest of the martial arts, but it is certainly one of
  the most explosive. This is particularly true of the boar system of Bando (for
  other animal varieties, see sidebar). This little known animal style emphasizes
  hard locks, explosive power and close-in techniques designed to steamroll an
  opponent. In keeping with the animal itself, the bando boarman prefers to fight
  in close combat. The elemental philosophy of the system is quite simple: no
  enemy should be able to survive a close-in encounter with a trained practitioner.
  Primary Skills: Boxing, Judo, Karate, Philosophy (Buddhism), Savoir-Faire
  (Dojo).
  Secondary Skills: Knife, Short Staff, Whip.
  Optional Skills: Body Language, Karate Sport, Language (Malay),
  Tournament Law.
  Maneuvers: Aggressive Parry, Arm Lock, Elbow Strike, Head Butt, Head
  Lock, Jab, Knee Strike, Riposte (Karate), Shin Kick, Stamp Kick.
  Cinematic Skills: Breaking Blow, Mental Strength, Power Blow.
  Cinematic Maneuvers: Roll with Blow.
  
  8 POINTS/12 POINTS
  This form is both a combat style and a performing art. Its origins lie in
  Africa, not Asia, and it was developed primarily in Brazil among the slave popu-
  lation. It has become popular in the United States, where it has begun to mix with
  other forms such as Karate and Tae Kwon Do. To many Capoeira practitioners,
  this is all right, as this style has been in constant flux. Capoeira is more than a
  combat form. Music and dancing are also taught, at least in the traditional modes.
  Outside Brazil, however, the emphasis is on the combat side of this art.
  Capoeira is characterized by fast acrobatic maneuvers, including cartwheels
  and somersaults. Striking techniques are combined with locks, throws and leg
  sweeps. The acrobatics serve as feints; one never knows what to expect from a
  Capoeira mestre (master or teacher).
  In a cinematic campaign, GMs may rule that some secret techniques have
  been passed on since the time of the slaves. The fact that candomble (a mixture
  of Christianity and African religions with magical undertones) is practiced in
  Brazil may bring an occult component to the style. If GURPS Magic is being
  used in the campaign, a martial artist-magician character would be possible.
  Primary Skills: Karate, Acrobatics.
  Secondary Skills: Dancing (Brazilian), Judo, Jumping, Musical Instrument
  (Strings or Percussion). Outside Brazil, Dancing and Musical Instrument are
  optional skills.
  Optional Skills: Knife, Language (Portuguese), Shortsword, Staff.
  Maneuvers: Feint (Karate) [2 points], Ground Fighting (Karate) [2 points],
  Spin Kick, Sweeping Kick.
  Cinematic Skills: Power Blow. Additionally, characters with Magical
  Aptitude may learn some spells at the GM's discretion. It is suggested that the
  spells should be mainly drawn from the College of Body Control (p. M23).
  Cinematic Maneuvers: Acrobatic Kick, Roll with Blow, Springing Attack.
  Special: If the fighter's Acrobatics skill is higher than his Karate skill, he can
  substitute it for the Feint Maneuver (this is a special effect, and costs no points).
  CHIN NA 
  11 POINTS/16 POINTS
  This style emphasizes the study of pressure point and disabling arm lock
  techniques. Its origins are mixed in with the earliest Kung Fu history; it was
  taught in the Shaolin temple (see p. 7), among other places.
  Chin Na specializes in painful and disabling locks and strikes. Students
  learn about the human body as thoroughly as a medical student, but with a dif-
  ferent goal. Nerve clusters, bone joints and internal cavities are studied as tar-
  gets to cause pain, numbness or death. Although the emphasis of this style is on
  disabling techniques, many of the skills it teaches can easily kill.
  The main emphasis of Chin Na is on locks and holds, although some
  punching and kicking techniques are also taught. Precise, economical attacks
  are the norm, usually at close range. To grapple with a Chin Na master is to
  invite disaster. Chin Na uses many ideas from Taoism and Zen Buddhism,
  including the belief that the best way to win a fight is by not fighting at all. But
  it is also very pragmatic and, to some, ruthless. On the other hand, Chin Na
  teachers state that using locks to subdue a foe is merciful, since it would be eas-
  ier to kill him.
  This style works best in a cinematic campaign, unless the GM allows the
  Pressure Points skill to be used in a realistic setting. Many of the locks that are
  used in Chin Na are based on Chi flow theories, which opens the ground to a
  number of cinematic skills. Although many Chin Na techniques are taught in
  most Chinese martial arts forms and other grappling arts, there are few schools
  that teach this art exclusively, specially in the West.
  vs.
  Despite constant, heated arguments
  between the enthusiasts of different mar-
  tial arts, it is hard to tell whether any one
  style is better than any other. The general
  consensus (which this book tries to
  reflect) is that any martial art can produce
  a deadly fighter, if the dedication and
  physical potential are there.
  Some styles, of course, are designed
  specifically to create effective fighters,
  just as others work best in a restricted
  environment, such as sports tournaments.
  All other things being equal, for instance,
  a Jeet Kune Do practitioner will defeat a
  Judoka 90% of the time. On the other
  hand, if the same Jeet Kune Do stylist
  comes up against a streetwise Pentjak
  Silat or Muay Thai fighter, the outcome
  would be in doubt.
  In general, the deadliest martial artist,
  both in real life and game terms, is the one
  who masters many different styles. A
  multi-skilled stylist will be more unpre-
  dictable and better able to deal with all
  sorts of situations. The problem of learn-
  ing more than one martial art is the time
  required to do this (represented by the
  point cost of each style).
  In a cinematic campaign, the equation
  can be altered radically; while the Muay
  Thai man is a very tough physical fighter, a
  T'ai Chi cinematic expert can "gently"
  throw him against the nearest wall, or para-
  lyze him with a few deft touches. A style
  with a good repertoire of cinematic skills
  will have an advantage over "mundane"
  ones.
  Overall, players should know that there
  is no "unbeatable" style. All styles have
  their weaknesses; all forms have useful
  STYl.es
  
  This phrase was used in the 19th cen-
  tury to describe the strange behavior that
  sometimes affected Indonesian natives. In
  a sudden fit of rage, a man would grab the
  nearest weapon at hand (usually a kris
  knife, described on p. 123), and rush into
  the streets, attacking everyone in his way.
  As many as 20 people might die in such
  an incident before the berserker was final-
  ly slain - a man amok would always fight
  to the death. In a large city, this might
  happen as often as twice a day.
  The causes for such insane fits of rage
  are not clear. Usually, a man who suffered
  some great personal loss or found himself
  in a desperate position was likeliest to run
  amok. Some scholars believe that this was
  the equivalent of ritual suicide, a form of
  seppuku in which the suicidal person tries
  to take as many people as he can with him.
  This type of behavior was also common
  among certain Muslim tribes from the
  Philippines. These tribesmen, the Moros,
  fiercely fought American troops when the
  U.S. was occupying the Philippines at the
  beginning of the 20th century. In fact, their
  insane ferocity was one of the causes for
  the introduction of the .45 pistol in the
  Army; the .38 revolvers that the troops
  were using were not powerful enough to
  stop the charging Moros.
  In game terms, a character "running
  amok" will suffer the symptoms of the
  Berserk disadvantage (see p. B31). He will
  attack everyone he sees, and will not
  attempt any Will rolls to snap out of his
  state. If he has some martial arts knowl-
  edge (probably Escrima, Kuntao or Pentjak
  Silat), he will use it with no penalties.
  PCs living or visiting the Indonesian
  archipelago may be confronted by a man
  "running amok." If they are respected
  martial artists, they may be called to help
  the authorities to stop (usually by killing)
  the madman. A Malay or Filipino PC
  might even suffer from such a fit! If faced
  with hopeless odds, for instance, he might
  decide to run amok even if he did not have
  the Berserk disadvantage. Of course, this
  option is usually suicidal, and thus is best
  left to NPCs.
  Primary Skills: Judo, Karate.
  Secondary Skills: Philosophy (Taoism or Zen Buddhism),
  Meditation.
  Optional Skills: Breath Control, Language (Chinese), Yin-
  Yang Healing.
  Maneuvers: Arm Lock [2 points], Choke Hold, Finger
  Lock, Head Lock, Hit Location (Karate) [2 points], Neck Snap,
  Spinning Punch.
  Cinematic Skills: Breaking Blow, Hand of Death, Power
  Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: None.
  ESCRIMA 
  13 POINTS/17 POINTS
  The Philippine Islands have been invaded dozens of times in their long his-
  tory. Like many other oppressed peoples, the island's inhabitants developed
  their own combat system. Although there are some distinctions between
  weapon training and empty-hand styles, the term Escrima will be used here to
  describe all Filipino martial arts.
  This style's main weapons are the stick and the balisong knife (see p. 124).
  The Escrima student is trained to deflect enemy weapons with economical move-
  ments, and to counterattack swiftly, in ways somewhat similar to Western fenc-
  ing. However, although the term Escrima is a bastardization of the Spanish word
  esgrima ("fencing"), it is wrong to assume (as many do) that this style derives
  from Spanish fencing techniques. Traditional Escrima emphasizes the striking of
  the opponent's hands and arms over attacks against the body. The style assumes
  that the opponent is armed; the goal is first to disarm, then to attack. This attitude,
  not fashionable in sporting events, is very useful in real-life confrontations.
  Empty hand movements mirror the stick style. A number of locks are also
  taught, with the stick being used as an extra lever to aid an immobilizing lock
  or disarm. At higher levels, other skills, such as Knife Throwing or even Whip,
  may be introduced.
  Primary Skills: Fast-Draw (Balisong), Karate, Main-Gauche, Short Staff.
  Secondary Skills: Judo.
  Optional Skills: Knife Throwing, Language (Tagalog), Staff, Whip.
  Maneuvers: Arm Lock [1 point] (defaults from Short Staff instead of Judo;
  can only be used when wielding a stick), Elbow Strike, Hit Location [2 points]
  (Karate or Main-Gauche), Knee Strike, Off-Hand Weapon Training [Main-
  Gauche and Short Staff, 2 points each]
  Cinematic Skills: Mental Strength, Power Blow, Pressure Points.
  Cinematic Maneuvers: Roll with Blow.
  fencing
  10 POINTS/17 POINTS
  This fencing style was developed in France during the late 17th century. A
  change in fashion prompted its creation. The French court had introduced the
  smallsword as the sidearm of choice; the long rapier was seen as too cumber-
  some and inelegant. This light weapon soon proved to be ideal for complicated
  and fast maneuvers, and a practiced wielder could use it to attack and defend
  without the problems of the rapier. The resulting fighting techniques that were
  developed were the direct precursors of modern fencing. Fencing schools
  (salles) were opened throughout France, and then throughout the world.
  The smallsword is not a very powerful weapon; a person can be stabbed
  multiple times with it without being disabled, unless a vital organ is pierced. On
  the other hand, its lightness made it ideal for complex maneuvers, swift attacks
  and carefully-aimed hits. Fencing became a complex art.
  
  Shortly afterwards, the first set of rules that turned fencing into a sport
  rather than a combat skill were also devised. Foil fencing restricted the number
  of targets that could be struck as well as the permissible maneuvers. This great-
  ly reduced the usefulness of fencing in real life. Eventually, however, a separate
  style of fencing, epee fencing, was designed to prepare duelists for real combat.
  In either form, French style fencers are taught several maneuvers designed
  to overcome the target's defenses. Feint and counter feint, strikes and counterat-
  tacks are all tried in an attempt to find weaknesses in an adversary. In a cine-
  matic campaign, dedicated swordsmen can enjoy the benefits of the Weapon
  Master advantage and can perform several cinematic maneuvers.
  Primary Skills: Fencing (Smallsword), Fencing Art.
  Secondary Skills: Acrobatics, Savoir-Faire (Salle), Tactics.
  Optional Skills: Black Powder Weapons, Body Language, Cloak, Main-
  Gauche, Riding (Horse), Wrestling.
  Maneuvers: Close Combat (Fencing or Main-Gauche), Corps-a-Corps,
  Feint (Fencing), Fleche, Lunge, Off-Hand Weapon Training (Fencing), Riposte
  (Fencing), Stop Hit.
  Cinematic Skills: None.
  Cinematic Maneuvers: Initial Carving, Enhanced Parry (Fencing).
  Amok
  RYU 
  10 POINTS/17 POINTS
  Goju Ryu was named and systematized by Chojun Miyagi, the successor to
  its founder Higaonna Kanryu. It was later brought to the United States during
  the mid-20th century. Many other modern Karate styles have traces of Goju
  Ryu in them.
  The spiritual foundation of Goju Ryu is deeply rooted in Taoism (see p. 7).
  This inner calmness is apparent in many of the style's katas. Taosim, however,
  is not as apparent in modern dojos as it was in years past. Traditional Goju Ryu
  tends to be more "internal" (see p. 83) than most other forms of Karate.
  Goju Ryu's main principle is to never meet the enemy with the same
  strength that he is using. In Chinese, Goju means hard-soft. If the enemy
  attacks full force, never use an equally strong block. The style, however, teach-
  es powerful techniques designed to down a foe in one blow, and counterattacks
  that can break the attacker's limbs (the Aggressive Parry maneuver). Strength
  and timing are the key to Goju Ryu. In addition, dramatic breathing techniques
  are emphasized, and considered as important to master as any attack or defense.
  In addition to empty-hand techniques, this style teaches a variety of
  Okinawan weapon skills, with emphasis on the staff and the sai. This makes
  Goju Ryu a well-balanced art, combining several aspects from spiritual martial
  arts and combative, external styles.
  Primary Skills: Breath Control, Karate, Karate Art, Meditation, Savoir-
  Faire (Dojo).
  Secondary Skills: Flail, Jitte/Sai, Staff, Tournament Law.
  Optional Skills: Katana, Theology (Taoism), Tonfa, Yin- Yang Healing.
  Maneuvers: Aggressive Parry, Back Kick, Cat Stance, Elbow Strike, Knee Strike.
  Cinematic Skills: Breaking Blow, Immovable Stance, Kiai, Power Blow,
  Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Roll with Blow.
  Japanese residents of a Western city
  are running amok for no apparent reason!
  Over a dozen people have been killed
  already. The PCs investigate the event and
  discover that the victims are the descen-
  dants of certain Japanese officers who par-
  ticipated in the occupation of the
  Indonesian islands during World War II.
  Further research reveals another link. A
  powerful guru had issued a very public
  curse against the leaders of the invasion.
  He was immediately imprisoned, and died
  there under mysterious circumstances. All
  the officers involved in the incident com-
  mitted suicide shortly afterward.
  What is causing these attacks? Maybe
  some event (or person) has reawakened the
  curse, and the PCs must find a way to put it
  to rest once more. Or a descendant of the
  guru is using more direct methods (drugs,
  subliminal messages, psionic powers or a
  modified form of the Hand of Death) to
  cause victims to go into a murderous fren-
  zy. If the PCs get too close to solving the
  mystery, they (or their Dependents) could
  become the next target of those methods.
  81
  
  Attributes
  ST11,DX 14, IQ 13, HT 10.
  Basic Speed 6, Move 6.
  Dodge 6, Parry 7.
  Damage: Thrust ld-1, Swing ld+1.
  Point Total: 100 points.
  Advantages
  Night Vision, Strong Will +1.
  Disadvantages
  Extremely Hazardous Duty; Fanaticism;
  Secret (Cult membership).
  Quirks
  Considers his beautiful knife to be a
  gift from Allah; Dislikes battlefield
  weapons; Dresses like a beggar; Quiet.
  Martial Arts Style
  Hashishin Style (realistic).
  Skills
  Brawling-14; Broadsword-13; Climb-
  ing-14; Disguise-15; Fast-Draw (Knife)-15;
  Holdout-16; Knife-16; Knife Throwing-14;
  Language (Pahlavi)-13; Poisons-12; Riding
  (Horse)-13; Shadowing-15; Stealth-16;
  Streetwise-14; Survival (Urban)-14;
  Theology (Islamic)-12; Wrestling-15.
  Maneuvers
  Hand Strike-14 (ld-2); Feint (Knife)-18.
  Rashid is a Fedavi, trained at the origi-
  nal Hashishin stronghold of Alamut. He is
  quiet and reserved, humble and dedicated to
  the Hashishin cause. Like most Hashishin,
  he prefers the knife above all other
  weapons. His most prized possession is a
  fine, jewelled knife that he took from a
  wealthy victim, and which he views as a
  gift from Allah. Rashid is skilled at dis-
  guise, and approaches his victims in the
  guise of a humble beggar, then draws his
  knife and strikes quickly. He is at home in
  the city, and speaks good enough Pahlavi to
  pass for a Persian.
  Rashid is a 100-point character suitable
  for use as a PC or NPC in a GURPS
  Arabian Nights campaign. If he were
  trained in Geb'al Din instead of Alamut, he
  would be equally at home in Yrth's Al-Haz
  in a GURPS Fantasy campaign.
  11 POINTS/14 POINTS
  This Korean style is a combination of different national styles, and includes
  both striking methods and locks and throws. This is a very complete martial art
  that has been adopted by a number of law-enforcement agencies. It was the
  style used by three female killers against James Bond in You Only Live Twice.
  Hapkido uses a combination of high kicks like those of Tae Kwon Do (see
  p. 103), as well as close combat moves. The combined form is somewhat less
  effective than a dedicated one (such as Aikijutsu or Tae Kwon Do), but it has
  greater versatility.
  In a cinematic campaign, this style has few special skills due to its relative
  newness.
  Primary Skills: Karate, Judo.
  Secondary Skills: Acrobatics, Jumping.
  Optional Skills: Language (Korean).
  Maneuvers: Back Kick, Hook Kick, Jump Kick, Kicking [2 points],
  Riposte (Karate), Shuto, Spin Kick, Sweeping Kick.
  Cinematic Skills: Flying Leap, Power Blow, Pressure Points.
  Cinematic Maneuvers: None.
  Hashishin Style
  (NO
  7 POINTS
  This style comprises the skills of the dreaded Hashishins - the secretive
  Islamic cult that plagued the Middle East during the Middle Ages. The word
  assassin comes from their nickname hashishin, (hashish-eaters) which originates
  from the rumored custom the cultists had of using drugs before their killings. The
  order was founded in the early 11th-century in Persia, and was an offshoot of the
  Shiite Muslims. The sect was divided into several groups, including the Dais
  ("Initiated"), Refiks ("Students") and Fedavis ("Devoted Ones"). The Fedavis
  were the actual assassins. The leader of the Hashishin was known as the Old Man
  of the Mountain. The Hashishin were supposedly destroyed centuries ago, but the
  cult might have survived in secret to this day (for more information on the possi-
  bility of modern Hashishin, see GURPS Illuminati).
  The Order of Assassins' preferred weapon was the knife, although strangula-
  tion and poisoning were also employed. A common tactic involved following the
  target at night until he reached a relatively deserted street. The Hashishin would
  move in, grab the victim and stab him to death. They were also known for send-
  ing their assassins to kill their targets in crowded public places. The Hashishin
  fully expected to be cut down in the ensuing chaos, believing that their place in
  Heaven was assured. The cold-bloodedness of such acts struck terror into the
  hearts of both the common populace and political and religious leaders.
  In a cinematic campaign, the Hashishin might have access to magic spells.
  Perhaps some of their drugs were actually alchemical potions !
  Primary Skills: Holdout, Knife, Shadowing, Stealth, Wrestling.
  Secondary Skills: Broadsword, Brawling, Disguise, Knife Throwing,
  Poisons, Theology (Islamic).
  STYLES
  
  Optional Skills: Riding (Horse), Shield, Spear.
  Maneuvers: Feint (Knife) [2 points].
  Cinematic Skills and Maneuvers: None, but may have access to magic.
  VS.
  12 POINTS/26 POINTS
  This internal Chinese style has its origins in the Hunan province. The secre-
  cy among the users of Hsing-Yi (the art was outlawed many times) has placed
  the style in obscurity for many centuries. After the Chinese Revolution, the
  style was taught to several students, and it has recently been exported to the
  United States.
  Hsing-Yi espouses several principles common to internal styles like T'ai-
  Chi (p. 104) and Pakua (p. 94). Unlike both of those styles, however, Hsing-Yi
  is a militant, aggressive martial art with the goal of incapacitating opponents as
  quickly as possible. It develops Chi, but channels it in destructive ways; practi-
  tioners of other internal styles might take a dim view of Hsing-Yi's goals,
  which led to several rivalries and blood feuds between the competing styles.
  The art uses several different animal movements for grappling, striking and
  throwing. The style combines solid stances with sudden changes of direction
  and devastating one-attack
  kills. Body conditioning is
  achieved by having students
  strike each other repeatedly,
  and by 
  hardening 
  fists,
  elbows, knees 
  and feet
  through practice blows (the
  cinematic advantage Iron
  Hand from p. 27 would be
  common among masters of
  this style). Beginning students
  were taught several external
  techniques, which made them
  efficient fighters very quickly.
  As they advanced, they were
  taught Chi-enhancing tech-
  niques along the lines of T'ai
  Chi.
  Hsing-Yi is very useful
  both in a realistic and a cine-
  matic setting. The style is
  hard-hitting and devastating, and it also has several cinematic skills and maneu-
  vers. The style teaches mostly empty-hand techniques, but some weapons,
  including the nunchaku and the spear, are also taught.
  Primary Skills: Karate, Judo, Jumping.
  Secondary Skills: Acrobatics, Breath Control, Meditation, Savoir-Faire
  (Dojo), one weapon skill from the following: Broadsword, Flail, Shortsword,
  Spear, Staff.
  Optional Skills: Other weapon skills, Philosophy (Taoist).
  Maneuvers: Arm Lock, Axe Kick, Back Kick, Cat Stance, Jump Kick,
  Hook Kick, Kicking, Spin Kick, Spinning Punch.
  Cinematic Skills: Breaking Blow, Flying Leap, Immovable Stance, Power
  Blow, Pressure Points, Pressure Secrets, Push.
  Cinematic Maneuvers: Enhanced Parry (Bare Hands), Springing Attack.
  Martial arts students make a distinction
  between "external" or "hard" styles and
  "internal" or "soft" ones, as well as forms
  that combine elements from the two types.
  External styles are mainly concerned with
  the physical world, while internal ones
  have a more spiritual outlook. This divi-
  sion is the basis for the two "martial arts"
  skills in the GURPS Basic Set, with
  Karate representing the hard techniques
  and Judo representing the soft ones.
  External styles concentrate on physical
  achievement, strong attacks and good
  reflexes. Kicks and punches are empha-
  sized, though other techniques may be
  included as well. They are popular in the
  West, because they produce tangible results
  and are mastered more easily. Hard styles
  concentrate on winning by using over-
  whelming force against opponents; they are
  based on the Karate skill. External styles
  include Muay Thai, most varieties of
  Karate and Tae Kwon Do, Hapkido, Wing
  Chun Kung Fu and Escrima.
  At the other extreme are the internal
  styles, whose goal is not primarily combat,
  but spiritual development. They concen-
  trate on throws and other responsive tech-
  niques, which means that the practitioner
  must be attacked before he can act. Instead
  of resisting an aggressor, students are
  taught to yield to force and then redirect it
  against the enemy. Internal styles are usual-
  ly based on the philosophical principles of
  Taoism and Buddhism (see pp. 7 and 9,
  respectively) and use the Judo skill. The
  best-known purely internal styles are T'ai
  Chi Chuan, Aikido and Pakua.
  Suppose that a martial artist is attacked
  by a stick-wielding foe. If the martial
  artist comes from an external school, he
  will probably try to gain the initiative,
  maybe by feinting and then attacking
  before the man can even strike with the
  stick. Alternatively, the martial artist will
  parry the stick attack and then counterat-
  tack strongly with a combination of kicks
  and punches, or maybe an arm lock. On
  the other hand, an internal stylist will let
  the attacker attempt to strike him; the mar-
  tial artist will then sidestep, guiding the
  stick with his hand and then, using the
  stick-wielder's own strength, throw him
  on the ground.
  A purely internal style will have few or
  no aggressive moves.
  Many styles, especially those that origi-
  nated from traditional or ancient forms,
  combine both external and internal aspects.
  Many external styles also impart philo-
  sophical teachings, which further blurs the
  distinction. Kempo, Pentjak Silat, Kuntao
  and Kuk Sool Won, for instance, have ele-
  ments from both categories.
  83
  
  cm
  Chi (Ki in Japanese) means literally
  "breath." According to Asian philosophers
  and martial artists, chi is the life force that
  exists within all human beings. It is
  described as a flow of energy through one's
  body, a flow which must be balanced in
  order to live a healthy life. If perfect bal-
  ance in one's chi is achieved, some Taoists
  believe, immortality can be achieved.
  Imbalances in a person's chi flow can
  produce disease or even death; acupunc-
  ture techniques try to restore the harmo-
  nious flow to eliminate those imbalances.
  The counterpart of those techniques are
  the pressure point attacks that seek to cre-
  ate an imbalance to hurt an enemy.
  It is believed that this life force can be
  controlled or even increased through
  breathing exercises and meditation. A life
  without stress is also important for the
  development of one's chi; Taoists believe
  that the daily lives of most people, with
  their worries over material things, cause
  chi to decay, resulting in an unnaturally
  short life. Martial artists who develop their
  chi can supposedly use it to influence the
  physical world by channeling that energy
  into attacks and defenses. It is said that by
  controlling his chi flow, a master can resist
  pain and hardships, deliver devastating
  attacks, and perform superhuman feats.
  The cinematic and "four-color" martial
  arts rules work on the assumption that
  these beliefs are true, and that a martial
  artist's chi allows him to do things that no
  amount of physical training would
  achieve. See pp. 36 and 40.
  14 POINTS/21 POINTS
  Isshinryu was created by Tatsuo Shimabuku in 1954, and brought to the
  United States in the 1960s. Isshinryu was derived from many different
  Okinawan karate styles, including Goju Ryu (see p. 81) and Shorin Ryu.
  As a new technique, Isshinryu is not as spiritually developed as some karate
  arts. Still, many traditional teachings have been passed down and are imparted in
  Isshinryu. Shimabuku taught eight Codes of Karate, which students of Isshinryu
  strictly follow:
  1. A person's heart is the same as Heaven and Earth.
  2. The blood circulating is similar to the motion of the moon and the sun.
  3. A manner of drinking and spitting is either hard or soft.
  4. A person's unbalance is the same as a weight.
  5. The body should be able to change directions at any time.
  6. Strike when the opportunity presents itself.
  7. The eye must see all sides.
  8. The ear must listen in all directions.
  Isshinryu is unlike many other karate styles. Both hard and soft techniques
  are taught equally. Isshinryu has removed all fancy techniques from its repertoire.
  Kicks and punches are extremely efficient, with no wasted motion whatsoever.
  Unlike most martial arts styles, Isshinryu uses vertical punches, not the typical
  "twist punches."
  In a cinematic campaign, the newness of the style might disqualify it from
  having any special techniques. It is possible that Isshinryu practitioners have been
  passing down secret skills that were developed by older styles. True to the teaching
  of its founder, this style teaches how to see from all sides (Blind Fighting).
  Primary Skills: Boxing, Karate, Karate Art, Savoir-Faire (Dojo).
  Secondary Skills: Jitte/Sai, Flail, Staff, Tonfa, Tournament Law.
  Optional Skills: Body Language, Breath Control, Katana, Philosophy
  (Taoism), Yin-Yang Healing.
  Maneuvers: Back Kick, Cat Stance, Elbow Strike, Hook Kick, Jab, Jump
  Kick, Knee Strike, Shuto, Spin Kick, Stamp Kick.
  Cinematic Skills: Blind Fighting, Immovable Stance, Kiai, Power Blow,
  Pressure Points.
  Cinematic Maneuvers: Flying Jump Kick, Roll with Blow.
  ITALIAN RAPIER FENCING
  9 POINTS/24 POINTS
  This is one of the oldest fencing styles adopted in the West, and was fully
  developed in the 16th century. The Italian rapier, or "slashing rapier" (see p. 125),
  was a long, well-balanced weapon designed primarily for thrusting. The rapier
  tended to be too long for adequate parrying, however (when using a rapier, Parry
  is 2/3 Fencing skill, but only one parry is allowed per turn), so it was supplemented
  by a dagger or a cloak, which was used for parrying purposes; some of the older
  versions also taught parrying with the off-hand, protected by a gauntlet. Dodging
  was also a commonly-used move to avoid the enemy's thrusts (use the Dodge and
  Retreat rules on p. B109).
  The original fencing techniques also used a lot of wrestling moves, with the
  fencers often moving into close quarters. The secondary combat mode of the
  Italian fencer consisted of fighting with the dagger alone, using wrestling
  moves to grapple the target and then stabbing him repeatedly with the dagger.
  In a cinematic campaign, Weapon Master characters can be allowed. They
  would be able to perform incredible feats, like making multiple attacks in a sec-
  ond, making amazing dodges, etc.
  Primary Skills: Cloak, Fencing (Rapier), Main-Gauche.
  
  Secondary Skills: Acrobatics, Wrestling.
  Optional Skills: Black Powder Weapons, Broadsword, Riding (Horse),
  Savoir-Faire (16th-century Italian), TWO-HANDED Sword.
  Maneuvers: Feint (Rapier), Feint (Main-Gauche), Fleche, Hit Location
  (Rapier), Lunge, Off-Hand Weapon Training (Main-Gauche).
  Cinematic Skills: None.
  Cinematic Maneuvers: Enhanced Dodge.
  Jeet kune do
  20 POINTS/27 POINTS
  This is one of the newest styles in this chapter. It is best known for its rejec-
  tion of the aesthetic considerations of traditional styles and its creator, the leg-
  endary Bruce Lee (see sidebar, pp. 11-12). Lee felt that the traditional styles were
  too restrictive; by following set patterns, they were easily countered. His teach-
  ings emphasized flexibility and unpredictability. Spontaneity was the only rule.
  Jeet Kune Do is designed solely for combat. It combines streamlined ele-
  ments from Wing Chun, other varieties of Kung Fu, and several non-Chinese
  styles such as Escrima and Boxing. Over the years, teachers have adopted other
  techniques from other styles, keeping alive the goal of flexibility. This amalgam
  makes JKD a very powerful style.
  Furthermore, there are many legends about Bruce Lee's abilities; if they are
  true, he might have passed powerful secrets to a few worthy students. In a cine-
  matic campaign, GMs can allow several special abilities.
  Primary Skills: Boxing, Judo, Karate.
  Secondary Skills: Body Language.
  Optional Skills: Flail, Short Staff, Staff, any martial arts weapon skill.
  Maneuvers: Back Kick, Ear Clap, Elbow Strike, Feint (Karate) [2 points],
  Hit Location (Karate) [2 points], Hook Kick, Jab, Jump Kick, Knee Strike,
  Riposte (Karate), Slip, Spin Kick [2 points], Spinning Punch, Stamp Kick.
  Cinematic Skills: Breaking Blow, Immovable Stance, Mental Strength,
  Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Sticking.
  Juoo 
  7 POINTS (MO cinematic abilities)
  The first Oriental martial art to become popular in the West, Judo became
  widespread after World War II, when American soldiers in Japan came into
  contact with the skill and eventually brought it to the States. The original Judo
  was an artistic form of Jujutsu (see below), concentrating mainly on throws and
  locks. Most modifications of the style were made in order to avoid injuring
  practitioners, which reduced the style's combat value. For instance, most Judo
  schools offer little or no training in ways to counter punches and kicks. In the
  West, it soon became an spectator sport, with rigid rules that further diminished
  its real-life effectiveness.
  It makes sense, from the Japanese point of view, that Judo was the first
  martial art that was introduced to the West. Just as individual masters begin by
  teaching the most basic techniques to their students, the Japanese started out by
  imparting the less powerful, more artistic combat forms.
  This style introduced many martial arts concepts and misconceptions to the
  West, including the colored belts grading system and the idea that a martial
  artist could easily defeat a larger and stronger opponent. Regrettably, sports or
  artistic judo is not as useful in real fights as was originally believed. On the
  other hand, if combined with a "jutsu" style, it will provide some useful moves,
  particularly the ability to fight more effectively from the ground.
  Primary Skills: Judo Art, Judo, Savoir-Faire (Dojo).
  Secondary Skills: Tournament Law (Judo).
  ARTS
  PSIONICS;
  OPTIONAL Rules
  Cinematic martial artists and psis both
  channel internal energies that most people
  are not aware of. Many believe that the
  so-called chi powers are nothing more
  than psionic abilities triggered by physical
  condition and meditation techniques. GMs
  wishing to combine cinematic martial arts
  with psionic powers should decide
  whether chi and psi abilities are one and
  the same, or different types of energy.
  The following theory could work well in
  a cinematic campaign: chi (see p. 84) is the
  root of both cinematic abilities and all
  psionic powers. Psis are adepts whose pow-
  erful chi has been channeled into actions
  affecting the external world. Cinematic
  martial artists use their chi to affect their
  own bodies. Both are two sides of the same
  coin. The two sets of abilities can interact
  and be combined, or can resist each other.
  Using this theory as a base, outlined
  below are some possible ways in which psi
  powers and cinematic abilities can interact
  with each other. These rules will allow
  martial artists to stand off psionicists, and
  will make psionic martial artist characters
  very powerful. This will work in some
  campaigns, but may unbalance others.
  GMs will have to decide whether these
  rules fit with the tone of their campaign.
  Chi Opposing Psi
  Mental Strength (see p. 39) can resist
  any 
  telepathic 
  ability, 
  including
  Telereceive, Mental Blow, Mental Stab,
  etc. - but only if the martial artist is aware
  that he is being targeted by a psi. A psi
  attempting any of these skills must first
  win a Quick Contest of skill between his
  telepathic skill and the subject's Mental
  Strength (plus Strong or Weak Will modi-
  fiers) before proceeding with the regular
  skill rolls. Mental Strength can also resist
  Psychic Vampirism powers (see p. PI6).
  Body Control (see p. 36) can resist
  Direct Telekinetic Attacks (pp. B172 and
  P35); the martial artist is trying to undo the
  damage the psi is causing! Immovable
  Stance can resist being moved telekineti-
  cally, but at-3.
  Continued on next page . . .
  
  ARTS
  PSIONICS;
  RULES
  (CONTINUED)
  Enhancing Martial Arts with Psi
  A fighter who is Trained by a Master
  with psionic abilities can use psi to enhance
  some of his combat abilities. A psychoki-
  netic psi can add half of his PK Power to
  his effective ST when using the Immovable
  Stance (p. 38) or Push (p. 40) skill. A char-
  acter can also increase his punching
  strength by using telekinesis to reinforce
  his chi; when using Breaking Blow, Power
  Blow and Flying Leap, the character can
  add 1/2 his 1/2 Power (rounded down) to his
  final modified ST; the character must roll
  both against the Telekinesis skill and
  Power Blow to achieve this.
  Example: Psi-Fists has ST 1 1, PK
  Power 15, Power Blow-15 and Telekinesis-
  14. When striking with a Power Blow, his
  effective ST is 22; by making a successful
  Telekinesis roll, this ST is raised to 29!
  Telepaths can add 1/3 of their Telepathy
  Power to the following Cinematic skills:
  Blind Fighting, Hypnotic Hands and
  Invisibility Art. Espers can add 1/3 of their
  ESP Power to the Blind Fighting skill as
  well.
  Enhancing Psi Abilities with Chi
  The martial artist channels his internal
  chi to strengthen the power of his psionic
  abilities. Power Blow can temporarily raise
  the Power of a psionic attack. For every
  two points a Power Blow roll is made by,
  the martial artist can raise his effective
  psionic Power by 1 when using any of the
  following psionic skills: Mental Blow,
  Mental Stab (p. P21), Mind Sword (p. P23)
  or Telekinesis (for throwing or a Direct
  Telekinetic Attack). Using Power Blow in
  this way costs 2 fatigue per use. If a Kiai
  (p. 38) is simultaneously directed at the tar-
  get of a Mental Blow, Mental Stab or Shout
  made using Telesend, the effective skill of
  the psionic attack is increased by 1 for
  every point the Kiai roll is made by.
  Other Interactions
  The list above is only the tip of the ice-
  berg. Combining cinematic martial arts
  and psi abilities can greatly increase the
  power of both. GMs must decide which of
  these combinations, if any, exist in the
  campaign.
  Optional Skills: Meditation.
  Maneuvers: Arm Lock, Breakfall, Ground Fighting (Judo) [2 points].
  Cinematic Skills and Maneuvers: None.
  JUJUTSU 
  7 points/12 POINTS
  Jujutsu is one of the oldest martial arts styles of Japan. It formed part of tra-
  ditional military training, along with swordsmanship and archery. Unlike many
  martial arts styles, it has no central body of techniques; hundreds of Jujutsu
  schools developed during the nineteenth century, each with its own form.
  Depending on the original school, some Jujutsu varieties will be the equivalent
  of Karate or Aikijutsu, with weapons training thrown in. The more traditional
  ones, however, usually have a combination of grapples, locks and striking
  maneuvers. The main objective is the disabling of the enemy, by whatever
  means necessary. Atemi, the study of vital organs, is taught in many Jujutsu
  schools (treat as the Pressure Points skill).
  Modern Jujutsu is even more varied than the original forms. Some versions
  have kickboxing elements, while others have become "art" forms, roughly
  equivalent to Judo (see above). The skill template below represents a more or
  less traditional form, with some modern elements thrown in.
  Primary Skills: Judo, Karate.
  Secondary Skills: Savoir-Faire (Dojo), Judo or Karate Art.
  Optional Skills: any number of weapons from Kobujutsu, Katana, Boxing.
  Maneuvers: Arm Lock [1 point], Back Kick, Disarming [2 points], Spin Kick.
  Cinematic Skills: Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Binding, Roll with Blow.
  7 POINTS/14 POINTS
  This style is practiced in the Southern Indian state of Kerala, and is repre-
  sentative of the martial arts of India. It is closely tied to Hinduism, the religion
  of India. Kalaripayit combines a well-rounded hand-to-hand combat program
  with varied weapon training. Advanced students also learn a version of the
  Chinese Chin Na style (see p. 79), with its emphasis on vital points. It is inter-
  esting that this art may have been taken from China to India centuries after the
  Hindu wise man Bodhidharma reputedly brought the seeds for the martial arts
  to China.
  Weapons used by this style include the sword, knife and staff, as well as a
  powerful mace called gada (p. 123). A number of exotic weapons can also be
  used by this style; some of them are described in Chapter 5. Traditionally,
  Kalaripayit exponents fight with their body covered in oil, which gives them a +1
  to resist grapples, locks and other similar close combat attacks. (There is no point
  value for this; anyone can buy and apply oil, but few people wear it on the street.)
  In a cinematic campaign, GMs must remember that India is one of the ear-
  liest regions to espouse the principles of transcendental meditation, where yogis
  and fakirs routinely perform amazing feats of body control. Kalaripayit is rarely
  taught to foreigners, and has almost no teachers outside the Hindu mainland. A
  non-Hindu character with this style may be required to have an Unusual
  Background worth 5 points.
  
  Primary Skills: Judo, Karate, Theology (Hinduism).
  Secondary Skills: Breath Control, Meditation, and any three of the follow-
  ing: Broadsword, Knife, Shield, Shortsword, Spear, Staff, Two-Handed
  Axe/Mace.
  Optional Skills: Acrobatics, Jumping, any of the weapon skills listed above,
  Language (Hindi).
  Maneuvers: Arm Lock [1 point], Elbow Strike, Knee Strike, Spin Kick.
  Cinematic Skills: Blind Fighting, Body Control, Mental Strength, Power
  Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Roll with Blow.
  11 POINTS/16 POINTS
  Karate is one of the best-known martial arts styles in the world. Its name
  means "empty hand." Its origin lies in Okinawa (for more about the Okinawan
  martial arts, see Kobujutsu, below) but most modern forms of Karate derive
  from techniques developed in mainland Japan during the nineteenth century.
  Starting in the 1960s, Karate followed Judo to popularity in the West, until
  there were hundreds of Karate schools in the U.S. and Europe.
  As Karate became assimilated into the West, different branches appeared. It
  was taught as a sport, using a point system forbidding full contact against the
  opponent, and with an emphasis in tournament training. Other schools empha-
  sized the self-defense aspect of Karate and concentrated on its combat aspect; yet
  others attempted to cater to both camps at the same time. As many Karate forms
  were "do" styles to begin with, the self-defense value of the style may have been
  overestimated in some cases. Later on, some practitioners tried to return to full
  contact styles (see Pro Kickboxing, below). Beside these modern distinctions,
  there are dozens of sub-styles within Karate, all with some differences.
  Within this variety, some basic elements are common to most Karate types.
  The main moves of the style are kicking and punching techniques. Traditional
  Karate strove for power and strength: the main goal was to kill or disable the
  opponent with one blow. The kiai or deep shout that accompanies most blows
  serves to channel one's energy into the attack. Moves are learned through con-
  stant repetition, sparring, and the practice of kata, carefully choreographed
  strings of attacks and defenses in which the martial artists pretends to fight mul-
  tiple enemies. Some locks and throws may be taught, but this is rare; more
  often, ways to resist locks and throws are taught instead.
  In cinematic campaigns, Karate is a well-respected style with an ample
  body of legendary moves. The kiai can become truly devastating. Pressure
  Point techniques have been taught in the earlier forms of Karate, and Karate
  introduced the Breaking Blow skill to the West, giving rise to several martial
  arts myths.
  The skill template described below is from a well-balanced Karate variant.
  GMs may vary this list to suit their needs. Specific schools are also presented
  separately under Goju Ryu, Isshinryu and Uechi Ryu.
  Primary Skills: Karate Art, Karate, Savoir-Faire (Dojo).
  Secondary Skills: Judo, Tournament Law (Karate).
  Optional Skills: Theology (Shinto); any Kobujutsu weapons.
  Maneuvers: Back Kick, Elbow Strike, Hook Kick, Jump Kick, Kicking,
  Knee Strike, Spin Kick, Stamp Kick.
  Cinematic Skills: Breaking Blow, Kiai, Mental Strength, Power Blow,
  Pressure Points.
  Cinematic Maneuvers: None.
  87
  
  MIYAMOTO
  Age 50; 5'8", 136 Ibs. Black hair and
  eyes; with a lithe, powerful body.
  Attributes
  ST 14, DX 16, IQ 14, HT 12.
  Basic Speed 7, Move 7.
  Dodge 8, Parry 22 (two-handed) or 17
  (one-handed).
  Damage: Thrust 1d, Swing 2d.
  Point Total: 575 points.
  Advantages
  Combat Reflexes; Literacy; Status 2;
  Strong Will +4; Weapon Master (Katana).
  Disadvantages
  Bloodlust; Code of Honor (Bushido);
  Obsession (Perfecting his arts); Stubborn-
  ness.
  Quirks
  Always accepts a challenge; Believes
  the stick is deadlier than the sword;
  Contemplative; Loner.
  Martial Arts Styles
  Jujutsu (realistic), Kenjutsu (cinematic).
  Skills
  Armoury-14; Body Language-16;
  Breath Control-16; Fast-Draw (Katana)-l8;
  Judo-18; Judo Art-16; Karate-16; Katana-
  30; Katana Art-28; Leadership-14;
  Meditation-16; Parry Missile Weapons-18;
  Philosophy-16; Riding (Horse)-16; Savoir-
  Faire-16; Short Staff-18; Shortsword-20;
  Strategy-20; Survival (Woods)-14; Tactics-
  16; Teaching-14; Writing-16.
  Continued on next page . . .
  (SHORlNJl SCHOOL)
  6 POINTS/26 POINTS
  Kempo is the Japanese word for ch'uanfa, Chinese for "boxing" -
  what is nowadays known as Kung Fu. During the 19th century, as the
  demand for unarmed combat techniques increased in Japan (see p. 12),
  many Chinese teachers went there. Their arts, as well as some indige-
  nous styles, became known under that name.
  The founder of Shorinji Kempo (one of the most influential forms of
  this style), Doshin So, learned a number of Chinese arts during the
  1930s. "Shorinji Kempo" can be translated as "Shaolin Kung Fu,"
  though the two styles are not identical by any means. Originally con-
  ceived as a religious organization (and still recognized as one in Japan),
  Shorinji Kempo now has a lay subdivision. The Shorinji school is
  described below. There are many other forms of Kempo (some of which
  closely resemble Karate, above), mainly because, like the name Kung
  Fu, Kempo is a very wide term, applied to a large number of styles.
  Shorinji Kempo teaches care for others as well as fighting tech-
  niques. Pacifism (Cannot Kill or Self-Defense Only) is very common
  among serious followers of this art. Pressure point techniques are mainly
  used to subdue rather than to cause harm. This is a complete form, with
  strikes and kicks supplemented with holds and throws. The staff is the
  primary weapon taught by this style.
  Primary Skills: Judo, Karate, Philosophy (Zen Buddhism).
  Secondary Skills: Meditation, Staff.
  Optional Skills: Breath Control, Yin/Yang Healing.
  Maneuvers: Arm Lock [1 point], Kicking, Spin Kick.
  Cinematic Skills: Body Control, Breaking Blow, Mental Strength, Power
  Blow, Pressure Points.
  Cinematic Maneuvers: Enhanced Dodge.
  kendo (Japanese SWORD ART)
  SWORDSMANSHIP)
  The katana holds a privileged place in Japanese culture. A work of beauty
  and terrible power, the sword was said to hold its warrior's soul. The making of
  the blade was a mystical ritual that combined astounding metallurgical skill with
  the sense of aesthetics that exists in almost all walks of life in Japan. It is not
  strange that the use of the sword also combines the martial way with the artistic
  sense.
  Kendo is the current name of the art of the sword. It is to real-life swords-
  manship what fencing is to swashbuckling swordplay. Many Kendo maneuvers
  will get you killed in real combat. As the participants wear armor and use rela-
  tively light shinai, or bamboo swords, there is very little chance of injury, which
  sometimes makes students careless.
  Kenjutsu is the original combat form of Kendo. For practice, the bokken, a
  solid wood sword, is used more often than the shinai. In fact, legendary practi-
  tioners claimed that the bokken was as effective as the katana, if not more, and
  used it exclusively; this weapon is quite able to inflict lethal wounds. In
  Kenjutsu, another martial art is also incorporated: laijutsu (today called laido),
  the art of drawing and attacking at the same time. There are schools that teach
  laido exclusively as a separate martial art. For game purposes, treat laido as
  Fast-Draw (Katana) plus Katana skill.
  In these styles, the Contest of Wills between the two participants is as
  important as the physical struggle (see p. 48). In legendary Japan, sword masters
  
  decided the outcome of the duel without unsheathing their swords. The oppo-
  nent must also be studied during the fight, so as to learn the degree of his ability
  and to predict his next movement.
  Kendo schools are relatively common around the world; there are schools
  in most major cities of the West. Kenjutsu, on the other hand, is more rarely
  taught. One must travel to Japan or seek individual teachers elsewhere to learn
  the combative form.
  Kendo 
  7 points/15 points
  Primary Skills: Katana Art.
  Secondary Skills: Body Language, Meditation, Theology (Shinto, Zen
  Buddhism or Confucianism).
  Optional Skills: Breath Control, Parry Missile Weapons.
  Maneuvers: Feint (Katana) [2 points], Hit Location (Katana) [2 points],
  Lunge, Riposte (Katana).
  Cinematic Skills: Mental Strength, Power Blow (Katana only).
  Cinematic Maneuvers: Enhanced Parry (Katana).
  Kenjutsu 
  9 points/18 points
  Primary Skills: As for Kendo, plus Katana and Fast-Draw (Katana).
  Cinematic Maneuvers: Whirlwind Attack.
  Other Skills and Maneuvers: Exactly as for Kendo.
  KOBUJUTSU (OKlNAWAN
  5 POINTS/13 POINTS
  Okinawa is an island off the coast of Japan, conquered by the Japanese dur-
  ing the 16th century. The islanders were forbidden to use swords and other
  weapons. Over the years, they developed both empty-hand techniques (the
  direct ancestors of modern Karate) and the use of common farm implements as
  weapons. The threshing flail became the nunchaku, hayforks became sai, the
  sickle became kama. The end result of this process was a range of exotic
  weapons that fascinate martial artists. Kobujutsu deals with the use of those
  weapons. This compendium of skills is known as Ryukyu Kobujutsu, or
  Kobujutsu for short.
  Kobujutsu deals mainly with armed techniques. Students
  begin with the bo staff, followed by such weapons as the
  tonfa, sai, kama, and the ubiquitous nunchaku, which became
  so popular during the martial arts craze of the seventies. In
  fact, many "ninja" weapons are actually Okinawan in origin.
  Modern Ninjutsu (see p. 93) has absorbed many of these
  weapons into its repertoire, although there is little evidence
  that the historical ninja used them (the main exception being
  the kama, in its kusarigama configuration).
  Kobujutsu is one of the few Asian martial arts that teaches
  use of the shield. The tortoise shield, called timbe, is the
  equivalent of a small shield (see p. B76). It is used in conjunc-
  tion with a short stabbing spear called rochin (see Weapon
  Tables, p. 132). Brass knuckles (tekko), are also used in com-
  bat, although their use is limited to black belt practitioners.
  This style is not widespread in the West; however, a
  number of martial arts schools for other styles (particularly
  Jujutsu) also give weapons training more or less equivalent
  to this. The GM may allow a student to train in this style if
  he is learning another Japanese martial art.
  Cinematic Skills
  Mental Strength-20; Power Blow
  (Katana)-20.
  Maneuvers
  Arm Lock-20; Back Kick-13 (ld+3);
  Disarming (Judo)-20; Feint (Katana)-34;
  Hand Strike-16 (ld+1); Hit Location
  (Katana)-30; Lunge (Katana)-30; Off-
  Hand Weapon Training (Shortsword)-20;
  Riposte (Katana)-30; Spin Kick-14
  (ld+3).
  Cinematic Maneuvers
  Enhanced Parry (Katana); Whirlwind
  Attack-30.
  Miyamoto Musashi was a true kenshi
  who lived in 17th-century Japan; a more
  detailed description of his life and times
  can be found on p. 10.
  The description below assumes that all
  of the legends about his prowess are true,
  and that he was a swordsman without
  equal. As depicted here, he is both a mas-
  ter of cinematic Kenjutsu and a Weapon
  Master with the katana. He also knows
  Jujutsu, to represent his apparent skill at
  unarmed combat, and is skilled with the
  shortsword (including Off-Hand Weapon
  Training) to reflect his two-sword tech-
  nique. Note that his Primary skills are not
  all within two levels of one another, since
  he perfected his style almost entirely on
  his own and not at a dojo!
  Musashi is a 575-point character, suit-
  able for use as a NPC in a cinematic
  Martial Arts campaign that uses the
  GURPS Japan setting.
  STYLES
  
  Primary Skills: Staff and any two from Axe/Mace, Flail, Jitte/Sai, Shield,
  Spear, Tonfa.
  Secondary Skills: Any three of the above weapon skills not picked as
  Primary skills. Brawling (for use of the tekko) must be taken, unless the charac-
  ter is also proficient in Karate or Boxing.
  Optional Skills: Any weapon skill, Karate and Judo. Usually, Kobujutsu is
  learned in conjunction with another Japanese style, such as Jujutsu or Karate.
  Maneuvers: Off-Hand Weapon Training (Axe/Mace, Flail, Jitte/Sai or Tonfa).
  (This is an excellent style for a Weapon Master.)
  Cinematic Skills: Power Blow (specialized with any of the above weapons).
  Cinematic Maneuvers: Dual-Weapon Attack (Flail, Jitte/Sai or Tonfa) [2
  points], Enhanced Parry (with one weapon).
  Kuk SOOL WON
  12 POINTS/19 POINTS
  This is one of the most popular Korean forms. Kuk Sool Won was created
  at the end of World War II and combined several traditional styles of Korea. It
  includes empty-hand fighting, weapons, arm locks and pressure point tech-
  niques. Its ancient teachings include those learned by Buddhist monks, such as
  staff and stone throwing; the teachings of the Hwarang knights (see p. 13); and
  the skills of palace guards (male and female) which included the use of very
  short swords and throwing even hairpins for deadly effect.
  The Korean sword (gum) is as revered as the katana is in Japan. Kuk Sool
  Won practitioners learn more about the sword than its use. At high levels, they
  are taught sword-making techniques and are required to forge their own blade.
  It is believed that in making his own sword, the practitioner will link his soul to
  the blade's, and will make both invincible. Techniques are somewhat similar to
  Japanese styles, so the Katana skill is used here for Korean swordsmanship.
  In a cinematic campaign, Kuk Sool Won has several special abilities. That
  and its weapon skills make this style a good, well-rounded form.
  Primary Skills: Judo, Karate, Katana, Staff.
  Secondary Skills: Any three of the following: Main-Gauche, Short Staff,
  Shortsword, Throwing.
  Optional Skills: Other weapon skills, Philosophy (Buddhism), Yin/Yang
  Healing.
  Maneuvers: Arm Lock, Back Kick, Hit Location (Karate, Katana or Staff) [2
  points], Jump Kick, Kicking, Off-Hand Weapon Training (Katana), Spin Kick.
  Cinematic Skills: Mental Strength, Power Blow, Pressure Points, Pressure
  Secrets, Throwing Art.
  Cinematic Maneuvers: Binding, Roll with Blow.
  KUNG fu 
  VARIABLE; see Below
  The name kung fu is a typical case of the cultural gaps between East and
  West. Kung fu literally means "hard work" or "great accomplishment," and was
  traditionally a term applied to excellence in any craft or art - from calligraphy
  and drawing to the martial arts. In China, people who had achieved mastery
  over some skill (either physical or mental) was said to be "possessed" of kung
  fu. Many martial art masters were described in this way, particularly in early
  Chinese novels. Eventually, the words kung fu were used to describe great mar-
  tial artists, and mistakes in translation and interpretation led to the use of the
  word to label the martial arts themselves.
  Even setting this conceptual problem aside, kung fu, despite popular belief, is
  not one martial arts style. The name is currently applied to most Chinese forms.
  The number of styles under the general heading of kung fu is so staggering that to
  dump all of them under one category would be a great injustice. It could be said
  Styles
  
  that there are more "kung fu" varieties in China than other martial arts styles in the
  rest of the world. Also, although kung fu has been used in the past to include all
  Chinese martial arts, it is used here to represent Chinese "external" forms (see p.
  83). "Internal" styles such as Hsing-Yi, Pakua and T'ai Chi (see individual entries)
  are considered a separate form, historically distinct from what most people would
  call kung fu. The reader must remember that this division is not clear-cut; many
  kung fu styles have "internal" elements, and the grappling techniques of Chin Na
  (p. 79) are very similar to some T'ai Chi maneuvers.
  To show the variety among Chinese styles, this book will include eight kung fu
  forms, each with its own entry: An Ch'i, p. 77. Chin Na, p. 79. Pao Chuan, p. 95.
  Praying Mantis Kung Fu, p. 97. Shaolin Kung Fu, p. 101. White Crane Kung
  Fu, p. 105. Wing Chun Kung Fu, p. 105. Wushu Kung Fu, p. 106.
  Sergei
  13 POINTS/22 POINTS
  This Indonesian martial art is the chief competitor of Pentjak Silat (see p. 96)
  in the Malaysian archipelago. Unlike Silat, whose origins are diffused among the
  many ethnic groups that have inhabited or invaded the archipelago over the cen-
  turies, Kuntao traces its origins to the large Chinese communities of the islands.
  The word Kuntao is a rendition of the Chinese term Chu'an Fa (Way of the Fist,
  or "boxing"). Traditionally, the teaching of this art was a closely guarded secret,
  restricted to selected members of the Chinese community. Exhibitions were likely
  to be phony demonstrations of the style, meant to cloud the true techniques. This
  was due to the strong rivalry from martial artists of both the Pentjak Silat persua-
  sion and other Kuntao schools, a rivalry that even in recent times could turn
  bloody. It made little sense to display one's skills to possible enemies. More
  recently, masters of the art have become more open about teaching foreigners.
  Dozens of variations of this style are scattered around Indonesia, Malaysia
  and Borneo. As a whole they parallel the variety found in China itself, although
  over the centuries the Indonesian forms have evolved into different styles.
  Kuntao uses both striking and grappling techniques, making it a well-balanced
  martial art. Numerous weapons, most of them of Chinese origin, are taught,
  including everything from swords to three-sectioned staffs. Punching attacks can
  be suddenly transformed into throws or locks. Practicality and economy of move-
  ment is emphasized, as this style has had to be used in real-life combats up to the
  present day. In a cinematic campaign, who knows what secret techniques were
  brought to Indonesia by Chinese colonists and exiles? A number of special skills
  can be found in this style, enough to match those of its rival, Pentjak Silat.
  It is still very hard to find a willing Kuntao teacher. Many of the old mas-
  ters believe that modern concerns are too distracting for the pursuit of the arts,
  and claim that there are no more worthy students. Combined with the secretive-
  ness that traditionally wraps this style, it can be a genuine quest to find a school
  of this art. Very recently, a few Indonesian schools have been opened in
  America; they usually combine Kuntao and Pentjak Silat in their style. Masters
  from the "old country" would undoubtedly find this disturbing.
  Primary Skills: Judo, Karate, any three of the following weapons:
  Broadsword, Fencing, Flail, Knife, Staff, Throwing, Two-Handed Sword, Whip.
  Secondary Skills: Language (Chinese), any other two of the above weapons.
  Optional Skills: Breath Control, Language (Malaysian or Indonesian),
  Philosophy (Buddhism or Taoism).
  Maneuvers: Arm Lock [1 point], Back Kick, Finger Lock, Head Lock,
  Jump Kick, Kicking, Riposte (Karate), Spin Kick.
  Cinematic Skills: Blinding Touch, Body Control, Breaking Blow, Hand of
  Death, Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Flying Jump Kick, Roll with Blow.
  91
  Age 45; 6', 170 Ibs. Close-cropped
  blond hair, blue-grey eyes, light skin; a
  hulking ethnic Russian, clean-shaven, with
  an intimidating presence and a penetrating
  stare.
  Attributes
  ST 12, DX 13, IQ 12, HT 13.
  Basic Speed 6.50, Move 6.
  Dodge 7, Parry 11.
  Damage: Thrust ld-1, Swing ld+2.
  Point Total: 300 points.
  Advantages
  Combat Reflexes; Reputation (+2):
  One of the best meres on the market (only
  to other meres, x 1/3); Strong Will +2.
  Disadvantages
  Bloodlust; Code of Honor ("Stays
  bought"); Overconfidence; Sense of Duty
  (To his men); Stubbornness.
  Quirks
  Bitter about having his position cut;
  Dislikes politicians; Slightly intolerant of
  non-Russians.
  Martial Arts Styles
  Military Hand-to-Hand; Professional
  Boxing (realistic).
  Skills
  Acting-12; Administration-12; Ar-
  moury /TL7 (Guns)- 13; Boating-11; Body
  Language-10; Boxing-15; Brawling-15;
  Camouflage- 14; Climbing-14; Demo-
  lition/TL7-13; Detect Lies-12; Driv-
  ing/TL7 (Tracked)- 13; Driving/TL7
  (Wheeled)- 13; Electronics Operation/TL7
  (Communications)- 12; Engineer/TL7
  (Combat)-13; Escape-11; Explosive
  Ordnance Disposal/TL7-l1; First Aid/TL7-
  11; Forward Observer/TL7-ll; Garrote-14;
  Guns/TL7 (GL)-14; Guns/TL7 (LAW)- 15;
  Guns/TL7 (Light Auto)-16; Guns/TL7
  (Pistol)-l5; Intelligence Analysis-12;
  Interrogation- 12; Judo-15, Jumping-14;
  Knife-15; Language (Arabic)-12; Lang-
  uage (English)- 12; Leadership 14; Me-
  chanic/TL7-10; NEC Warfare/TL7-15;
  Orienteering- 14; Parachuting- 14; Photog-
  raphy-10; Powerboat-11; Savoir-Faire
  (Military)- 13; Scrounging- 12; Scuba- 12;
  Shortsword-14; Skiing-14; Spear-14;
  Stealth- 15; Survival (Arctic)- 15; Survival
  (Desert)-13; Survival (Jungle)-12; Survival
  (Mountain)-l5; Swimming-14; Tactics-14;
  Throwing-14; Teaching-13; Tournament
  Law (Boxing)-l5; Traps/TL7-14.
  Continued on next page . . .
  
  Maneuvers
  Arm Lock-17; Disarming (Judo)-17;
  Feint (Boxing)-17, Hand Strike-15 (1d);
  Jab-14 (ld-1); Retain Weapon (Rifle)-15;
  Riposte (Boxing)-12 (1d); Roundhouse
  Punch (Boxing)-15 (ld+4); Slip-6.
  Sergei Mikoyan is a former member of
  a Spetsnaz (Soviet special operations) unit
  that saw action in Afghanistan in the
  1980s. After the Soviet withdrawal, he
  was promoted to sergeant for his efforts
  and became a hand-to-hand combat
  instructor, teaching Spetsnaz troopers
  basic hand-to-hand combat and doing a
  fair bit of boxing on the side. With the
  collapse of the Union in the early 1990s,
  Sergei's position was rendered obsolete
  by cutbacks in military spending. He is
  now an international mercenary, taking
  employment as he can find it in the brush-
  fire wars of the world, and teaching
  unarmed combat in between times.
  Sergei is a realistic 300-point character
  suitable for use as a PC or NPC in a
  GURPS Special Ops campaign, or as a
  NPC adversary in other modern settings,
  such as a GURPS Espionage campaign.
  Sergei was built using the Spetsnaz occupa-
  tional template in GURPS Special Ops.
  5 POINTS/10 POINTS
  Kyudo ("the Way of the Bow"), is more than mere archery; it is a philo-
  sophical art. This Japanese martial art concentrates on training mind and spirit
  as well as body. Although this is (or should be) true for most traditional styles,
  few concentrate on the proper mindset with the intensity of classical Kyudo.
  Zen training forms the core of this art. A sense of oneness with the bow and
  the target is cultivated in the student. Hitting the target is not the primary goal,
  although a high proficiency in archery is expected before the deeper philosophi-
  cal training is imparted. The drawing of the arrow, tensing the bow and shoot-
  ing is done in a ritualistic, almost mystical way. Breathing exercises and callig-
  raphy, as well as meditation techniques, are all part of the training process.
  In a cinematic campaign, this is an ideal style for Weapon Masters and
  mystically-oriented martial artists. As the development of Chi is a basic part of
  Kyudo, this form has a host of cinematic skills. These are all used with the bow
  and arrow. The Pressure Points skill, for instance, will allow the bowman to hit
  vital points with an arrow; he can choose to do full damage as well as the spe-
  cial effects, or do minimal damage (a minimum of one point).
  Primary Skills: Bow [2 points], Fast-Draw (Arrow), Meditation,
  Philosophy (Zen Buddhism).
  Secondary Skills: Breath Control.
  Optional Skills: Calligraphy (Japanese).
  Maneuvers: None.
  Cinematic Skills: Body Control, Mental Strength, Power Blow (Bow only),
  Pressure Points (Bow only), Zen Archery.
  Cinematic Maneuvers: None.
  MILITARY HAND-TO-HAND 
  7 POINTS
  (NO CINEMATIC ABILITIES)
  This is a no-nonsense, simple style meant to be learned quickly. Still, it is
  usually restricted to elite military units (such as Special Forces teams), paramil-
  itary security organizations, and some secret agencies. Both striking techniques
  and some locks and throws are taught. At higher levels, sentry-removal tactics
  are introduced. Some weapon training is also given. Disarming moves and ways
  to defend against weapon attacks are also taught. Firearms training is not
  included in this version of the style, as this is part of normal military training
  and falls outside the scope of this book. For a detailed treatment of military
  training, see GURPS Special Ops.
  Primary Skills: Brawling, Judo, Knife.
  Secondary Skills: Climbing, Shortsword (for baton or machete), Spear (for
  rifle and bayonet), Stealth.
  Optional Skills: Garrote, Jumping, Karate, Staff, Tonfa.
  Maneuvers: Arm Lock, Disarming [2 points], Retain Weapon (Rifle).
  Cinematic Skills and Maneuvers: None.
  M U A Y THAI
  18 POINTS/20 POINTS
  This form has become the subject of the latest martial arts "fad," replacing
  Ninjutsu in terms of popularity. Muay Thai is closely related to Professional
  Kickboxing (see p. 98), and sometimes no distinction is made between the two.
  There are many important differences, however: Muay Thai is a much older,
  more sophisticated and more brutal style. In Thailand, tens of thousands of con-
  testants compete savagely against each other. Most Thai boxers are poor all
  their lives, and their careers are very short-lived, ending mainly due to injuries
  92
  
  received in contests or even in training. It is relatively easy to be injured or crip-
  pled in Thai Kickboxing, due to the very direct approach of the sport. As a
  result, this style churns out some of today's toughest martial artists.
  Muay Thai uses kicks, punches, knee and elbow jabs, and even some grap-
  pling techniques. The boxer's shins are toughened through continuous drill
  against bags and hard objects, and are used for devastating kicks, aiming usual-
  ly at legs and arms in order to cripple the opponent. These "dirty fighting"
  moves make Muay Thai a powerful self-defense form.
  There is little philosophical background in Thai Kickboxing. Most fighters
  are in it for the money and status, and winning is the one and only goal.
  In a cinematic campaign, this would bring about a lack of "internal" abilities.
  This style has no cinematic skills, and only two cinematic Maneuvers. GMs may
  rule that the Trained by a Master advantage is not allowed to Muay Thai practi-
  tioners. The high point cost of this style will tend to deter characters from having
  other styles; this reflects the intensive training Thai kickboxers undergo.
  Recommended Advantages: Thai Kickboxers should have at least one level
  of Toughness. High Pain Threshold and Combat Reflexes are very common.
  Primary Skills: Boxing, Karate.
  Secondary Skills: Judo.
  Optional Skills: None.
  Maneuvers: Axe Kick, Back Kick, Elbow Strike, Hook Kick, Jab, Jump
  Kick, Kicking [2 points], Knee Strike [1 point], Hit Location (Karate) [2 points],
  Riposte (Karate), Roundhouse Punch, Shin Kick, Spin Kick, Spinning Punch.
  Cinematic Skills: None.
  Cinematic Maneuvers: Flying Jump Kick, Roll with Blow.
  NINJUTSU
  23 POINTS/39 POINTS
  Note: The GM may require an Unusual Background advantage for PCs
  choosing this style. The fabled ninja arts have been clouded in mystery from
  their origin; as the ninja lived on the fringes of Japanese society, no clear
  records of their style were kept. Today, only techniques handed down from indi-
  vidual teachers survive, taught in select schools around the world. The
  Hollywood ninja craze has further clouded the issue, as disreputable teachers
  took the ninja mantle to attract students. The description below is a combina-
  tion of the historical ninja abilities and the legends, ancient and modern, that
  surround them.
  Ninjutsu is, above all, an espionage style. Its goal is stealth and inconspicu-
  ousness rather than combat ability. Among its Primary and Secondary skills we
  find Stealth, Fast-Talk, Disguise and Acting besides normal combat skills. In
  combat, it relies on its arsenal of exotic weapons and a ruthless, pragmatic hand-
  to-hand style called taijutsu (meaning "body-combat art"), which has elements of
  Jujutsu and Karate. The goal of the ninja is to finish a fight quickly, before it can
  be detected by guards or passers-by. Unless the opponent is targeted for assassi-
  nation or his silence is desirable, the ninja will opt for a quick disable rather than
  a kill, so the victim can spread the rumors about the dark stalkers' invincibility.
  Some of the skills are marked with an (h); these are historical ninja skills
  which may not be appropriate for modern ninja characters, although some cine-
  matic ninja clans may have them (or their TL7 equivalents).
  Primary Skills: Karate, Judo and Stealth. The ninja must also have two weapon
  skills from the following: Axe/Mace, Black Powder Weapons (h), Blowpipe, Bow,
  Garrote, Katana, Knife, Kusari, Lasso, Shortsword, Shuriken, Staff, Throwing or
  any of the Okinawan weapon skills (see the Kobujutsu style, p. 89) as well as two
  other skills from the following: Acrobatics, Climbing, Jumping and Swimming.
  COSTUME
  Almost every movie fan has seen a ver-
  sion of the infamous ninja uniform. Black,
  it consists of loose-fitting pants and jacket,
  complete with a hood and mask that cover
  most of the face, except the eyes, and
  allows the ninja to melt into the shadows.
  However, Stephen K. Hayes, himself a
  practitioner of modern Ninjutsu, suggests
  in his book, The Ancient Art of Ninja
  Warfare, that the traditional ninja costume
  may have never been used in real life!
  Ninja were first depicted as black-clad
  stalkers in the eighteenth century Kabuki
  theater. In Japanese theater, prop handlers
  were usually dressed in black as they
  moved across the dark backstage. This
  allowed them to rearrange the scene with-
  out being conspicuous; the audience acted
  as if the prop handlers were truly invisible.
  Giving ninja characters in the stage the
  same dark costume served to emphasize
  their invisibility. It is very likely that this
  was the true "origin" of the ninja costume.
  The ninja preferred not to be noticed.
  While dark garb would be useful in dark
  forests and to penetrate castles and such, it
  would be foolish to wear it inside a house,
  as anybody who saw the ninja would
  immediately realize that he did not belong
  there. Whenever it was possible, the ninja
  dressed in clothing appropriate to the loca-
  tion. Inside a palace, they would dress as
  samurai or servants, thus lulling the vic-
  tim's suspicions until they were within
  range. In a village, they would be incon-
  spicuous as normal peasants of fishermen.
  Another favorite tactic was to pose as beg-
  gars or insane people, who were of such
  low status that most people (including
  guards) did their best not to notice them!
  The best way to be invisible was to
  seem to belong somewhere. The dark cos-
  tume, if used at all, was reserved for the
  very rare occasions when a massive night
  assault was required.
  93
  
  PONTIUS
  Age 26; 5'8", 150 Ibs. Curly black
  hair, brown eyes, tanned complexion; an
  attractive, athletic young man, with sever-
  al prominent (but romantic-looking) scars.
  Attributes
  ST13, DX 14, IQ 10, HT 13.
  Basic Speed 6.75, Move 8.
  Dodge7, Parry 11.
  Damage: Thrust 1d, Swing 2d-l.
  Point Total: 200 points.
  Advantages
  Attractive Appearance; Combat Reflex-
  es; High Pain Threshold; Luck; Reputation
  (+2): Heroic gladiator (only in Rome, x 1/2);
  Rapid Healing; Toughness-DR 1 .
  Disadvantages
  Bloodlust; Glory Hound; Greed; Social
  Stigma (Slave).
  Quirks
  Knows he's good and doesn't hide the
  fact; Loves to play the crowd; Secretly has
  no idea what he will do with his freedom.
  Martial Arts Style
  Pancratium (realistic).
  Skills
  Bard-10; Boxing-16; Brawling-14;
  Broadsword- 14; Intimidation- 12; Karate-
  16; Knife-14; Performance- 12; Running-
  12; Shield-14; Shortsword-14; Spear-14;
  Wrestling- 16.
  Maneuvers
  Arm Lock- 18; Feint (Karate)- 18; Hand
  Strike- 16 (ld+1); Hit Location (Karate)-
  16; Jab-16 (1d); Riposte (Karate)-l4
  (ld+1); Roundhouse Punch- 15 (2d+l);
  Spinning Punch- 16 (ld+1); Stamp Kick-
  16 (ld+4).
  Continued on next page . . .
  Secondary Skills: Another two weapon skills; one of these must be a
  ranged weapon skill unless one was already chosen as a Primary skill. All
  of the non-combat skills listed above that have not been picked as Primary
  become Secondary skills automatically. Another three skills must be
  picked from this group: Acting (h), Breath Control, Disguise (h), Escape
  (h), Fast-Talk (h), Forgery (h), Meditation, Tactics and Yin-Yang Healing.
  Optional Skills: Any of the skills mentioned above, and any combat
  skills, Bard, Hypnotism, Sex Appeal (h) for female ninja.
  Maneuvers: Aggressive Parry [2 points], Arm Lock, Back Kick, Ear
  Clap, Elbow Strike, Feint (Karate or weapon skill) [2 points, or 1 in each],
  Ground Fighting (Judo or Karate), Head Butt, Hit Location (Karate or
  weapon skill), Jump Kick, Knee Strike, Riposte (Karate or weapon skill),
  Spin Kick, Stamp Kick.
  Cinematic Skills: Blind Fighting, Blinding Touch, Breaking Blow,
  Dislocation, Hand of Death, Hypnotic Hands, Invisibility Art, Light Walk,
  Mental Strength, Power Blow, Pressure Points, Pressure Secrets and
  Throwing Art.
  Cinematic Maneuvers: Binding [2 points], Roll with Blow.
  5 POINTS/30 POINTS
  This style is almost unknown in the West, but is closely related to T'ai Chi
  and other "internal" styles. The influence of Taoism (see p. 7) in Pakua is more
  direct than in most other forms. The very stance and movements of Pakua are
  directly derived from the teachings of that philosophy.
  Like T'ai Chi practitioners, circular movements are the basis of Pakua.
  Unlike T'ai Chi, however, the Pakua practitioner moves in a circle, always
  walking and describing complex hand movements. This art is almost complete-
  ly non-aggressive; a master can evade almost any attack with ease. When
  attacking, Pakua masters use their chi, and are reputed to deliver formidable
  blows (see below).
  This form concentrates on the development of chi. As such, it truly comes
  into its own in a cinematic campaign. Power Blow is the best known skill, as
  the Pakua master delivers a relatively unskilled but devastating punch or kick
  by channeling his chi. There also many other legends about the esoteric powers
  of old Pakua masters.
  Primary Skills: Judo, Meditation, Philosophy (Taoism).
  Secondary Skills: Brawling.
  Optional Skills: Karate, Broadsword.
  Maneuvers: Arm Lock [2 points].
  Cinematic Skills: Immovable Stance, Mental Strength, Power Blow, Push.
  Cinematic Maneuvers: Enhanced Dodge, Enhanced Parry (bare-handed).
  PANCRATIUM/MU TAU 13 points/17 POINTS
  This style was practiced in classical Greece and Rome, which makes it one
  of the oldest styles still being taught. Pancratium combined wrestling, boxing
  and all-around fighting techniques in a brutal sport. Punches, kicks, throws and
  locks were all allowed; the objective was to force one of the contestants to sub-
  mit. Even in Greece, where blood sports were not favored, crippling or lethal
  injuries were common. In Rome, Pancratium was used in gladiatorial contests,
  and the fighters were often armed with spiked gloves.
  Pancratium practitioners also were said to be capable of superhuman feats
  like brick smashing and the ability to stand in one place (even on a slippery
  shield) while being pushed and jostled by several people. Cinematic abilities
  can be bought with this style.
  94
  
  More recently, the art of Pancratium was revived in the Mu Tau style. Mu Tau
  combines Greek fighting and other styles. The principle behind Mu Tau is that
  there are no rules. Sparring is full contact, with body armor used so that practi-
  tioners can strike with full force. As a result, only very tough martial artists
  become proficient with this style.
  Pancratium is an easy style to introduce in a historical campaign, and not
  just one set in Ancient Rome or Greece. In Medieval times, travelers from the
  Byzantine Empire (the remains of the Roman empire that lasted until the 15th
  century) could know the style. It may have been the predecessor of French
  Savate (see p. 99), so it might even exist in a Swashbucklers campaign.
  Recommended Advantages: Toughness.
  Primary Skills: Boxing, Karate, Wrestling.
  Secondary Skills: none.
  Optional Skills: Language (Greek or Latin), Philosophy (Stoic, etc.).
  Maneuvers: Arm Lock, Feint (Boxing or Karate) [2 points], Hit Location
  (Boxing or Karate) [2 points], Jab, Riposte (Karate), Roundhouse Punch,
  Spinning Punch, Stamp Kick.
  Cinematic Skills: Breaking Blow, Power Blow, Immovable Stance.
  Cinematic Maneuvers: Roll with Blow.
  PONTIUS
  PAO CHUAN (Leopard
  KUNG FU
  15 points/33 POINTS
  Pao chuan, or "leopard fist," was one of the several animal techniques taught
  at the Shaolin Temple (see p. 7); each of these techniques developed various
  skills. The leopard style teaches the kung fu student how to be proficient at low
  quarters from the solar plexus down. Ground encounters teach him various leg
  takedowns, sweeps, rolling strategies, clinch tactics and ground-level kicks.
  Practitioners attack with clenched foreknuckle strikes delivered at high speeds,
  sometimes using powerful uppercuts and punches. Low stances combined with
  evasive movements are the basic principles observed by a confronting opponent.
  Crawling techniques are also taught in an upright posture, although they account
  for only 25% of all moves. In the upright posture, the leopard stylist makes use of
  an imaginary triangle pattern for his footwork movement. The practitioner uses
  the triangle as a base instrument for offensive or defensive maneuvers.
  The opposition, when making an advance, will enter into the top or 90-
  degree mark of the leopard stylist's triangle, thus falling prey to the numerous
  awaiting routines.
  Primary Skills: Boxing, Karate, Karate Art, Meditation.
  Secondary Skills: Judo, Body Language, Jumping, Language (Chinese),
  Philosophy (Taoism), any two of the following weapon skills: Broadsword,
  Shortsword, Spear, Staff.
  Optional Skills: Acrobatics, Climbing, any weapon skills not chosen as sec-
  ondary skills.
  Maneuvers: Cat Stance, Feint (Karate), Ground Fighting (Karate) [2 points],
  Hit Location (Karate), Jab, Jump Kick, Kicking, Riposte (Karate), Spin Kick,
  Sweeping Kick.
  Cinematic Skills: Blind Fighting, Light Walk.
  Cinematic Maneuvers: Enhanced Dodge, Roll with Blow.
  Combinations
  Pontius is known for his Hand
  Parry/ Arm Lock/Stamp Kick combination,
  which can simultaneously disarm a foe
  and leave him limping, and his finishing
  move (always reserved for stunned foes):
  a Spinning Punch/Roundhouse Punch
  combination, often aimed at the head!
  Pontius is a Roman gladiator of the
  late Republican period. His specialty is
  pancratium (bare-handed combat), and he
  has killed several opponents this way -
  including armed foes and wild beasts. He
  is both popular with the crowds and very
  successful, and has been secretly hired to
  teach hand-to-hand combat techniques to
  bodyguards and legionnaires. Pontius has
  very nearly amassed enough wealth to buy
  his freedom, and has already been offered
  several jobs as a bodyguard, but the arena
  has been so much a part of his life for so
  long that has no idea what he would do
  outside the arena.
  Pontius is a 200-point character suitable
  for use as a PC or NPC in a heroic GURPS
  Imperial Rome campaign. With a few
  changes, he would also fit in well in Yrth's
  Megalos in a GURPS Fantasy campaign.
  
  SYSTEM
  Traditionally, Silat gurus did not grade
  their students. Skill levels were recognized
  through the practitioner's reputation, or
  learned the hard way during a fight. Since
  violence between different schools or eth-
  nic groups was not uncommon, it was
  unwise to show one's degree's of profi-
  ciency, and even more unwise to believe
  any claims of skills made by a potential
  enemy. In the present, some Westernized
  teachers have adopted the Judo belt system
  (see sidebar, p. 77).
  Pentjak Silat is meant to be used in real
  life; as such, it is usually learned in com-
  mon street clothes. Of course, the com-
  mon streetwear of Malaysia and Indonesia
  is exotic and strange to Westerners, and
  can be seen as a "costume". Malaysian
  clothes tend to be loose fitting and light,
  which makes them ideal for training and
  real combat.
  These "uniforms" will also vary from
  one school to another, depending on the
  place of origin of the teachers and
  founders. Traditional Silat costumes tend to
  be black, and it consists of the following
  elements: a loose shirt, either open like a
  judo jacket or pullover-type; pants not
  unlike those used in Karate; the samping,
  or waist-cloth, which usually has a colorful
  pattern; a turban-like head cloth, called
  tengkokok. Most modern practitioners have
  discarded the headgear and waist-cloth, or
  have adopted the typical Judo uniform.
  24 points/33 POINTS
  This is the martial art of the Malaysian Archipelago. Almost unknown to
  the general public in the United States, Silat is a very dynamic combat style
  whose exoticism is equalled by its lethality. Pentjak Silat owes its effectiveness
  to the fact that it has been used, until very recent times, in actual combat.
  There are dozens, if not hundreds, of different branches of Silat, from
  "soft" types similar to T'ai Chi to "hard" styles not unlike kickboxing, and
  numerous variations in between. A mixed bag of these extremes is described
  here. There is also a considerable body of legend around the supernatural abili-
  ties of true masters, enough to make Silat one of the most powerful styles avail-
  able in a cinematic campaign.
  Silat's weapon of choice is the kris, a knife with a characteristic serpentine
  blade. Other weapons include the parang, a heavy chopping shortsword; the
  tjabang, almost exactly like the Japanese jitte (see p. 118), short sticks, staffs,
  weighted chains, and whips. Weaponless combat also plays an important part in
  this style, with strikes, locks and throws all being used. Also characteristic of
  Silat is the constant movement of hands and body that accompanies any maneu-
  ver, used to distract one's opponent.
  Silat teachers, or gurus, are very selective about who they accept as stu-
  dents. Training is very intensive, designed to develop flexibility and speed more
  than strength. This is also one of the few styles that accounts for difficult foot-
  ing in combat, again proof of its pragmatism. More exotic techniques available
  to the Silat practitioner include Meditation and Hypnotism, as well as a full
  array of cinematic skills. An expert in this style is also supposed to be able to
  "read" his opponent's body language, becoming able to predict attacks.
  All in all, this is one of the most effective styles in modern times. Its draw-
  backs include the necessity for intensive training and high physical fitness, but
  this is true of any good martial art.
  Recommended Advantages: the Weapon Master advantage is very appropri-
  ate for a Silat master in a cinematic campaign.
  Primary Skills: Body Language, Judo, Karate, Main-Gauche and one skill
  from the following: Jitte/Sai, Kusari, Shortsword, Short Staff, Staff, Whip.
  Secondary Skills: Acrobatics, Hypnotism, Jumping, one more weapon skill
  from the above list.
  Optional Skills: Other weapon skills, as above.
  Styles
  96
  
  Maneuvers: Arm Lock, Back Kick, Close Combat (Main-Gauche), Elbow
  Strike, Feint (Karate or Main-Gauche) [2 points], Finger Lock, Ground Fighting
  (any type) [2 points], Head Lock, Jump Kick, Neck Snap, Riposte (Karate or
  Main-Gauche), Spin Kick, Sweeping Kick.
  Special: Silat practitioners can reduce by 2 any unfavorable terrain modifiers
  (i.e., slippery mud, or partially in water). This is worth 4 points. Also, Silat practi-
  tioners can add other Ground Fighting specializations, over and above the 2-point
  one they must start with, at any time.
  Cinematic Skills: Breaking Blow, Hypnotic Hands, Mental Strength, Power
  Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Acrobatic Kick, Roll with Blow, Springing Attack.
  5 POINTS
  Police HAND-TO-HAND
  (NO CINEMATIC
  This is a common style taught to police officers around America and the
  world. It is meant to be learned very quickly, and has very little in the way of
  special or stylish maneuvers. Arm Locks are the main technique taught. The
  skills listed in this style omit many of the skills a police officer would receive
  during training. A number of those are listed in the Cop character type descrip-
  tion (p. 20). Different police departments will give different training to their
  officers; GMs should modify the list below as they see fit.
  Primary Skills: Judo, Shortsword (for baton), Tonfa (some departments).
  Secondary Skills: Brawling, Wrestling.
  Optional Skills: Karate, Shield (Riot Shield), Shortsword (some departments).
  Maneuvers: Arm Lock [1 point], Choke Hold (this is no longer part of the
  training in the U.S., but it was commonly taught in the past and many officers
  will know it nonetheless), Retain Weapon (Pistol).
  Cinematic Skills and Maneuvers: None.
  PRAYING MANTIS KUNG FU
  10 POINTS/23 POINTS
  There are many versions of this animal style. The praying mantis has been
  long admired in the martial arts world for its speed and fierce attacks. The
  Shaolin Temple developed several mantis techniques, many of which have
  become styles in their own right. The version described below is known as the
  "northern" version of Praying Mantis Kung Fu. It has a very distinct stance, with
  the elbows kept close to the body and the forearms extended, hands open in imi-
  tation of the mantis' claws. It combines soft movements for the defense and hard,
  explosive counterattacks. Like the mantis, a practitioner waits until the attacker
  starts to move, then flows around him and devours him with swift attacks.
  Praying Mantis Kung Fu emphasizes balanced stances that allow for swift
  changes in position to let enemy attacks fly by unimpeded. From the same stance,
  the martial artist then springs forward on the attacker, hitting vital points with
  devastating force. Sticking techniques are also taught by this style; combined
  with its forceful attacks make this a very effective form. In a cinematic campaign,
  the stance of the Praying Mantis can be used to daze enemies.
  Primary Skills: Judo, Karate, Savoir Faire (Dojo).
  Secondary Skills: Acrobatics, Jumping, Philosophy (Taoism), Stealth.
  Optional Skills: Weapon skills per the Shaolin style (see p. 101), Hypnotism.
  Maneuvers: Elbow Strike, Hit Location (Karate), Jump Kick, Kicking,
  Knee Strike, Riposte (Karate), Spin Kick.
  Cinematic Skills: Hypnotic Hands, Light Walk, Power Blow, Pressure
  Points, Pressure Secrets, Push.
  Cinematic Maneuvers: Enhanced Parry (bare-handed), Sticking.
  
  Age 37; 6'2", 175 Ibs. Medium-length
  black hair, brown eyes, tanned complexion;
  a statuesque Latin woman; has a dove tat-
  tooed on her right ankle.
  Attributes:
  ST 18, DX 14, IQ 12, HT 14/18.
  Basic Speed 7, Move 7.
  Dodge 7, Parry 12.
  Damage: Thrust ld+2, Swing 3d.
  Point Total: 350 points.
  Advantages
  Charisma +2; High Pain Threshold;
  Strong Will +3; Toughness-DR 2; Wealth
  (Comfortable).
  Disadvantages
  Enemy (The Mob, 6 or less); Major
  Vow (To fight crime); Pacifism (Cannot
  Harm Innocents); Reputation (-2): "Bad
  guy" (only as Reina, x 1/2; only to wrestling
  fans, x 1/2); Reputation (-2): Vigilante (7 or
  less; only to police, x 1/2); Secret Identity;
  Sense of Duty (Personal friends).
  Quirks
  Doesn't really believe in ki. Jovial and
  outgoing, Lectures crooks as she pounds on
  them, Uses potentially lethal moves as a
  last resort.
  Martial Arts Style
  Professional Wrestling ("cinematic").
  Skills
  Acrobatics-15; Acting-14; Area Know-
  ledge (City)-12; Brawling-18; Disguise-
  14; Driving/TL7 (Car)-14; Fast-Talk-12;
  First Aid/TL7-12; Interrogation-12;
  Intimidation (default from ST)-13;
  Jumping-14; Language (Spanish)-12;
  Performance-14; Shadowing-12; Stealth-
  14; Streetwise-12; Throwing-14; Tour-
  nament Law (Pro Wrestling)-14; Wres-
  tling-18; Wrestling Sport-16.
  Continued on next page . . .
  PROFESSIONAL BOXING 
  8 points/14 POINTS
  Pugilism, or boxing, has been widely practiced in the West since the 19th
  century. This "manly art" was a source of entertainment (matches were popular
  spectacles) and was also taught as a form of self-defense. Boxing uses punch-
  ing techniques and quick footwork. It also has strict rules limiting the permissi-
  ble targets to the head, arms and body above the waist. This limits its effective-
  ness in a brawl. Still, a trained boxer is a fearsome opponent.
  Boxing was widely known in America by the mid-19th century. Characters
  in a GURPS Old West campaign can learn it. This style can also be useful in a
  Cliffhangers campaign.
  If there is a "legend" connected with professional boxing, it has to do with
  the boxer's incredible ability to absorb damage and keep fighting. In a cinemat-
  ic campaign, the GM may allow boxers to buy Extra Hit Points at 5 character
  points apiece. These don't affect HT - just ability to absorb damage. If the
  optional Stun Damage rule (p. 68) is being used, boxers can be allowed to pur-
  chase Extra Stun Points for 2 character points each.
  Primary Skills: Boxing, Tournament Law (Boxing).
  Secondary Skills: Body Language.
  Skills: Running, Swimming.
  Maneuvers: Feint (Boxing) [2 points], Jab, Riposte (Boxing), Roundhouse
  Punch, Slip.
  Cinematic Skills: None.
  Cinematic Maneuvers: Enhanced Parry (bare hands).
  PROFESSIONAL KICKBOXING 
  8 POINTS
  (NO CINEMATIC ABILITIES)
  As karate became a sport in the West, competition rules were designed to
  prevent accidental injuries both in tournaments and in the dojo. A "point" sys-
  tem was extrapolated from "artistic" karate, where contestants stopped their
  attacks an inch or so before connecting and judges determined whether the
  blow would have been effective if it have landed.
  Eventually a number of martial artists became disenchanted with this. The
  tournaments were too unrealistic, they felt, emphasizing speed over power,
  form over effectiveness. During the 1970s, a new sport emerged, first called
  Full-Contact Karate and then Kickboxing.
  Pro Kickboxing combines elements from traditional martial arts and
  Western boxing. Boxing gloves, as well as,head and foot protectors (see p. 129)
  are used to prevent injuries; still, Kickboxing has about the same injury rate as
  Professional Boxing. Many martial arts schools teach Kickboxing along with
  their main style.
  This form involves arduous training, adding bodybuilding and other
  Western techniques to the classic Asian calisthenics. Strength and power are as
  important as speed and reflexes. The style itself tends to emphasize punches
  over kicks; the rules specify a minimum of kicks to be launched every round,
  mainly because fighters tend to concentrate on punches. Overall, this is a good
  style for self-defense, as its full contact practices toughen students for real con-
  flict. It is also a way for a martial artist to make a living, as there is a wide kick-
  boxing circuit in the States and Europe.
  Primary Skills: Boxing, Karate.
  Secondary Skills: Tournament Law (Kickboxing)
  Optional Skills: As determined by the main martial art of the school where
  kickboxing is taught. None otherwise.
  Maneuvers: Back Kick [2 points], Jab, Jump Kick, Spin Kick [2 points].
  Cinematic Skills and Maneuvers: None.
  98
  
  WRESTLING 
  12 POINTS
  (NO CINEMATIC ABILITIES)
  Professional wrestling has become a source of entertainment in the West.
  Loosely based on sports wrestling, an ancient sport that can trace its roots to the
  Greco-Roman world, Pro Wrestling is the stuff of comic books brought to
  "reality." The wrestling ring has become a stage for drama and comedy, full of
  colorful characters with outlandish names and costumes and semi-fictional
  feuds. Despite some denials from organizers and the wrestlers, most people
  believe that Pro Wrestling contests are carefully choreographed.
  GMs must decide whether those fights are staged or real, and whether the
  wrestlers are simply performers or are similar to their ring personas. In a cine-
  matic campaign, the latter option is more appropriate. Even in a realistic cam-
  paign, a professional wrestler must be a highly accomplished athlete as well as
  a performer. Pro Wrestling includes a variety of takedowns, pins and holds. The
  style also has some punches and kicks. In the ring, almost anything goes; cheat-
  ing and dirty tricks are used often (especially by the "bad guys"). Many
  wrestlers have the Fat, Overweight or Gigantism disadvantages.
  In a cinematic campaign, wrestler characters should put most of their con-
  siderable character points in ST and HT, adding Toughness and other combat
  advantages. This will help compensate for the lack of cinematic skills, although
  the fact remains that a wrestler will be no match for a someone Trained by a
  Master. Another option would be to allow wrestlers to use the Extra Hit Points
  and even the Enhanced ST rules from Supers, turning them into slightly
  metahuman beings (much as they are portrayed in fiction).
  Primary Skills: Brawling, Wrestling, Wrestling Sport.
  Secondary Skills: Acting, Performance, Tournament Law (Pro Wrestling).
  Optional Skills: Acrobatics.
  Maneuvers: Arm Lock, Choke Hold, Drop Kick [2 points], Ear Clap, Head
  Butt, Neck Snap, Piledriver (if the GM permits), Stamp Kick.
  Cinematic Skills and Maneuvers: None.
  Queen
  10 POINTS (NO CINEMATIC ABILITIES*)
  This French style is almost as old as boxing, with origins rooted in the end
  of the 18th century. Ironically, this makes Savate almost a century older than
  many modern Asian martial arts. This form's origins lie in the French water-
  fronts, where street fighters refined their skills in tavern brawls and other non-
  conventional arenas. Savate eventually reached the upper classes, and schools,
  or salles, soon opened around Paris and the rest of France. Today, it continues
  to be mainly a French style, but has some following in Europe and America.
  Savate has some boxing elements, but they are combined with a number of
  kicking techniques that rivals many Asian styles in variety and effectiveness.
  Dodging is an important part of the style, as well as overall speed and reflexes.
  This is a full-contact sport, where injuries are not uncommon, so proficient Savate
  boxers are tough enemies, both in and out of the ring.
  In the early days of the sport, cane fighting was also taught. The cane, the
  symbol of a gentleman in the 19th century, was also a self-defense weapon, and
  the skills taught by Savate made it an even more effective one. Upper-class sorts
  who trained in this style were also likely to be proficient in Fencing. Thus, it is
  perfectly possible to have a high-kicking, multiple-weapon-wielding character
  who has not had a whit of Oriental arts training.
  Savate does not have a religious or mystical origin, so it has no history of
  supernatural abilities. In a cinematic campaign, the Trained by a Master ability
  is not available to Savate-trained characters. Other than that limitation, Savate
  can hold its own against any other martial art in the world.
  Maneuvers
  Arm Lock-20; Choke Hold- 17; Drop
  Kick-18 (ld+4); Ear Clap-14; Hand
  Strike-18 (ld+1); Head Butt-16 (ld+1);
  Neck Snap- 18 (3d); Piledriver- 18 (3d+3);
  Stamp Kick-18 (ld+4).
  "Reina Queen" is the ring name of
  Maria Velasco, a female wrestler in the
  Women's Wrestling Federation. In the
  ring, she is portrayed as a "bad guy," and
  has cheated her way to the title on two
  occasions. In reality, though, Maria has a
  heart of gold; her personality in the ring is
  all an act. In fact, outside the ring she
  assumes a third (unnamed) identity and
  fights crime with a team of other martial
  artists (most of whom are Trained by a
  Master), where her strength and toughness
  compliment the others' speed and high
  kicks.
  Reina is a 350-point character suitable
  for use as a PC or NPC in a cinematic
  Martial Arts campaign set in the modern
  era. Since Professional Wrestling has no
  cinematic abilities, she has been given
  Enhanced Strength and Extra Hit Points to
  compensate.
  SAVATE
  Savate has its own rank system, this
  one based on glove colors rather than
  belts. This gradation is similar for gaming
  purposes to the belt system described in
  the sidebar on p. 77; it goes as follows:
  Blue Gloves: Default to Skill 10.
  Green Gloves: Skill 11.
  Red Gloves: Skill 12.
  White Gloves: Skill 13.
  Yellow Gloves: Skill 14+. After this
  level, one must participate in competitions
  to advance in rank. It would be possible to
  be very skilled in Savate yet have "only"
  the Yellow Gloves, if one did not compete.
  Bronze Gloves: 15+.
  Silver Gloves (Levels One to Three):
  16+.
  SAVATE COSTUME
  The Savate traditional dress is similar
  to that worn by boxers in the 19th century.
  It consists of a sleeveless jumpsuit, usual-
  ly in a dark color. Hard-toed shoes are
  used (add +1 to damage in combat).
  
  Initiation
  The test that a Shaolin monk had to
  undergo in order to become full-fledged
  member of the Temple is legendary, and is
  the model for many fictional martial-arts
  institutions. Many monks never under-
  went those tests; the superiors had to
  decide whether the candidates had the
  potential to be tested in the first place. It
  was not uncommon for candidates to fail
  several times before passing the test, or to
  be seriously injured or killed in the
  attempt. Since the monk had to be ready
  to face danger, there was little concern
  given to their safety during the test.
  First, the candidate was tested on his
  knowledge of the intellectual arts. In game
  terms, rolls against History (Chinese)-3,
  Calligraphy, and Philosophy (Buddhism)-
  4 were required. (GMs with a penchant for
  riddles can replace the Philosophy roll
  with some questions designed to test the
  character's - and the player's - knowl-
  edge of the beliefs of the temple. (The
  Kung Fu TV show has many examples of
  this.) On a failure on any of those rolls,
  the candidate was disqualified until the
  next such test. On a critical failure, his sta-
  tus was reduced and he was sent to re-
  learn his lessons with the beginner monks.
  A series of physical tests followed.
  The candidate was pitted against several
  opponents at once, had to faced armed
  enemies bare-handed and even hold his
  own against some of the masters of the
  Temple. The GM can solve this test as a
  series of skill rolls, or as Contests or
  Quick Contests against the other monks.
  He can also use the tournament rules on p.
  61. Or the whole test could be roleplayed.
  If the candidate held his own against
  living opponents, a further test awaited.
  He had to enter a maze full of life-sized
  dummies that launched spring-activated
  attacks. The maze was in near-complete
  darkness (-7 to all Vision rolls). The can-
  didate had to make Traps-4 (-11 with
  lighting penalties) to avoid the traps.
  Otherwise, he was attacked by 1d dum-
  mies from any hex side. The dummies
  have the equivalent of ST 12 and attack
  with a skill of 11. The attacks are either
  simulated punches and kicks doing thrust
  damage, or weapons doing the appropriate
  damage. Unless the monk was seriously
  injured, he was allowed to go on -
  towards the next trap. The GM can set as
  many dummy attacks as he wants; the
  length of the tests varied from candidate
  to candidate, since they were designed to
  push their individual abilities to the limit.
  This is a test of character as well as skill!
  Continued on next page . . .
  Primary Skills: Karate, Boxing.
  Secondary Skills: Broadsword (Cane).
  Optional Skills: Fencing, Language (French).
  Maneuvers: Back Kick, Drop Kick, Hit Location (Karate) [2 points], Jump
  Kick, Kicking [2 points], Spin Kick.
  Cinematic Skills and Maneuvers: None, but see the note below.
  *Note: Older accounts sometimes relate stories of highly acrobatic attacks
  that are made at a full run or while turning handstands. These rumors may be
  true in a cinematic campaign, in which case the GM may wish to add the
  Acrobatics skill and the Acrobatic Kick and Flying Jump Kick maneuvers to
  create a "cinematic" style (13 points).
  1 POINT
  This is a typical direct, combat-oriented hand-to-hand system, which can be
  derived from any of a number of styles. Its origins lie in the 20th century, when
  large segments of the civilian population feel threatened by crime and want to
  learn how to resist acts of violence. Karate, Judo and many forms of Kung Fu
  have self-defense sub-categories. This form has a very limited repertoire of
  maneuvers, and aims for simplicity and ease of learning, much like the Police
  and Military systems (see above). In fact, many police officers and military per-
  sonnel will be proficient in this style instead of their "official" versions.
  This system will sometimes have a "parent" martial art. Striking techniques
  or throws may be combined, or one may be taken to the detriment, or exclusion,
  of the other. Other skills may be added, depending on the "parent" style, if any.
  This form will have no Cinematic skills or Maneuvers.
  GURPS characters with martial arts skills who were created without the
  GURPS Martial Arts rules can be considered to belong to this category (this
  "blanket" rule will cover PCs whose players do not want to use these new
  rules). Training in this system will not make one into a flashy martial artist, but
  its simplicity (and low point cost) allows more diversification into other skills.
  Primary Skills: Judo or Karate, possibly both.
  Secondary Skills: None, or as per the "parent" system.
  Optional Skills: As per Secondary skills, above.
  Maneuvers: Standard Karate and Judo moves (Hand Parry, Hand Strike,
  Judo Throw, etc.) as described in the Basic Set. Other maneuvers can be added
  at the GM's discretion. Average maneuvers like Arm Lock, Elbow Strike or
  Knee Strike are the most likely candidates.
  Cinematic Skills and Maneuvers: None.
  styles
  1OO
  
  KUNG FU 
  16 POINTS/32 POINTS
  The famous Shaolin temple (see p. 7) was a great center of martial arts
  learning. In it, many different "styles" were taught, from "hard" striking tech-
  niques to the more sophisticated ones like Chin Na (see p. 79). It is hard, there-
  fore, to try to describe a particular style inherent to the school, especially since
  many later styles claim to have originated there.
  The style described below is a well-rounded and complete form that draws
  from the many doctrines and arts taught at the temple. It is also meant to describe
  the skills that an archetypical Shaolin monk would have, according to the leg-
  ends. Skills that are more appropriate to the historical Shaolin (as opposed to their
  modern counterparts) are marked with an (h). If these skills are eliminated, the
  point cost for the style becomes 14, or 30 in a cinematic campaign.
  Practitioners of this style tend to be in constant movement, keeping the
  enemy guessing where the next attack will come from. Kicks are very impor-
  tant, but are also combined with a number of grappling techniques and punches.
  The staff and the spear are the most influential weapons, although sword tech-
  niques and the use of other edged polearms (such as the Chinese staff-sword
  and the edged staff) are also taught.
  The Shaolin practitioner of historical times must be many things besides a
  soldier. Stealth and other subtle skills were included in the teachings of the
  school. In addition, the monks were scholars, well-versed in philosophy and
  theology. They were taught to fight only when absolutely necessary, and to use
  the minimum amount of violence required to resolve the situation.
  Today, many styles claim to be the direct descendants of the traditional
  Shaolin school. One can find training of this sort almost anywhere in the world,
  although it is more likely that the true heirs of Shaolin exist only in the People's
  Republic of China, Hong Kong and Taiwan.
  In a cinematic campaign, Shaolin practitioners (who have probably been
  the subject of more movies than any other martial art) are rivaled only by the
  ninja in terms of exotic abilities. From Power Blow to Drunken Fighting, this
  style covers all types of special abilities. If one believes all the legends about
  the powers of the Shaolin monks, it is hard to understand how the Manchu
  dynasty was able to destroy the temple (see p. 7), even after many failures and a
  long military campaign.
  Primary Skills: Judo, Karate, Meditation (h), Philosophy (Buddhism) (h).
  Secondary Skills: Acrobatics, Breath Control, Calligraphy (h), History
  (Chinese) (h), Literature (Chinese) (h), Jumping, Spear, Staff, Stealth,
  Theology (Buddhism), Throwing.
  Optional Skills: Bow, Broadsword, Hypnotism, Two-Handed Sword,
  Yin/Yang Healing.
  Maneuvers: Arm Lock, Axe Kick, Back Kick, Feint (Karate) [2 points],
  Hook Kick, Jump Kick [2 points], Kicking, Spin Kick [2 points], Spinning
  Punch.
  Cinematic Skills: Blind Fighting, Blinding Touch, Breaking Blow, Drunken
  Fighting, Hand of Death, Invisibility Art, Light Walk, Power Blow, Pressure
  Points, Pressure Secrets, Throwing Art, Zen Archery.
  Cinematic Maneuvers: Flying Jump Kick, Hand-Clap Parry, Roll with
  Blow, Springing Attack.
  THE
  INITIATION
  At the end of the tunnel waited the final
  obstacle; a huge metal vessel, weighing
  500 pounds and filled with hot coals (in a
  realistic campaign, the vessel can be made
  lighter, but should weigh at least 250
  pounds). The only way to get past it was to
  lift the vessel and carry it outside. A ST roll
  must be made to lift it; use the rules for lift-
  ing things on p. B89. Since the vessel is
  red-hot, the candidate's arms will be
  burned, taking ld-3 points each. A Will-5
  roll is necessary to hold on to the vessel
  (Will-2 if the character has the High Pain
  Threshold advantage). Two unmodified ST
  rolls are necessary to carry the vessel out-
  side. Several senior monks were waiting at
  the end of the tunnel, ready to welcome the
  new member and to tend to his wounds.
  On each side of the vessel was a brand,
  the tiger and the dragon respectively. By
  lifting the red-hot cauldron, the monk
  marked himself forever with the signs of
  the Shaolin temple. This practice served to
  deter impostors; few would-be monks
  were willing to burn themselves with
  metal brands.
  The monks of the Shaolin temple tradi-
  tionally wore a white shirt over black
  loose pants. The head was kept shaved.
  
  TOMMY KWONG
  Age 33; 5'9", 140 Ibs. Long black hair
  and eyes, medium Asian complexion; an
  attractive, grim-faced young man with a
  wiry build.
  Attributes
  ST11,DX16, IQ 11, HT 12.
  Basic Speed 7, Move 9.
  Dodge 7, Parry 12.
  Damage: Thrust ld-1, Swing ld+1.
  Point Total: 250 points.
  Advantages
  Attractive; High Pain Threshold;
  Strong Will +3.
  Disadvantages
  Enemy (Street gangs, 9 or less);
  Obsession (Avenging his brother and
  father); Social Status -1 (Criminal).
  Quirks
  Always wears white; Grim and silent;
  Thinks the police are incompetent; Trains
  compulsively; Tries hard not to be as bad
  as the people he is hunting.
  Martial Arts Styles
  Professional Kickboxing; Streetfighting.
  Skills
  Area Knowledge (LA)-12; Boxing-17;
  Brawling-17; Broadsword (Bat)-16;
  Climbing-15; Fast-Talk-10; First Aid/TL7-
  12; Holdout-10; Intimidation-12; Jumping-
  16; Karate-18; Language (Chinese)-9;
  Language (Korean)-9; Motorcycle-16;
  Running-16; Scrounging-11; Shadowing-
  12; Shortsword (Billy Club)-15; Stealth-18;
  Streetwise-16; Survival (Urban)-12;
  Swimming-16; Teaching-11; Tournament
  Law (Professional Kickboxing)-12.
  16 POINTS
  (NO 
  cinematic a b i l i t i e s )
  This is not a style you can learn in a dojo. Its lessons are hard, and many stu-
  dents are crippled or killed by learning them. Streetfighting is undisciplined,
  unorthodox and brutal. It consists mostly of a repertoire of dirty tricks leavened
  with ruthlessness. The objective is to finish the fight as soon as possible. Most
  street toughs only know the barest rudiments of Streetfighting (Brawling skill).
  Only the most bloodthirsty master it. The introduction of martial arts to the gener-
  al public has added elements of Asian fighting arts to the combat skills of the
  streets, but here they have been stripped down to their barest essentials, and used
  in the most direct manner possible.
  The techniques described below represent the skills of the toughest street-
  bred fighters. They combine a host of nasty maneuvers and some weapon skills.
  A Streetfighter will use whatever he has available to win the fight, be it his fists,
  sticks, knives or guns. Many will not be done if their opponent is on the ground
  - that is when the stomping starts. The goal is not only to defeat the opponent,
  but to either hurt him so badly he will never be able to come after you, or to
  hurt him so badly he is afraid to come after you.
  Besides fighting skills, the other lesson in the street involves making a
  quick getaway. Sometimes to stay and fight will mean arrest, a beating or death.
  The ability to lose oneself in back streets, jump over obstacles and climb chain-
  link fences can keep a Streetfighter alive where fighting skills will not.
  Knowing one's way around the streets is also very helpful.
  Primary Skills: Brawling, Running, Stealth, Streetwise and one of the follow-
  ing skills: Broadsword (for baseball bat or two-by-four), Knife, Shortsword (for
  billy club or stick).
  Secondary Skills: Climbing, Holdout, Jumping, Karate, Survival (Urban),
  another weapon skill.
  Optional Skills: Fast-Talk, Intimidation, Guns, Scrounging.
  Maneuvers: Eye-Gouging, Face Attacks, Feint (Brawling), Head Butt, Hit
  Location (Brawling), Kicking, Knee Strike, Neck Snap, Rabbit Punch,
  Roundhouse Punch, Stamp Kick.
  Cinematic Maneuvers and Skills: None.
  Maneuvers
  Back Kick-18 (ld+2); Eye-Gouging-12
  (ld-2); Face Attacks-14 (ld-3); Feint
  (Brawling)-19; Hand Strike-18 (1d); Head
  Butt-14 (ld-2); Hit Location (Brawling)-
  17; Jab-17 (ld-1); Jump Kick-18 (ld+4);
  Kicking-18(1d+2); Knee Strike-18 (1d+1);
  Neck Snap-11 (ld+1); Rabbit Punch-16
  (ld+2); Roundhouse Punch-16 (ld+3);
  Spin Kick-18 (ld+2); Stamp Kick-18
  (ld+3).
  Continued on next page . . .
  SUMO 
  5 POINTS/5 POINTS
  This highly ritualized ceremonial sport is seen by many Westerners as a
  contest of pure force between two obese and clumsy oafs. Nothing could be far-
  ther from the truth. Sumo is an intricate martial art with a long history and a
  powerful repertoire of movements.
  The origins of Sumo are legendary, and date back to a mythical early
  emperor of Japan, who witnessed a battle between two giants. Eventually,
  Sumo became deeply influenced by Japan's national religion/philosophy,
  Shintoism. A religious ritual still precedes the matches.
  
  The goal of a sumotori (Sumo wrestler) in combat is to either throw the
  adversary out of the ring or make him touch the ground with any limb other
  than his feet. To do this, a number of techniques are taught, from grapples and
  pushes to slaps. A sumotori is trained to use his strength and weight to maxi-
  mum advantage. Outside the ring, their size and toughness makes them very
  resilient, and once they get a grip on the enemy, the fight is as good as over.
  Sumotori are trained since childhood in special "stables" of fighters.
  Constant exercise and a fat-rich diet are combined to give them their enormous
  size. After a relatively short career, many Sumo wrestlers retire, rich; many
  retired sumotori open restaurants.
  Outside Japan, the best place to learn Sumo is actually part of the United
  States - Hawaii. In fact, a number of Hawaiians have managed to wrest cham-
  pionship prizes from the Japanese contenders.
  In a cinematic campaign, some Sumo wrestlers may have learned to focus
  their chi to greatly increase their strength for short periods of time, enabling
  them to suddenly turn the tables on an opponent (the Power Blow skill).
  Although blood should never be drawn in a Sumo match, sumotori outside the
  ring have no compunction about punching enemies, so they are formidable foes.
  Primary Skills: Sumo Wrestling, Tournament Law (Sumo).
  Secondary Skills: Theology (Shinto).
  Optional Skills: Brawling, Karate, Meditation, Wrestling.
  Maneuvers: None. But see the Sumo Wrestling skill, p. 35, for combat bonuses.
  Cinematic Skills: Immovable Stance, Mental Strength, Power Blow.
  Cinematic Maneuvers: None.
  TOMMY
  KWON DO
  14 POINTS/21 POINTS
  This Korean martial art is very similar to Japanese Karate in that striking tech-
  niques form most of its repertoire. What distinguishes Tae Kwon Do is its empha-
  sis on high kicks, and it has an impressive body of breaking techniques. This style
  has become popular worldwide, and was featured during the 1988 Olympics.
  Historically, Korean scholars place the origin of this style, or some
  unarmed combat equivalent, as far back as 400 A.D., since mural paintings
  describing such activities were found in archaeological sites dating from that
  time. Some Koreans point to this and claim that their style precedes the leg-
  endary origins of Kung Fu by some 200 years (see p. 13), although there is evi-
  dence that the Chinese were practicing some form of hand-to-hand combat hun-
  dreds or even thousands of years before the traditional dates. Nevertheless, it is
  clear that Korea has a long history of martial arts learning.
  Tae Kwon Do has "do" and "jutsu" forms, with their accompanying differ-
  ences. Most schools in the West will emphasize the sports side. However, most
  Tae Kwon Do contests are full-contact events, so GMs may judge the style taught
  in those schools to be "jutsu" training (see p. 12). A Tae Kwon Do expert will use
  many high kicks, but only where it is feasible to do so. Other techniques include
  punches and elbow attacks, leg sweeps and other standard maneuvers. This style
  has schools in over 60 countries around the world - many "karate" schools are
  actually teaching TKD forms - so finding a teacher is not difficult.
  Primary Skills: Jumping, Karate, Karate Sport, Savoir-Faire (Dojo).
  Secondary Skills: Acrobatics, Tournament Law (Tae Kwon Do)
  Optional Skills: Judo. Some schools also offer weapon training.
  Maneuvers: Axe Kick, Back Kick, Elbow Strike, Hook Kick, Jump Kick [2
  points], Kicking [2 points], Spin Kick, Sweeping Kick.
  Cinematic Skills: Breaking Blow, Flying Leap, Power Blow.
  Cinematic Maneuvers: Acrobatic Kick, Flying Jump Kick [2 points], Roll
  with Blow.
  Combinations
  Tommy uses his father's trademark
  Hand Parry/Kick/Kick combination; he
  also has his own, vicious Hand Strike/Knee
  Strike/Stamp Kick combination that he
  uses in close combat, usually aimed at the
  vitals, groin and foot respectively.
  Tommy was born in LA to Mei and
  Kirn Kwong, immigrants of mixed Chinese
  and Korean extraction. His mother died
  giving birth. His father, after winning a
  long streak of full contact karate and kick-
  boxing titles in the late 1970s, decided to
  quit while he was still winning and opened
  up a gym and self-defense school in LA.
  Both Tommy and his brother, Rai, took
  lessons from Kirn, and eventually became
  assistant instructors at the dojo.
  One late night in the summer of 1992,
  Tommy came home to find the family
  dojo on fire, with his father and brother
  trapped inside. Both men were killed, and
  police claimed that the arson was a
  reprisal by one street gang against another
  gang that routinely trained at Kwong's
  Gym. Tommy vowed revenge and went
  underground, using his martial arts skills
  and street sense to punish his family's
  killers. Today he is a veteran streetfighter,
  wanted by several street gangs as well as
  the police.
  Tommy is a 250-point character suit-
  able for use as either a PC or NPC in a
  Martial Arts campaign set in the modern
  era. The character has a background
  stereotypical of a lead character in a mid-
  1990s martial arts movie, and would fit
  best in a campaign with gritty realism.
  Sumo DRESS
  Sumotoris are very scantily dressed in
  the ring, wearing only a small loincloth
  (mawashi) made of silk or cotton. Outside
  the ring, however, very complex (and
  expensive) kimono-like dresses are worn
  for ceremonial occasions. Sumo wrestlers
  are also immediately recognized because
  of their hair topknot (also known as chon-
  mage}. This topknot is reminiscent of the
  days when the samurai wore them as a
  badge of their class and marks the sumo -tori as mem
  1O3
  Styles
  
  TAE KWON DO
  RANKS
  Tae Kwon Do uses a belt system very
  similar to the Judo system (see sidebar, p.
  77) to show ranks up to Black Belt. The
  colors have different meanings, however.
  White Belt: Beginner. Default to Skill
  10.
  Yellow Belt: Skill 11.
  Blue Belt: Skill 12.
  Red Belt: Skill 13.
  Red/Black Belt: Skill 14.
  Black Belt: Skill 15.
  After the Black Belt comes a system of
  dans that follows the Japanese pattern (see
  sidebar, p. 78).
  T'AI Chi CHUAN 5 (OR 8) points/28 POINTS
  This martial art has grown popular in the West, but it is appreciated more
  for its artistic and therapeutic values than for its combat effectiveness. T'ai Chi
  is a graceful, relaxed art, with a series of carefully balanced movements that
  resemble ballet dancing in many ways. But there is also a martial side to this
  art.
  This is one of the "internal" martial arts forms, concerned with the balancing
  of the user's chi (see sidebar, p. 84). In a cinematic campaign, of course, this
  means that a T'ai Chi expert will be a master of several esoteric abilities. Even in
  a realistic campaign, this style, with its emphasis on balance, has something to
  offer combat-oriented martial artists. It has a repertoire of striking techniques as
  well, but as a whole they are secondary to pushes and throws. T'ai Chi also offers
  some sword training, but mainly as a Weapon Art.
  In combat, the main advantage of T'ai Chi is its concentration, at high train-
  ing levels, on the art of unbalancing an opponent through cleverly applied pushes.
  Even in a realistic campaign, the GM may allow its students to have the Push skill
  (see p. 40) to reflect this. Similarly, the teachings of T'ai Chi present "sticking
  hands" as a vital counterpart to "pushing hands", so the GM may also wish to
  allow the Sticking maneuver in a realistic campaign.
  Primary Skills: Judo, Judo Art, Meditation, Philosophy (Zen or Taoism). If
  Push is allowed in a realistic campaign, then it too is a Primary skill.
  Secondary Skills: Broadsword Art, Karate.
  Optional Skills: Breath Control, Shortsword Art, Spear Art, Staff Art, Tin-Yang
  Healing.
  Maneuvers: Arm Lock. If Sticking is allowed in a realistic campaign, then
  Sticking [2 points] is also a standard Maneuver for T'ai Chi.
  Cinematic Skills: Body Control, Immovable Stance, Mental Strength,
  Pressure Points, Pressure Secrets, Push.
  Cinematic Maneuvers: Enhanced Dodge, Sticking [2 points].
  11 POINTS/21 POINTS
  This Karate variant was originally taught by Kanbun Uechi (1877-1948),
  an Okinawan who studied in Fukien around the turn of the century. Uechi
  became one of the few Okinawans to actually teach in China. Though he
  escaped by being drafted into the Japanese army by leaving Okinawa, Uechi
  returned, but refused to teach for years. Eventually, Uechi taught some
  Okinawans in Japan during the 1920's but resettled in Okinawa some years
  later. Uechi called his style the pangainoon system. It uses very few kata, and
  all kata reflect the same lineage as the kata of Naha-Te. It employs a lighter
  breathing technique than in Goju Ryu. The style was renamed by Uechi's son,
  Kanei, in 1948 after his father's death. The principles of the tiger, dragon and
  crane, as taught by Kanbun Uechi, are central. In a cinematic campaign, this
  style develops chi in a number of ways, allowing the practitioner to use several
  devastating skills.
  Primary Skills: Breath Control, Karate, Karate Art, Meditation, Savoir Faire
  (Dojo).
  Secondary Skills: Jitte/Sai, Staff, Tonfa.
  Optional Skills: Karate Sport, Philosophy (Buddhism), Tournament Law,
  any Kobujutsu weapon skill (see p. 89).
  Maneuvers: Aggressive Parry, Back Kick, Elbow Strike, Hook Kick, Knee
  Strike, Shin Kick.
  Cinematic Skills: Breaking Blow, Immovable Stance, Kiai, Power Blow.
  Cinematic Maneuvers: Enhanced Parry (Karate).
  
  White CRANE KUNG FU 7 points/13 POINTS
  This ancient style of Kung Fu, called Pak Hok, bases its movements on
  those of the crane. The legend goes that a Taoist priest was impressed by the
  skill of a crane protecting its nest from a thieving ape. The monk combined the
  wing and beak moves of the crane with other martial arts.
  The White Crane style includes wide swinging attacks and defenses, jumps
  and highly stylized stances. Defensive tactics are used at first, followed by a
  fully committed attack. This means that the White Crane expert will rarely
  attack first. This style also has a large repertoire of weapons, from the jiann
  (straight Chinese sword) to the chain-whip.
  Primary Skills: Karate, Philosophy (Taoism).
  Secondary Skills: Judo, Jumping, Language (Chinese), Meditation, any two
  of the following weapon skills: Broadsword, Knife, Shortsword, Spear, Staff,
  Whip.
  Optional Skills: Any of the other weapon skills.
  Maneuvers: Back Kick, Jump Kick, Riposte (Karate), Spin Kick [2 points].
  Cinematic Skills: None.
  Cinematic Maneuvers: Enhanced Parry (with bare hands or any one
  weapon).
  Special: To reflect the defensive bias of White Crane, a White Crane fighter
  is at -1 Speed for the purposes of determining Initiative (see p. 65) for each of his
  attacks. On the other hand, the bizarre stances of the style give any foe without
  Style Familiarity a -2 to use the Body Language skill when facing a White Crane
  user. As well, a White Crane fighter is at +1 to resist the first Feint made against
  him each turn - a benefit of carefully observing the foe and waiting for him to
  act. These special effects roughly balance one-another, and are worth no points.
  WlNG CHUN KUNQ 
  FU 
  14 POINTS/32 POINTS
  This was one of the martial arts that Brace Lee studied before developing
  his own style (see Jeet Kune Do, p. 85), a fact that has contributed to its popu-
  larity. Wing Chun is one of the oldest styles of China; its legendary origin can
  be traced to the destruction of the Shaolin temple (see Shaolin Kung Fu, p.
  101). One of the Venerable Five was a nun, Ng Mui, who hid in another temple
  and passed her knowledge to a girl there. This girl, whose name was Yim Wing
  Chun, along with her husband, combined these teachings with other skills such
  as knife fighting, and passed them on.
  Wing Chun is primarily a style for close fighting. Quick parries and ripostes,
  and "sticking" techniques, are taught. Fast, short-ranged punches and kicks are
  the rule. Locks and throws are also taught, again with an emphasis on close com-
  bat. Besides empty-handed combat, Wing Chun has two primary weapons: the
  butterfly sword, usually used in pairs, and a heavy, long staff, used in a swinging
  fashion - more like a greatsword than a standard staff. This helps close the gap
  created by the short-ranged tactics of the hand-to-hand portion of the style.
  Since this is an ancient style, one that was created by members of the
  Venerable Five, it has a wide repertoire of cinematic abilities. Many of the skills
  found in more "internal" styles like T'ai Chi or Aikido are present in Wing Chun.
  Primary Skills: Judo, Karate, Shortsword.
  Secondary Skills: Knife, Philosophy (Zen Buddhism), Two-Handed Sword
  (for use with a staff).
  Optional Skills: Meditation, Staff.
  Maneuvers: Arm Lock, Back Kick, Close Combat (Knife or Shortsword),
  Elbow Strike, Feint (Karate or weapon) [2 points, or 1 point in each], Knee
  Strike, Off-Hand Weapon Training (Shortsword), Riposte (Karate), Spin Kick,
  Stamp Kick.
  MASTER
  Age 75; 5'4", 110 Ibs. Long white hair,
  wispy hair, beard and moustache; black
  eyes, Asian complexion; a serene and
  kindly-looking old man.
  Attributes
  ST9, DX 15, IQ 15, HT 13.
  Basic Speed 7, Move 7.
  Dodge 7, Parry 14.
  Damage: Thrust ld-2, Swing ld-1.
  Point Total: 500 points.
  Advantages
  Ally Group (Twenty 100-point martial
  artists, 9 or less); Contact (Shanghai's
  senior officials, 9 or less, usually reliable);
  Harmony with the Tao; Longevity; Strong
  Will +3; Trained By A Master.
  Disadvantages
  Enemy (Shanghai underworld, 6 or
  less); Major Vow (Never refuse aid to those
  who deserve it); Pacifism (Cannot Harm
  Innocents); Sense of Duty (To his students).
  Quirks
  Dislikes political fanatics; Meditates
  every day; Polite, Prefers the countryside to
  the city; Wears only traditional dress.
  Martial Arts Styles
  Chin Na; White Crane Kung Fu (cine-
  matic).
  Skills
  Area Knowledge (China)-l5; Area
  Knowledge (Shanghai)-16; Breath Control-
  15; Calligraphy-15; Gardening-15; Judo-
  20; Jumping-16; Karate-20; Knife-15;
  Language: Mandarin-16; Leadership-16;
  Meditation-15; Nei Tan-15; Philosophy
  (Taoism)-l8; Savoir-Faire-15; Shortsword-
  16; Staff-16; Streetwise-17; Survival
  (Plains)-14; Survival (Jungle)-14; Teach-
  ing-16; Whip-15; Writing-15; Yin/Yang
  Healing-15.
  Cinematic Skills
  Breaking Blow-20; Hand of Death-15;
  Power Blow-20; Pressure Points-20;
  Pressure Secrets-20.
  Maneuvers
  Arm Lock-24; Back Kick-18 (ld+2);
  Choke Hold-20; Finger Lock-22; Hand
  Strike-20 (1d); Head Lock-18 (ld+1); Hit
  Location (Karate)-20; Jump Kick-20
  (ld+4); Kicking-18 (ld+2); Neck Snap-12
  (ld-1); Riposte (Karate)-20 (1d); Spin
  Kick-20 (ld+2); Spinning Punch-20 (Id).
  Cinematic Maneuvers
  Enhanced Parry (Hands).
  Continued on next page . . .
  
  Yi Huan-ch'eng was born in Peking in
  1850, amidst the turmoil of the Taiping
  Uprising. When he was 3, his parents sent
  him away to his uncle's home in the coun-
  tryside. Huan was sent to stay with his
  uncle for a reason: Uncle Wu was a mar-
  tial arts master, with many devoted stu-
  dents, and quite capable of protecting
  young Huan.
  Huan never returned to Peking, and
  spent the first 30 years of his life learning
  the secrets of kung fu under the watchful
  eye of his uncle. When Uncle Wu died,
  Huan became a wanderer, protecting the
  weak and teaching martial arts skills to
  those who needed them. In 1900, he settled
  in Shanghai, where he has lived since. He
  now has a sizeable but secret following of
  "righters of wrongs" who are fanatically
  loyal to him.
  Master Yi is a 500-point character suit-
  able for use as a powerful NPC - perhaps
  even as the teacher of one or more of the
  PCs - in a cinematic GURPS China or
  Cliffhangers campaign set in the China of
  the 1920s.
  Age 50; 5'9", 145 Ibs. Shaven head,
  black eyes, dark Asian complexion; a
  sinister man with an unnerving stare, clad
  in studded leather, with multiple body
  piercings.
  Attributes
  ST 13, DX 16, IQ 14, HT 12.
  Basic Speed 7, Move 7.
  Dodge 7, Parry 14.
  Damage: Thrust 1d, Swing 2d-l.
  Point Total: 500 points.
  Advantages
  Ally Group (Gang of 30 or 40 75-point
  martial artists, 9 or less); High Pain
  Threshold; Iron Hand (Right hand);
  Trained By A Master.
  Disadvantages
  Greed; Lecherousness; Megalomania;
  Pyromania; Sadism; Unattractive.
  Quirks
  Dispenses with philosophy as "largely
  unnecessary;" Easily flattered; Fascinated
  with gunpowder.
  Martial Arts Style
  Wudong (cinematic).
  Continued on next page . . .
  Cinematic Skills: Immovable Stance, Mental Strength, Power Blow,
  Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Dual-Weapon Attack (Shortsword) [2 points],
  Enhanced Parry (all weapons), Sticking.
  WUDONG 
  13 POINTS/30 POINTS
  Wudong is a Taoist style that was created and taught in the Wudong moun-
  tains in Central China. The style concentrates on low-to-the-ground, seemingly
  unbalanced postures, and quick springing attacks from the low positions. This
  style has had relatively little public exposure; most Wudong teachers were hermits
  who would accept no more than a handful of students. This secrecy makes
  Wudong an ideal style for cinematic campaigns, as the ancient Taoist lore of
  Wudong includes techniques to develop and channel chi in all its different forms.
  Most Wudong stances feature a crouching posture, which is used to launch
  explosive attacks. Training is done slowly, in positions that seem deceptively
  heavy and not well-balanced. Most of the initial training resembles "external"
  Kung Fu (see p. 91), with emphasis on striking power and physical condition-
  ing. Grappling techniques are also used, using pressure points to inflict dis-
  abling locks and holds. Kicks, elbow blows, and open-handed strikes are the
  main attacks of the style, with the addition of "soft" defensive maneuvers,
  which allow enemy attacks to flow by unimpeded.
  In a cinematic campaign, Wudong offers several skills and maneuvers. The
  deceptive balance of Wudong stances are equivalent to Drunken Fighting (see
  p. 37), although the movements are not the same; Wudong-trained characters
  use the skill for the same game effect, although the moves will not be recogniz-
  able as traditional drunk-fighting techniques. Chi mastery gives the Wudong
  practitioner a wide choice of other abilities, including (in some cases) the
  dreaded Hand of Death.
  Primary Skills: Acrobatics, Breath Control, Judo, Karate, Karate Art.
  Secondary Skills: Jumping, Philosophy (Taoism).
  Optional Skills: Meditation, Yin-Yang Healing.
  Maneuvers: Arm Lock, Back Kick, Elbow Strike, Hook Kick, Jump Kick,
  Kicking, Knee Strike, Spin Kick.
  Cinematic Skills: Body Control, Breaking Blow, Drunken Fighting, Hand
  of Death, Immovable Stance, Mental Strength, Power Blow, Pressure Points,
  Pressure Secrets.
  Cinematic Maneuvers: Acrobatic Kick, Enhanced Parry (bare-handed),
  Springing Attack.
  Wusftu
  fu
  10 POINTS/20 POINTS
  Wushu is the state-controlled martial art of Communist China. The name
  was originally another word for kung fu, but it was adopted by the Maoist gov-
  ernment as a symbol of change. Seeing the traditional martial arts as reac-
  tionary, the Chinese government restructured the arts into a sports-like body of
  techniques, where hand-to-hand combat is combined with exercise methods and
  flashy acrobatic maneuvers. Most of the "internal" components of the martial
  arts were eliminated and considered "superstitions."
  Later on, however, a number of the chi-oriented techniques of old began to
  reappear in some areas of Wushu. This body of knowledge is called Qigong, the
  art of channeling one's chi. Breaking techniques are the most common of those
  doctrines; they require intensive training, so they are reserved for a highly
  endowed and dedicated few.
  Many Wushu movements have no combat value. Indeed, many of the
  designers of this modern form contend that the martial arts are useless for 20th-
  Styles
  
  century combat, and emphasize the exercise side of the art. The acrobatic
  movements of this style can be effective in the hands of an expert, however.
  Jump kicks, leaping attacks and other stylish maneuvers are common. Some of
  the moves in this style resemble the "animal" techniques (see White Crane
  Kung Fu, p. 105). This style also has a wide repertoire of weapons, including
  swords, knives, steel whips, three-part staffs, and others.
  Primary Skills: Acrobatics, Jumping, Karate Art, Karate.
  Secondary Skills: Judo Art, Judo (in some schools), Philosophy
  (Communist Doctrine), and any two of the following skills: Axe/Mace,
  Broadsword, Flail, Knife, Shortsword, Spear, Staff, Whip.
  Optional Skills: Breath Control, Meditation, Yin/Yang Healing, any other
  weapon skills.
  Maneuvers: Back Kick, Hook Kick, Jump Kick [2 points], Off-Hand
  Weapon Training (any one-handed weapon), Spin Kick.
  Cinematic Skills: Breaking Blow, Flying Leap, Hand of Death, Mental
  Strength, Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Dual Weapon Attack (any one-handed weapon) [2
  points], Flying Jump Kick.
  All of the styles described above are either historical or modern versions of
  real or semi-legendary martial arts. GMs do not need to limit themselves to
  earthly styles, however. Fantasy creatures, alien races and the humans of the
  future will, no doubt, have their own unique, scientific methods of combat.
  GMs can use historical and real-world styles as guidelines. A cabal of assas-
  sins, for instance, could have a style patterned after Ninjutsu. The Space Patrol in
  a futuristic campaign could have the equivalent of Military or Police Hand-to-
  hand, perhaps with Free Fall thrown in. In a low-tech setting, a style with several
  weapons, like Kobujutsu, is most useful. Some styles could be designed to work
  while wearing heavy armor or even a battlesuit. Others could mix combat skills
  with spells. The capabilities of an alien or fantasy race must also be taken into a
  account; a multilimbed race is likely to specialize in Judo-like techniques, while a
  slow but strong species might prefer to use devastating punches.
  The following are examples of fictional styles, intended to serve as models
  for the GM who wishes to introduce martial arts into a fantasy or science fiction
  campaign. Engaijutsu and Kronin Karate are specifically geared to races that can
  be found in GURPS Aliens, although they could be easily refitted for similar
  species. Aerie Fighting, Smasha and Sylvan War-Lore are designed specifically
  for the GURPS Fantasy milieu. Dragon Man Kung Fu is a more "generic" fanta-
  sy style. Finally, Cyberninjutsu, Force-Swordsmanship and Spacer Kung Fu are
  futuristic human styles that could fit into any sufficiently advanced GURPS
  Space or GURPS Cyberpunk campaign.
  (Continued)
  Skills
  Acrobatics-18; Area Knowledge
  (China)-14; Breath Control-16; Camou-
  flage-14; Demolitions/TL5-16; Disguise-
  14; Fast-Talk-14, Gambling-14; Guns/TL5
  (Pistol)-18; Interrogation-17; Intimidation-
  17; Judo-18; Jumping-16; Karate-20;
  Karate Art-18; Language: Mandarin-14;
  Leadership-17; Meditation-14; Philosophy
  (Taoism)-12; Poisons-14; Sex-Appeal-12;
  Stealth-16; Streetwise-17; Tactics-14;
  Teaching-13; Traps/TL5-14; Yin/Yang
  Healing-14.
  Cinematic Skills
  Body Control-14; Breaking Blow-20;
  Drunken Fighting-18; Hand of Death-14;
  Immovable Stance-16; Mental Strength-14;
  Power Blow-20; Pressure Points-18;
  Pressure Secrets-20.
  Maneuvers
  Arm Lock-21; Back Kick-20 (ld+4);
  Elbow Strike-20 (ld+2); Hand Strike-20
  (ld+4); Hook Kick-20 (ld+5); Jump Kick-
  20 (ld+6); Kicking-20 (ld+4); Knee
  Strike-22 (ld+3); Spin Kick-20 (ld+4).
  Cinematic Maneuvers
  Acrobatic Kick-16; Enhanced Parry
  (Hands); Springing Attack-18.
  Although the details of his past are
  shrouded in mystery, it is apparent that the
  man called Sha-Shan learned the ancient
  and carefully-guarded secrets of Wudong
  somewhere along the line, possibly from
  Taoist monks in the mountains of central
  China. In any event, he has turned his tal-
  ents to evil, and has adopted the name
  Sha-Shan ("Mountain Killer") for his life
  of crime. Sha-Shan is a brutal and sadistic
  individual, but values gold enough that he
  would likely train a group of students in
  return for their money and service.
  Sha-Shan is a power-hungry "evil mas-
  ter," an interesting alternative to the tradi-
  tional robed, white-haired sage. He is a 500-
  point character who is best used as a power-
  ful NPC or as a formidable Enemy. He
  would be an ideal choice for the master of
  an evil school that opposes that of Master
  Yi (see above) in a cinematic GURPS
  China or Cliffhangers campaign.
  1O7
  
  Engai; age 300; 4'2", 80 Ibs. High-
  peaked, flame-red crest, luminescent
  white eyes, jet-black skin; a relatively
  bulky and powerful Engai female, who
  generally wears a gaze that is best
  described as one of relaxed calm that's
  about fifty percent sneer!
  Attributes
  ST11,DX 14, IQ 15, HT 14.
  Basic Speed 7, Move 7.
  Dodge 7, Parry 12.
  Damage: Thrust ld-1, Swing ld+1.
  Point Total: 650 points.
  Advantages
  Charisma +2; Empathy; Immunity to
  Disease; Metabolism Control (x3), Night
  Vision; Perfect Balance; Polarized Eyes;
  Status 2; Strong Will +2; Trained by a
  Master; Unaging; Very Beautiful; Voice;
  Walk on Liquid.
  Disadvantages
  Curious, Intolerance (Mortals),
  Obsession (Studying the Martial Arts),
  Overconfidence, Stubbornness.
  Quirks
  Annoyingly industrious, Incorporates
  all manner of pleasures into her training,
  Likes her solitude, Spends hours studying
  history, Tries to be the solemn master and
  fails miserably.
  Skills
  Acrobatics-17; Archaeology-18; Beam
  Weapons-16; Biochemistry-15; Breath
  Control-16; Carousing-15; Chemistry-15;
  Dancing-15; Electronics Operation
  (Teaching Equipment)-16; History-18;
  Hypnotism-16; Judo-18; Jumping-16;
  Karate-18; Meditation-16; Philosophy
  (Engai)-14; Research-18; Sensitivity-17;
  Staff-15; Stealth-16; Style Analysis-13;
  Yin/Yang Healing-14.
  Cinematic Skills
  Blinding Touch-16; Body Control-16;
  Breaking Blow-16; Flying Leap-16;
  Hypnotic Hands-16; Immovable Stance-
  16, Light Walk-16; Mental Strength-16;
  Power Blow-16; Pressure Points-18;
  Pressure Secrets-18; Push-16.
  Maneuvers
  Arm Lock-20; Back Kick-17 (ld+2);
  Choke Hold-17; Elbow Strike-18 (1d);
  Feint (Karate)-22; Finger Lock-18; Hand
  Strike-18 (1d); Head Lock-17 (ld+3);
  Jump Kick-18 (ld+4); Kicking-18 (ld+2);
  Knee Strike-19 (ld+1); Spin Kick-18
  (ld+2).
  Cinematic Maneuvers
  Acrobatic Kick-15; Flying Jump Kick-
  18 (ld+4); Roll with Blow-17.
  Continued on next page . . .
  ENGAIJUTSU
  15 points/30 POINTS
  The Engai are an ancient race of advanced but decadent beings described in
  GURPS Aliens, p. 108. These beautiful elfin creatures achieved immortality
  through biochemical advances and the channeling of their inner energies through
  meditation and breathing techniques, developed through a very powerful martial
  arts style. In effect, the Engai have achieved the Taoist ideal - the perfect balanc-
  ing of chi that ensures eternal life (see p. 84). The Engai also developed and then
  voluntarily discarded powerful psionic abilities. Currently, most Engai content
  themselves with pursuing pleasurable activities, enjoying their eternal lives to the
  fullest. They are generally lazy and apathetic toward worldly concerns (in some
  ways, representing an extreme form of the wu-wei component of Taoist philoso-
  phy, as described on p. 7). All Engai still practice the meditation techniques and a
  simple form of their martial art; these techniques allow Engai to control their
  metabolism to an incredible degree, and even to walk over liquid!
  Even the most "ascetic" Engaijutsu master will show a surprising love for
  enjoying the finer things in life; part of Engaijutsu training consists of drinking
  and celebrating (leading to the development of the Carousing skill).
  The origins of the Engai 's martial art are lost in the distant past. It is
  rumored, however, that a handful of ancient Engai teachers still exist, and wor-
  thy humanoids may learn these secret techniques. Although all Engai have
  some knowledge of the style, only a few of them actually bother learning the
  full techniques of this art. The few extraordinarily dedicated aliens who do
  master it may be unusual enough to deal with non-Engai who wish to learn
  these chi-channeling abilities. Human characters who become Engaijutsu mas-
  ters may actually achieve immortality themselves. In a highly cinematic cam-
  paign, a character with the Trained by a Master (Engaijutsu) advantage and a
  high level of mastery in the style may purchase the Unaging advantage, which
  costs 15 points. Those with at least skill 21 in Light Walk can purchase the
  Walk on Liquid advantage, costing 15 points.
  Engaijutsu is ideal for cinematic campaigns in space settings. Engai practi-
  tioners are the deadliest hand-to-hand combatants in the universe; non-Engai
  students will gain access to an impressive array of abilities. Keep in mind, how-
  ever, that fewer than one in a thousand Engai is dedicated enough to master
  their ancient style, which means there are less than a hundred Engai martial
  artists in the whole universe! Finding a teacher and convincing him to pass on
  his knowledge will be an epic achievement in and of itself.
  Primary Skills: Breath Control, Judo, Karate, Meditation.
  Secondary Skills: Acrobatics, Carousing, Hypnotism, Jumping, Yin- Yang
  Healing.
  Optional Skills: Any athletic skill, Philosophy (Engai) (very similar to
  some forms of Taoism), Staff, Stealth.
  Maneuvers: Arm Lock, Back Kick, Choke Hold, Elbow Strike, Feint
  (Karate), Finger Lock, Head Lock, Jump Kick, Kicking, Knee Strike, Spin Kick.
  Cinematic Skills: Blinding Touch, Body Control, Breaking Blow, Flying
  Leap, Hypnotic Hands, Immovable Stance, Light Walk, Mental Strength, Power
  Blow, Pressure Points, Pressure Secrets, Push.
  Cinematic Maneuvers: Acrobatic Kick, Flying Jump Kick, Roll with Blow.
  
  KRONIN
  14 POINTS/17 POINTS
  The Kronin are a warrior race (described in GURPS Aliens, p.68). Many of
  their fighters practice a style called Tierneju Yi Kronin ("combat discipline of
  the Kronin"); Terrans refer to it as "Kronin Karate" or "Kronin Kung-Fu,"
  depending on who you ask. The Kronin are powerful telepaths, and their style
  involves elements of mental combat. Thus, it could be appropriate for any
  humanoid telepathic race, such as the Takisians from GURPS Wild Cards.
  Kronin Karate is usually taught only to members of the upper classes (upper
  ranks or elite fighting units). A simplified version of this style is made available
  to everyone as part of the military training all Kronin undergo. This style empha-
  sizes direct attacks, both physically (with Karate maneuvers) and psionically
  (favoring Mental Blow). The broadsword is a traditional weapon, but practition-
  ers of Kronin Karate train constantly with it; with a vibro- or monomolecular
  blade, they can use this archaic weapon to great effect. Kronin also carry Force
  Shields (see p. B76) whenever possible, which gives them an edge both in close
  combat and against ranged weapons.
  In a cinematic campaign, a few special abilities are available. Combined
  with their psionic skills, they allow Kronin Karate to hold its own against all
  comers. In a "four-color" campaign, it is recommended that, instead of chi abil-
  ities, the Kronin concentrate on psionic powers.
  Primary Skills: Broadsword, Force Shield, Judo, Karate, Mental Blow, Mind
  Shield, Telereceive, Telesend.
  Secondary Skills: Free Fall, Stealth, Throwing.
  Optional Skills: Other telepathic skills, Acrobatics, Jumping, Knife, Staff.
  Maneuvers: Arm Lock, Back Kick, Feint (Broadsword or Karate) [2 points,
  or 1 point in each], Hook Kick, Spin Kick.
  Cinematic Skills: Breaking Blow, Power Blow, Pressure Points.
  Cinematic Maneuvers: None.
  folk MARTIAL ART)
  10 POINTS/25 POINTS
  The Winged Folk (p. FF136) are a race of flying humans that live in remote
  areas. Most Winged Folk avoid hand-to-hand combat, since their wings become a
  liability at close quarters and their bone structure is fragile. There are, however,
  some techniques that allow Winged Folk to successfully defend themselves while
  in close combat. Some warrior societies (including the Brides of Arrai, an all-
  female fighting order) have developed a hard-hitting style that concentrates on
  ranged attacks and devastating kicks. An Aerie Fighting combatant knows how to
  throw any weapon with deadly effect, and is also an accomplished archer.
  Flying acrobatics are developed by this style; practitioners of Aerie Fighting
  learn Flight, a Physical/Average skill (defaults to DX for a flying race) that helps
  the character make tighter turns in the air. Turning radius calculations are described
  on p. B139; most flyers can pull a number of Gs equal to HT/2. By making a HT
  roll and a Flight-4 roll, the character can increase the number of Gs by 1; for each
  additional G beyond the first, subtract 2 from each roll. On a failed HT roll, he
  blacks out for 2d turns. On a failed skill roll, he loses control. Hand-to-hand combat
  while on the air will require Flight rolls to stay aloft. Failures will indicate the char-
  acter falls for a turn, after which he may attempt Flight rolls to regain control.
  In a Cinematic campaign, some Aerie Fighting secret teachings are avail-
  able, including master bowmanship techniques which allow them to make
  incredible shots at enormous ranges.
  Arlah is a young Engai, barely 300
  years old. During her studies as a youth,
  her curiosity was piqued by a series of
  neural induction sessions on the ancient
  history of her people and their martial arts
  traditions. With a single-minded dedication
  quite uncharacteristic of an Engai, Arlah
  decided to dedicate her life to seeking out
  this knowledge and to reviving the ancient
  practices. Few other Engai really cared one
  way or the other, so she pursued her studies
  in near solitude for 245 years, bringing her
  race's formidable technology to bear on the
  problem, and then employing sleep teach-
  ing, neural induction and learning suits to
  teach the ancient techniques to herself.
  When Arlah believed that she had final-
  ly mastered the martial arts, she was visited
  by a much older Engai, Wahni, who seemed
  to know everything that Arlah had done
  over the last two centuries. Wahni was
  (suprisingly) quite impressed with Arlah's
  dedication, and offered to help her complete
  her training by actually teaching her in per-
  son! Arlah accepted the offer, and today is
  the only pupil of Engaijutsu's only teacher.
  Arlah is a 650-point character, really
  only suitable for use as a powerful NPC in
  a cinematic GURPS Space campaign.
  However, she could be introduced into a
  Supers campaign as a unique character,
  although the GM may wish to charge addi-
  tional points for Engai teachnology.
  Arlah is built using the Engai racial
  template in GURPS Aliens, updated to
  agree with the latest edition of the race
  creation rules in Fantasy Folk, Second
  Edition. Note that she has bought off her
  racial Laziness disadvantage.
  Kick
  Defaults to Kicking-4
  Prerequisite: Flight-15+
  This Maneuver is unique to Aerie
  Fighting. The attacker dives from a mini-
  mum altitude of 6 yards (requiring a
  Flight-2 roll), and delivers the kick as he
  sweeps past the enemy. This attack does
  swing+1 damage plus Karate bonuses, and
  is at -1 to Parry in addition to normal
  height penalties (see p. B123).
  1O9
  
  SlSTER
  DEMONSLAYER
  Age 41; 5 '9", 145 Ibs. Braided golden
  hair, green eyes, rosy complexion; has a
  very visible tattoo of an elaborate red
  dragon around her throat.
  Attributes
  ST 13, DX 15, IQ 13, HT 13.
  Basic Speed 7, Move 7.
  Dodge 8, Parry 13 (two-handed) or 10
  (one-handed).
  Damage: Thrust 1d, Swing 2d-l.
  Point Total: 450 points.
  Advantages
  Combat Reflexes; Literacy; Luck;
  Patron (The Dragon Temple, 9 or less);
  Red Dragon Tattoo; Reputation (+2):
  Heroic demon slayer; Status 2 (Knight);
  Strong Will +3; Trained By A Master.
  Disadvantages
  Code of Honor (Dragon Temple Code);
  Enemy (Demonic forces, 9 or less);
  Extremely Hazardous Duty; Honesty.
  Quirks
  Dislikes being called a Dragon-
  Woman; Refuses rewards and favors; Says
  a prayer when she draws her sword.
  Martial Arts Style
  Dragon-Man Kung Fu (cinematic).
  Skills
  Acrobatics-15; Area Knowledge
  (Countryside)- 15; Armoury/TL3-12; Bard-
  14; Breath Control- 12; Fast-Draw (Ka-
  tana)-16; Judo- 16; Jumping- 16; Karate- 17;
  Katana-18; Leadership- 15; Magic Breath-
  17; Meditation- 13; Occultism-15; Philoso-
  phy (Dragon Temple)- 16; Staff-15; Stealth-
  15; Survival (Marsh)-12; Survival
  (Mountain)- 12; Survival (Woods)- 12; Tac-
  tics-14; Yin/Yang Healing- 14.
  Continued on next page . . .
  Primary Skills: Bolas, Bow, Flight [2 points], Karate, Throwing.
  Secondary Skills: Acrobatics, Fast-Draw (Arrow), Fast-Draw (Knife).
  Optional Skills: Net, Spear, Theology (Winged Folk).
  Maneuvers: Jump Kick, Kicking, Knee Strike, Swooping Kick (see sidebar).
  Cinematic Skills: Power Blow, Throwing Art, Zen Archery.
  Cinematic Maneuvers: Enhanced Dodge (with the limitation Only When
  Flying, for a total cost of 12 points).
  DRAGON-MAN KUNG fu
  11 POINTS/20 POINTS
  "In the fastness of the Gryll'Eriad Mountains, well-protected from the ele-
  ments and the evil men do, lies the Dragon Temple. Behind the jade-facade
  doors of the Temple lies the secret of the Flame Breath. How it is that men and
  women with no mystical ability can exhale fire at will is not known. It is indeed
  fortunate that the Dragon Temple monks only venture outside to serve on the
  holiest quests and that the few wandering Dragon-Men are knights of the
  noblest rank, warriors who never stray from the path of righteousness that their
  teachers set for them. But what if the secrets of the Dragon Temple were turned
  over to evil and greedy men? I shudder at the very thought."
  — the Writings of Mi-Long the Traveler
  This style of combat is unique to fantasy backgrounds. High-ranking practi-
  tioners of Dragon-Man Kung Fu gain the ability to breathe flame! Very few
  people outside the acolytes of the Dragon Temple know how this power is
  acquired, but many a warrior and mage has traveled to the remote monastery
  and pleaded, demanded or otherwise tried to cajole or steal the secret out of the
  reclusive monks. All have failed; most paid with their prides or their lives for
  the offense. A few have joined the Temple and learned the secret, and are now
  part of the forces protecting it.
  Most Dragon-Men are inducted into the Temple when they are children or
  teenagers. Only the most extraordinary applicants will be admitted to the
  Temple after age 20; a martial artist Trained by a Master of another school
  might pass muster. Initiates must go through several gruelling physical and
  mental ordeals, and master all the basic skills of the style, before the Gift of
  Flame is bestowed (in game terms, the character must have the Trained by a
  Master advantage, must pay the full cost of the cinematic version of the style,
  and must have the prerequisites for Trained by a Master, including a minimum
  Primary skill level of 16).
  The Dragon Temple is a strict (almost fanatical) upholder of Good; its
  monks are living weapons to be used against evil sorcerers, demons and
  the undead. The emperors of the land cheerfully accept the monks' aid in
  times of trouble, but are fearful and suspicious of the Dragon-Men; occa-
  sionally a government army has been raised against the Temple - and
  been destroyed.
  There is a legend that claims that deep within the bowels of the
  Temple lies its founder, an ancient dragon who has endured for millen-
  nia. This dragon, it is rumored, is the one that taught the secret of flame
  breath to the monks. The Gift of Flame is not a chi power, but a magical-
  ly-granted power. It is bestowed through a special version of Knack
  Tattoos (see p. MI62); the tattoos that are given to the acolytes of the
  Temple give them the power to breathe fire. The power works as per the
  Breathe Fire spell on p. M34; the breath does ld+1 to 4d+4 flame dam-
  age per use, and its range is equal to 1 hex per die of damage. Three
  types of tattoo are available:
  Styles
  
  The first one, given to Green Dragon Acolytes, allows the wearer to breathe
  flame; this takes 1 second of concentration and costs 1 Fatigue per ld+1 of
  damage. The second type, given to Red Dragon Acolytes, allows the monk to
  Breathe Fire immediately, without concentration. The last one, reserved only for
  the top masters, the Golden Dragon Acolytes, casts the spell without concentra-
  tion and the first ld+1 of damage is free - enabling the monk to emit a ld+1 jet
  of flame from his mouth continuously! These tattoos must be purchased with
  character points, using the Knack rules on p. M86: the Green Dragon tattoo
  costs 20 points, the Red Dragon tattoo costs 30 points, and the Golden Dragon
  tattoo costs 40 points. This is in addition to the other prerequisites.
  Primary Skills: Judo, Karate, Magic Breath (P/E, used to aim flame jet; see
  p. M94), Philosophy (Dragon Temple) and one weapon skill from the follow-
  ing: Katana, Shortsword, Spear, Staff.
  Secondary Skills: Acrobatics, Breath Control, Jumping, Meditation,
  Stealth, Yin/Yang Healing, one more weapon skill.
  Optional Skills: any other weapon skills,
  Maneuvers: Arm Lock, Axe Kick, Back Kick, Jump Kick, Spin Kick,
  Spinning Punch.
  Cinematic Skills: Blinding Touch, Breaking Blow, Flying Leap, Mental
  Strength, Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Flying Jump Kick, Roll with Blow.
  (ORC COMBAT
  SlSTER
  13 POINTS/18 POINTS
  "Smasha, eh ? " The old guardsman leaned backwards on his chair, his eyes
  twinkling, his smile distant. "I'm sure yer awready heard the tales - y'know, the
  one where them Orc gods gave this one tribe some secret tricks an' all that nice
  stuff . . . But lemme tell ya something 1 know.
  "'Bout six, seven years ago, it was. . . we had this reg'lar right at this here
  tavern. He was an Ugglie - pardon me, Your Sageness; you 'd be callin ' 'im a
  Half-Ore, but we simple folk got our own names. Krelkin, he was called. Quiet
  sort of fellow, got along well with everyone but Trash. And that was bad
  enough; Trash was an Ogre, a tame 'un, left out of the arena on account of
  killin' so many people. Trash gave ol' Krelkin a trashin' I never seen a man
  Cinematic Skills
  Blinding Touch- 12; Breaking Blow- 15;
  Flying Leap-19; Mental Strength-16;
  Power Blow-19; Pressure Points-18;
  Pressure Secrets- 12.
  Maneuvers
  Arm Lock-18; Axe Kick-15 (ld+5);,
  Back Kick-15 (ld+3); Hand Strike-17
  (ld+1); Jump Kick-17 (ld+5); Spin Kick-
  17 (ld+3); Spinning Punch-17 (ld+1).
  Cinematic Maneuvers
  Flying Jump Kick-17 (ld+5); Roll
  with Blow- 15.
  Sister Magrethe is a wandering Dragon-
  Man knight, a Red Dragon Acolyte of the
  Dragon Temple. Virtuous and beloved by
  the common folk, she fights evil wherever
  she finds it, and has freed many villages
  from the oppression of would-be sorcerer-
  lords. Bards sing tales of her most famous
  deed: the defeat of the dread Demon Lord
  Vyktyr in personal combat, preventing him
  from flinging open the gates of Hell.
  Vyktyr now sits in Hell, directing a cam-
  paign of personal vengeance against
  Magrethe as he awaits the regeneration of
  his corporeal form. This has led to a full-
  fledged war between the Demon's human
  pawns and the Dragon Temple!
  Magrethe is a 450-point character, suit-
  able for use as a very powerful NPC in a
  highly-cinematic fantasy campaign with
  Martial Arts elements. She would be an
  ideal Patron for young Dragon-Man
  acolytes.
  
  VAULT
  No default (see below)
  Prerequisites: Drop Kick, Staff.
  This maneuver is unique to Sylvan War
  Lore. A fighter with a staff can use it for a
  pole-vaulting kick. Treat it as a Flying
  Jump Kick (p. B43), with an extra 2 hexes
  of reach due to the pole-vault, and an extra
  + 1 damage. On a successful roll, the attack-
  er lands next to his victim after the kick.
  The Staff Vault is learned as though it
  defaulted to Drop Kick-4, but no one
  without training can execute this maneu-
  ver. If the kicker falls, he must roll vs.
  DX-2 to keep hold of his staff.
  TAURELEN
  Elf; age 55; 5' 10", 135 Ibs. Long silver
  hair, violet eyes, pale complexion.
  Attributes
  ST10, DX 14, IQ 13, HT 11.
  Basic Speed 6.25, Move 6.
  Dodge 7, Parry 11.
  Damage: Thrust ld-2, Swing 1d.
  Point Total: 225 points.
  Advantages
  Attractive Appearance; Combat Re-
  flexes; Literacy, Magery 1 ; Musical Ability
  +2; Trained By A Master; Unaging.
  Disadvantages
  Code of Honor (Elves'); Impulsiveness;
  Overconfidence; Pacifism (Cannot Harm
  Innocents); Sense of Duty (Nature);
  Stubbornness; Technophobia (Mild).
  Quirks
  to tears with "book-learning";
  humans amusing; Intolerant of
  Orks: Light-hearted and carefree; Sees
  battle as a kind of game.
  come out alive from - 'course, Krelkin weren't human, so in two or three
  weeks he can walk again. An' he left for th' Mountains out North, and the one
  word he says, when someone or other asks him what he's lookin' for, is
  "Smasha."
  "Well, I'd almost plain forgotten ol' Krelkin when he came back, two years
  later. Trash was head bouncer at the tavern now, and he remembers Krelkin
  fine. So Trash smiles and I figure Krelkin won't be walking outta this one. I
  mighta said somethin', but it's no business of the Guard what happens betwixt
  an Ogre and an Ugglie. Trash reaches for Krelkin with a hand the size of a
  Delbury ham.
  "Only Krelkin, he ain't there no more. He ducks under Trash's arm, grabs
  his face, an' next thing I see, Trash is screamin' like a wounded pig, an' one of
  his eyes is runnin' down his face. Krelkin kicks him where it hurts, twice, and
  Trash bends over like he's payin' his respects. But then I notice Trash is gropin'
  fer his dagger.
  "Krelkin notices, too. He stands there for a moment, and Trash
  jus' cleared his dagger out when the Ugglie hits 'im with both hands
  together. I hear a crack, an' Ifigger that's the ogre's neck breakin'. I
  was right, 'cause Trash went down and never got up.
  "Krelkin? He just smiled a little, then bought drinks for
  ev 'ryone. Nobody paid 'im no mind after that; some wise mouths
  made some jokes about takin' out the Trash. Krelkin's now the Fire
  Mage General's chief bodyguard. An' there's none that calls 'im
  Ugglie any more."
  The origins of Smasha are a mystery. All its practitioners show a
  degree of refined brutality that is disturbing at best. Some of them
  can even perform superhuman feats. Fortunately, very few Orcs have
  the dedication to progress that far in the study of Smasha; most prac-
  titioners are mundane fighters. Only cream-of-the-crop Orcs master the intrica-
  cies of this style, but among some tribes it is common to find some brawler-
  wrestlers with more skill than the average Orc.
  Primary Skills: Boxing, Brawling, Wrestling.
  Secondary Skills: Jumping, Knife, Stealth, any weapon skills.
  Optional Skills: Acrobatics, Holdout.
  Maneuvers: Aggressive Parry (Brawling), Arm Lock, Eye Gouging, Face
  Attacks, Head Butt, Jab, Kicking, Rabbit Punch, Roundhouse Punch, Stamp Kick.
  Cinematic Skills: Kiai, Power Blow, Pressure Points, Pressure Secrets.
  Cinematic Maneuvers: Roll with Blow.
  SYLVAN WAR LORE
  9 points/15 POINTS
  Arts Style
  Sylvan War Lore (cinematic).
  Continued on next page . . .
  This combat art was developed by Wood Elves to face the depredations of
  Orcs and other intruders. Fauns and Leprechauns have been known to learn
  Sylvan War Lore as well; there are legends about Giants who were masters of
  this style, but nobody wants to hear them, let alone believe them. Very few
  humans even know that this style exists. A human character would have to have
  a high Unusual Background advantage (15+ points) to be able to learn it.
  The primary weapon of Sylvan War Lore is the staff. It is said that a master
  of this style can defeat half a dozen foes in full armor with only a whirling
  quarterstaff. The Short Staff skill is favored by Leprechauns in wielding their
  shillelaghs. In a cinematic campaign, both the Trained by a Master and Weapon
  Master advantages are available.
  This style is also very concerned with stealth and subtlety. A trained loremas-
  ter can become practically invisible in a forested area, waiting for the right
  moment to attack. Since many practitioners of this style also know magic, they are
  Styles
  
  fearsome opponents. A mage with the Trained by a Master advantage could use
  Camouflage, Invisibility Art and the Invisibility spell and thus defeat all forms of
  detection.
  Primary Skills: Brawling, Staff, Stealth, Survival (Forest), Wrestling.
  Secondary Skills: Acrobatics, Breath Control, Camouflage, Climbing,
  Jumping, Meditation, Tracking.
  Optional Skills: Bow, Hypnotism, First Aid, Knife, Knife Throwing.
  Maneuvers: Arm Lock, Disarming, Drop Kick, and special Staff Vault
  Maneuver (see sidebar).
  Cinematic Skills: Blind Fighting, Body Control, Invisibility Art, Light
  Walk, Mental Strength.
  Cinematic Maneuvers: Roll with Blow.
  CYBERNINJUTSU 
  15 POINTS
  (no cinematic a b i l i t i e s )
  This is a combat technique designed for assassins with cybernetic augmen-
  tations in TL8+ worlds, especially those with a cyberpunk flavor. Cyberninjutsu
  is taught secretly, sometimes by ancient ninja clans who have adapted to mod-
  ern times, and by the rare megacorp that specializes in the use of bionically-
  augmented agents. Its moves are designed to make the most out of bionic
  implants like Claws, Ripsnakes (see p. 127) and other hidden weapons. Like
  their predecessors, cyber-ninja are masters of covert operations and deceptive
  moves. They specialize in subtle, inconspicuous killings; the best cyber-ninja
  can commit a murder in the middle of a crowded room and leave the scene
  before anyone (maybe even the victim!) realizes what has happened.
  The typical cyber-ninja will have the following bionics: Claws, Ripsnake or
  Stinger, and a Poison Reservoir (see p. 127). They may also have a Weapon
  Implant or Mount (see p. CY33), or a Hidden Compartment (p. CY32). His
  skills mirror those of the ancient ninja. The cyber-ninja's ideal is to achieve
  total surprise; for that purpose he (or she) will often attempt to gain the target's
  trust by befriending or seducing him.
  There is no cinematic point cost for Cyberninjutsu. This assumes that nin-
  jas with cinematic abilities eschew cybernetics in favor of traditional tech-
  niques; use normal Ninjutsu as described in p. 93. Interesting rivalries might
  develop between the original shadow assassins and these ultra-tech newcomers.
  Primary Skills: Acting, Holdout, Judo, Karate, Poisons, Stealth.
  Secondary Skills: Climbing, Fast-Draw (Claws), Fast-Talk, Jumping, Sex
  Appeal, Shadowing and two weapon skills, ancient or modern, including Guns.
  Optional Skills: Any weapon skills, Armoury (Cybernetic Weapons),
  Demolitions.
  Skills
  Acrobatics-15; Bard-14; Bow-14;
  Brawling-16; Breath Control-12; Cam-
  ouflage-14; Carousing-12; Climbing-14;
  Dancing-14; First Aid/TL3-13; Hypnotism-
  12; Jumping-15; Knife-14; Knife Throw-
  ing-14; Meditation-12; Musical Instrument
  (Drum)-14; Savoir-Faire-15; Singing-14;
  Staff-16; Stealth-16; Survival (Forest)-16;
  Tracking-14; Wrestling-16.
  Cinematic Skills
  Blind Fighting-12; Body Control-12;
  Light Walk-14; Mental Strength-14.
  Maneuvers
  Arm Lock-18; Disarming-16; Drop
  Kick-16 (1d); Staff Vault-14 (ld+2).
  Cinematic Maneuvers
  Roll with Blow-15.
  Spells
  Clumsiness-12; Dexterity-12; Haste-12;
  Heal Plant-12; Hide Path-15; Hush-12;
  Identify Plant-12; Itch-12; Lend HT-12;
  Lend ST-12; Mage-Stealth-15; Might-12;
  Minor Healing-12; Seek Plant-12; Silence-
  12; Spasm-12; Sound-12; Vigor-12
  Taurelen is a Wood Elf scout and war-
  rior-mage. Despite (or because of) the fact
  that her mother is a powerful seeress and
  her father is a great wizard, she rejected
  advanced magical training and sought the
  training of a Sylvan War Lore master
  instead. Taurelen is an impulsive Elf who
  often takes risks that she shouldn't. She
  uses her training to harass Orcs at the edge
  of her community's forest, and has a pen-
  chant for mixing it up where other Elves
  would prefer to use magic or the bow.
  Taurelen is 225-point character suitable
  for use as an above-average PC or NPC in
  a GURPS Fantasy campaign that includes
  cinematic martial arts elements as well as
  magic. Taurelen was built using the Elf
  racial template in GURPS Fantasy Folk.
  
  Reticulate 
  17points/25 points
  The Reticulate style emphasizes classic
  Judo movements that utilize the Kaa tail
  as a weapon. The Art relies on greater
  flexibility and encourages inflicting pain
  on the opponent. It also emphasizes sub-
  duing the opponent as quickly and quietly
  as possible.
  The Art originated from the Kaa
  WarMaster Sahrk (Status 8) nearly 30
  years ago. He is waging a campaign to
  remake the Kaa into a race of conquerors.
  He despises cowardice and will attempt to
  recruit any Kaa he sees acting bravely. He
  started a selective breeding program with
  the goal of breeding Kaa without
  Cowardice and with greater Strength and
  Intelligence. So far there are several hun-
  dred Kaa that have been improved this
  way and several hundred others who have
  overcome their Cowardice Disadvantage.
  A Reticulate-trained Kaa costs an extra 27
  points above the racial base (75 in a cine-
  matic campaign), including the loss of the
  Cowardice Disadvantage. This cost can be
  reduced by replacing Cowardice with
  Duty or Sense of Duty towards Sahrk and
  the new Kaa race.
  Sahrk is using his new Kaa sparingly
  but with deadly effectiveness. Each Kaa
  under Sahrk must go through at least ten
  years of training to learn Reticulate. They
  are then turned into teachers for new Kaa
  students, starting a cycle of ever-improv-
  ing Kaa Martial Artists. Sahrk has a hid-
  den planet devoted to his new Kaa and
  uses several asteroid bases to raid frontier
  planets for slaves, supplies and as a prov-
  ing ground for his troops.
  Primary Skills: Hypnotism, Judo,
  Karate and Wrestling.
  Secondary Skills: Physiology (Human)
  and Physiology (Kaa).
  Optional 
  Ski/Is: 
  Anthropology,
  Interrogation, Psychology and Xenobiolo-
  gy (Human).
  Maneuvers: Aggressive Tail Parry,
  Arm Lock [2 points], Breakfall, Feint
  (Judo), Ground Fighting (Judo), Hit
  Location (Karate) [2 points], Hook Kick
  (Tail), Kicking (Tail), Neck Snare, Spin
  Kick (Tail), Sweeping Kick (Tail).
  Cinematic Skills: Breaking Blow,
  Immovable Stance, Invisibility Art, Power
  Blow, Pressure Points, and Pressure
  Secrets.
  Cinematic Maneuvers: Binding and
  Sticking.
  Continued on next page . . .
  Maneuvers: Aggressive Parry, Arm Lock, Eye Gouging, Elbow Strike,
  Feint (Karate), Finger Lock, Head Butt, Knee Strike, Neck Snap.
  Cinematic Skills and Maneuvers: None.
  FORCE-SWORDSMANSHIP 7 POINTS/21 POINTS
  This style revolves around the use of the Force Sword (see p. 127).
  Practitioners devote their lives to the mastery of the weapon, becoming ultra-
  tech versions of the Japanese "sword saints" of old. Conventional wisdom holds
  that most force-swordsmen are foolish fanatics obsessed with a weapon system
  of limited usefulness, but there are rumors that the true masters of the style are
  capable of superhuman feats. The style is taught in some planetary cultures
  where duelling is fashionable; young members of galactic noble houses often
  walk around with richly-decorated force swords hanging from their belts. These
  weapons often become badges of aristocracy, and their use is forbidden to com-
  moners. Force-swordsmanship is also a well-regarded spectator sport, using
  either training blades (see p. 128) or actual swords in to-the-death gladiatorial
  events.
  The average swordsman uses a one- or two-handed grip on his weapon and
  a fencing style similar to Japanese Kenjutsu. Special care is taken to keep the
  energy blade away from the body when attacking, since even a glancing blow
  can hurt the user of the sword. Jumping and tumbling techniques are taught to
  allow the swordsman to outmaneuver enemies. Optionally, some grappling
  moves are added but rarely used, since the risks of using bare hands against
  force swords are enough to make anybody quiver.
  Beneath this well-known sport and combat technique lies a shadowy sub-
  culture of swordsmen who claim that extraordinary individuals can forge a
  supernatural link with their blades. This link, they claim, allows true masters to
  do more damage with their weapon, and to use them in amazing ways. There
  are centuries-old myths (some which seem to predate the actual invention of
  force-swords!) that tell of force-swordsmen parrying beam weapons with their
  shining blades. In a cinematic or "four-color" campaign, characters with the
  Weapon Master and Danger Sense advantages have managed to link their chi
  with their swords. To do so, they have to build the sword themselves (requiring
  STYLES
  
  an Armoury (Force Swords) roll at -5). As a result of this link, they not only get
  the damage bonuses for the Weapon Master advantage (see p. 28), but can use
  Power Blow with the sword, which doubles the sword's damage (i.e., if the
  sword did 8d+3 damage, it will do 16d+6 if a Power Blow roll is made!).
  Additionally, they can perform other feats like the Precognitive Parry described
  on p. 39.
  Primary Skill: Acrobatics, Katana (Force Sword), Katana Art (Force
  Sword).
  Secondary Skills: Jumping, Savoir-Faire (Dojo), Wrestling.
  Optional Skills: Karate.
  Maneuvers: Feint (Force Sword) [2 points], Hit Location (Force Sword),
  Off-Hand Weapon Training (Force Sword).
  Cinematic Skills: Blind Fighting, Flying Leap, Kiai, Mental Strength,
  Power Blow, Parry Missile Weapons (Beams), Precognitive Parry.
  Cinematic Maneuvers: Enhanced Parry (Force Sword), Whirlwind Attack.
  SPACER KUNG F U 
  15 POINTS
  (NO CINEMATIC ABILITIES)
  This style might be developed by TL8-9 space station personnel, asteroid
  miners, and other spacer professions. Spacer Kung Fu assumes that low or
  zero-gravity is the norm of most space installations. In a Cyberpunk campaign,
  where Earth is just beginning to set up bases in the Moon and Mars, this style
  would fit in very well.
  Spacer Kung Fu turns a human in zero-gee or vacuum into a deadly
  opponent, even when encumbered with a vacc-suit. Judo and Knife, besides
  Free Fall, are the main skills of this style. With Judo, a trained fighter can
  throw an opponent in zero-gee, or leave him hanging helplessly in mid-air.
  On the surface of a ship or station, a foe without thrusters can be thrown on
  a one-way tour of the galaxy. Locks and grapples are also emphasized; the
  foe's own momentum is used to break his bones. With the Knife skill, vital
  pipes and hoses can be hit, eliminating the adversary's air supply and even
  exposing him to vacuum. In fragile installations where bullets or beam
  weapons will spell doom for everyone, the knife is the weapon of prefer-
  ence.
  A spacer usually favors a vibroblade or even a monowire blade, possi-
  bly worn in a power holster (see p. UT21). He may use a power glove (p.
  UT62) to get a grip on his foe.
  This style does not have cinematic abilities. However, any of the styles
  described in the main text can be customized by adding Free Fall, Vacc Suit
  and the Maneuvers described below, creating "Spacer Jujutsu" or "Spacer
  Wushu," for instance. Those styles can use their cinematic abilities: but
  remember that in space, nobody can hear your kiai.
  Primary Skills: Free Fall, Judo, Jumping, Karate, Knife, Vacc Suit.
  Secondary Skills: Acrobatics, Climbing.
  Optional Skills: Fast-Draw (Knife), Fast-Draw (Power Holster), Knife
  Throwing, Stealth.
  Maneuvers: Arm Lock, Close Combat (Knife), Hit Location (Karate or
  Knife) [2 points, or 1 in each], Jump Kick.
  Special: Normally, vacc suits give a -1 to all DX-based skills and DX
  rolls. This training includes combat-familiarization which eliminates the
  penalty to all combat-oriented rolls and the Free Fall skill; the cost is 4
  character points.
  Cinematic Skills and Maneuvers: None.
  ART
  (Continued)
  Aggressive Tail Parry (P/H)
  Defaults to (Karate/2)-4
  Prerequisites: Karate, a tail and
  Extra Flexibility
  Cannot exceed Karate/2
  This maneuver works in a manner
  identical to Aggressive Parry, except that
  it does normal kicking damage.
  Neck Snare (P/H)
  Defaults to Judo-4
  Prerequisites: Judo, a tail and
  Extra Flexibility
  This maneuver allows the attacker to
  grab a foe by the neck and apply a choke
  hold in one swift motion. Roll a Quick
  Contest between the attacker's Neck
  Snare maneuver and the defender's DX,
  Judo or Wrestling. If the attacker wins, his
  tail is wrapped around his victim's neck.
  Treat this as a Choke Hold.
  
  Although many martial arts emphasize empty-hand
  techniques, most of them include some weapon
  training, a heritage from more violent times. Popular
  culture has become fixated on a number of those
  weapons from time to time - witness the nunchaku
  fad of the seventies and the current fascination for
  "ninja" weapons. This fascination has led to weapons
  training in some styles that were not meant to use
  weapons in the first place!
  
  The selection of weapons below will focus on the more pop-
  ular weapons of the 20th century. Some of these were rather
  obscure during the period of their origin - much less popular than
  more mundane, less memorable ones. Still, most of them can be
  quite lethal. Many of these weapons are only slightly different
  from the ones found in the Basic Set. This chapter will give brief
  descriptions and some notes as to their background and what mar-
  tial arts styles are most likely to use them.
  Weapon Costs
  Since this book can be used for campaigns in many historical
  periods, it is impossible to give an accurate single cost for
  weapons. The Weapon Table (pp. 130-135) gives modern-day
  costs for the weapons it describes. These assume weapons of
  Good quality. (In a TL7 campaign, however, sword-steel
  becomes less expensive, so the costs given here will buy knives
  and swords of Fine quality, doing +1 damage, and Good weapons
  are 40% of this cost.) Note that lower prices can be found in
  many martial-arts catalogs; often, these are Cheap quality
  weapons, if not toys.
  Historical costs will vary. A campaign set a hundred years
  ago might divide most costs by 10. For other periods, the GM
  can determine a reasonable formula.
  For a campaign set in medieval Japan, prices would be
  about the same as modern ones, but use "pieces of silver"
  instead of "dollars." The given prices will buy a Good weapon;
  Fine knives and swords will cost 4 times as much, and Very
  Fine ones at least 20 times as much. See GURPS Japan.
  Prices for historical ninja gadgets (p. 119) are expressed in
  silver pieces. In a modern campaign, the GM may decide how
  easy or hard it is for would-be ninjas to find or build their devices
  - this should be based largely on the cleverness of the players.
  Weapons
  Chinese martial arts weapons range from the utilitarian to the
  ridiculous. Some are so bizarre that observers find it hard to
  believe that they could be wielded effectively in combat.
  Multibladed swords and knives, edged staffs and other strange
  instruments abound in Chinese lore. GMs dealing with these
  weapons must keep in mind that, throughout history, simple
  designs have endured because they work better. It would be rea-
  sonable to assess a DX penalty to any really peculiar-looking
  weapon. For more exotic weapons, see GURPS China.
  SWORDS
  Jiann - This is a straight sword tapering to a point. It is
  used primarily for thrusting. The jiann is popularly known as the
  "T'ai Chi Sword" due to its use in that style. It can be used with
  either the Broadsword or the Fencing skills. The Fencing skill
  can only be used if the fighter's encumbrance is Light or less.
  Dau - A heavy-bladed scimitar, the dau can be used for
  chopping or thrusting.
  Hook Sword - This blunt weapon has a hooked "point,"
  used to snare weapons using the Jitte/Sai skill (see p. 33). To
  strike with it, use the Broadsword skill. If the Jitte/Sai skill is
  not known, attempts to disarm are resolved normally (see p.
  B111), but this weapon gets a +1 bonus to the attempt (reducing
  the penalty to -1). Its handguard is usually edged, allowing the
  user to slash enemies with it; use Brawling or Karate for this
  attack. Use the normal damage for a punch, but make it cutting
  instead of crushing.
  Butterfly Swords - These heavy, saber-like chopping
  weapons are commonly used in pairs. Their weight lets them do
  slightly more cutting damage than a normal shortsword, but
  they are useless for thrusting. They are a favorite tool of Wing
  Chun adepts (see p. 105).
  knives
  Slashing Wheels - These Chinese weapons are metal circles
  with several cutting protrusions on its outer edge. One section of
  the circle has a leather- or cloth-covered hand-grip. These
  weapons are often used in pairs, and users will learn the Off-
  Hand Weapon Training Skill. They can be used with the Knife
  or Main-Gauche skill, but an unfamiliar user is at -4 until he
  spends a day practicing with them.
  Some common slashing wheels include the 5-Fires Wind-
  Fire Wheel, which has five pointed extensions, the Gold-Coin
  Wheel, which resembles ancient Chinese coins, and the 9-Fires
  Wind-Fire Wheel, that has three three-pronged points. Used
  defensively, slashing wheels provide PD 1 for parrying purposes
  only.
  There are also combination knife-wheel weapons, which
  have two knife points and a half-wheel with three slashing
  points as a hand-guard. Combinations do the same damage as a
  dagger with the point, and cutting wheel damage with the guard.
  POLEARMS
  Dah-Dau (Horse-Cutter) - This edged staff or halberd is
  very similar to the Japanese naginata (see below). Size and
  weight vary widely.
  Yueh-Ya-Chaan (Monk's Spade) - This strange-looking
  weapon has a crescent- shaped blade on one end and a spade-like
  one on the other, probably a modified agricultural implement. It
  uses Polearm skill. Its name indicates it was probably used by the
  Shaolin monks (see p. 7). Balance is different from halberd, nagi-
  nata or other Polearms, so those using the Monk's Spade for the
  first time will be at -2 for unfamiliarity, as per p. B43.
  Southern-Tiger-Fork - This trident-like spear has three
  wide-set stabbing points. If the Spear and Jitte/Sai skills are
  both known at skill 13+, it can be used to disarm (see p. 33).
  Each point can damage separately. On an ordinary hit
  against the body, only one point hits; if the roll is made by 1,
  two points hit, and if it is made by 2+, all three points hit. Roll
  the damage listed on the table for each point; DR protects sepa-
  rately against each attack. (Against a limb, only one point would
  hit. Against the head, one point is effective on an ordinary
  attack, two on a success by 2 or more.) Because this spear is
  very tip-heavy, the user is always at a -2 skill penalty.
  Spear (Chiang) - These came in varying lengths and sizes;
  the lighter ones can be used with the Staff skill.
  
  Three-Part Staff - This Nunchaku variation (see below) is
  an extremely hard weapon to learn; any attack with it is at -3 to
  skill until 24 hours have been spent in practice, and even after
  that, attacks are at -1 to regular Flail skill. Many Kung Fu styles
  use this weapon. It can attack once using the reach listed on the
  table, or it can be treated as two separate nunchakus, able to
  attack twice in the same turn (see Dual-Weapon Attack, p. 57).
  In the latter case, reach is 1 or C.
  Chain-Whip - A whip made up of metal links. It cannot
  entangle like a normal whip, but has no maximum damage
  restriction either. Parry is still 1/3 skill. A chain-whip may be 1 to
  4 yards long, and takes 1 turn to ready per yard of length.
  Most of the best-known martial arts weapons are Japanese or
  Okinawan in origin. This book separates typical Japanese
  weapons from ninja weapons, as the latter were almost never used
  by members of mainstream Japanese society. Publicly using any
  ninja weapon in historical Japan gave the user a -3 penalty to all
  reaction rolls. Also, due to the strict social divisions in feudal
  Japan, some weapons were restricted to particular classes; some
  of those distinctions are discussed in the weapons descriptions.
  For more information, see GURPS Japan.
  Katana - A long, slightly curved sword with a two-handed
  grip, it can be used one- or two-handed; when used two-handed,
  the weapon does +1 swinging damage and Parry is -A skill. A scab-
  barded katana was used against unworthy enemies to subdue with-
  out killing. The katana was eventually restricted to the samurai
  class, although the earlier periods of feudal Japan had no such
  restrictions (see p. 9). Katanas are usually of Fine quality or better.
  Wakizashi - A short sword; used in conjunction with the
  katana by the samurai class, and as a main weapon by most
  other social classes.
  Bokken - This hardwood katana replica was used for prac-
  tice. It is only slightly less dangerous than a real katana, however.
  Its hardness and weight make it a formidable blunt instrument;
  the famous swordsman Miyamoto Musashi (see sidebar, p. 10)
  used only wooden swords after he became a master, claiming that
  the bokken was actually deadlier than the normal katana. When
  used two-handed, the bokken adds + 1 damage to the swing.
  Shinai — As safety rose in importance during sword drill,
  many schools abandoned the dangerous bokken in favor of a
  more lightweight, less damaging weapon. The shinai, built with
  bamboo strips bound together with cloth, proved to be ideal.
  Close in dimension and balance to the katana, it delivers (relative-
  ly) little actual damage. In a pinch, it can still strike effectively.
  Nodachi - A long, slightly curved greatsword with a long grip
  and a blunt tip, usually worn over the shoulder in a back sheath.
  knives
  Hishi - A small dagger, often carried by women.
  Kozuka - A small knife carried in the same scabbard as the
  katana; samurai use it to carry the severed head of an enemy.
  Sai - A small, forked disarming baton, similar to the Jitte,
  below. It sometimes has a stabbing point.
  &
  Tanto - A large curved knife with a chisel-like point. It has
  recently become popular around the world.
  Kama - A long-handled sickle. When the sickle-blade is
  attached to a chain, it creates the kusari-gama, below.
  Masakari - A woodcutter's axe.
  Nata - A hatchet.
  STAFFS
  CLUBS
  Bo - A man-tall bamboo staff.
  Jitte - A forked disarming baton (see Jitte/Sai skill, p. 33).
  Jo - A shorter staff that can be used one- or two-handed. It
  can also be used with the Katana skill; treat it as a bokken,
  doing -1 damage.
  Tetsubo - An iron bar, used as a staff.
  Ton/a - A club with a handle set at right angles. See p. 35.
  Polearms
  SPEARS
  Naginata - A long-shafted weapon with a heavy blade.
  Often used by women, the naginata uses the Polearm or Two-
  Handed Sword skill. It can stab, cut or inflict blunt damage.
  Rochin - A short spear, used one-handed for stabbing.
  Yari - A spear, used mainly for thrusting, not throwing.
  Yarinage - A javelin.
  flails
  Nunchaku - This wooden flail was originally used for
  threshing rice. It consists of two short sticks joined together by a
  length of rope or (more recently) a short chain.
  Kusari - This weighted chain is described in detail in the
  Kusari skill entry (p. 33). If used as a flail (with the Flail skill),
  it does its listed damage but does not have the special Kusari
  skill abilities.
  Kusari-gama - A chain with a sickle blade attached to one
  end.
  Manriki-gusari - Meaning "10,000 power," this is a combina-
  tion of the basic nunchaku and kusari designs. A length of chain
  (shorter than that of the kusari but much longer than the
  
  nunchaku's) joins two metal weights. It has more striking power
  than the nunchaku and can also be used to entangle weapons.
  RANGED WEAPONS
  Dai-kyu - A composite longbow, made of wood sand-
  wiched between two pieces of fire-hardened bamboo. The staff
  is held together with glue and thread. It is asymmetrical, with
  two-thirds of its length rising above the archer's left shoulder.
  This allows it to be used on horseback, unlike the European
  longbow which can only be used on foot. Use the Composite
  Bow stats in the Basic Set.
  WEAPONS
  Tekko - Brass knuckles.
  Timbe - A small shield, usually made out of a tortoise shell.
  The ninja's arsenal depended as much on tactics as on
  weapons, but it is the lethal gadgets that appeal to many martial
  arts fans. Ninjutsu weapons were designed for effectiveness and
  ease of concealment; there was very little in the way of fancy
  decorations or capricious shapes.
  SWORDS
  Ninja-to - This weapon is similar to the katana (above) but
  it has a shorter, straight blade. Some ninja-tos were built to be
  concealed inside staffs by removing the hilt-guard. The sword
  sheath usually has a built-in blowpipe.
  Polearms
  Chain-Staff- A staff with a Kusari (see p. 33) attached to
  one end. This weapon needs both the Staff and Kusari skills to
  use effectively; roll against the lower of the two skills.
  Oh-gama - A huge version of the Kusari-gama; this two-
  handed scythe has a maximum-length kusari chain, a long slash-
  ing sickle blade and a thrusting point.
  Blowpipe
  Fukiya - This blowpipe was used at close range to blow
  powder or bamboo slivers with various effects. It is a hollow tube
  two or three feet long which can be easily concealed. It can also
  be used to create a jet of fire. Onobi powder (see below) is ignited
  at the end of the fukiya, creating a yard-long tongue of flame. It
  will ignite flammable items (such as a man soaked in oil by a
  water-blowgun - see below). It also temporarily blinds night-time
  viewers (all Vision rolls are at -3 for 10 seconds for anyone with-
  in 10 yards). It can be Dodged or Blocked, but not Parried.
  The fukiya can also fire a bamboo sliver dipped in any type
  of poison (see p. 121). It can be Dodged or Blocked, but not
  Parried; it is too small. Use the stats on p. 133, but reduce the
  maximum range to ST/2 when using powders.
  Water Blowgun - this special type of fukiya has a push-
  handle that, when shoved through the pipe section, propels a jet
  of water. This is a one-shot weapon and uses the Blowpipe skill.
  Maximum range is 4, regardless of the user's ST.
  Poisons and eye-irritants can be used with this weapon by
  targeting the Head (-5 to hit); the target gets a HT-3 roll to avoid
  swallowing the liquid or getting his eyes wet. Alternatively, oil
  or other flammables can also be squirted with the blowgun.
  After being soaked with oil, the victim's clothing will ignite if
  brought into contact with a flame on a roll or 4 or higher on one
  die (the roll is at +1 for every additional turn in contact with the
  flame). If the soaked person is attacked by a flaming blowgun
  (see above), the roll is at +2! A character in flames takes dam-
  age as per p. B130.
  RANGED WEAPONS
  Half-bow (han-kyu) - The han-kyu is a small bow that can
  be concealed in the sleeve of a kimono (+1 to Holdout). It has
  less range and power than the samurai longbow, but uses the
  same kinds of arrowheads. A ninja's quiver (made of cloth)
  holds 12 arrows and can also be hidden in his kimono sleeve.
  Use the stats for the short bow in the Basic Set.
  Shuriken - These small star-shaped blades come in differ-
  ent sizes, doing varying damage. The smallest ones are +5 to
  Holdout, but do very little damage; they are usually coated with
  poison (see below). Shuriken do cutting damage.
  Shuriken can also be held in the hand and used in melee
  combat, doing +2 damage to Karate or Brawling attacks.
  SPECIAL WEAPONS
  Garrote - This favorite assassins' weapon may have been
  part of the ninja's arsenal; cinematic ninja will definitely be
  acquainted with them. Its effects are described under the Garrote
  skill (p. 33). Wire garrotes are not available until TL 6+. A com-
  bination rope garrote or wire garrote/nunchaku can be made
  (such a weapon is shown in the movie Marathon Man); it does -1
  damage when used as a nunchaku. Treat the wire garrote version
  as a cheap weapon for breaking purposes.
  Neko-de (Bladed Hand) - This edged glove is +4 to
  Holdout when folded (+1 when worn). Karate bonuses apply
  when using this weapon.
  Weapons &
  
  Besides "normal" weapons such as swords and knives, the
  ninja had a varied arsenal of exotic weapons and equipment.
  Not being bound by the rigid rules of war of the samurai class,
  ninja were among the first to use the new weapons introduced
  by Westerners. Ninja did not feel constrained to use only "hon-
  orable" weapons. They used poisons extensively; black powder
  weapons soon entered their arsenal.
  These weapons and tools help explain the belief that ninja
  had supernatural powers. A man would be murdered while he
  slept in a locked and guarded room; did the ninja materialize
  there through magic - or did he simply use special hand-and-
  foot clawed gloves to climb up the wooden wall of the house? A
  cornered ninja makes a gesture and disappears in a cloud of
  smoke; was it the use of chi powers, or the skillful use of a
  small grenade and some quick footwork? In a cinematic cam-
  paign, it could be either.
  explosives
  Even before the Europeans' first contact with Japan, gun-
  powder was known in Asia, and the ninja had a wide array of
  grenades and mines.
  The ninja grenade was called nageteppo. It consisted of a
  blown eggshell filled with powder and other ingredients. Most
  nageteppo were not high-explosive killing weapons; instead,
  they were used for distraction and shock value. They are not
  easy to transport; they are usually carried in a padded bag inside
  a kimono sleeve. Each nageteppo has a 1 in 6 chance of break-
  ing if the carrier falls and fails a DX roll.
  There were two types of nageteppo, one used at daytime, and
  the other at night. Day nageteppo, or endama, create a cloud of
  smoke covering a seven-hex area. This causes partial darkness
  (all vision rolls at -3) and hides the ninja from anyone directly on
  the opposite side - that is, anyone whose direct line of vision to
  the ninja is through one of the seven hexes. This cloud will last 10
  seconds in still air; wind may dissipate it sooner.
  Night nageteppo (hidama) create a flash of bright light,
  temporarily blinding viewers within 10 yards (all vision rolls at
  -3 in addition to normal darkness penalties; characters with
  Night Vision lose that advantage for 2d turns).
  Either type of grenade can be enhanced with lacquer poison
  (see below); if so, anyone who breathes the smoke outdoors will
  sneeze and itch for 1d minutes, losing 1d DX. Indoors, the effect
  will be more serious; see Lacquer, below.
  It is possible that more lethal grenades were also used by
  the ninja. A typical black powder grenade does 1 d+2 concussion
  damage and 2d cutting from fragmentation. Land mines
  (uzume-bi) do 3d concussion and 2d fragmentation damage.
  Both the fragmentation grenade and the land mine can be com-
  bined with the day or night nageteppo effects.
  Present-day special forces use stun grenades for much the
  same purpose as the ninja used nageteppos. Modern ninja may
  use them as well. These grenades (known as "stun munitions")
  cause an intense flash and a loud noise. Anyone within 10 yards
  &
  of the grenade must make a HT-5 roll to avoid being physically
  stunned, and must make a HT-5 roll every subsequent turn to
  recover. On a critical failure, he remains stunned for 5 seconds
  before he can roll again. Eye and hearing protection change the
  rolls to unmodified HT, but give -3 to all Vision and Hearing
  rolls. A side effect of this type of grenade is smoke (-2 to all
  vision rolls and to aimed fire within five yards of the point of
  impact for 10 seconds), and the possibility that a fire can be
  started. For more information on stun munitions, see GURPS
  Special Ops.
  Explosive Powders
  All these formulas are ninja secrets. To make any of the
  powders described below, a Naturalist roll must be made to find
  the materials in nature. This takes an hour; a successful roll
  locates enough material to make one dose, plus one more dose
  for every point by which the roll was made. A Chemistry roll,
  and 2d hours, are required to create the powder; up to 10 doses
  may be made at once.
  Endama powder: Creates dense smoke when ignited. One
  dose makes one day nageteppo.
  Hidama powder: Creates a bright flash when ignited. One
  dose makes one night nageteppo.
  Onobi powder: This also flashes into fire when ignited, but
  not as quickly as hidama powder - it makes a good flame jet,
  and can ignite flammable objects.
  WEAPONS
  True to their reputation for unpredictability, Ninjutsu prac-
  titioners sometimes added "special features" to their already
  bizarre weapons. The Kusari-gama combination weapon was a
  favorite for this type of modification. Among other things, the
  weighted chain sometimes had a nageteppo grenade (see above)
  attached to its end. The ninja device might be tipped with:
  Explosives. Explodes on a hit, parry or block, doing the nor-
  mal effect as listed on the Explosives section; an explosive
  going off on contact will do double damage to the target but the
  weapon wielder will probably be within range of the concussion
  or fragmentation damage.
  Poisons or blinding liquids or powders. Lemon juice and
  pepper powder are two very effective blinding agents: on a hit on
  the head, make a HT-4 roll or be blinded for 20-HT seconds. On a
  successful roll, the target is at -2 DX for the same length of time.
  Oil. A flaming wad of oil-soaked cloth was sometimes
  attached to weapons for spectacular nighttime effects. Historical
  Japanese faced with the sudden light show produced by the
  spinning flame must make Fright Checks.
  Snakes! Even poisonous snakes were tied to the end of the
  chain. On a successful hit, the snake makes one attack, rolling
  against a 10 to hit! An Animal Handling roll is required to
  
  attach the snake; a roll at -4 is required to remove it, if the
  objective is to remove it alive. On a failure, the snake escapes
  and another roll, at -2, is required to catch it. On a critical failure
  of either roll, the handler is bitten (3d damage).
  Explosive Arrows
  Arrows could also contain explosives and pyrotechnics;
  they do no extra damage, but are very distracting. A nighttime
  volley of such arrows (10 or more arrows shot at the same time)
  will create such a din of noise and light that all Hearing or
  Vision rolls for the next minute are at -4, cumulative with poor
  lighting bonuses. Characters with the Night Vision advantage
  lose their immunity to darkness for 20-HT seconds (minimum
  of 1), as the flashes of light will dazzle them badly. Single
  arrows have the same effect as night nageteppo (see above).
  POISONS
  The ninja did not limit themselves to standard weapons; in
  feudal Japan, they were known as master users of poisons.
  Listed below are both traditional poisons and modern sub-
  stances that ninja are likely to use in a present-day campaign.
  Other historical ninja poisons are described in GURPS Japan.
  Masuizai powder: This is made from a type of weed, and
  must be manufactured by the user. Taken internally, it causes the
  victim to sleep for 1 d hours per dose, up to 4 doses. On a HT roll,
  subtract 15 minutes for each point by which the roll is made.
  This drug can also be combined with incense; burned in an
  open room, it merely makes people drowsy (roll vs. HT to resist;
  -1 to IQ and DX if the HT roll is failed), but in a closed room it
  has the effect of one dose taken internally, as described above.
  If blown from a blowpipe, the powder can be Dodged or
  Blocked, at -3, but not Parried. Its effect are for a dose taken
  internally, as described above.
  Fugu Poison: This comes from the bladder of the globefish,
  a Japanese delicacy which, improperly prepared, can be lethal.
  To cook the globefish, one must hold a special license in Japan.
  As a digestive poison, it cannot be resisted; it causes skin tin-
  gling for 2d minutes, then paralysis and 1d damage per minute
  for 1d minutes. A fresh globefish would cost one silver piece.
  Poisoning arrows with it makes it a blood poison doing 1d
  damage; a successful HT-4 roll per wound reduces the effect to
  skin tingling.
  Viper Venom: this poison is extracted from a live viper and
  used on arrows and missile weapons. It is a blood poison, doing
  1d damage per wound. A successful HT roll will reduce damage
  to ld-3. Each viper will yield up to 4 doses; each dose requires a
  successful Animal Handling roll, and a failure indicates no more
  venom will be available from that snake. A critical failure
  means snakebite doing 3d damage.
  Curare: This is a South American poison used by some
  Amazon jungle tribes. Obviously, historical ninja had no access to
  it, but modern (particularly cinematic) ninja may make use of it or
  an equivalent. This deadly blood agent blocks the nervous sys-
  tem, eventually paralyzing the heart and respiratory muscles. It is
  obtained from the sap of an Amazon vine called Strychnos toxin.
  The victim gets one HT-6 roll to resist the effect. Failure
  means the victim is completely paralyzed and falls unconscious.
  A successful First Aid-2 roll made every 30 minutes will keep
  the victim alive and allow a HT roll (also every 30 minutes) to
  recover. A critical failure on any of these rolls indicates death in
  1d minutes. If the initial HT-6 roll is made, the victim is at -5
  DX for the next 15-HT minutes (minimum of 2).
  Lacquer: This is tapped from the lacquer tree in the spring.
  Honest folk use it to preserve wood. Ninja use it as a contact
  poison, causing blistering like poison ivy: -1 DX for each con-
  tact, lasting 1d days. It cannot be used on weapon-edges; more
  prolonged contact is needed. A ninja might use it on a foe's own
  sword, on the hilt.
  Mixed with incense, it makes a respiratory poison. Anyone
  breathing the poisoned incense must roll vs. HT+4 or take 1d
  damage. The same is true is a lacquer-enhanced grenade
  explodes indoors, where the smoke cannot be avoided. Even if
  the HT roll succeeds, the victim will lose 1d of DX for 1d min-
  utes, due to itching and sneezing.
  Lacquer can be bought anywhere, at $ 1 per dose.
  Ninjutsu taught many ingenious methods of making sure
  the poison reached the target. Poisoned weapons were common,
  especially ranged ones like arrows and shuriken. Digestive poi-
  sons would commonly be put in food and drinks. In the case of
  closely protected personages, this was difficult. Some ways
  included bribing or blackmailing the kitchen help (difficult in
  feudal Japan, where loyalty was a powerful trait among all
  social classes); planting an agent, often an "ignorable" woman,
  close enough to the target to be able to handle his food (a couple
  of Sleight of Hand rolls did the rest); or, more rarely, staging a
  secret raid to poison the food in the stores. This last option
  required the utmost secrecy, as suspicion of tampering would
  give the game away. Being discovered by anyone meant failure
  even if no alarm was given at the moment, unless the witness'
  death or disappearance could be arranged without causing
  suspicion.
  There were many other more exotic methods to poison peo-
  ple. One was described in the James Bond movie You Only Live
  Twice. The ninja crawls his way to an open skylight and dangles
  a long piece of string over the sleeping victim; then, a single
  drop of poison is allowed to run down the string until it drops in
  the unaware target's mouth. The ninja probably took a few
  pages out of the Borgias' book; rings could become poison dis-
  pensers, or one with a sharp point hidden underneath could
  inject the poison with a "harmless" slap on the back.
  Weapows &
  
  The number of strange devices the ninja are reputed to have
  used in the past are incredibly varied. Listed below are some
  examples to set off the imaginations of both GMs and players.
  BAMBOO snorkel
  This easy-to-improvise tool allows breathing under water to
  a depth of no more than 6 feet. Weight: 4 oz. Moving requires a
  DX-4 roll every 5 yards; the character's Move is reduced to 1.
  On a failure, he trips on the bottom and must make a Swimming
  roll to keep the snorkel out of the water. A critical failure means
  the snorkel becomes submerged and the user inhales a mouthful
  of water; he loses 1 point of Fatigue, as per the Swimming rules
  of p. B91, and must come out of the water, coughing and spit-
  ting - a bad situation to be in if a guard outpost is nearby. Cost
  is 1 silver - or make your own.
  Small weapons can be disguised to look like harmless items.
  Knives and shuriken can be hidden inside walking staffs and
  canes, or made to look like hair ornaments and belt buckles.
  Blowguns were commonly disguised as umbrellas, staffs and
  flutes. At TL 6+, spring-loaded switchblades can be concealed
  inside lighters, hairbrushes and other small items. Cigarettes can
  be converted to small blowguns (SS 16, Ace 1, Max HT/4), per-
  fect to blow poison powder or a small dart into somebody's face.
  As a general rule, double or triple the cost of any weapon
  that has been modified to look like something else. Weight will
  be the same or less, depending on the size of the disguised ver-
  sion. Some disguised weapons do -1 or -2 damage due to their
  reduced size. For ranged weapons, also reduce Ace by 1 or 2
  points, and increase the SS number by a like amount.
  Spikes
  Fitted to hands and feet, these give a +4 to all Climbing
  rolls. A skilled ninja can use these to climb wooden walls even
  if the sides are completely sheer. Putting on the spikes takes one
  minute per foot or hand. At least one hand or foot must be
  spiked for successful climbing.
  Moving on a wall takes a roll against Climbing skill every
  three seconds; hanging on the wall takes a roll against Climbing
  skill every 10 seconds. On a failure the ninja falls off. On a criti-
  cal failure he either falls off very noisily or breaks his spikes,
  whichever is more embarrassing and dangerous at the time.
  An authentic set of spikes weighs 1 Ib. and costs 300 silver
  pieces. A modern set would weigh 12 ounces and cost at least
  $500. Discovery of such spikes, in any period, would put the
  owner under immediate suspicion.
  CLIDERS
  Ninja gliders gave rise to the rumors that the invisible
  assassins could fly magically. These gliders (according to leg-
  end) were used to get agents behind enemy lines, to penetrate
  heavily guarded fortifications, and to get out of those fortifica-
  tions, if the walls were high enough.
  Hang gliding is a very complicated balancing of air currents,
  the lift of the glider and the effects of gravity on the combined
  mass of pilot and craft. In still air the glider sinks steadily; with
  good air currents, a skillful pilot can remain level or even climb.
  The Piloting (Hang-Gliding) skill is needed to launch the
  glider and to keep it in the air. The GM can assign penalties to
  skill for unfavorable conditions.
  Modifiers: Unfavorable weather, -3 to -6 (up to -10 for
  actual storms); Night, -1 to -4; Precision landing, -1 for each 10
  yards of target-area diameter less than 100.
  Ninja were reputed to be able to actually scratch-build
  gliders with improvised materials. Some lightweight and stiff
  material (bamboo or aluminum, for instance) must be available
  for the frame, as well as some strong and light fabric. To do
  this, an Engineering roll must be made, at penalties ranging
  from -2 to -10 depending on such factors as materials, the
  Engineer' specialization and time available to the ninja. The
  GM must make the Engineering rolls in secret. On a failure, the
  builder ruins the materials he was working with. On a critical
  failure, the glider falls apart at a very bad moment (GM's
  choice, although killing the pilot outright is not recommended;
  on the other hand, making him crash-land on top of a troop bar-
  rack is interesting).
  An improvised glider will bring a -3 to -6 modifier
  (depending on how well-built the glider is) to all Piloting
  (Hang-Glider) rolls. For more information on Hang-Gliding, see
  the GURPS Space adventure, Unnight, p. 36.
  grapnel AND Rope
  Ninja grapnels are padded to make minimum noise when
  they land. Within 5 yards of the landing grapnel, Hearing rolls
  at -3 must be made to notice the noise, and an IQ-3 roll must
  then succeed to correctly interpret the noise. Throwing a grapnel
  to hook an object requires a simple DX-4 roll (DX-2 for some-
  one who has practiced for a few hours), or the Throwing skill.
  Maximum range is about 10% less than the length of the
  attached rope, or STxlO, whichever is less.
  A typical grapnel weighs 2 lbs. and can support 300 lbs.; it
  would cost 20 silver. Modern grapnels can be lighter and
  stronger.
  & Equipment 122
  
  Shoes
  These can be made with a variety of materials, from animal
  guts to high-tech plastics. With a successful DX roll every 10
  seconds, the wearer can walk on the surface of calm water. The
  GM can assess penalties of up to -10 for rough water conditions,
  or simply rule that the water is too rough for any attempt to
  work. On a failure, the walker falls over. On a critical failure,
  his shoes deflate (a sadistic GM can rule instead that the shoes
  are keeping the ninja underwater - Swimming-8 rolls must be
  made to break to the surface).
  Inflating each shoe takes 60-HT seconds of uninterrupted
  effort. If inflation is interrupted, it must be started over. A pair
  of shoes can support the weight of the walker plus 100 Ibs. The
  walker floats so low in the water that he appears to be walking
  on the surface.
  India has been influenced by several different cultures, from
  the Greeks to the Mongols to the British, all the while retaining its
  own unique character. Indian weapons are exotic and varied.
  Some Indian weapons are as outlandish as the Chinese. In a real-
  istic campaign, they should probably be of little value.
  SWORDS
  Katar - This exotic knife is gripped like a corkscrew. The
  handle is perpendicular to the blade. The knife has an odd trian-
  gular shape. Katars vary in length from shortsword-sized to as
  small as daggers. There is a -2 penalty for unfamiliarity; 20
  hours of practice will reduce it to -1, and 45 will eliminate it.
  Urumi - This sword has a long flexible blade, and is used to
  flail enemies (use the Whip skill).
  STAMPS AND CLUBS
  Gada - A heavy wooden mace with a round head. It uses
  the Two-Handed Axe/Mace skill.
  Muchan - A two-foot-long straight stick, wielded as a staff.
  It parries well, but does not strike as hard as a full-length staff.
  Otta - A curved stick that resembles an elephant's tusk. It
  uses the Broadsword skill.
  knives
  Kris - This is as much a national weapon (or, considering
  the numbers of nations in the area, international) in the
  Indonesian Archipelago as the katana is in Japan. There are
  many types of kris blades and handles, but they all share a wavy
  blade, almost like a twisting snake. The kris comes in all sizes;
  the blade described in the weapons table is a "large" kris. For
  smaller blades, use the appropriate stats in the Basic Set.
  Blade quality varies; many kris blades are rather brittle and
  blunt. The traditional knife is made with an amalgamation of
  metals, hammered one over the other, much like the katana. The
  result, in theory, is a sturdy, lethal weapon. Most kris knives are
  of Good quality; Fine and Very Fine weapons are also available.
  There is also a great body of Kris mythology. Many exam-
  ples are listed by one of the leading works in the subject, D.
  Draeger's Weapons and Fighting Arts of the Indonesian
  Archipelago. Among them were the ability to kill a man by
  either pointing the knife at him or attacking his shadow or foot-
  prints, the power to scare off dangerous animals, the ability to
  warn its owner of danger and fight by itself, and even the magi-
  cal property of moving a flame from place to place! In a cine-
  matic campaign, GMs may want to simulate some of these abili-
  ties, using the appropriate enchanted-weapon spells from
  GURPS Magic.
  Pisau - This small blade is common to most Pentjak Silat
  styles. It is meant to be carried in concealment.
  Badik - A knife with a peculiar pistol-like handle.
  SWORDS
  Parang - This heavy chopping weapon is the equivalent of
  a machete.
  Pedang - A short sword with thrusting point.
  Arit- A sickle-shaped weapon.
  STAFFS AND CLUBS
  Tjabang - This weapon is identical to the Okinawan jitte
  and sai, and actually seems to predate them by a few centuries!
  Tongkat - A term applied to any long stick. It can be used
  with either the Shortsword skill or the Short Staff skill.
  Toya - A staff, usually made of bamboo.
  &
  
  Polearms
  Latajang - This weapon is used mainly by Kuntao practition-
  ers (see p. 92). It consists of a staff with two crescent blades on its
  ends. It is so similar to the Chinese Monk's Spade (see p. 117)
  that it is likely it originally came from China. As with the Monk's
  Spade, normal polearm users are at -2 to skill for unfamiliarity.
  WEAPONS
  Paku - A short sharpened stick, this weapon is thrown like
  a knife; it is usually carried concealed in the sleeve. They are
  either sharpened at both ends or only one, and are difficult to
  use, requiring the Knife Throwing or Shuriken skill. Treat as a
  knife of the appropriate size, but doing -1 damage.
  Piau - A strange bladed weapon, it is thrown exactly like
  the Japanese shuriken, for the same effect.
  The Koreans have fought off invasions from the Mongols,
  the Chinese and the Japanese throughout their history. In doing
  so, they developed their own set of weapons and tactics. Korean
  swordsmen were in their time as feared as the samurai. The
  Koreans were unconventional in their use of female palace
  guards. These women warriors used shorter weapons than their
  male counterparts, but were no less effective.
  SWORDS
  Gum - This long sword can be straight and double-edged or
  slightly curved and single-edged like the Japanese katana.
  Traditionally, the quality of Korean swords was very high; like
  the katana, they are generally of Fine quality.
  Dan Sang Gum - Short, wide-bladed swords favored by
  palace guards. They could used singly or in pairs.
  STAFFS and CLUBS
  Bong - A quarterstaff.
  Dan Bong - Short sticks, generally used in pairs. They use
  the Short Staff skill.
  SPECIAL WEAPONS
  Combat Fan - These fans were specially made of hardwood
  and added metal blades to provide both a cutting and blunt
  weapon. Closed, the fan could be used with the Karate skill to
  do extra damage (count as brass knuckles). Open, it was used as
  a slashing weapon (roll vs. DX-2), although it did not do much
  damage. It was not uncommon for the fan blades to be poisoned.
  The Philippine Islands are covered by hot jungles. The
  dense vegetation and wet climate make the use of armor unwise.
  Clothing is also light and sparse. Philippine weapons are like-
  wise light and small, emphasizing speed and ease of conceal-
  ment over size.
  Knives
  Balisong Knife - Also called "butterfly knife" (which some-
  times causes confusion with the Chinese butterfly swords), this
  distinctive weapon has gained popularity in the West (and has con-
  sequently been banned in a number of places). It is characterized
  by a split handle which folds over the blade, serving as a sheath
  and halving the size of the weapon when not in use. Due to this,
  the balisong is at +1 to Holdout for a knife of the appropriate size.
  The weapon is opened by flipping one of the handles end-
  over-end while holding the other. The Fast-Draw Balisong skill
  (see p. 32) covers this opening skill. Characters without this
  skill must take one turn to ready the knife after removing it
  from a pocket or other place of concealment.
  The traditional Balisong has a bone or wooden handle, but
  modern versions have a sleek-looking metal one, complete with
  a good swivel system (giving a +1 to Fast-Draw). This weapon
  is often used in pairs.
  Punal - A normal knife of any length.
  Bolo - This heavy short sword is very similar to the South
  American machete and the Indonesian parang (above); it is used
  both as an agricultural implement and a weapon.
  STAFFS AND CLUBS
  Escrima Stick - This weapon is a simple length of wood,
  used one-handed. It is the skill with which it is wielded that
  makes it deadly (see the Short Staff skill, p. 34).
  
  European-style fencers have employed a surprising variety
  of weapons over the years. As these weapons were worn daily,
  quite often in urban areas or on horseback, most of them were
  fairly light - and many of them were quite concealable (like the
  main gauche), or improvised from everyday items (like the
  cloak). Below are some of the more common weapons used by
  fencers. For more information, refer to GURPS Swashbucklers.
  Fencing Saber - An edged sword, but not heavy enough for
  chopping. Maximum cutting damage is 1d. It has a 1 in 3
  chance of breaking if it hits DR 2 or more.
  Smallsword - A short, light and relatively flexible sword
  intended only for stabbing. Often carried when a something
  more serious than a dress piece but less unwieldy than a rapier is
  needed.
  Dress Smallsword - A shorter, lighter version of the
  smallsword, designed specifically to be worn around town and
  on formal occasions as a dress piece.
  Swordcane - A smallsword can also be concealed in a
  heavy cane. This costs $450 and weighs 4 lbs. When drawn, the
  fencer has a smallsword (above) in one hand and a light club
  (use the Broadsword skill) in the other. For $350, a sleeker ver-
  sion is available, which weighs 2.5 Ibs. When drawn, the fencer
  is armed with a dress smallsword (above) and a baton (use the
  Short Staffer Shortsword skill).
  Rapier - A light, stiff, long (2-hex reach) sword. The rapier
  parries with % Fencing skill, rounded down, but can make only 1
  parry per turn. Most rapier fencers carry a main gauche (see
  below) for additional parrying, or a buckler for blocking.
  Slashing Rapier ~ Like the rapier, above, but with a cutting
  edge. This weapon was popular with Italian fencers (see p. 84).
  Thrusting damage is still thrust+1 impaling, but it can also do
  swing/cutting damage. It takes 1 turn to ready after a cut,
  because the long blade overbalances the hilt.
  Basket Hilts
  A basket hilt is a metal guard on the hilt of a sword, wrap-
  ping around the swordsman's hand. It is intended to protect the
  hand from blows, and can itself be used as a weapon. They can be
  used on any weapon, including two-handed weapons (note that
  very few Asian weapons used basket hilts). A basket hilt weighs
  one pound, has PD 3 and DR 5 and adds 25% of the cost of a
  Good weapon. This PD applies only to the sword hand and only
  when the weapon is in hand. The basket hilt gives a PD 1 to the
  entire body when used against melee weapons (counting as a very
  small shield), but does not count against missile weapons and
  does not protect against attacks from behind. This PD also applies
  only when the weapon is in hand, not when it is sheathed. DR
  only applies to the covered hand. A basket hilt costs the same, no
  matter what the quality of the weapon.
  A normal basket hilt is not large enough to allow one to
  wear a gauntlet on the sword hand. One could be custom built
  so that a hand wearing a gauntlet would fit; this would double
  the cost of the hilt. A hand inside a gauntlet that is inside the
  basket has the DR of both but only the PD of the basket.
  A basket hilt changes the balance and grip characteristics of
  a sword. There is a -2 penalty for unfamiliarity unless the user
  has spent one day familiarizing himself with the feel of the hilt.
  Using the basket hilt in close combat is at -2, and uses DX,
  Brawling, Karate or Boxing (this penalty can be eliminated with
  the Close Combat maneuver on p. 46). The basket acts as brass
  knuckles, giving +2 to punching damage.
  knives
  Main Gauche - Any knife or dagger can be used with the
  Main Gauche skill, but a true main gauche has a broad, rigid, tri-
  angular blade and an elaborate hand guard that almost completely
  conceals the fencer's hand, giving that hand PD 3 and DR 5.
  Cloaks
  Heavy Cloak - The heavy cloak is used as a shield; treat the
  defensive maneuver as a Block, figured at 1/2 Cloak skill (see p.
  32). The cloak provides PD 2. The cloak has DR 1, and it takes 5
  points of cutting damage to render a heavy cloak useless. An
  impaling attack of 2 points of damage is necessary to penetrate a
  heavy cloak - damage over that amount gets through to the cloak
  wielder. Crushing damage has no effect on it. Note that the cloak
  is damaged (and impaling attacks get through) only if the defense
  roll was made by only the number of points of its PD.
  The cloak can also be used offensively. The offensive maneu-
  ver with a heavy cloak is enveloping the opponent. The cloak is
  treated as a thrown weapon at Cloak skill (SS 12, Acc 1, Max 2,
  half-damage doesn't apply). The maximum aiming bonus is +1. A
  thrown heavy cloak may be Dodged or Blocked. It may be only
  Parried by a weapon of 2 Ibs. or more. A heavy cloak weighs 5 Ibs.
  At a 1-yard range, the user may hold onto the heavy cloak
  while throwing it. If the throw misses or the defender is success-
  ful, one turn is needed to ready it again for offensive or defensive
  use. If the throw is successful, the attacker may attempt to pull his
  opponent off-balance. Roll a Quick Contest of ST; the attacker is
  125 
  WEAPONS &
  
  at +2, and add Wrestling bonuses (+1 ST for every 8 points of
  Wrestling skill) for both characters. If the defender loses the con-
  test, he is at -2 DX the next turn. If he loses by five or more, he is
  pulled off his feet to his knees. On a critical failure, the defender
  falls down. It takes a successful DX roll and one turn to remove
  the cloak. In the meantime, the cloak blinds the defender and pre-
  vents any attack or active defenses.
  Light Cloak - The light cloak uses the same Cloak skill
  described on p. 32, but is more versatile. It has PD 1, for
  Blocking purposes, but it can be used more creatively as an
  attack weapon. A light cloak weighs 2 Ibs. It has DR 1 and it
  takes 3 points of cutting damage to render a light cloak useless.
  Any impaling damage over 1 point gets through to the attacker.
  Throwing the light cloak is similar to throwing the heavy cloak
  (same range modifiers), but it cannot be held onto, can be Parried
  by any ready weapon, and requires no DX roll to remove. The
  opponent is blinded until he takes an action to remove the
  cloak.
  Entangling the opponent's weapon allows the cloak
  wielder to retain his hold on the cloak. Roll a Quick Contest
  of the attacker's Cloak skill (minus any modifiers to hit - see
  Striking at Weapons, pp. B110-111) and the defender's
  Weapon Skill (or DX if carrying a ranged weapon). It counts
  as an attack. If a melee weapon is entangled, the defender
  must win or tie a Contest of Weapon Skills before he can use
  his weapon again. Each attempt counts as an action. If the
  cloak user wishes to attack with another weapon the next
  turn, he is at -2 if he retains his hold on an entangling cloak.
  A Contest of DX versus Cloak Skill is needed to free a mis-
  sile weapon from a cloak.
  Entangling the arm is a Quick Contest of the attacker's Cloak
  skill, at -2 for hit location, and the defender's DX (or Judo or
  Wrestling). If the defender is holding a weapon in either hand, he
  has the opportunity to Parry the cloak before the Quick Contest. The
  defender must win a Contest of ST to free the entangled arm. A
  weapon in a tangled arm may be used at -6 but any aim is spoiled.
  Snapping the cloak in an opponent's face is done at Cloak-5. If
  the attack is successful, the attacker may be blinded for a turn. Any
  defense may be used against this attack. Critical success on the Cloak
  skill does 1 point of damage to one eye (roll randomly for which
  one), blinds the opponent for one second and mentally stuns him.
  Otherwise, making the attack roll by 5 or more will blind the oppo-
  nent for one second (with no damage to the eyes). If the attacker
  makes the attack roll by less than 5 and the defender fails the defense
  roll, the defender's DX is reduced by 1 for the next turn only.
  Modern materials and machining have brought about some
  refinements on traditional martial arts weapons. At TL7+, any
  of the bladed weapons above can be made of superior materials
  that will hold a better edge; bladed weapons are Fine quality by
  default, with Good weapons costing only 40% the listed price
  and Very Fine weapons available for 4 times the listed cost.
  STAFFS AND CLUBS
  Tokushu Keibo - This is a modern martial arts weapon, a col-
  lapsible stainless steel baton that easily fits in a pocket when closed
  (+1 to Holdout). It can be used with the Shortsword or Short Staff
  skill. The weapon also has jitte-like hand guards, and it can be used
  as a jitte (see p. 33), but at -3 skill - the guards are very small.
  Weight 1 lb.; $20 for a manual model (takes 1 turn to ready or a
  Fast-Draw (Tokushu Keibo) roll to ready it on the same turn), $50
  for a spring-action one (no rolls to ready it in the same turn).
  Collapsible Nunchaku - These 20th-century models are con-
  cealed in a belt-case (+1 to Holdout) and are opened with a fling
  of the wrist (1 turn to ready unless a Fast-Draw (Collapsible
  Nunchaku) roll is made). Damage and other stats are the same.
  Futuristic martial artists do not need to limit themselves to
  archaic weapons. These are some science fiction weapons with
  notes on how they can be used by martial artists. For more
  information on these weapons, refer to GURPS Ultra-Tech.
  CLUBS
  Neurolashes - These TL10 weapons require the Shortsword
  or Short Staff skills. On a successful hit, the target must roll
  against HT-3 + Will modifiers. High Pain Threshold gives a +3
  bonus, Low Pain Threshold doubles all penalties. If successful,
  the victim can still function, will be at -2 to ST, DX, IQ and all
  skills based on those attributes, but due to the pain for 15-Will
  turns (minimum one turn). If he was hit on a limb, that limb is
  useless for the same length of time. If he fails the HT roll, he is
  in such agony he can do nothing for this time. A critical failure
  causes unconsciousness for 20-HT minutes (at least one
  minute). Each additional hit lowers the resisting HT rolls by 1
  &
  (e.g. the second hit is resisted at HT-4). With each successive
  hit, start the recovery time all over again. Penalties to attributes
  are not cumulative. Any armor with DR over 2 protects totally
  from the neurolash attack.
  There are two types of neurolashes. Type I can hit 50 times
  before losing power. Type II does 1d damage besides the effects
  described above, but can hit only 5 times. Without power, the
  neurolash is just a baton and does crushing damage.
  SWORDS
  Knives
  Note that at TL8+, any blade can be made Superfine for 20
  times the listed cost; a Superfine blade does +3 damage.
  Vibroblades - These TL8 weapons vibrate several thou-
  sands of times per second. This adds 1d to damage, and any
  armor protects with only 1/5 its DR. As the blade vibrates so
  rapidly, its movement is invisible and it is impossible to tell a
  vibroweapon from a regular weapon of the same type. A
  
  Hearing roll made from 1 hex away will detect a faint hum that
  marks the vibroweapon for anyone familiar with it. Anyone par-
  rying (or whose weapon is parried by) a vibroblade will realize
  the blade's nature on an IQ roll. Any cutting weapon can be
  made in a vibro version.
  Turning on the vibro effect takes a turn, but a successful
  Fast-Draw roll activates the blade as it is drawn. When not acti-
  vated, a vibroblade performs like a normal one.
  Monomolecular Blade - Available at TL9, this is a sword
  or knife with a strand of monomolecular wire stretched along its
  edge. This enables the weapon to cut through almost anything as
  the wire slashes into the target at the molecular level. Monowire
  blades do +ld additional cutting damage, and any armor pro-
  tects with only 1/10 its DR. Any sword or knife (except a rapier or
  a smallsword) can be made in a monowire version. Monowire
  weapons cannot also be vibroblades.
  Sonic Blade - A sonic blade (TL10) consists of a powered
  hilt which, when activated, projects a two-foot blade of coherent
  sound, powerful enough to liquefy tissue or tear the flesh off
  bones. It can be activated as it is being readied, on a successful
  Fast-Draw roll; otherwise it requires a turn. Any hit from a sonic
  blade does 5d crushing damage; if damage from the weapon is
  more than double that necessary to cripple a limb that is hit, that
  limb is completely torn off. Any hit to the head requires a HT
  roll or the target's eardrums will be shattered, rendering him
  deaf until they are replaced. Any armor hit by a sonic blade
  loses 1 DR at the location hit. Natural armor (fur, scales, etc.)
  loses as many points of DR in that spot as damage it blocks.
  Armor protects with only 1/5 its DR against a sonic blade.
  A sonic blade differs from other melee weapons in that its
  "blade" is not solid - it cannot physically parry another weapon
  (except for a force sword, see below), nor can it be parried, but
  it can damage a weapon. If a sonic blade hits a weapon (or is hit
  by one), it does normal damage to that weapon rather than par-
  rying the blow. If the opposed weapon is an activated vibrob-
  lade, damage is doubled - the sonic blade sets up catastrophic
  vibrations in the vibroblade, likely shattering it! A sonic blade
  can physically Parry a force sword and vice versa without dam-
  age, but it cannot Parry (or damage) another sonic blade.
  Force Sword - This TL11 weapon is described on p. B50
  and p. UT91. It can be used with either the Force Sword skill or
  with a variation of the Katana skill. Katana (Force Sword)
  defaults to and from the normal Katana skill at -3. When used
  two-handed and with Light Encumbrance or less, Parry is %
  skill. Armor protects at 1/5 DR versus a force sword.
  Monomolecular Whip - This is a weighted length of wire
  attached to a short handle. It is used exactly like a whip (see p.
  B52). However, a control allows the wire to be extended from
  one to seven yards, or retracted into its handle, altering its reach
  and the time required to re-ready after each swing. It takes one
  turn to extend or retract the monowire.
  A monowire whip is difficult to use, requiring a separate
  Physical/Hard skill, defaulting to Whip-2. It is also dangerous;
  any "drop weapon" critical miss by the user indicates he has hit
  himself or a friend.
  Damage is swing-2 as per a normal whip, but damage type
  is cutting, with +ld added. Armor has only 1/10 its normal DR
  versus a monowire whip. If a monowire whip is used as a lasso
  or to snare a weapon, it will act as a wire garrote, cutting into
  the target and doing its normal damage every turn it is pulled
  until the victim escapes - or is cut in half.
  Sonic Shuriken - Available at TL10, this weapon appears to
  be a one-inch disk of plastic. When activated and thrown (one
  action, using Throwing, Shuriken or Knife Throwing skill), it
  sprouts six three-inch "blades" of coherent sound. Damage is
  ld+3 cutting. Due to its small power source, the sonic blades
  only last for a second, but this is enough time for it to hit the tar-
  get. This weapon can also be modified to deliver a dose of
  venom if it penetrates the target's armor. The power source of
  this weapon is very easy to conceal, making it a favored assas-
  sin's weapon (+5 to Holdout, even at TL10).
  Cybernetic Claws - These TL8 cybernetic implants are
  fully described in GURPS Cyberpunk. They are razor claws on
  the user's hands. They can be completely retracted or extended
  at will. The claws are also useful for climbing, adding +1 to
  Climbing skill.
  The less expensive version is fairly short and does an extra
  +2 points of damage in any form of "unarmed" combat. $4,000
  (and optionally, 15 character points).
  The more expensive claws are 6" to 8" long, and emerge
  from the knuckles or wrist rather than the fingertips. They
  change the wearer's damage to thrust/impaling or swing/cutting
  damage. Karate bonuses, if any, add to final damage. $8,000
  (and optionally, 40 character points).
  Poison Reservoir - This TL8 cybernetic implant is a reser-
  voir of poisons (or other chemicals - hallucinogens are a peren-
  nial favorite) compatible with claws or blades. A poison reser-
  voir in a clawless hand comes with little "scratchers" under the
  fingernails, which do no extra damage but allow the poison to
  be applied more readily. The poison reservoir can be used to
  coat the ammunition of weapons located in the arm.
  A poison reservoir holds 50 doses of poison and can be
  refilled. It can be split into two parts, allowing the cyborg to
  switch between two liquids; a poison and its antidote are com-
  mon choices, in case of a mistake. A packet of 50 doses of syn-
  thetic cobra venom (see p. B139) costs $5,000; the "standard
  pack" has 45 doses of venom and 5 doses of antidote. A poison
  reservoir costs $1,000 (and optionally, 10 character points).
  Ripsnake - This is a bionic assassin's weapon available at
  TL8+. It consists of a cyberlinked, polymer, worm-like bionic
  limb that can be concealed anywhere in the body. It is usually
  kept behind a natural body opening (the mouth is the most com-
  mon area). The cyborg can activate the ripsnake at will; it
  weapons &
  
  extends out of his body (it has a 1-hex reach) and can bite or
  sting, doing ld+1 cutting damage; it can have a poison reservoir
  (above) containing up to 5 doses. It is most dangerous if it can
  somehow enter the body of a victim (this is often done by kissing
  the victim on the mouth). If the ripsnake enters the body, it will
  start to do ld+1 impaling damage, and neither DR nor
  Toughness will protect! Poisons injected in this way are at -3 HT
  to resist. Cost is $5,000 (and optionally, 40 character points).
  Special WEAPONS
  Monowire Garrote- this TL 9 weapon is identical to the
  wire garrote described on p. 119, but it does +ld damage and
  armor's DR is divided by ten.
  Training is an important part of martial arts. Much of the
  equipment listed below will be found in dojos and training cen-
  ters of the appropriate tech level.
  RUBBER WEAPONS
  At TL7, any blunt weapon or short cutting weapon can be
  made of soft rubber with a hard core. The weapons are very
  similar in balance to the real thing, but they do very little dam-
  age. Divide any swinging damage rolled by 3 before applying to
  DR and hit points; thrusting damage is divided by 2, but the
  weapon will break if it delivers more than 4 points of damage.
  $5-$30. Weight is the same as the real weapon.
  ELECTRONIC foils
  Electrical fencing equipment was introduced during the
  1960s, and is now used to judge fencing competitions. Sensors
  are built into the fencing weapon, and wires are run from its hilt
  through the user's sleeve and then run to the judging apparatus. In
  a competition, there is a small chance of tripping on the wires (on
  a Critical Failure, the GM may rule that the character has gotten
  entangled in the wires, which is not serious but embarrassing).
  The judging machine determines whether a hit has reached a legal
  area and can also time "simultaneous" hits to 1/25 of a second; if the
  second hit arrives more than 1/25 of a second after the first hit, only
  the first attack counts for scoring purposes. $2,000, 70 Ibs.
  WEAPONS
  At TL8+, these dummy weapons have built-in computer
  chips that measure swing and thrust strength, angle of attack, etc.
  The weapons have internal springs and collapsible shafts; they are
  flexible enough to allow full-force attacks (divide all damage
  rolled by 4 before applying it to DR and hit points). The weapon
  &
  chip can either record the effectiveness of a hit in its memory, or
  transmit it to a judging computer within 100 yards. The chip is
  programmed with the enemy's armor capabilities, and so can
  judge whether an attack penetrated the armor and with how much
  remaining force. With this equipment, characters fighting training
  or sporting bouts can roll attacks and damage as if they were in a
  real fight; keep track of actual damage on a separate sheet. When
  the weapon chip determines it has crippled or killed an opponent,
  it emits a loud beep, leaving no doubts that the combat is over.
  $500 per weapon chipped, $1,000 for judging computer; weight is
  the same as the real weapon.
  DIGITAL SPARRING ARMOR
  This TL8 invention uses the same technology as the digital
  weapons (see above) to build a safe suit of sparring armor that
  can accurately simulate combat conditions. The suit provides
  DR 16 versus crushing attacks and DR 2 versus cutting and
  impaling attacks. The suit is flexible but slightly bulky; wearers
  are at -1 skill until they spend 10 hours training with it. Built
  through the suit is a network of fiber-optic sensors that detect hit
  location, strength of the hit, likely damage taken from the
  attack, etc. A computer chip judges this information and can
  transmit it to a judging computer within 100 yards.
  The advanced set of armor has a built-in exoskeleton that
  will stiffen any body part that has taken too much damage to
  function, as judged by the computer chips built into the suit. A
  limb that takes enough "damage" to be crippled will go rigid,
  and the fighter will not be able to use it. When a combatant
  takes a disabling or killing blow, the whole suit will stiffen up,
  causing the wearer to topple helplessly. A verbal command can
  reset the suit, eliminating the paralysis. If for some reason the
  wearer wants to fight on after the suit has been disabled (say, for
  example, that a group of assassins walks into a sparring match,
  and the PCs cannot reset their suits), he has to overcome the
  suit's ST of 15 (roll a Quick Contest of ST per attempted
  action), and even then he will be at -6 DX (reduce this penalty
  by 1 for every point by which the character beats the suit's ST).
  A standard suit of armor, which only emits beeps and
  chirrups to announce damage, costs $3,000, and weighs 18 Ibs.
  An Advanced Sparring Suit, with self-disabling capabilities,
  costs $8,000, and weighs 25 Ibs. Halve cost at TL9, and halve it
  again at TL11.
  VIRTUAL REALITY SPARRING
  ARMOR
  This is an Advanced Sparring Suit, described above, with a
  Virtual Reality helmet, electronic sensors and a built-in laser. The
  helmet projects a fictional scene into the wearer's visor; the scene
  is a computerized projection that moves and interacts with the
  character's actions, which are "read" by the suit's sensors. This
  can allow for solo sparring; a virtual reality program creates a
  
  simulated opponent. Every time the projection hits the wearer, the
  suit gives him a painful electronic jolt with the laser, causing
  almost as much pain as a real injury (in game terms, apply half
  the "assumed" damage for Shock penalties). As per the advanced
  suit, crippling or killing blows will paralyze the suit.
  VR Sparring Programs are very popular, especially the ones
  that use famous characters. Martial artists can now battle Bruce
  Lee in the Hall of Mirrors from Enter the Dragon, or square off
  with Muhammed Ali for the world's heavyweight championship!
  A full VR Sparring set costs $12,000. Weight: 30 Ibs. The
  VR helmet has DR 10 and can take 7 hit points before being dis-
  abled and 15 before being destroyed. Martial art parlors will rent
  a self-adjusting suit by the hour, at $50 an hour or more. This suit
  will not fit as well as a custom-made one, giving a -1 to DX.
  Furthermore, characters with Gigantism or Fat disadvantages will
  need special custom-made suits, which cost an additional $2,000.
  CHUN
  This Wing Chun (see p. 105) training tool consists of a
  man-sized wooden trunk with several arm-length sticks protrud-
  ing from its sides. The wooden dummy is good for training stu-
  dents to launch attacks while keeping ready to parry or dodge
  counter-attacks. On a critical failure, however, the martial artist
  takes ld+1 crushing damage!
  Most martial arts are based on speed of movement and the
  ability to move without restriction. Due to this fact, armor is
  generally eschewed in favor of speed. It is hard to perform some
  of the more complex maneuvers of the martial arts while
  encumbered. Furthermore, Asian warriors in general did not rely
  on heavy armor. The hot weather and high humidity of most of
  Southeast Asia makes metal armor highly uncomfortable and
  impractical, as it tends to rust rapidly. Partly to combat this, lac-
  quered armor was used, each chain link or metal scale carefully
  coated in lacquer to protect the metal. Leather and cloth armor
  were most common; chainmail and scale were also used, but to
  a lesser degree; plate was all but unknown.
  The advent of firearms in the East brought the same results
  as in the West, almost at the same time. The best samurai armor
  could not stop a musket bullet; soon suits of armor became part
  of ceremonial dress, historical curios, or ornamental pieces.
  In the 20th century, however, sports armor became com-
  mon. Some Japanese "do" forms, such as Kendo, already used
  padded armor. As Karate became a sport, safety concerns
  increased. No-contact rules provided the first solution; modern
  impact-resistant armor provided the other.
  ANCIENT
  ARMOR
  The Chinese had their versions of Leather, Heavy Leather,
  Scale and Chainmail armor, as described in the Basic Set.
  ANCIENT
  ARMOR
  The image of the samurai, in his exotic and colorful armor,
  has captured the imagination of the West. Each suit of armor
  was a beautiful work of art as well as a highly efficient protec-
  tion system, again reflecting the Japanese tendency to make
  every walk of life into a form of aesthetic expression.
  The basic corselet (called do) was made of laminated strips
  of leather, bamboo and leather, or metal. Some suits were also
  made of mail links, each individually lacquered. It tended to be
  lighter, for its strength, than equivalent European armor.
  An all-leather do protects with PD 2, DR 2. 60 silvers, 9
  Ibs. A full set of leather armor, including face mask, sleeves and
  leggings, might cost 140 silvers and weigh 20 Ibs.
  Bamboo-reinforced leather gives PD 2, DR 3. 100 silvers, 11
  Ibs. A full set of this armor might cost 220 silvers and weigh 25 Ibs.
  A steel corselet, worn by the richest samurai, is PD 3, DR
  4. 100 silver pieces, 15 Ibs. A full set of steel armor might
  weigh 35 Ibs. and cost 375 silvers.
  ARMOR
  As traditional Japanese armor became obsolete and martial
  swordsmanship (kenjutsu) gave way to artistic and philosophi-
  cal fencing (kendo), new requirements had to be fulfilled. One
  of them was to avoid injuring the students; while in earlier times
  getting cut or bruised in practice was a common occurrence and
  accepted, the less militaristic society of the 19th century (much
  like today's world) found such dangers unacceptable. A famous
  fencing teacher, Nakanishi Chuta, both perfected the practice
  sword (shinai, listed above) and devised this trunk and face pro-
  tector (also called do).
  The Kendo suit has PD 2, DR 3 against blunt attacks, and
  PD 1, DR 2 against cutting and impaling attacks. Cost is $700,
  weight is 10 Ibs.
  NINJA ARMOR
  Ninja armor consisted of metal rods or scales sewn into
  normal clothing. It gives PD 1 and DR 3; it looks normal but
  can weigh 20 Ibs. Cost is 100 silvers.
  BOXING gloves
  This Western invention both protects the hands and reduces
  the damage done with punches. These gloves provide PD 1, DR
  2 (hands only), and halve damage done by a punch (if the Stun
  damage rules are being used, GMs may rule that the gloves do
  full Stun damage). When parrying, the PD of the gloves adds to
  the defender's roll. Cost is $60 for a pair.
  Modern Body ARMOR
  This is constructed of foam and fiberglass. The best-known
  type is used by Tae Kwon Do practitioners. It provides PD 1, DR
  3 against crushing attacks and PD 1, DR 2 against cutting and
  impaling attacks. Cost is $100 for a full suit, weight is 10 Ibs.
  
  Weapon 
  Type 
  Amount
  BROADSWORD (DX-5 or Shortsword-2)
  Jiann (long sword) 
  imp 
  thr +1
  cut 
  sw
  Dau (scimitar) 
  cut 
  sw+2
  imp 
  thr
  Hook Sword 
  cr 
  sw+1
  cut 
  thr
  Reach 
  Cost 
  Weight
  1,2
  1
  1
  1
  1
  $700
  $700
  $200
  FENCING (DX-5) Seep. B99 for fencing parry rules.
  Jiann (long sword) 
  imp 
  thr+1 
  1.2 
  $700
  cut 
  sw 
  1
  Min ST 
  Special Notes
  8 
  Used primarily for thrusting.
  10 
  Can disarm - see p. 117.
  Bladed hand guard.
  Parry is 2/3 Fencing skill.
  Three-Part Staff
  KNIFE (DX-4)
  Slashing Wheel
  Knife-Wheel
  POLEARM (DX-5)
  Monk's Spade
  Light Horse-Cutter
  Heavy Horse-Cutter
  cut
  cut
  imp
  All polearms
  cut
  cr
  cut
  cut
  imp
  cut
  imp
  thr+1
  thr+1
  thr-1
  require two
  sw+1
  sw+1
  thr+2
  sw+4
  thr+2
  sw+5
  thr+3
  C
  C
  C
  hands.
  1.2*
  1,2*
  1.2*
  1,2*
  1,2*
  2,3*
  1-3*
  S60 
  1
  $75 
  1.5
  $100 6
  $120 8
  $150 12
  none
  none
  10
  12
  13
  SHORTSWORD (DX-5 or Broadsword-2)
  Butterfly Sword
  cut
  FLAIL (DX-6) Any attempt to parry a flail is at -4. Fencing weapons cannot parry flails. *
  cr 
  sw+4 
  1-3 
  $60 
  5 
  11 
  1 turn to re-ready. -2 to block.
  All attacks are at DX-1. See p. 117.
  cr 
  sw+2 
  C,l 
  Used as two separate attacks.
  Usually used in pairs. Gives PD 1.
  Usually used in pairs. Gives PD 1.
  Blade; 1 turn to ready after swing.
  Shaft: 1 turn to ready after swing.
  Spade: 1 turn to ready after thrust.
  2 turns to ready after swing.
  1 turn to ready after thrust.
  2 turns to ready after swing.
  1 turn to ready after thrust.
  Used in pairs.
  Used 1-handed - throwable.
  Used 2-handed.
  Used 1-handed (up to 3 attacks).
  All attacks are at -2 DX. See p. 117.
  Used 2-handed (up to 3 attacks).
  All attacks are at -2 DX. See p. 117.
  Parry is 2/3 Staff skill.
  Used as staff, to strike.
  Used as staff, to jab with blunt end.
  Staff technique, with shaft.
  Staff technique, with blunt end.
  12 
  See p. B52; cannot entangle.
  * Becomes unready if used to parry.
  SPEAR (DX-5 or Staff-2)
  Chiang (spear) 
  imp
  imp
  Southern-Tiger Fork 
  imp
  imp
  sw+1
  thr+2
  thr+3
  thr+1
  thr+2
  1
  1,2*
  1,2*
  $400
  $40
  $80
  4
  5
  10
  9
  10
  STAFF (DX-5 or Spear-2) Requires two hands.
  Staff
  Chiang (spear)
  Light Horse-Cutter
  WHIP (No default) *
  Chain Whip 
  cr 
  sw+1 
  1-4 
  $50/yd 
  3/yd
  * Must be readied for one turn to change from long to short grip or vice versa.
  cr
  cr
  cr
  cr
  cr
  cr
  sw+2
  thr+2
  sw+2
  thr+2
  sw+2
  thr+2
  1,2
  1,2
  1,2
  1,2
  1,2
  1,2
  $10
  $40
  $120
  4
  4
  8
  6
  6
  12
  WEAPON tables
  
  Weapon 
  Type
  AXE/MACE (DX-5)
  Nata (hatchet) 
  cut
  Kama (sickle) 
  cut
  Masakari (axe) 
  cut
  Amount 
  Reach 
  Cost 
  Weight 
  Mm ST 
  Special Notes
  sw 
  1 
  $40 
  2 
  7 
  1 turn to ready after swing.
  sw+2 
  1,2 
  $70 
  3 
  11 
  1 turn to ready after swing.
  sw+2 
  1 
  $50 
  4 
  12 
  1 turn to ready after swing.
  FLAIL (DX-6) Any attempt to parry a flail is at -4. Fencing weapons cannot parry flails. *
  Nunchaku 
  cr 
  sw+2 
  1,2 
  $20 
  2 
  10 
  1 turn to re-ready.-2 to block.
  JITTE/SAI (DX-5 or Shortsword-2)
  Jitte 
  cr 
  thr 
  C,l 
  $20
  cr 
  sw 
  C
  Sai 
  imp 
  thr 
  C,l 
  $30
  cr 
  sw 
  C
  Blunt point; used to disarm.
  Sharp point; can also disarm.
  Swing strike is like jitte.
  KATANA (DX-5 or Broadsword-2) Can be used one-handed or two-handed (+1 swinging damage). See p. 118.
  Katana (Fine Quality) 
  cut
  imp
  Katana, scabbarded 
  cr
  Bokken
  Shinai
  cr
  cr
  cr
  cr
  sw+2/+3
  thr+2
  sw+l/+2
  sw+l/+2
  thr+1
  sw-l/sw
  thr-1
  1,2
  1
  1,2
  1,2
  1
  1,2
  1
  $650 
  5 
  11 
  Quadruple cost at
  TL6- outside Japan.
  Used to subdue.
  $40 
  5 
  11 
  Wooden training sword.
  $40 
  3 
  9 
  Bamboo training sword.
  KNIFE (DX-4)
  Hishi
  Kozuka
  Tanto
  imp
  cut
  imp
  cut
  imp
  thr-1
  sw-3
  thr-1
  sw-2
  thr
  C
  C,l
  C
  C,l
  C
  $20
  $30
  $40
  none 
  Max. damage 1d.
  none 
  Max. damage ld+1.
  Max. damage ld+1.
  none 
  Max. damage ld+2.
  Max. damage ld+2.
  KUSARI (DX-5 or Flail-2) All kusari weapons are blocked at -2 and parried at -4. *
  Kusari
  Kusari-gama
  Manriki-gusari
  cr
  grapple
  cut
  cr
  grapple
  sw+2
  see p. 33
  sw+2
  sw+4
  see p. 33
  1-4
  1-4
  1,2
  1,2
  1,2
  POLEARM (DX-5) All polearms require 2 hands.
  Naginata 
  cut 
  sw+3 
  1,2
  imp 
  thr+3 
  2
  SHORT STAFF (DX-5 or Staff-2)
  Jo 
  cr 
  sw+1 
  1
  cr 
  thr+1 
  1
  $70
  $80
  $60
  $100
  $10
  11
  1 turn to ready per yard of attack.
  1 turn to ready after swing.
  1 turn to ready after each use.
  1 turn to ready after swing.
  none
  Must be readied for one turn to change from long to short grip or vice versa. 
  * Becomes unready if used to parry.
  131
  
  Weapon 
  Type 
  Amount 
  Reach
  SHORTSWORD (DX-5 or Broadsword-2)
  Wakizashi 
  cut 
  sw 
  1
  imp 
  thr 
  1
  SPEAR (DX-5 or Staff-2)
  Cost 
  Weight 
  Min ST 
  Special Notes
  $400 
  2 
  7
  Samurai's side sword,
  along with katana.
  Rochin (short spear) 
  imp 
  thr+1 
  1
  Yarinage (javelin)
  Yari (spear)
  STAFF (DX-5 or
  Bo
  Naginata
  Tetsubo
  imp 
  thr+1 
  1
  imp 
  thr+2 
  1
  imp 
  thr+3 
  1,2*
  Spear-2) Requires two hands.
  cr 
  sw+2 
  1,2
  cr 
  thr+2 
  1,2
  cr 
  sw+2 
  1,2
  cr 
  thr+2 
  1,2
  cr 
  sw+4 
  1,2
  cr 
  thr+2 
  1 ,2
  $30
  $30
  $40
  $10
  $100
  $100
  2
  2
  4
  4
  6
  10
  7
  none
  9
  6
  9
  13
  One-handed stabbing spear.
  Soldier's throwing weapon.
  Used 1 -handed - throwable.
  Used 2-handed.
  Requires 2 hands.
  Staff technique, with shaft.
  Staff technique, with blunt end.
  Staff technique.
  (Parry is % skill.)
  TONFA (DX-6 or Shortsword-3)
  Tonfa
  TWO-HANDED
  Nodachi
  Naginata
  Tetsubo
  cr 
  sw+1 
  1
  cr 
  thr+1 
  C,l
  $40
  2
  7
  Parry is 2/3 Tonfa skill.
  SWORD (DX-5) Requires two hands.
  cut 
  sw+4 
  1,2
  cr 
  thr+2 
  2
  cut 
  sw+3 
  1,2
  imp 
  thr+3 
  2
  cr 
  sw+4 
  1 ,2
  cr 
  thr+2 
  2
  JAPANESE RANGED WEAPONS-
  Weapon
  $800
  $100
  $100
  Type 
  Amount 
  SS 
  Ace 
  1/2D
  BOW (DX-6) Requires two hands to use; 2 turns to
  Dai-kyu (longbow)
  Armor-piercing arrow 
  imp 
  thr+1 
  14 
  3
  Bowel-raker arrow
  Willow-leaf arrow
  cut 
  thr+3 
  14 
  2
  cut 
  thr+3 
  14 
  3
  ready, 3
  STx20
  STxl5
  STx20
  7
  6
  10
  Max
  if choosing
  STx25
  STx20
  STx25
  12
  9
  13
  Cost
  between
  $900
  $2
  $2
  $2
  Worn in a back sheath.
  Blunt tip.
  Sword technique:
  1 turn to ready after swing.
  Sword technique; no time to ready.
  Sword technique;
  1 turn to ready after swing.
  Sword technique; no time to ready.
  Wt. 
  ST 
  Special Notes
  different kinds of arrow in quiver.
  4 
  10
  2 oz. 
  Max damage 1d;
  -2 to armor DR.
  2 oz. 
  Max. damage ld+4;
  ld-3 damage to remove.
  2 oz. 
  Max. damage ld+4.
  Weapon 
  Type 
  Amount 
  Reach 
  Cost 
  Weight 
  Min ST
  BLOWPIPE (DX-6)
  Fukiya 
  Seep. 119 
  Seep. 119 
  C,l 
  $30 
  1 
  none
  Special Notes
  See p. 119.Can also be
  used as a ranged weapon;
  see below
  Must be readied for one turn to change from long to short grip or vice versa. 
  * Becomes unready if used to parry.
  132
  
  Weapon 
  Type 
  Amount 
  Reach 
  Cost 
  Weight 
  Min ST 
  Special Notes
  DX, BRAWLING or KARATE
  Neko-de (bladed hand) cut 
  sw-2 
  C 
  $100
  imp 
  thr 
  C
  GARROTE (DX-5) Requires two hands.
  Rope 
  cr 
  thr 
  C* 
  $1
  Wire 
  cut 
  thr 
  C* 
  $5
  1
  2oz.
  1 oz.
  none 
  Receives Brawling or Karate
  bonuses.
  none 
  Damage only if wrapped around neck,
  none 
  See pp. 33, 119.
  KUSARI (DX-5 or Flail-2) AH kusari weapons are blocked at -2 and parried at -4. *
  Oh-gama 
  cut 
  sw+4 
  1-4 
  $130 
  8 
  12 
  1 turn to ready after sw.
  SHORTSWORD (DX-5 or Broadsword-2)
  Ninja-to 
  cut 
  sw 
  1
  imp 
  thr 
  1
  $400
  WEAPONS
  Weapon 
  Type 
  Amount 
  SS 
  Ace 
  1/2D 
  Max 
  Cost
  BLOWPIPE (DX-6)
  Blowpipe 
  Special (see p. 119) 
  10 
  1 
  - 
  STx4 
  $30
  Wt. 
  ST 
  Special Notes
  1 
  none 
  See p. 119.
  BOW (DX-6) Requires two hands to use; 2 turns to ready, 3 if choosing between different kinds of arrow in quiver.
  Han-kyu (shortbow)
  Armor-piercing arrow 
  imp
  Bowel-raker arrow 
  cut
  Willow-leaf arrow 
  cut
  DX-3 or THROWING SKILL
  Nageteppo (grenade) 
  varies
  Stun Munition (grenade) varies
  thr-2
  thr
  thr
  vanes
  varies
  KNIFE THROWING (DX-4)
  Hishi (dagger) 
  imp 
  thr-1
  Kozuka (small knife) 
  imp 
  thr-1
  SHURIKEN (DX-6 or Throwing-2)
  Shuriken (starblade) 
  cut 
  thr-1
  12
  12
  12
  12
  1 2
  12
  11
  1
  0
  1
  0
  0
  0
  0
  STxlO 
  STxl5
  STx5 
  STxlO
  STxlO 
  STxl5
  STx3.5
  STx3.5
  ST-5
  ST-5
  ST-5
  ST
  ST
  ST
  $600
  $2
  $2
  $2
  $50
  $40
  $20
  $30
  $3
  2.5
  2oz.
  2oz.
  2oz.
  Max damage ld-1;
  -2 to armor DR.
  Max. damage ld+3;
  ld-3 damage to remove.
  Max. damage ld+3.
  none 
  See p. 120.
  none 
  See p. 120.
  none 
  Max. dam. 1d.
  none 
  Max. dam. ld+1.
  none 
  Usually in set of 9
  Max. dam. ld+2.
  INDIAN WEAPONS •
  Weapon 
  Type
  BROADSWORD (DX-5)
  Otta 
  cr
  cr
  KNIFE (DX-4)
  Katar (small) 
  imp
  cut
  Amount
  sw+1
  thr+1
  thr+1
  sw-3
  Reach
  1
  1
  C
  C,l
  Cost
  $60
  $40
  Weight 
  Min ST
  3 
  10
  1 
  none
  Special Notes
  S-shaped club.
  Perpendicular grip.
  A knife-sized katar.
  SHORTSWORD (DX-5 or Broadsword-2)
  Katar (large) 
  imp 
  thr+1 
  1
  cut sw-1 
  1
  $400
  * Must be readied for one turn to change from long to short grip or vice versa.
  133
  Perpendicular grip.
  A sword-sized katar.
  Becomes unready if used to parry.
  
  Weapon 
  Type 
  Amount 
  Reach 
  Cost 
  Weight 
  Min ST 
  Special Notes
  STAFF (DX-5 or Spear-2) Requires two hands.
  Muchan 
  cr 
  sw 
  1 
  $10 
  1 
  7
  cr 
  thr 
  1
  Baton-sized, but used two-handed.
  Parry is still 2/3 skill.
  TWO-HANDED AXE/MACE (DX-5) Requires two hands.
  Gada 
  cr 
  sw+3 
  1,2 
  $60
  cr 
  thr+2 
  1
  WHIP (No default) *
  Urumi 
  cr
  sw-1
  $400
  13 
  1 turn to ready after swing.
  1 turn to ready after thrust.
  8 
  Max. damage ld+2: see p. B52.
  KNIFE (DX-4) or MAIN-GAU(
  Kris 
  cut
  imp
  Pisau 
  cut
  imp
  POLEARM (DX-5) Requires two hands
  Latajang 
  cut
  cut
  SHORTSWORD (DX-5 or Bros
  Parang 
  cut
  Pedang 
  cut
  imp
  KOREAN WEAPONS
  KARATE or DX-2
  Combat Fan 
  cut
  cr
  KATANA (DX-5 or Broadswort
  Gum 
  cut
  imp
  CHE (no default)
  sw-2 
  C,l
  thr 
  C
  sw-3 
  C.I
  thr- 1 
  C
  sw+2 
  1,2*
  thr+1 
  1.2*
  sw+1 
  1
  sw 
  1
  thr 
  1
  thr-2
  thr
  1-2) Can
  sw+2/+3
  thr+2
  $40
  $30
  $100
  $400
  $400
  C 
  $40
  C,l
  be used one-handed
  1,2 
  $650
  1
  1 
  none 
  This is a large kris.
  Max. damage ld+2.
  1/2 none Max. damage ld+1.
  7 
  10 
  1 turn to ready after swing.
  1 turn to ready after thrust.
  3 
  10
  2 
  7
  1 
  none 
  Max. damage 1d- 1. Uses DX-2.
  Receives Karate bonuses; uses Karate.
  or two-handed (+1 damage). See p. 118.
  5 
  11 
  Usually of Fine quality.
  -1 from listed damage if not.
  SHORT STAFF (DX-5 or Staff-2)
  Dan Bong 
  cr 
  sw
  cr 
  thr
  SHORTSWORD (DX-5 or Broadsword-2)
  Dan Sang Gum 
  cut 
  sw+1
  $10
  $400
  10 
  Often used in pairs.
  * Must be readied for one turn to change from long to short grip or vice versa. 
  * Becomes unready if used to parry.
  TABLES
  
  weapons
  Type 
  Amount 
  Reach 
  Cost 
  Weight 
  MinST 
  Special Notes
  Weapon
  KNIFE (DX-4) or MAIN-GAUCHE (no default)
  Punal 
  cut 
  sw-2 
  C,l
  imp 
  thr 
  C
  Balisong Knife 
  cut 
  sw-3 
  C,l
  imp thr-1 
  1
  $40
  $30
  none 
  Max. damage ld+2.
  none 
  +1 to Holdout skill.
  Max. damage ld+1.
  SHORTSWORD (DX-5 or Broadsword-2) or SHORT STAFF (DX-5 or Staff-2)
  Escrima Stick 
  cr 
  sw 
  1 
  $20 
  1 
  none
  cr 
  thr 
  1
  WHIP (No default)
  Bullwhip 
  cr 
  sw-2 
  1-7 
  $20/yd 
  2/yd 
  10 
  Max. damage 1d-1. See p. B52.
  CLOAK (DX-5, Buckler-4 or Shield-4)
  Heavy Cloak 
  Seep. 125. 
  Seep. 125. 
  1+ 
  $50
  Light Cloak 
  Seep. 126. 
  Seep. 126. 
  1+ 
  $20
  FENCING (DX-5) See p.
  Fencing Saber
  Smallsword
  Dress Smallsword
  Rapier
  Slashing Rapier
  MAIN-GAUCHE
  Main-Gauche
  ULTRA-TECH
  imp
  cut
  imp
  imp
  imp
  imp
  cut
  (DX-5)
  imp
  cut
  5 
  none 
  Used to Block. Can be thrown.
  2 
  none 
  Used to Block. Can be thrown.
  B99 for fencing parry rules.
  thr+1
  sw-1
  thr+1
  thr
  thr+1
  thr+1
  sw
  Parry is 2/3 skill.
  thr
  sw-3
  1 
  $400
  1
  1 
  $400
  1 
  $300
  1,2 
  $500
  1,2 
  $1,000
  1,2
  C 
  $50
  C.1
  2 
  none 
  Max. thrust damage ld+2.
  Max. swing damage 1d. May break.
  1.5 
  none 
  Max. damage ld+1.
  1 
  none 
  Max. damage 1d.
  2 
  7 
  Max. damage ld+1.
  2 
  7 
  Max. thrust damage ld+1.
  1 turn to ready after a swing.
  1.25 
  none 
  Max. thrust damage ld+2.
  Max. swing damage ld+1.
  FORCE SWORD or KATANA (FORCE SWORD) (DX-5 or Katana-3)
  Force Sword 
  imp 
  4d(5) 
  1 
  $3,000 
  2 
  none
  cut 
  8d(5) 
  1
  Sonic Blade 
  cr 
  5d(5) 
  C.1 
  $2.500 
  2.5 
  none
  MONOMOLECULAR WHIP (Whip-2)
  MonowireWhip 
  cut 
  sw-2+ld(10) 
  1-7 
  $900 
  0.5 
  none
  * Must be readied for one turn to change from long to short grip or vice versa. 
  * 
  Becomes unready if used to parry
  
  M
  a
  r
  t
  i
  a
  l arts tales are full of classic fiction elements: the
  attainment of a long-sought goal, the rise of heroic
  characters, the quest for justice or revenge, exotic peoples and places, and
  more. GMs can use any or all of those elements in shaping their campaigns.
  A martial arts campaign should be more than a series of adventures for
  expert karatekas, just as an adventure should be more than an
  extended slugfest. The GM must work carefully on the campaign setting
  as well as the adventure plots. This chapter will provide some guidelines
  and suggestions.
  The Martial Arts Campaign Plan on p. 158 is a valuable tool for
  the GM beginning a campaign. When it is complete, a copy should be
  given to each player.
  136
  
  vs
  This should be the GM's first consideration before he starts fleshing out the
  campaign. The two campaign types are very different. In particular, a cinematic
  Martial Arts milieu, with its traditional emphasis on physical action, can be
  harder to "balance" successfully.
  Here are some ways to implement both types of campaign, with their
  advantages and disadvantages. The GM should weigh these with what he
  knows about his players and what he thinks they would enjoy best.
  The Realistic Campaign
  This campaign assumes that, while expert martial artists can be highly
  effective fighters and adventurers, they are not superhuman. They cannot smash
  down walls or take on a roomful of thugs without working up a sweat. Indeed,
  they don't present much of a challenge to a man armed with a gun . . . and,
  being sensible people, they know this.
  This campaign has two "levels." The first one is the standard campaign
  with 100-point characters. A 100-point martial artist who is a monk or profes-
  sional student can be quite formidable. In a modern campaign, a 100-point
  character with a life outside the dojo would probably be a talented beginner . . .
  perhaps fairly proficient in one style, but perhaps not yet even holding a "black
  belt." Such characters would have to learn on the job, slowly perfecting their art
  as they adventure. The main drawback of this level is that players will not be
  able to replicate many of the heroic actions they may wish to simulate. On the
  other hand, the gradual advancement of characters will allow GMs to introduce
  the new rules slowly, making it easier to learn them. Also, the "from the ground
  up" approach brings more satisfaction to many players and GMs.
  The second level assumes the PCs are already experts at their craft, highly
  advanced students or instructors of at least one style. This type of campaign
  requires 150 points or more for beginning characters, with some limitations
  (see Chapter 3). This will allow the players to have well-rounded and highly
  effective fighters - even "combat monsters" - from the start. Without cinematic
  skills to back them up, however, they will still be vulnerable to superior odds
  and weaponry.
  Advantages: In a realistic campaign, the characters will not be above the
  law, and cannot replace strategy and thinking with brute force. At the second
  level, "heroic" roleplaying becomes more feasible, but characters must still use
  their wits. The GM will be able to borrow plot ideas from many sources, and
  A special hybrid between the cinemat-
  ic and the realistic campaign takes a leaf
  out of the Secret Magic campaigns
  described in GURPS Horror and GURPS
  Conan, limiting the use of most types of
  magic to NPCs. In the Secret Abilities
  campaign, cinematic abilities do exist, but
  are in the hand of a few masters, who will
  not divulge those secrets easily.
  PCs may know a few cinematic skills
  as per the Hybrid Campaigns option (see
  main text), but the rest cannot be acquired
  except by somehow convincing a teacher
  that the PCs are worthy of the dangerous
  knowledge implicit in those skills. A
  whole campaign could revolve around the
  quest for this knowledge; maybe the PCs
  are being chased by some evil masters
  whose abilities far outstrip their own, and
  are desperately seeking a teacher that will
  allow them to fight their enemies on an
  equal footing.
  In a Secret Abilities campaign, cine-
  matic skills should appear infrequently.
  Example: at the end of an adventure,
  the PCs surround the withered old man
  who heads the deadly Tong gangs they
  have just defeated after a long fight. To
  their surprise (and sudden HT loss!), the
  old man starts making four attacks per
  turn and punching six-foot-tall characters
  across the room. After crippling or knock-
  ing out half of the party, the old man
  smiles enigmatically, steps around the cor-
  ner and vanishes! Of course, if this type of
  situation occurs too often, the GM may
  have to perform some fancy footwork to
  escape the players!
  Eventually, as PCs gain experience and
  undergo the right ordeals, a teacher might
  be found, and the jump to a totally cine-
  matic campaign could be made. This is
  also a good way to introduce new life to a
  realistic campaign, should the players
  wish for more excitement.
  
  worlds
  These martial arts rules can be used in
  conjunction with a number of different
  GURPS worldbooks. Ways to use this
  book in conjunction with Supers have
  been already described (see Chapter 3),
  but Martial Arts can enrich almost any
  other background. Below are some ideas
  to introduce martial arts mayhem into
  other backgrounds, with some sample
  adventures in each.
  Medieval Japan is an excellent, and
  exciting, choice for a roleplaying cam-
  paign. However, most of the Japanese
  styles presented here were not created
  until the 19th and 20th centuries. Jujutsu.
  Sumo, Kenjutsu and Kobujutsu (and
  Ninjutsu, of course) are the only styles
  appropriate for a Japan-based campaign in
  the age of the samurai.
  Keep in mind that, because of the class
  distinctions of medieval Japan, a "perma-
  nent" party should be made up of similar
  character types. Samurai and ninja would
  not go adventuring together!
  For more background, see GURPS
  Japan. This sourcebook provides infor-
  mation for both realistic and fantasy cam-
  paigns. In a fantasy campaign, where
  magic is real, cinematic martial arts skills
  would be most appropriate!
  Shaolin Showdown
  A band of Shaolin monks seeks refuge
  in Japan after the destruction of their tem-
  ple (see p. 7). Perhaps they are welcomed
  at a Buddhist temple, or perhaps they are
  hunted down by the local authorities. If
  the PCs are the monks, they must learn to
  survive in a hostile new world. They could
  found a school and pass along their
  knowledge. Or a local lord might adopt
  them as guards, eliciting the enmity of
  local samurai and other noblemen, who
  might try to remove the newcomers (per-
  haps by calling in some ninja).
  Alternatively, the PCs could be
  Japanese samurai and yamabushi (warrior
  monks) confronting these strange foreign-
  ers and their exotic skills and customs. In
  most Japanese and Chinese fiction, these
  encounters tend to end in violence, but
  this need not be the case. Perhaps a mixed
  party of Chinese and Japanese PCs could
  be formed - though this would be histori-
  cally unlikely.
  will never have to wrack his imagination to create a "tough enough" foe; an
  ordinary street gang will be a formidable challenge.
  Disadvantages: PCs will not be able to perform the feats that players see in
  the movies, or even some of the ones that are attributed to true masters of the art
  (see Chapter 1). This may be frustrating for some players. Likewise, the player
  who cut his teeth on chambara movies will be very upset the first time he loses a
  character to a .38 slug.
  The Cinematic Campaign
  At the other end of the spectrum, we have the campaign that assumes that
  most of the martial arts legends are true, and that masters are able to transcend
  normal human limit. Characters will be built with 200 to 400 points; at this
  level, their attributes and skill levels can be truly superhuman. Characters from
  movies, television and comic books can be recreated for this campaign. PCs can
  become a law unto themselves, only matched by large numbers of enemies or
  other highly trained martial artists.
  An even higher-powered campaign is possible: the "four-color" game, with
  500+ points per character, and maybe some powers from the GURPS Supers
  book. The campaign should then follow a comic-book pattern, with enemies and
  situations modified accordingly.
  Advantages: This type of campaign can be a lot of fun, with high adventure
  being the order of the day. The scope and stakes of the game will be larger than
  life; characters will have great responsibilities with their power. With large point
  totals, each character's abilities can be individualized greatly. Comic books and
  chambara movies can be re-created. All in all, a great break from everyday life.
  Disadvantages: It will be fairly easy for players to come up with "combat
  monster" characters, almost invulnerable in a fight but good for little else. The
  GM must work hard to keep the game balanced (if he feels this is important),
  and it will be difficult to come up with new challenges (unless the players enjoy
  cardboard foes). The campaign may degenerate into the equivalent of A-Team
  formula episodes . . . see the crime, stomp the henchmen, find the leader, stomp
  the leader. The End.
  On the other hand, this can happen to any campaign, not just a cinematic
  one. It's up to the GM and the players. And if that's what everybody wants . . .
  
  Hybrid Campaigns
  As an alternative to the two options above, the GM may pick and choose
  the elements he feels will make for the best balance between fun and reality.
  Some of the less fantastic cinematic skills (such as Breaking Blow and Pressure
  Points) may be made available, perhaps with one of the Multiple Attacks (p.
  65) and Damage Reduction rules (p. 67). Thus, the GM can tailor the rules to fit
  his own opinion of the martial arts, and the needs of the particular campaign.
  Advantages: This solution may offer the best of both worlds. In particular,
  GMs may easily scale up the campaign as the PCs progress in power and skill
  (See The Secret Abilities Campaign, sidebar, p. 137). It can also provide an
  exciting level of uncertainty. The PCs, and the players, know that some of the
  fantastic stories are true . . . Does that mean that they're all true? And if master
  martial artists are real, what about yeti? UFOs? The Illuminati?
  Disadvantages: The GM will have to make up more rulings; each cinematic
  rule, skill or maneuver must be individually considered for inclusion. If the GM
  isn't firm, each ruling is a potential argument. Players may be disappointed if
  their pet legend isn't true.
  K
  Before choosing a background, the GM should ask himself a number of
  questions about the elements that should be present in the campaign. Certain
  factors, particularly the technology level of the setting, will greatly influence a
  martial arts campaign. Fill in the Martial Arts Campaign Plan, p. 158, which
  covers these same questions in a brief format.
  Tech Level
  What is the technology level (TL) of the campaign? At TL3 or less (pre-gun-
  powder), martial artists can be very powerful characters, especially if cinematic
  abilities are allowed. The existence of heavy armor may reduce their advantages,
  but not completely offset them. This may make them heroes, or public enemies . . .
  remember the destruction of the Shaolin temple, and
  the inferior social status of the ninja!
  At TL4-5, gunpowder is a danger, but not
  enough to reduce the effectiveness of the martial arts;
  in fact, by eliminating armor from the picture, gun-
  powder actually enhances the potential of the arts,
  especially if they're used in stealth rather than on the
  battlefield. This is a fertile field for "ninja-tech."
  After TL6, however, automatic weapons are
  more powerful than any hand-to-hand or melee com-
  bat style. The martial artist must pick his times and
  places carefully, and walk softly the rest of the time.
  His skills - even most of the cinematic ones - can be
  defended against, as long as someone thinks to do so.
  Fantastic Powers
  Does magic exist in the campaign world? Martial
  arts and magic can mix well; many disciplines have a
  tradition of mystical powers that allows them to fit in
  a fantasy world. If magic exist, a pre-modern or leg-
  endary setting would work best for the campaign,
  unless the GM wants to tackle the task of combining
  magic and technology. Magic and the martial arts
  All of the Chinese styles described in
  this book are centuries old, and would be
  appropriate for a medieval campaign. The
  Korean style of Tae Kwon Do is also
  ancient.
  GURPS China covers both the histori-
  cal and the fantasy aspects of the medieval
  Middle Kingdom, and also touches upon
  the Korean kingdoms.
  So You Say You Want a
  Revolution (1700-1900)
  The PCs are visited by the members of
  a secret society. They are planning a mass
  revolt against the Manchu Empire. The
  PCs are asked to make a commando strike
  on the local police building and overcome
  the officers, so the rebels can seize their
  armory.
  The GM should pick a revolt that
  ended in disaster for the rebels; he might
  even use the infamous Boxer Rebellion
  (see p. 8). If the PCs join, they may have
  to leave the country in a hurry. Even if
  they do not help the rebels, they may be
  targeted by the authorities.
  In a cinematic campaign, the GM
  could try an alternate-history scenario:
  what would have happened if the Boxers
  really did have the supernatural powers
  they claimed? World history might be
  utterly transformed - and the PCs would
  be right in the middle of things!
  139
  
  Yrth, the world described in GURPS
  Fantasy, has its own "Oriental" setting,
  the mysterious land of Sahud. Martial
  artists could come into their own there,
  especially in a cinematic campaign. A
  wandering martial artist could make an
  interesting PC in any campaign; roleplay-
  ing an Asian mindset and its interaction
  with medieval Christians and Moslems, as
  well as demi-humans, would be a highly
  rewarding challenge. On the active side,
  pitting skill and chi against magic and
  Western weapons and armor will probably
  pique the interest of many players.
  Ninja-like clans existed in medieval Islam
  (the word assassin comes from one such
  Moslem cult - see Hashishin Style, p. 82).
  Ingenious GMs can create appropriate martial
  arts styles for such organizations (start with a
  combination of Brawling, Wrestling and
  weapon skills); they could be lethal enemies
  for the PCs. On the other hand, Japanese
  ninja could also have been brought to Yrth by
  a later outbreak of the Banestorm.
  Styles
  The world of Yrth is mainly a
  medieval European and Middle Eastern
  society. The Pancratium style might exist
  both in Megalos (for gladiatorial events)
  and among some Arab cultures, since the
  Arabs absorbed many Greek and Roman
  arts and sciences. Recent arrivals to Yrth
  can, of course, be skilled in any style,
  which may save their lives as they face a
  primitive and violent new world. In Japan-
  like Sahud there would be equivalents of
  Jujutsu, Kenjutsu, Kobujutsu and Kuk
  Sool Won; GMs can use those styles with
  as much or as little change as they please.
  Nonhuman races with martial arts
  training would be an interesting rarity (see
  Fantasy Styles, p. 109). A Reptile Man
  trained in Jujutsu would be a fearsome
  enemy. Maybe some Elven tribes have
  their own exotic styles, either derived
  from Asian wanderers or created by them-
  selves. The sight of a Sahudese Halfling
  going into a Karate stance may provoke
  laughter, but not for long.
  IN
  Ronins from Another World
  A group of exiled samurai (the PCs) are
  hired to put an end to an evil wizard plagu-
  ing the Japanese countryside. The brave
  warriors unsheathe their katanas, walk into
  the wizard's lair . . . and vanish in a flash
  of lightning. When their eyes clear, the
  ronin find themselves on the land of Yrth.
  There they can become mercenaries, or
  join a knightly order. Or maybe, hearing
  about Sahud, they try to reach it, believing
  it to be their beloved Nippon - and get the
  shock of their lives on arriving.
  Continued on next page . . .
  combined will probably be able to match technology in many ways; a cinematic
  Karate master with a Reverse Missiles spell could take on a rifle platoon and win.
  Do psionic powers or super-abilities exist in this world? At what levels do
  they exist? The so-called "chi abilities" of martial arts legend are very similar to
  psionic abilities; many people claim that the chi is the source of these psionic
  powers. A super-world can be enriched with the addition of the martial arts rules
  of this book, and the cinematic skills and advantages will give "super-normal"
  characters a better chance against their high-powered counterparts.
  Time and Place
  After those questions have been settled, a physical setting can be selected.
  The martial arts have a 2,000-year history, and will probably exist as long as civ-
  ilization endures . . . and perhaps longer. This gives the GM a wide range of
  choices, from historical roleplaying to brave new worlds. And remember . . .
  choosing a historical setting does not rule out magic or psi! The campaign can
  be set in a feudal Japan in which the spirits and sky-dragons are very real ... or
  a cliffhangers 1920 in which psi powers and cinematic chi are the weapons of
  the battling secret masters.
  Three settings are described below, with some of the elements particular to
  each, and their advantages and disadvantages.
  It would be impossible to do justice, in less than a full book, to China's mil-
  lennium-long history. Instead, a brief rundown of some interesting periods of
  Chinese history is provided below. For a much more complete treatment of the
  subject, see GURPS China.
  Peace, Justice, and the Chinese Way
  (circa 500 B.C.-l 000 A.D.)
  The characters are Chinese knights-errant, highly skilled in early forms of
  Kung Fu and inspired by the teachings of Buddhism and Taoism (see sidebars, pp.
  7 & 9), traveling throughout the land perfecting their art and righting wrongs. They
  may meet the legendary creators of many martial arts forms, or even create their
  own! Enemies include evil local warlords, bandit gangs, or (in a cinematic, mystical
  or "four-color" campaign) supernatural beings. (Remember that all the characters
  should firmly believe in the supernatural, whether it really exists or not.)
  14O
  
  Advantages: This is one of the legendary Golden Ages of the martial arts.
  All types of adventures can be found in this setting. Since this period is
  wrapped in legend, fantasy elements can be introduced without problems. And
  China is vast. Any number of settings can co-exist, and there's always room to
  run away from foes who can't be defeated.
  Disadvantages: The only real drawback of this campaign is that the GM
  must either do a great deal of research in order to bring to life a historically-
  correct vision of ancient China, or he will have to acquire an entirely separate
  supplement (GURPS China) expressly for the purpose. On the other hand, the
  GM may give free rein to his imagination and use a highly-romanticized ver-
  sion of the period, with only the barest historical facts to sustain it. And, of
  course, he can add fantasy elements, such as magic, demons, etc. As long as
  none of the players is a nit-picking Chinese scholar, this option would be as
  much fun as the first one.
  A Troubled Land (1900s-1930s China)
  China during the decade preceding World War II was a land in chaos, beset
  by many enemies, both from within and without. The European powers and the
  United States had trampled the country with literal "gunboat diplomacy", the
  Imperial government eventually collapsed, and most of the political power fell
  into the hands of local warlords. During the mid-1930s, Japan invaded the
  country, already in the throes of a Communist revolution.
  This period has been the setting for many martial arts movies (the most
  famous of which is Bruce Lee's The Chinese Connection. The Japanese are
  usually portrayed as the bad guys, imperialistic invaders itching to test their
  Karate skills against the Chinese Kung Fu forms. This rapidly-changing world
  is rich in adventure possibilities.
  GURPS Cliffhangers provides some background on China in the 1930s.
  With that book, it might be possible to link a martial artist character with two-
  fisted Western adventurers (perhaps including a French Savate expert), which
  would make for an interesting mix.
  The Business of Vengeance
  Northern barbarians (most of them
  wolf-shapechangers) raid Sahudese
  coastal village, turning it into a burning
  waste. One of the victims happens to be
  an important nobleman's favorite wife.
  Thirsty for revenge, the nobleman hires
  some of the land's deadliest warriors and
  sorcerers (the PCs) and sends them after
  the Dark Wolf Clan. The catch: sea routes
  are too dangerous. The avengers must
  make the long overland journey through
  foreign territory to reach the Dark
  Wolves' territory, somewhere in the
  North. Along the way, the travelers have
  to deal with the strange and barbarous
  customs of the nations they will visit, cul-
  minating with an epic showdown with a
  were-tribe.
  Special. Ops
  Many special forces soldiers are also
  dedicated martial artists, and their involve-
  ment with a school may lead to adventures
  outside the realm of military missions.
  Asian terrorists may use martial arts against
  the troopers, or infiltrators may have to
  forgo their weapons in the interest of
  stealth, which would force them to rely on
  their unarmed combat skills.
  In a cinematic campaign, martial artists
  will make greater foes for soldiers in a
  20th-century milieu. Combined parties of
  multi-skilled troops and devastating mar-
  tial artists make for an explosive combina-
  tion. Imagine a Stallone-Norris team-up,
  and run it that way.
  Ninja Ops
  The ninja are among the oldest special
  ops organizations. A Special Ops cam-
  paign can be based around the activities of
  a ninja clan. GURPS Japan would be an
  asset, as well as some good research on
  Japanese history. The ninja can take part
  in some historical moments of Japanese
  history - possibly even changing it!
  Sabotage, scouting, guerrilla warfare, res-
  cue and assassination missions, all can be
  played against the background of the Land
  of the Rising Sun.
  141
  
  The explosive 1930s fit well with the
  frenzied style of the martial arts adven-
  ture. Remember that many of the best-
  known heroes of the pulps learned secret
  abilities in the Orient (such as the ability
  to "cloud men's minds" to become invisi-
  ble, extraordinary fighting abilities and
  other exotica).
  Asian characters often appeared as side-
  kicks of the heroes. A party of straight-
  punching Western characters can be rein-
  forced with one or two martial artists with a
  host of cinematic skills. Martial arts char-
  acters also make deadly foes.
  The Cliffhanger style of adventuring is
  also very suitable to martial arts adven-
  tures in any setting. Have the bad guys
  (about 30 or so) corner the heroes in a
  small shack - then close your folder and
  say "That's all for tonight, folks! See you
  next time."
  Advantages: This is a period of fast, violent change, ideal for adventures,
  particularly for GMs and players who enjoy intrigue. Historical background
  information is more available . . . but large portions of China were still full of
  mystery. And since worldwide travel is available, the campaign can leave China
  any time adventure beckons elsewhere . . . or face foes from any corner of the
  globe, intent on exploitation.
  Disadvantages: The setting may be too fast-changing and violent. Chinese
  PCs will have to face a divided, warring and impoverished land, and the ability
  to kick down a door may seem too feeble to make much of a difference. Western
  PCs may sympathize - or they may be exploiters, though of course many of the
  worst exploiters will see themselves as noble explorers or even missionaries.
  JAPAN
  The martial arts of the 20th century have been most influenced by Japanese
  culture. The uniforms, customs and popular figures surrounding the arts are pre-
  dominantly Japanese. Japan is a great setting for a campaign in any period -
  ancient, medieval or modern.
  The Age of the Samurai (Japan, 1200-1600)
  This is the period of the Japanese Shogunate,
  the time of the samurai and the ninja. This is an
  exciting, fast-moving time and territory, fit for any
  type of martial arts campaign. GURPS Japan is
  an invaluable source for GMs setting a campaign
  in this time frame.
  During this period, Japan was wracked by
  civil wars. Enemy clans such as the Minamoto,
  the Taira and Tokugawa fought for the position of
  shogun or overlord of the land. The Emperor was
  little more than a puppet of the current shogun.
  Large-scale warfare, court intrigue and heroic
  exploits were common throughout this era.
  A very interesting trouble-spot in this time
  period is Okinawa, the conquered island where
  Karate and most famous martial arts weapons
  originated (for more information, see Chapter 4).
  PCs can play local revolutionary groups, secretly
  teaching martial arts and conspiring to overthrow
  the Japanese.
  Advantages: During the earlier parts of this
  period warriors could rise to the nobility if they
  were good enough, and the ninja were at the
  height of their power - both good elements for a
  martial arts campaign.
  Disadvantages: Roleplaying Japanese behav-
  ior during this period may be hard for beginning
  players. GMs who insist on realism will have to
  do a lot of research to flesh out this setting. There
  will be few chances for Oriental characters to
  interact with Western ones, or even with Japanese
  of social classes other than their own . . . the
  "mixed adventuring party" is totally foreign to the
  medieval Japanese mentality.
  
  The Birth of the Martial Arts (19th to early 20th century)
  The 19th century marks the beginning of the martial arts as we know them
  today. Most of the Japanese styles described in Chapter 4 were in development
  during this period. The GM should try to emphasize the older components of
  those styles, such as philosophical and spiritual training, as they were much
  more important then.
  The end of the 19th century also saw Japan enter the world stage and move
  away from its isolationist policies. By the turn of the century, Japan would win
  wars against China and Russia and be on its way to becoming a world power.
  International intrigue can enter a martial arts campaign set in this period.
  Adventurers could interact with their British and American counterparts from
  the Victorian era (for more information on Victorian England, see GURPS
  Horror). Worldwide travel is possible, for study, trade or espionage.
  Advantages: The PCs will be learning styles as they are being created. The
  struggle between the last samurai and the (relatively) Westernized central gov-
  ernment can provide a campaign theme.
  Disadvantages: This was a rather peaceful period within Japan. PCs may
  have to travel to see action.
  SETTINGS
  Besides China and Japan, there are dozens of other possible choices of
  locale for a Martial Arts adventure. Here are some suggestions.
  There's No Time Like the Present
  The campaign world is 20th-century Earth. As for specific locale, there is a
  wide variety of choices. The good old U.S. of A. may be the easiest one. Other
  continents provide more exoticism, though.
  Advantages: The advantages of running a present-day campaign in the West
  are many, especially for beleaguered GMs. All the vital information for a cam-
  paign (maps, price lists, famous NPCs) is readily available. PCs should have
  few roleplaying problems, as the cultural background will be familiar (unless
  they are playing the parts of foreign characters). Modern transportation makes a
  HORROR
  Fear may strike into any heart, even
  that of the warrior. Asian fiction is chock-
  full of supernatural beings battling martial
  artists, from vampires to Shinto and
  Buddhist demons. If your players are get-
  ting too cocky for their own good, maybe
  a run-in with the unexplained is called for.
  If a PC's opponent suddenly grows fur
  and fangs and then proves to be immune
  to kicks and punches (most martial artists
  do not carry silver weapons, after all), his
  player may drop the Maneuvers List and
  reach for the Fright Check table.
  Another way to use Martial Arts with
  Horror is to apply the opposite viewpoint.
  If the PCs are normal 100-point investiga-
  tors; a 400-point "psycho-killer" Tae
  Kwon Do master with a host of cinematic
  skills is as powerful as any monster short
  of the Lord Beneath the Ice.
  Shinobi Nightmare
  One by one, prominent martial artists
  are murdered under strange circum-
  stances. A fourth-degree black belt is
  found dead in a securely locked room.
  Another has his larynx crushed in broad
  daylight, in the middle of a large crowd,
  and nobody sees the murderer. As a mixed
  team of martial artist and investigator PCs
  probe for a link between the murders, they
  discover that the dead masters and a few
  others joined forces to destroy an evil
  ninja teacher. Investigations at the site of
  the murders reveal ancient Japanese char-
  acters that were the ninja's trademark. But
  he is supposed to be dead. . . .
  Were the masters wrong in assuming
  they had killed the ninja? Did he have a
  pupil or relative who is carrying his mis-
  sion of revenge? Or did the assassin, with
  his dying breath, call upon dark forces that
  allowed him to mete out vengeance
  beyond the grave?
  To make things a bit more interesting,
  one of the masters summons his surviving
  colleagues and the investigators to his
  secluded dojo on a remote mountain side.
  After everyone has arrived, a freak storm
  leaves them stranded there. And some-
  where outside - or in their midst - the
  killer lurks. . .
  143
  
  Since GURPS Swashbucklers is meant
  to be cinematic, its high-adventure style
  fits right in with the martial arts. And
  while Musketeers roamed Europe and
  pirates plagued the Caribbean, Samurai
  battled in Japan and the Shaolin temple
  was seeing its last days. Spain kept a
  steady line of trade with the Far East by
  way of Mexico. It would not be impossi-
  ble to believe that, for instance, an exiled
  Chinese monk could have escaped on a
  Spanish ship and made his way to Mexico
  and the Caribbean. And if one could, what
  about two, or three or four?
  Readers of the novel Shogun know that
  enterprising travelers and privateers can
  make their way to some very strange
  places. Dutch or Spanish traders had fre-
  quent contacts with the Chinese,
  Malaysian and Japanese, giving raise to
  plenty of occasions for fencers to face
  samurai, ninja and assorted martial artists.
  For piracy with a purely Asian twist, a
  GURPS Swashbucklers campaign set in
  the Yellow Sea is possible. The Japanese
  were feared pirates throughout the 17th
  century, and diverse Malay and Filipino
  tribes were the terror of the seas until
  crushed by the British Navy late in the
  19th century.
  The Pirates of Pentjak
  A group of Dutch and English
  sailors/pirates are shipwrecked some-
  where in Indonesia. There they befriend
  the natives. The Europeans teach the
  Malaysians how to build a small but sea-
  worthy vessel; the Malaysians teach some
  Europeans the complex art of Pentjak Silat
  (see p. 96). Eventually, a handful of
  adventurers venture out with their
  schooner, some pistols and the mysterious
  fighting arts of Indonesia.
  globe-trotting campaign quite feasible, allowing the GM to freshen up the cam-
  paign with new locales as often as he wishes. Adventure settings and under-
  standable foes are as close as the daily paper.
  Disadvantages: The greatest disadvantage of the modern campaign setting
  is the existence of firearms. This creates two problems. First of all, it reduces the
  effectiveness of martial artists: a character may be a wizard at twirling his nun-
  chaku or katana, but a foe with a revolver can do him in easily, as graphically
  portrayed in Raiders of the Lost Ark. The second problem is an offshoot of the
  first; if one is going to face danger, it makes more sense to carry a gun than a
  naginata. PCs cannot be blamed if, after overcoming armed guards, they decide
  to pick up the guards' Uzis. This very reasonable course of action will, of
  course, turn the martial arts adventure into a Rambo-rama shoot-em-up. The
  only way for the GM to prevent this might be to present very outlandish situa-
  tions that will clash badly with a realistic campaign.
  Post-Apocalypse
  The campaign is set on a world ravaged by a nuclear war or other devastat-
  ing disaster. Civilization as we know it is falling apart, or has collapsed com-
  pletely. Modern weapons soon disappear or become extremely scarce or expen-
  sive. National governments have been replaced by local warlords or complete
  anarchy - peaceful in some places, bloody in others. Brute force - or the ability
  to protect citizens from the brute force of others - is the main source of political
  power.
  In this background, the martial arts acquire a level of importance unequalled
  since ancient times. When wars are fought with sticks and stones, a Kung Fu
  master can become king or savior to those around him. Martial arts schools can
  become wandering mercenary groups, selling their skills to the highest bidder,
  or carving out their own kingdoms.
  Advantages: Modern weaponry ceases to be a determining factor, and char-
  acters will be forced to rely on their physical skills rather than their ability to use
  M-16s. The GM can recreate many Kung Fu or Western movie cliches with a
  fresh stage, the ruins of the modern world: the village becomes the remains of a
  skyscraper, and the marauding bandits can become savage mutants. Surviving
  bits of technology become threatening magic . . . the PCs can never be sure that
  all the guns are gone.
  
  Disadvantages: The post-holocaust genre has its own range of cliches, such
  as marauding mutants, road warriors and wild pseudo-punk tribesmen. GMs
  will have to work hard to avoid miring the campaign in them - unless, of
  course, they choose to revel in them on purpose!
  Near Future - Cyberpunk
  In this setting, the nuclear holocaust never happened - but it might as well
  have. Corporations rule the world, and their agents, street samurai, fixers and
  netrunners, are a law unto themselves (for more information about this back-
  ground, see GURPS Cyberpunk and GURPS Cyberworld). Martial artists fit
  easily into this world. Cyberpunk's seminal novel Neuromancer depicted a
  Trained by a Master bodyguard/assassin (Hideo) complete with Zen Archery
  and Blind Fighting.
  In this high-tech universe, assassins and corporate soldiers are expected to
  be proficient both in armed and unarmed skills. Martial artists can have their
  skills augmented by expensive built-in gadgets (see p. 127). But un-augmented
  hand-to-hand specialists have the advantage of being independent from expen-
  sive (and detectable) weapons and other hardware.
  Advantages: This setting allows a very wide variety of characters - not just
  martial artists - thus expanding the options for players and GM alike.
  Disadvantages: The same as in a 20th-century setting. In an ultra-tech back-
  ground, the number of lethal weapons will only increase in number. However, the
  GM can counter this by setting up situations in which weapons are detectable and
  prohibited - but the trained hand cannot be detected until it is used.
  A Galaxy Far, Far Away
  A science fiction campaign can be set in any possible future, as described in
  GURPS Space. There are several interesting possibilities for the martial arts.
  Blood sports may be common in some intergalactic cultures; the PCs could be
  gladiators of the future, either slaves or professional "entertainers." Among other
  things, they may deal with alien fighters (with exotic abilities and martial arts
  styles), null-grav battle, and exotic weapons like neural whips and vibroblades.
  Another possibility is the "space opera" campaign, where force swords and
  ray guns are the only change from traditional martial arts themes; see GURPS
  Lensman for an example of a space opera setting that includes some martial
  arts elements. New styles could take advantage of high-TL gadgets, incorporat-
  ing them into maneuvers and skills. Ninja would use chameleon suits and other
  Ever since the Kung Fu series aired on
  television, the combination of martial arts
  action and heroic Western gunfights has
  fascinated writers and moviemakers. GMs
  running either a Martial Arts or an Old
  West campaign can spice up either with an
  occasional crossover. Thousands of
  Chinese migrants toiled on the railroads
  and settled in Western cities; Kung Fu
  experts, sinister Tong enforcers and wan-
  dering monks may all be among them. As
  Japan began opening relations with the
  West, emissaries, some of them of the
  samurai class, traveled through the world,
  including the United States. This idea is
  developed in the film Red Sun, which
  teams up Toshiro Mifune and Charles
  Bronson as stern samurai and ruthless
  gunslinger.
  Though this is less frequently treated in
  fiction, frontier-era Americans can also
  travel to Asia. American trading ships soon
  became common in several ports in the Far
  East. If a few gunslingers needed to get out
  of town quickly, signing aboard a trader
  may be the only option for them. After that,
  the clash between Colt Peacemaker and
  swirling nunchaku is not far off.
  Arrows of Vengeance
  The wealthy banker of a small town is
  shot dead - with a broad-headed arrow no
  Westerner can recognize. The PCs are
  hired by the banker's son, freshly returned
  from the Navy, to hunt down the murder-
  er. Suspects include ranchers the banker
  was squeezing out of their lands, Indian
  marauders and greedy relatives.
  The culprit, however, is a well-educated
  Japanese woman of samurai descent. Her
  target was the banker's son, who killed her
  father while on leave in Japan. She missed
  on the first attack, and is now plotting her
  next step. She is an expert in Kenjutsu and
  Kyudo, and is now living off the land.
  Alternatively, the PCs could be rela-
  tives of the woman, looking for her either
  to stop her or (more likely) help her. Or
  perhaps a mixed party of Japanese and
  American PCs gets caught in a web of
  intrigue, deceit and murder as the banker's
  son and the vengeful samurai turn the
  town into a battlefield.
  
  Tme
  Many martial artists would love to
  relocate in time. Traveling to the past to
  meet and learn from the greatest masters
  of history and legend is a favorite fantasy.
  More aggressive fighters might want to go
  back to cross swords (or staffs, or fists)
  with those masters.
  For other time travelers, a highly
  skilled empty-hand combatant may be a
  desirable companion, especially if
  anonymity is preferred and high-tech
  equipment cannot be displayed openly in
  primitive times.
  The Empty Hand of Time
  Professor Marcus settled back on the
  chair. "Yes, I have managed to construct a
  space-time displacer. Why do I need you?
  Well, it so happens that my assistant,
  Gregor, made an unauthorized jaunt back,
  and I am sending you after him. The rea-
  son I need a group of karate masters is
  that there is a small drawback in the dis-
  placer. . . . Inorganics cannot be sent back
  in time. I am unable to send anything but
  your naked bodies; no equipment, no
  weapons.
  "But then again, you are never un-
  armed, are you?"
  ultra-tech tools. GMs planning this type of campaign should watch Kurosawa's
  The Hidden Fortress, followed by the movie this Japanese samurai classic
  inspired - Star Wars.
  Advantages: In a cinematic campaign, ultra-tech devices will keep martial
  artists' special abilities from becoming unbalancing. Alien races and strange
  new worlds will inject novelty to old plotlines.
  Disadvantages: In the face of hand weapons that can level city blocks, the
  ability to floor a foe with one blow becomes less awesome. As for the cyber-
  punk background, the GM can create situations that neutralize such weapons -
  but these must be carefully worked out or they may seem contrived.
  After the setting has been decided, the GM should think about the tone of
  the campaign. What roles should most of the PCs play? What will be the focal
  point (if any) of the campaign?
  Some campaigns have no central theme at all. The GM creates a setting, and
  the players create their characters, who are then turned loose in the game world,
  going from adventure to adventure. This system works better in some settings
  than others, but it tends to give an amorphous feeling to the campaign. For GMs
  who feel that a campaign is much like a collaborative novel (or series of novels),
  with some sort of central plot, some possibilities are offered below.
  Before choosing the theme, the GM should know what types of characters
  will be participating in the campaign. If necessary, he can restrict the character
  types to those that would fit in the chosen theme.
  The Quest
  The PCs are trekking around the world (or country,
  or region) in search of something. This is a classic fan-
  tasy theme that fits very well in a martial arts cam-
  paign. A typical quest is the search for secret styles or
  maneuvers known only by ancient schools in hidden
  areas of the world. Teachers, magical weapons and the
  cure for strange diseases (or the Hand of Death) are
  other possible subjects for a quest. People, instead of
  objects, can also be quest goals; a prisoner may need
  rescuing, or someone must be killed to fulfill a vow of
  revenge. Or perhaps a message must be delivered, a
  geas fulfilled, an ancient talisman obtained or
  destroyed. . .
  The PCs should all be able to do a lot of wandering;
  the goal of the quest will not be nearby. In pre-modern
  times, going from one valley to the next could be a
  quest. In the present, quests will probably involve travel
  across continents, sometimes through hostile areas. In
  the future, a quest could span the galaxy.
  A good Enemy for the PCs could be someone who
  is after the same goal and is not above sabotaging the
  competition. Another type of adversary would be an
  opponent who is charged with preventing the PCs from
  reaching their goal . . . he might be a fiend, or he might
  be highly principled. ("I am so sorry, but now that you
  have found our valley, we cannot permit you to leave . . .
  ever.") Either one will be a good source of adventures.
  146
  
  Advantages: The PCs have a concrete goal ahead
  of them, which makes it easier for the GM to direct the
  campaign and predict their actions. There will be plenty
  of adventure "hooks," the most direct one being clues
  toward the object of the quest. The classic false ending
  (the PCs have their goal in sight, or even think they
  have achieved it, but then find that they have been
  deceived), can be used once or twice to spice things up.
  Disadvantages: What do the PCs do after they fin-
  ish the quest? The easiest answer is to give them a
  related quest (for instance, after they find the princess,
  they have to get her back to safety), but eventually all
  loose ends will be tied up and the campaign will run
  dry. This does not have to be a problem; some people
  prefer that a campaign have a natural end!
  Sources: Quests are the subject of many films:
  some good examples include The Hidden Fortress by
  Kurosawa and Star Wars. Although not related to the
  martial arts, the must-read for any GM planning a
  Quest campaign is J.R.R. Tolkien's The Lord of the
  Rings.
  To Serve and Protect
  The characters are all policemen or some type of
  law officers. In ancient China and Japan, many martial
  artists worked as official peacekeepers (for more infor-
  mation, see GURPS China and GURPS Japan).
  Present-day policemen are trained in some martial
  arts (see Police Hand-to-Hand, p. 97), but are unlikely
  to be dedicated martial artists, except in a cinematic
  campaign.
  Most adventures will revolve around criminal investigations, riot control,
  and even firefighting (in old China and Japan, magistrates doubled as firemen).
  An interesting twist would be to use 20th-century cop-show plots in, for
  instance, 16th-century Japan. Vice lords would become gambling gangsters, bar
  fights would become sword battles between drunken samurai, and car chases
  would be replaced by mounted pursuit, or simple running. Ninja are appropriate
  antagonists, but can also be allies or even the heroes; many lords had ninja
  clans who were as loyal as his samurai, and did the jobs the samurai couldn't
  do.
  Sources: Chuck Norris' Code of Silence is a typical martial artists/cop movie.
  The Schoolboys
  The PCs are members of a dojo or kwoon, either as students or instructors.
  The campaign revolves around the school and its progress. The setting should
  probably be either in the early 20th century or before, when schools were often
  the center of political intrigue, and when inter-school rivalry was often resolved
  with duels to the death or even all-out fights in the streets. Earlier still, the
  school could be a temple, and the PCs monks dedicated to its service.
  A good deal of the campaign will be spent in learning and advancing.
  Roleplaying the highlights of some teaching sessions could be a lot of fun, par-
  ticularly if there are rivalries within the school, with some factions trying to
  make the others look bad. Challenges to the PCs may involve the whole
  school. A typical situation involves a rival school trying to outshine or destroy
  SURVIVORS
  Post-holocaust adventure has often
  crossed paths with the martial arts in
  movies and books. It makes sense that if
  society (and the means to build modern
  weapons) collapses, those who have
  primitive combat skills will become pow-
  erful forces in the new order (see p. 144
  for a more thorough description of this
  background).
  Shelter, Shelter
  The PCs find an old man who can
  guide them to an special shelter built just
  before the nukes hit the fan - a shelter full
  of non-perishable food, weapons, fuel and
  other equipment. And only the old man
  knows the code key to unlock the impreg-
  nable entrance.
  The problem: standing between the
  PCs and the loot is a tribe of mutated sav-
  ages, led by an insane martial arts master
  who has taught them as much as their irra-
  diated minds could absorb. Another prob-
  lem; the PCs are out of ammo for their
  few precious guns. Hopefully, they did not
  neglect their Karate classes.
  147
  
  Seeds
  The adventure seeds described below
  include both straight Martial Arts adven-
  tures and crossovers.
  Deadly Secret
  The PCs meet a well-traveled merce-
  nary and martial artist who claims he met
  an old man who kills foes at a distance,
  with a gesture. This ancient master lives on
  the outskirts of a remote village, in a coun-
  try wracked by civil war; the mere's unit
  was obliterated and he left the country in a
  hurry, but he wants to meet the old man
  again. He asks the PCs for help to return.
  He thinks that they might convince the old
  man to pass on his secret techniques.
  Traveling to the troubled area and find-
  ing the old man should be an adventure in
  itself. On arrival, however, the PCs dis-
  cover that the old man is being hunted by
  a secret assassin cult. Apparently he was a
  former member, and the cult wishes to
  silence him. The assassins have connec-
  tions with the forces controlling the area.
  If the PCs wish to help the old man, they
  must outwit an army as well as the team
  of killers combing the countryside. How
  well the heroes account for themselves
  will be the key to whether the old man
  will consider them worthy pupils.
  Rogue Dragon
  An evil necromancer has captured a
  Golden Dragon Man (p. 110) of legendary
  skill (at least twice the point total of the
  average PC). He controls the hero with a
  Geas spell. So far, the Dragon Man has
  helped torch a village, nearly killing sev-
  eral locals.
  The PCs can be other Dragon Men sent
  to take care of their own, local officials or
  warriors trying to stop the necromancer,
  or mages confronting their rival. They
  have to stop not only the renegade monk,
  but the necromancer's minions. To make
  matters worse, unless the PCs can prove
  that the Dragon Man is an unwilling
  accomplice, the local government will use
  the incident as an excuse to persecute all
  members of the Dragon Temple!
  the characters' dojo. Public tournaments, private duels or all-out "wars" may
  result. The government might suddenly outlaw the martial art practices of the
  school (if they weren't outlawed all along), forcing it underground; PCs will
  have to fight discovery, rooting out informers, planning and looking for meeting
  places, maybe even plotting to overthrow the evil government.
  In the present, there will be less danger, but still plenty of action.
  Tournaments will not be as dangerous; in full-contact events, however, grudges
  can be carried out savagely. And alley fights against the silk-jacketed tools of the
  false Master Chang can be deadly. The school will be more likely to be the base
  of operations of the PCs rather than the source of adventures. In any setting, it
  will be useful as a place to keep the PCs together, and to introduce new PCs.
  Advantages: The school theme gives incentives for the PCs to work as a
  team, with common goals.
  Disadvantages: In the 20th century, martial arts schools as a whole (at least,
  the reputable ones) are quiet, orderly places. As such, they will not serve well as
  the central focus of an action-filled campaign.
  Sources: Bruce Lee's movie, The Chinese Connection, is a perfect example
  of the school-centered campaign.
  War Is Hell
  The PCs are caught in the middle of a war. They can be soldiers fighting for
  either side (for the mercenary side to this campaign, see Soldiers of Fortune,
  below), civilians, or travelers trapped in the conflict.
  In a pre-firearms historical setting (see above), martial artists will become a
  coveted resource, both as soldier-trainers and elite combat troops. Very wise and
  famous fighters may become officers in the army; the mass-combat system
  found in GURPS Conan, Horseclans, Japan or Vikings will be helpful in con-
  ducting strategic operations. Cinematic martial artists will have the chance to pit
  their skills against armored opponents, a greater challenge than your average
  local toughs or bandit gangs.
  In this premodern setting, generals may try to hire skilled fighters, or, in a more
  repressive society, forcibly recruit them. PCs not wishing to join either army will
  have to escape both of them, traveling through a devastated countryside.
  Alternatively, the PCs are innocent bystanders; maybe they are foreigners
  with no intention of becoming involved, or belong to a national minority with no
  loyalty to the ruling class that is running the war. In either case, to leave the area
  would be sensible . . . but difficult. Food will probably be scarce as armies requi-
  sition what they need or simply loot conquered areas. As troops are concentrated
  in some areas and deserters flee into the countryside, banditry will become very
  common, especially in the soldier-free areas the PCs may be trying to reach.
  
  Since travel will be either horse- or foot-based, the refugees will face a long
  and dangerous journey.
  In modern times, martial artists will face even more dangers. 17th-century
  Japan, for instance (see p. 9), when firearms were introduced, marked the
  beginning of the end for the samurai class; the master swordsmen charged
  heedlessly against solid musket fire and were mowed down by the hundreds.
  Samurai PCs may join the innovative minority among the Japanese nobility and
  start using and promoting firearms. Or they can look for weapons and tactics to
  reduce firearms' effectiveness. Composite bows, for instance, could shoot faster
  and more accurately than early black powder weapons; samurai horsemen
  could have shot thick enemy formations at a distance, beyond musket range. Of
  course, that would require samurai to learn hit-and-run tactics, which was
  against their character.
  At TL5+, rapid-fire weaponry significantly reduces the value of martial
  artists in warfare, making it unlikely that they will be recruited for these skills
  alone. Still, espionage and other undercover assignments always need people
  who can make do without weapons. Martial artists can team up with Special
  Ops military experts.
  Advantages: If the PCs are members of an army, they will have to obey
  their superiors' orders, thus allowing the GM to "guide" them to the next
  adventure. Almost all types of adventures can be fit to this campaign, from
  hack-and-slash to complex intrigue and mystery.
  Disadvantages: The military campaign may prove to be too restrictive for
  some players. (If this happens, the GM can simply let them go AWOL and turn
  it into a "renegades" campaign.)
  A Learning Experience
  This type of campaign is closely related to the Schoolboys theme (see above).
  The difference is that the emphasis is on the characters' development as martial
  artists. The "campaign" will concentrate on their lives as they train in the martial
  arts and progress from being unskilled beginners to achieving true mastery.
  Although this may sound less interesting than roleplaying skulking ninja or
  intrepid questers, the roleplaying possibilities are great. If the student PCs come
  from varied backgrounds (a fisherman's son, a young nobleman and a foreigner,
  for instance, or, in modern times, a college student, a street-smart kid and a
  starving artist), their interaction would be interesting. Also, there could be petty
  Sword of Musashi
  In a modern-day setting, a string of
  "Katana Murders" has plagued the cam-
  paign city. Most of the victims, who are
  both American and Japanese, are business-
  men involved with a multinational chemi-
  cal corporation. If the PCs become entan-
  gled, they will eventually confront the mur-
  derer - a ghostly samurai in armor, wield-
  ing a katana with unearthly skill, who iden-
  tifies himself as Miyamoto Musashi (see p.
  88)!
  The specter is not interested in killing
  the PCs - at least at first. Further investiga-
  tion reveals that the accidental poisoning of
  a reservoir, and the death or maiming of
  dozens of people in a small Japanese inlet,
  involved the corporation. The company's
  Yakuza ties are sending enforcers to pro-
  tect the surviving executives - and to deal
  with anyone who knows too much.
  Who controls the ghost of Musashi?
  The heroes will have to find out before
  they confront the spirit again.
  149
  
  ARTS in
  GURPS
  The GURPS system has covered many
  other fictional backgrounds. Here are
  some suggestions for more existing
  GURPS books where GMs can introduce
  the martial arts rules.
  Conan the Barbarian
  The world of Conan is full of strange
  races and peoples, all of whom love battle
  and respect a warrior. Pancratium or its
  equivalent fits in with most civilized king-
  doms. And sorcerer-ruled Hyboria has a
  clan of assassins who use special batons to
  attack pressure points (see GURPS Conan,
  p. 57).
  Conan himself is skilled with many
  weapons, especially the sword and the
  bow, but not in any particular "style." He
  is simply very good. He will react well to
  anyone who seems to match his mettle,
  and might invite a skilled fighter to
  accompany him on an adventure.
  Lensman
  E. E. "Doc" Smith's Lensman universe
  (as described in its GURPS worldbook) is
  an ideal setting for a martial arts campaign.
  Every member of the Galactic Patrol and
  the Space Marines has martial arts training,
  as do the warriors of several alien races.
  Boarding actions by marines armed with
  space-axes are as common as beam weapon
  fire-fights, and the defensive force screens
  built into armor are vulnerable to slow-
  moving attacks, such as punches and kicks!
  This setting is also starkly cinematic, and
  characters who are Trained by a Master
  would fit right in, while chi powers would
  be a seamless complement to a Lensman' s
  potent psionics.
  Continued on next page . . .
  rivalries between students (some of which might be resolved after hours, outside
  the dojo), tests of both skill and character, and a myriad of subplots involving
  the characters' personal lives.
  Advantages: There will be less traveling and consequently less paperwork for
  the GM. This campaign might never leave its city, town or village. PCs will have
  to do some serious roleplaying and thinking, instead of pure hack-and-slash. This
  is a great campaign for players who like to let their characters interact.
  Disadvantages: It will be a real challenge - both for the GM and the players -
  to keep this campaign stimulating. GMs will have to either know from experience
  or do some intensive research about teaching methods and anecdotes to use during
  the game. Action-oriented players may find the whole thing boring.
  Sources: The Karate Kid movie is a capsule form of this campaign.
  Soldiers of Fortune
  The PCs are mercenaries, using their skills to make a living. In a pre-modern
  campaign, martial artists will have plenty of opportunities to peddle their skills.
  Even today, hand-to-hand specialists are valued as bodyguards or bounty hunters,
  particularly in areas where guns are strictly controlled by the government.
  The characters will have to build up a good Reputation in order to attract
  customers. Alternatively, the campaign can start with the PCs-for-hire working
  for a semi-permanent employer, who could be a Patron, Ally, or fellow player-
  character. A famous pro boxer could have a small retinue of highly trained secu-
  rity men, for instance. Or, if their skills are illegal, the PCs can be highly paid
  "guerrilla teachers," in constant danger.
  Advantages: By controlling the "market" for mercenaries, the GM can easily
  hook the players into adventures. Any mix of action and intrigue can be offered.
  Disadvantages: Selling one's talents runs counter to the philosophical ideals
  behind many martial arts styles, although many historical martial artists did act
  as mercenaries or bodyguards.
  Sources: Kurosawa's The Seven Samurai.
  Vigilante Justice
  This is a staple of fiction: the characters are private crime fighters, using
  their fantastic skills to battle justice on the edge of the law. Their goal is to deal
  with the crimes that the police can't or won't touch. In many cases, they will be
  in as much danger from the authorities as from the outlaws.
  150
  
  Vigilantes must hide their identity, to avoid both criminal retribution and
  police persecution. The costumed vigilante belongs more to the realm of comic
  books than movies, but there are examples there, too.
  A variation of the theme is the martial arts troubleshooter, who goes around
  helping those in need. He (or they) usually acts on his own, not quite stepping
  outside the law, but not asking for its help, either. The origins of this type of
  character go back to ancient China, when martial artists wandered around the
  countryside like the Asian equivalent of knights-errant (see The Chinese Way,
  above). Some Japanese ronin also served good causes, at least in popular fic-
  tion. Thus, this type of campaign is good for almost any background.
  Advantages: The GM has a wide body of fiction and movies from which to
  draw inspiration. The campaign will be one of high adventure, very satisfying to
  swashbuckling players. It can travel widely, or stay in one city, as the GM and
  players prefer.
  Disadvantages: Adventures may degenerate into endless strings of fights
  unless the GM introduces some mystery and investigation elements, which may
  not appeal to action-oriented players.
  Sources: The masked vigilante theme is a cornerstone of comic books; the
  classic example of a martial-artist superhero is DC Comics' Batman.
  (Actually, Batman, with his dark costume and his belt full of gadgets, is a
  high-tech ninja!) The wandering adventurer theme is found in numerous
  movies. In Return of the Dragon, Bruce Lee plays a typical troubleshooter.
  The Kung Fu series also follows this theme, as does the Kurosawa movie
  Sanjuro.
  ARTS
  (CONTlNlUED)
  Vampire: The Masquerade
  What better candidate for a true master
  than an immortal vampire? Weapons
  come and go throughout the ages, but
  bare hands never go out of style. A
  Kindred martial artist with a few levels of
  Celerity, Fortitude or Potence would make
  an ideal (and terrifying) martial artist,
  while a vampire hunter who is also a true
  master might well prove to be a worthy
  foe for even a powerful vampire.
  Voodoo: The Shadow War
  In the Shadow War, conflict is just as
  likely to be physical as spiritual - and the
  martial arts can prepare an initiate for both.
  Those who are Trained by a Master are ini-
  tiates, following a path that develops inner
  strength instead of their connections to out-
  side forces. Ninja and Hashishin may be
  dark agents of the eastern Lodges, and
  many Capoeiristas will also be Santeros in
  the world of the Shadow War.
  
  ARTS
  Cannon-fodder
  Non-player characters for Martial Arts
  campaigns are a bit harder to create than
  normal NPCs; there are skills and maneu-
  vers to keep up with. To keep the paper-
  work at a minimum while maintaining
  balance, "cannon-fodder" NPCs should be
  proficient in only one style. The GM may
  give them only the primary skills of the
  style, and skip all others. This will keep
  things simple; most NPCs are unlikely to
  be very advanced students, anyway.
  "Personality" NPCs
  Major NPCs, on the other hand, should
  be treated as normal characters in all
  respects, including a detailed martial arts
  repertoire. These are the characters who
  will become the allies, rivals or chief foes
  of the party. Make them up with a full-
  scale character sheet, and think about their
  personalities. To make them more inter-
  esting (especially in a cinematic cam-
  paign) they can be given appropriate
  quirks, such as:
  Reliance on one particular maneuver,
  which is known at an incredibly high level.
  Reliance on an unusual weapon. The
  NPC could be expert with this weapon, or
  (for a silly campaign) hopelessly clumsy.
  Great loyalty to his particular style,
  school or philosophy.
  Particular dislike for the users of a cer-
  tain style. This may be expressed as a
  desire to best them in combat - or a
  refusal to have anything to do with them.
  A fondness for aphorisms or inscrutable
  sayings. "What is the sound of one hand
  clapping?" A book on Zen is great research
  material for this. (GMs: If a player charac-
  ter does too much of this, tell him he has
  developed an Odious Personal Habit.)
  Wanted!
  The PCs are being pursued by a very powerful foe, be it the authorities, a
  ninja clan or the Mob. The heroes cannot stay in one place for long, and they
  can never let down their guard. This campaign type is sometimes combined with
  the Quest (above), where the heroes are searching for something or someone
  while being hunted by a third party. Perhaps the object of their quest is the one
  (teacher, weapon, secret, battleground) that will give them a chance of final
  escape or a fair fight.
  This type of campaign works well in most settings, although in futuristic
  backgrounds the characters may have problems escaping high-tech pursuit
  devices. The enemy should be powerful enough that the characters know that to
  stand and fight would be suicidal. The Wanted! campaign works best with small
  groups, even with only one PC!
  Advantages: As the PCs travel around, they may get involved in a number of
  other situations, even as they try to elude their pursuers. Ambitious GMs may
  use dozens of adventure types, from straight martial arts mayhem to crime/mys-
  tery to horror, while keeping the menacing enemy in the background, ready to
  strike. Players who like variety will enjoy the continuous changes of setting and
  pace. For those who like that kind of thing, the PCs can be criminals, on the run
  from the authorities.
  Disadvantages: It can be very difficult to run a Wanted! campaign with a large
  group; intra-party bickering can become fierce. GMs will have a lot of work in
  keeping things fresh, not to mention working out each new setting as the PCs trav-
  el about. The players will never forget that the GM is pulling the strings.
  Sources: The Kung Fu TV series, or the Kamui comic book.
  Warriors of the Night
  This is the ninja campaign - all the PCs are part of a secret ninja clan, or
  they are on the opposite side, hunting the dark assassins down. Depending on
  the GM's opinion of the ninja, they can be mercenary assassins for hire, faithful
  servants of their Japanese lord, freedom fighters who occasionally hire their ser-
  vices to the rich and powerful, or a sinister cult with its own hidden agenda.
  There were many different ninja clans in historical Japan, and some of them
  were at odds, because of loyalty to warring employers or long-standing blood
  feuds. In a cinematic campaign, the GM can create two ninja clans, one "good"
  or "neutral" and the other "evil," and have the PCs choose sides - or even better,
  get caught in the middle.
  
  The Quest
  In historical Japan, ninja PCs must keep their affiliation a secret, the alter-
  native being imprisonment or death for "bad" ninja, loss of effectiveness for
  "good" ones. They will be up against trained soldiers who for the most part will
  be as fanatical and willing to die as they. Employers will be wealthy merchants,
  noblemen, even the shogun himself. Assignments will vary from reconnais-
  sance missions to information gathering to kidnapping, assassination, sabotage,
  and commando raids. In many cases, the employer will have no loyalty to his
  ninja tools, and will seek to betray them when the job is done.
  In modern times, ninja cults may still exist. Some may work for the benefit
  of mankind, but most likely they will work for money. They will probably use
  modern weapons and tools, even to the exclusion of traditional ones. This will
  be necessary if they are to be successful, since the "enemy" will probably have
  automatic weapons, high-tech electronic surveillance equipment, and other
  resources. In a cinematic campaign, however, the ninja will be masters of many
  strange abilities, and will be able to deal with modern technology even if they
  stick to ancient methods.
  Another possibility for this type of campaign would be to make the PCs rene-
  gade ninja, also called nukenin. This becomes a variation of the Wanted! cam-
  paign. Renegade ninja in historical Japan face huge risks; they are hunted by the
  most powerful underworld organization of the times, and will be shunned, or even
  killed, by the rest of the population, should their identity be discovered.
  In modern times, this type of PC will have an easier time when dealing
  with society at large. On the other hand, nobody will believe they are being
  hunted down by ninja - until it is too late. A ninja clan, or even a lone assassin,
  is terrifying enough to be used in a Horror campaign (see sidebar, pp. 142-3).
  In a realistic campaign, GMs should take note that Ninjutsu is currently
  taught in many schools in the United States, and is becoming a respected mar-
  tial arts style, with a focus on self-defense and survival. Some schools are sim-
  ply attempting to cash in on the ninja craze, but many are honest places where
  Japan-trained instructors teach the taijutsu style of combat (see p. 93), as well
  as the basics of ninja philosophy. GMs and players trying to create real-life
  ninja should research those schools.
  When a PC wants to learn a new style,
  an ancient and honorable sub-plot can
  enter the campaign. This is the Quest for
  the Master - the one teacher who can
  impart the wisdom and training that the
  would-be student must have.
  This makes much more sense in a his-
  torical campaign (when teachers were rare
  and some schools were outlawed) or in a
  cinematic campaign (where there is no
  Yellow Pages listing for "Hand of Death,
  Teachers.")
  Even in a modern-day, realistic cam-
  paign, a quest is possible. In this case,
  finding the Master might be easy . . . but
  convincing him that you are worthy to
  learn his art might be much harder. The
  Master may set tasks, and the tasks may
  not seem to make much sense . . . they
  may even seem evil or illegal. (And per-
  haps they are! No one ever said that all
  Masters were good people. How the
  would-be student reacts to this is a role-
  playing challenge.)
  Another variation: the PCs' current
  Master announces that he can teach them
  no more at their current level of under-
  standing. He sends them on a mission of
  some sort, with the promise of more train-
  ing when they return. Or perhaps they
  have learned everything that he can teach
  them, and he sends them to seek out his
  Master . . .
  The traditional Master appears incredi-
  bly old. He dresses and acts in a wholly tra-
  ditional fashion - except when he chooses
  to be eccentric. He appears to be frail, but
  shows great prowess when the student least
  expects it. He always knows what the stu-
  dent needs, and this is usually just the
  opposite of what the student wants. He may
  have the audacity to end the student's train-
  ing by vanishing or dying.
  That's the stereotype! The Master is
  never what the student expects . . . but the
  Master described above is exactly what
  the player may expect, if he reads martial-
  arts fiction. So change the script.
  The GM can surprise the players by
  letting the Master be young. Or female. Or
  hopelessly alcoholic. Or stupid (too many
  kicks in the head?). Or evil. Or greedy.
  ("Sure, I'll teach you the Seven Secret
  Kicks. That'll be $30,000, in gold. For
  each of you.") The Master is never what
  the student expects . . .
  153
  
  Silly Rules
  GMs running a slapstick campaign
  (see main text) can use some of the rules
  below (some of which first appeared in
  Special Ops) to simulate some of the
  themes found in late night Kung Fu flicks.
  Bulletproof Nudity
  Player characters can increase PD by
  undressing. Wearing a ragged T-shirt is PD
  3; stripping to the waist is PD 5; total nudi-
  ty is PD 7. These are +1 for female PCs.
  Advantages: Ninja PCs will all have similar goals, making it easier to cooper-
  ate. Since the term "ninja" has been applied to so many different groups, the GM
  can use it to label a martial arts super-team, a mere organization, or anything in
  between. The ninja make an interesting (and lethal) enemy.
  Disadvantages: Characters may end up being too similar, and the GM may
  end up facing "the Legion of Super-Clones" syndrome. (To fight this, emphasize
  personality and roleplaying.) Ninja are usually perceived as evil, so some play-
  ers may not want to portray them.
  Sources: Chuck Morris' The Octagon, and a myriad of others.
  Gun Control Law
  The enemy will rarely use guns. When
  they possess them at all, they will threaten
  the PCs with them and will never defend
  against attacks meant to knock firearms
  away. Most of the time, the bad guys will
  only use melee weapons.
  Martial Artists Anonymous
  Every NPC the characters encounter -
  from the local greengrocer to the shoeshine
  boy - will have Karate and Judo at 16+,
  and will be itching to use them, both for
  and against the PCs. Any attack will be
  heralded by loud kiais. Every few minutes
  the party will hear shouting and loud
  thumps, as of falling bodies; if they investi-
  gate, they will find a routine domestic dis-
  turbance being settled by kicks and chops.
  Imperial Stormtrooper
  Marksmanship Academy
  If the Gun Control Law (above) is bro-
  ken, the bad guys never hit with the first shot
  or burst of automatic fire. This always lands
  close enough to the PC that he is aware he is
  under fire, but never does damage.
  Larger Than Life
  The optional Stun rules apply to the
  PCs (and select NPCs) but not to most nor-
  mal mortals (including cannon fodder
  attackers). In effect, this gives the heroes
  60 or more "hit points" against their ene-
  mies' ten or so - sounds like old roleplay-
  ing times, doesn't it?
  Another focus for a martial arts campaign is the "silly" or humorous style.
  Martial arts movies are often rich in unintentional humor, due to poor translation
  jobs and even poorer scripts. The stereotypical Kung Fu movie plot consists of a
  string of fights barely connected by the flimsiest of plots. Common lines include
  such jewels as: "So you wanna fight, ah?" and "You don't look so tough to me!"
  Some of these films even include intentional humor.
  The silly campaign can use any settings or theme, but the situations and
  characters should be exaggerated cliches. Wherever the PCs go, they will face
  people who will want to fight them, and for some reason all these foes will be
  accomplished martial artists. The bad guys will have no clear motivations, other
  than trying to prove their superiority by beating the heroes up.
  The optional Stun rules (pp. 67-68) should be used. Most of the time, nobody
  should be seriously hurt. Both PCs and NPCs should have a mixture of high skill
  and inopportune clumsiness. Before any maneuver is attempted, the GM could
  roll 2d-12 to determine a DX penalty for that round. Results should be high on
  slapstick and low on damage; if someone was attempting a Flying Jump Kick,
  have him go through a plate glass window and emerge intact, except for his ego.
  A missed Power Blow could leave the "hero" with his fist helplessly stuck in a
  wall. GMs should award character points to PCs (or players) who can move their
  lips out of synch with their words to mimic bad dubbing.
  This type of campaign is not for everyone, and is unlikely to last beyond a
  few game sessions. The GM should consider his player's tolerance for cheap
  Kung Fu flicks. If they cannot sit through more than one bad martial arts movie
  at a time, this idea would work best as a one-shot adventure - perhaps a change
  of pace for another campaign.
  154
  
  Each word is followed by its pronunciation (in brack-
  ets), and its place of origin (in parenthesis). C stands for
  China, J for Japan, and M for Malaysia or Indonesia; other
  countries are named in full.
  bokken [boh-KEHN] (J): A wooden practice katana,
  heavy enough to be a weapon in its own right.
  bushi [BOO-shee] (J): A member of the warrior class of
  Japan (not only noblemen, but commoner soldiers as
  well). Thus, bushido meant "the warrior's way," or the
  code of behavior appropriate to a warrior.
  chambara [cham-BAH-rah] (J): A drama focusing on
  heroic, highly skilled combat.
  chi [CHEE] (C): Literally, "breath"; inner energy found
  in all beings. Called ki [key] in Japanese.
  chu'an fa [CHOO-an-fah] (C): Boxing or unarmed com-
  bat techniques.
  daisho [DIE-shoh] (J): Paired swords, the two swords
  worn together that were the badge of the samurai.
  dan [DAHN] (J): Literally, "step." Grade system for mar-
  tial artists who have achieved black belt level (First
  Dan); each Dan represents one higher level, Tenth Dan
  being the usual maximum. Originally used in Judo, the
  Dan grade system is now used for most Asian martial
  arts.
  do [DOH] (J): "Way" or "path;" applied to the achievement
  or mastery of any skill; also to highly artistic martial arts.
  dojo [DOH-joh] (J): Martial arts school (see also kwoon
  and salle, below).
  gi [GEEH] (J): Loose jacket and pants, usually white,
  used in the practice of the martial arts.
  gum [GOOM] (K): Korean longsword, roughly equiva-
  lent to the Japanese katana.
  guru [GOO-roo] (M): A wise man; a teacher of martial
  arts.
  hakama [HAH-kah-mah] (J): A divided skirt laced over the
  kimono for a trousers-like appearance. Worn as part of the
  standard costume for aikido and some other martial arts.
  JKD: Common U.S. abbreviation for Jeet Kune Do.
  -jutsu [JOOT-soo] (J): A combat-oriented technique or
  style.
  -ka [-kah] (J): A practitioner of a martial art. A judoka,
  for instance, is a student of judo. It is improper to
  append -ka to any term except a Japanese one. Note
  also that a sumo wrestler is a sumotori, not a "sumoka."
  kata [KAH-tah] (J): A series of practice movements learned
  by the student like a dance to learn advanced skills.
  ki [KEY] (J): Life force or spirit. See chi.
  kiai [KEY-ay] (J): Martial arts shout that is delivered
  when striking, useful in channeling energy.
  kwoon [KWOON] (C): Martial arts school.
  Mestre [MEHS-treh] (Brazilian Portuguese): Master,
  teacher of martial arts.
  ninja [NEEN-jah] (J): Historically, a member of one of
  several secretive spy/assassin/saboteur clans of feudal
  Japan. More loosely, anyone who practices ninjutsu
  (see p. 93).
  obi [OH-bee] (J): A sash or belt tied around the kimono
  at the waist. Used in the martial arts to show the level
  of advancement of a student.
  ronin [ROH-neen] (J): Literally, "wave-man." A clanless
  samurai who had either been disowned by the clan lord
  or whose clan had been wiped out or abolished.
  salle [SAL] (French): Fencing or Savate school.
  Sensei [SEN-say] (J)]: Martial arts teacher.
  shinai [shee-NIE (J): A bamboo practice sword.
  Sifu [SEE-foo] (C): Martial arts teacher.
  sumo [SOO-moh] (J): Traditional Japanese wrestling,
  still a very popular sport.
  sumotori [SOO-moh-toh-ree] (J): A practitioner of sumo
  (see above).
  7KD: Common U.S. abbreviation for Tae Kwon Do.
  tao [DOW] (C): The Way or Path (see p. 7); learning the
  Tao of a particular skill or trade implies achieving total
  mastery in it.
  tatami [tah-TAH-mee] (J): Straw or wooden mat used in
  Japanese houses. Most traditional dojos are covered by
  a wooden tatami. Students are not allowed to wear
  shoes on it; they must also bow at the edge before
  entering it.
  tenglokok [TENG-loh-kock] (M): Turban-like headcloth
  traditionally worn by Malaysian martial artists.
  tong [TONG] (C): A Chinese society, guild or gang. Not
  necessarily either secret or criminal - but often both.
  yin/yang (Asian): Philosophical concept relating to paired
  and opposing, yet interrelated forces; its symbol is used
  by several martial art styles. A yin/yang symbol appears
  above. Also, medical treatment by acupuncture, mas-
  sage and moxa burning.
  
  Non-Fiction Books
  The following books provide useful information on martial
  arts history, styles and background.
  Ancient Art of Ninja Warfare, by Stephen K. Hayes.
  The Complete Martial Arts, by Paul Crompton.
  Comprehensive Asian Fighting Arts, by Donn F. Draeger
  and Robert W. Smith.
  Rung Fu: History, Philosophy and Technique, by David
  Chow and Richard Spangler.
  Weapons and Fighting Arts of the Indonesian Archipelago,
  by Donn F. Draeger.
  Fiction Books
  This selection can give GMs and players some ideas for
  characters and adventures.
  Blackcollar, by Timothy Zahn. Elite troops, futuristic
  Special Operations forces with bionic implants and ninja train-
  ing, battle conquering aliens in the future.
  The James Bond novels, by lan Fleming, You Only Live
  Twice in particular.
  Marathon Man, by William Goldman, and its sequel,
  Brothers. One of the main characters of this thriller is a hand-to-
  hand expert.
  Modesty Blaise, by Peter O'Donnell, and its sequels, A
  Taste For Death, Sabre-Tooth, The Impossible Virgin, I Lucifer,
  among others. The characters, situations and action of these
  novels are perfect models for adventure roleplaying.
  Ninja, by Eric Van Lustbader, and its sequel The Miko.
  These works are chock-full of cinematic abilities and ninja
  gadgets.
  Comic Books
  Comic books are full of martial arts themes. Below is a
  sampling. Several American companies are translating and mar-
  keting Japanese and Chinese comics. They are fantastic cam-
  paign sourcebooks.
  Badger, First Comics. Full of martial arts action mixed with
  biting humor. Badger's creator, Mike Baron, is a martial arts
  practitioner and emphasizes detail in the comics he writes.
  (Since Badger's patron is a genuine wizard, this is a fantasy
  crossover.)
  Daredevil, Marvel Comics.
  Green Arrow, DC Comics.
  Kamui, First Comics.
  Lone Wolf and Cub, First Comics.
  Ninja High School, Antarctic Press.
  Power Man and Iron Fist, Marvel Comics. Out of print
  now, but worth the price of getting back issues.
  The X-Men, Marvel Comics.
  Movies
  There are far too many martial arts movies to list here. The
  number of good martial arts movies, on the other hand, is much
  smaller. This is still far from an exhaustive list.
  Bloodsport
  The Chinese Connection: This Bruce Lee movie pits him
  against an evil Japanese school during the early 20th century.
  Code of Silence
  Dragon: A biographical account of the life of Bruce Lee.
  Shows some of the difficulties faced by martial arts masters who
  wish to develop and teach new styles.
  Enter the Dragon: The classic martial arts film by Bruce
  Lee. A must see.
  Fists of Fury
  The Hidden Fortress
  The Karate Kid
  The Kentucky Fried Movie: GMs wishing to run a silly
  campaign need look no further for inspiration. One segment of
  this movie is a beautiful spoof of Enter the Dragon.
  Kickboxer
  Man with the Golden Gun
  Mortal Kombat: An extreme case of a four-color martial arts
  movie, inspired by the popular video game of the same name!
  The Octagon: A terrorist ninja camp is depicted in this
  Chuck Norris movie.
  Rapid Fire: Stars Bruce Lee's son, Brandon.
  Return of the Dragon
  Sanjuro
  Silent Rage: An interesting mixture of martial arts action
  and horror. Chuck Norris pits his skills against a man who can-
  not be killed.
  The Seven Samurai: A classic Kurosawa samurai movie that
  was later used as the basis for a western, The Magnificent Seven.
  Star Wars, The Empire Strikes Back, Return of the Jedi: It's
  got sword-twirling warriors, a quest for self-advancement,
  ancient teachers and mystical abilities - don't let the spaceships
  and ray guns fool you, these are martial arts movies!
  Street Fighter: Another four-color martial arts movie with a
  video game theme.
  You Only Live Twice: James Bond (Sean Connery) becomes
  a ninja.
  Television Shows
  The Green Hornet. Not a martial arts show as such, this
  short-lived TV series gave Bruce Lee his first American acting
  role: Kato, the Green Hornet's high-kicking chauffeur.
  Kung Fu. This cult classic depicts the adventures of a
  Shaolin monk in the American Old West. Excellent source of
  cinematic adventure and "kung fu philosophy."
  Magazines
  These publications are great sources for new martial art
  styles, history, philosophy, weapons and moves.
  Black Belt
  Inside Karate
  Inside Kung-Fu
  Karate Illustrated
  Ninja
  
  MARTIAL ARTS RECORD) Sheet Styles Mastered
  Player's Name __________________________
  Character's Name
  Maneuver 
  Skill 
  Damage/Effect 
  Other Information
  Active Defenses 
  Combinations
  Skill 
  Modified Parry Roll 
  __________
  Cinematic Skills 
  Effect 
  Notes
  157 
  Record
  
  MARTIAL ARTS CAMPAIGN 
  Plan 
  GM
  Date:.
  Campaign name: ___________________
  Rate game time passes: ________________
  Cinematic rules in use, if any:____________
  .Campaign's starting year:
  Optional Stun rules in use, if any:.
  Campaign setting: time and place
  Campaign's Tech Level: _____
  _________(Suggestion: give players a map of the area.)
  Differences from this TL as described in GURPS Basic Set:
  Player Character information:
  Starting point value allowed for PC_
  Language(s) the PCs will need: __
  Base wealth for PCs:
  Especially useful/useless character types:_______________
  Especially appropriate/inappropriate professions: ___________
  Advantages and skills that will be especially useful in this campaign:
  Advantages and skills that will be worthless in this campaign: ________________________________
  Disadvantages that will be discouraged in this campaign, either because they are fatal or because they won't really be dis-
  advantages: 
  ________________________________________________________________
  Appropriate Patrons (and base value): ________________________________________________
  Appropriate Enemies (and base value): _____________________________________________
  Special disciplines available in this campaign:
  Psionics? (How powerful? How common?) _____
  Magic? (How powerful? How common?)_______
  Rules variants: New skills, advantages, disadvantages (summarize)
  Rules variants: Changes in combat rules (summarize).
  Martial Artist information:
  Are there legal restrictions on the martial arts?
  PC styles allowed: _______________
  Styles known to exist, but not available to PCs:
  Are there styles and maneuvers not listed in the book? (Add descriptions on separate sheet.)
  Magic (if it exists):
  General mana level:
  _Are there areas of other mana levels? How large and how common are they?
  Are any optional magic rules in use? _______________________________
  How common are magic and mages? Are there wizards who are not martial-arts masters?
  Are magic-users well distributed? If not, where are they most likely to be found? ____
  How common are magical items?_______________________________
  Does quick-and-dirty enchantment exist in this world?
  Are there active deities or Higher Powers?_______
  Is there any special clerical magic?___________
  What spells from the Spell List are known in this campaign? _________________________________
  Are there any "common knowledge" spells to be added to the list?______________________________
  The GM should also provide the players with details on: new styles and maneuvers, and their availability; "house rules"
  for character creation; important organizations; and history, if it is not a straight historical campaign.
  CAMPAIGN Plan
  158
  
  Acrobatic Kick maneuver, 57.
  Acrobatics, 45; skill, 31.
  Advantages, 25; new cinematic,
  27; new realistic, 26.
  Aerie Fighting, 109.
  Aggressive Parry maneuver, 43.
  Aggressive Parrying Kick
  maneuver, 44.
  Aggressive Tail Parry
  maneuver, 115.
  Aikido, 15,77.
  Aikijutsu, 12.
  Ally advantage, 25.
  An Ch'i, 77.
  Arm or Wrist Lock maneuver,
  44; skill, 39.
  Armor, 129; ancient Chinese,
  129; ancient Japanese, 129;
  boxing gloves, 129, digital
  sparring, 128; kendo, 129;
  modern body, 129; ninja,
  129; virtual reality sparring,
  128.
  Axe-Kick maneuver, 44.
  Axes; kama, 89, 118; masakari,
  118;nata, 118.
  Back Kick maneuver, 45.
  Bando, 78; animal forms, 78.
  Binding maneuver, 57.
  Black belt, 16, 18,73,77,78,
  137.
  Blinding Touch skill, 36.
  Blowpipes, fukiya, 119; water
  blow gun, 119.
  Bodhidharma, 6, 7, 9.
  Body Language skill, 32.
  Body Control skill, 36.
  Boxing skill, 32.
  Breakfall maneuver, 45.
  Breaking Blow skill, 36.
  Breath Control skill, 31.
  BruceLee, 11,85.
  Buddhism, 6, 7, 34, 83; monks
  and nuns, 15.
  Campaigns, cinematic, 19, 114,
  138: cinematic vs. realistic,
  137; creating NPCs for, 152;
  four-color, 19, 114, 138;
  hybrid, 139; realistic, 15, 18,
  19, 137; slapstick, 154;tech
  level, 139; themes, 146.
  Capoeira, 79.
  Cat Stance maneuver. 45.
  Chambara attack rules. 28:
  attacks, 32; defenses, 64;
  fighting, 64; rules, 57, 65.
  Character, types, 20; examples,
  20,22,82,88,91,94,98,
  102, 105, 106, 108, 110, 112.
  Chi, 6, 38, 40, 83, 84, 104, 106,
  110, 114, 140;and psi, 85;
  cinematic rules, 84.
  Chin Na, 79.
  China, 6, 140; and Korea, 139.
  Choke Hold maneuver, 45.
  Ch'uanfa, 12.
  Cinematic, 19; abilities and
  prerequisites, 75; campaigns,
  114, 138; combat, 59;
  combat example, 57;
  maneuvers, 57; rules, 64;
  skills, 73; vs. realistic
  campaigns, 137.
  Cloak skill, 32.
  Cloaks, heavy, 125; light, 126.
  Close Combat maneuver, 46.
  Clubs, gada, I23;jitte, 118;
  neurolashes, 126; tjabang,
  123; tonfa, 118.
  Code of Honor disadvantage, 28.
  Combat; example, 51; faster, 59;
  length, 62; optional rules,
  60; tournament, 61.
  Combat/Weapon Art or Sport
  skill, 32.
  Combinations, 54.
  Competition, 55; full contact
  without protection, 56;
  no-contact, 55; protectedfull
  contact, 56.
  Concentration, 44.
  Contact advantage, 25.
  Contender character type, 20.
  Cop character type, 20.
  Corps-a-Corps maneuver 46.
  Crimefighter character type, 21.
  Critical Miss tables, 68;
  grappling, locks and throws,
  69; striking and parrying, 68.
  Cybernetic weapons, claws,
  127; poison reservoir, 127';
  rip snake, 127.
  Cyberninjutsu, 113.
  Damage, crippling, 69; different
  types, 68; flesh wounds, 68;
  partial injuries, 50; poison,
  69, 121; reduction, 67; stun,
  67, 68; vital organs, 49.
  Defense, concentrated, 62,
  Defenses, enhanced, 58.
  Dirty tricks, 43, 93, 102.
  Disadvantages, 25, 28; new, 30.
  Disarming maneuver, 47.
  Dislocating skill, 37.
  Dragon-Man Kung Fu, 110.
  Drop Kick maneuver, 47; skill,
  37.
  Drunken Fighting skill, 37.
  Dual-Weapon Attack maneuver,
  57.
  Duty disadvantage, 27.
  Ear Clap maneuver, 47.
  Elbow Strike maneuver, 47.
  Enemy disadvantage, 27.
  Engaijutsu, 108.
  Enhanced Parry, 49; maneuver,
  58.
  Enhanced Dodge maneuver, 58.
  Enhanced Block maneuver, 58.
  Equipment, ninja, 119; special
  ninja equipment, 120;
  training, 128.
  Escape skill, 31.
  Escrima, 11, 14, 80.
  External style, 83, 91.
  Extremely Hazardous Duty
  disadvantage, 30.
  Eye-Gouging maneuver, 47.
  Face Attacks maneuver, 48.
  Fanaticism disadvantage, 28.
  Fast-Draw (Balisong), 32.
  Fatigue, tournaments, 63.
  Feint, 49, 56, 66; maneuver, 48.
  Fencing skill, 31.
  Fighting While Seated maneu-
  ver, 58.
  Finger Lock maneuver, 48.
  Flails; collapsible nunchaku,
  126; kusari, 118; kusari-
  gama, 118; manriki-gusari,
  118; nunchaku, 118; three-
  part staff, 118.
  Fleche maneuver, 48.
  Floor Lunge maneuver, 49.
  Flying Leap skill, 37.
  Flying Jump Kick maneuver,
  59; skill, 37.
  Flying Fists skill, 37.
  Force Sword skill, 39.
  Force-Swordsmanship, 114.
  Four-color campaign, 114, 138;
  combat, 59; martial arts, 40;
  rules, 84.
  France, 80, 99.
  French Fencing, 80.
  Fright checks, 47.
  Garrote skill, 33.
  Glory Hound disadvantage, 28.
  GojuRyu, 81.
  Grading systems, 77.
  Ground Fighting maneuver, 49.
  GURPS China, 106, 139, 140.
  GURPS Cliffhangers, 22, 98,
  106, 107, 141, 142.
  GURPS Cyberpunk, 107, 115,
  145.
  GURPS Fantasy, 107, 113, 140.
  GURPS Horror, 47, 137, 143,
  152.
  GURPS Japan, 9, 23, 89, 138.
  GURPS Space, 39, 107, 145.
  GURPS Supers, 19, 21, 67, 99.
  GURPS Swashbucklers, 95,
  125, 144.
  GURPS Special Ops, 24, 92,
  120, 141.
  Hand of Death skill, 37.
  Hand Parry maneuver, 49.
  Hand Strike maneuver, 49.
  Hand-Clap Parry maneuver, 59.
  Hapkido, 82.
  Harmony with the Tao
  advantage, 27.
  Hashishin Style, 82.
  Head Lock maneuver, 50.
  Head Butt maneuver, 50.
  Hit Location maneuver, 50.
  Hook Kick maneuver, 51.
  Hsing-Yi Chuan, 83.
  Hwarang, 13, 90.
  Hypnotic Hands skill, 38.
  Hypnotism skill, 31.
  laijutsu, 88.
  Immovable Stance skill, 38.
  Indonesia, 14, 91.
  Initial Carving maneuver, 59.
  Initiative, 65.
  Instructor character type, 22.
  Internal style, 83, 91.
  Intimidation skill, 31.
  Intolerance disadvantage, 29.
  Invisibility Art skill, 38.
  Iron Hand advantage, 27.
  Isshinryu style, 84.
  Italian Rapier Fencing, 84.
  Jab maneuver, 51.
  Japan, 9, 138, 142.
  Japanese sword art, see Kendo.
  Japanese swordsmanship, see
  Kenjutsu.
  Jeet Kune Do, 85.
  Jitte/Sai skill, 33.
  Judo, 15,85.
  Judo Parry maneuver, 51.
  Judo Throw maneuver, 51.
  Jujutsu, 12, 86.
  Jump Kick maneuver, 52; skill,
  37.
  
  Jumping skill, 31.
  Kaa Martial Art, 114.
  Kalaripayit, 86.
  Karate, 33, 87.
  Kempo, 12,88.
  Kendo, 10, 88, 89.
  Kenjutsu, 88, 89.
  Kiai skill, 38.
  Kicking maneuver, 52.
  Knee Strike maneuver, 52.
  Knives, balisong, 80, 124; hishi,
  118; kozuka, \\8;kris, 96,
  123; main gauche, 125;
  punal, 124; sai, 89, 118;
  slashing wheels, 117;
  tanto, 118.
  Kobujutsu, 89.
  Korea, 13, 90.
  Kronin Karate, 109.
  KukSoolWon, 15,90.
  Kung Fu, 90.
  Kuntao, 14,91.
  Kusari skill, 33.
  Kyudo, 92.
  Leg Grapple maneuver, 52.
  Leopard Fist Kung Fu, see Pao
  Chuan.
  Light Walk skill, 39.
  Lunge maneuver, 52.
  Magic, 40.
  Main-Gauche skill, 33.
  Maneuvers, 42, 73, 74; and
  combat/weapon art or sport
  skills, 45; cinematic, 74;
  learning, 42; new, 42; skill,
  34.
  Manriki-gusari, 13.
  Martial arts, and the law, 13;
  and women, 15; styles
  advantage, 26.
  Mental Strength skill, 39.
  Military Hand-to-Hand, 92.
  Miyamoto Musashi, 10, 88, 149.
  Monk character type, 22.
  Muay Thai, 92.
  Multiple Attacks, 65; Ail-Out
  Attacks, 65; controlling, 66;
  feinting, 66; missile weapons,
  66; opponents with, 66;
  parrying and Ail-Out
  Defense, 66; readying, 66;
  thrown weapons, 67.
  Neck Snare maneuver, 115.
  Neck Snap maneuver, 53.
  Ninja character type, 23.
  Ninja 10, 20; equipment, 119;
  other gadgets, \22; special
  equipment, 120.
  Ninjutsu, 89, 93.
  No Sense of Humor
  disadvantage, 29.
  Obsession disadvantage, 29.
  Off-Hand Weapon Training
  maneuver, 53.
  Okinawan weapons, see
  Kobujutsu.
  On the Edge disadvantage, 29.
  Ore Combat Style, see Smasha.
  Pacifism disadvantage, 28, 29.
  Pakua, 94.
  Pancratium/Mu Tau, 94.
  Pao Chuan, 95.
  Parry Missile Weapons skill, 34.
  Parrying Kick maneuver, 53.
  Patron advantage, 26.
  Pentjak Silat, 14, 96; grading
  system, 96.
  Philippines, 80.
  Philosophy skill, 34.
  Piledriver maneuver, 60.
  Polearms; chain-staff, 119;
  dah-dau, \\l\latajang, 124;
  naginata, \l8;oh-gama, 119;
  rochin, 118; southern
  tiger-fork, 117; spear (chiang),
  117; yari, 118; yarinage, \ 18;
  yueh-ya-chaan, 117.
  Police Hand-to-Hand, 97.
  Poverty disadvantage, 29.
  Power Blow skill, 39.
  Praying Mantis Kung Fu, 97.
  Precognitive Parry skill, 39.
  Pressure Secrets skill, 40.
  Pressure Points skill, 37, 39.
  Professional Wrestling, 99.
  Professional Kickboxing, 98.
  Professional Boxing, 98.
  Psionics, and martial arts, 85-86.
  Push skill, 40.
  Rabbit Punch maneuver, 53.
  Ranged weapons, dai-kyu, 119;
  explosive arrows, 121;
  half-bow, I19;paku, 124;
  piau, 124; shuriken, 34, 119;
  sonic shuriken, 127.
  Ranks, 78; Okinawan, 77;
  Pentjak Silat, 96; Savate, 99;
  Tae Kwon Do, 104.
  Reputation, 47, 48, 74;
  advantage, 26.
  Retain Weapon maneuver, 53.
  Reticulate maneuver, 114.
  Riposte, 49, 56; maneuver, 54.
  Roll with Blow maneuver, 60.
  Roundhouse Punch maneuver,
  54.
  Samurai 9, 10, 15.
  Savate, 99; costume, 99; grades,
  99.
  Savoir-Faire, 34, 35.
  Secret agent character type, 23.
  Secret disadvantage, 29.
  Self-Defense Hand-to-Hand,
  100.
  Sense of Duty disadvantage, 27.
  Sensitivity skill, 34.
  Shaolin, 8; initiation, 1, 100;
  temple, 7, 95, 100, 101.
  Shaolin Kung Fu, 6, 101;
  uniforms, 101.
  Sharpshooter advantage, 27.
  Shin Kick maneuver, 54.
  Short Staff skill, 34.
  Shuto maneuver, 54.
  Skills, 25, 31,71;
  cinematic, 36; new realistic,
  32; optional, 72; primary,
  71; reduced concentration,
  61; secondary, 71.
  Slip maneuver, 54.
  Smasha, 111.
  Social Stigma disadvantage, 29.
  Soldier character type, 24.
  Spacer Kung Fu, 115.
  Special weapons, combat fan,
  124; garrote, \\9;monowire
  garrote, 128; neko-de, 119.
  Spin Kick maneuver, 55.
  Spinning Punch maneuver, 55.
  Springing Attack maneuver, 60.
  Staff Vault maneuver, 112.
  Staffs, bo, US; bong, 124; dan
  bong, 124; Escrima stick,
  124; jo, ll$;muchan, 123;
  otta, 123; tetsubo, 118;
  tongkat, 123; tokushu keibo,
  I26;toya, 123.
  Stamp Kick maneuver, 56.
  Stealth skill, 31.
  Sticking maneuver, 60.
  Stop Hit, 49; maneuver, 46, 55.
  Streetfighting, 102.
  Stunt Man character type, 24.
  Style Analysis skill, 34.
  Style Familiarity advantage, 26.
  Styles, alien, 108; bought during
  character creation, 75;
  cinematic cost, 75; combin-
  ing, 75; cost, 74; creating
  new, 11; developing new dur-
  ing play, 72; fantasy, 109; fic-
  tional, 107; futuristic, 113;
  historical and modem, 77;
  learning new during play, 76;
  on Yrth, 140; vs. style, 79.
  Sulsa, 14.
  Sumo, 102; uniforms, 103;
  wrestling skill, 35.
  Sweeping Kick maneuver, 56.
  Swooping Kick maneuver, 109.
  Swords, arit, 123; basket hilts,
  I25;bokken, 88, 118; bolo,
  124; butterfly, 117; dan sang
  gum, 124; dau, 111; dress
  smallsword, 125; electronic
  foils, 128; fencing saber, 125;
  force sword, 127; gum, 90,
  124; hook sword, lll;jiann,
  \\l\katana, 10, 118; katar,
  123; monomolecular blade,
  127; ninja-to, 119; nodachi,
  118;parang, I23;pedang,
  123; rapier, 125; shinai, 88,
  118; slashing rapier, 125;
  small-sword, 125; sonic
  blade, 127; swordcane, 125;
  urumi, 123; vibroblades, 126;
  wakizashi, 10, 118;
  Sylvan War Lore, 112.
  Tae Kwon Do, 103.
  Taoism, 7, 79, 83.
  Thai Kickboxing, 92.
  Theology skill, 31, 34.
  Throwing Art skill, 40, 67.
  Throwing skill, 31.
  Tonfa skill, 35.
  Tongs, 8, 9, 137.
  Tournament Law skill, 34-35.
  Tournaments, judges and fouls,
  64; roleplaying, 62.
  Trademark disadvantage, 30.
  Trained by a master advantage,
  21,22,23,27,32,36,57,64,
  66, 73, 74, 75, 93, 99, 108,
  112, 145.
  Triads, 8.
  Trip maneuver, 56.
  T'ai Chi Chuan, 104.
  UechiRyu, 104.
  Unfazeable advantage, 26.
  Uniforms, 76; Aikido, 76; ninja,
  93; Petjak Silat, 96; Savate,
  99; Shaolin Kung Fu, 101;
  Sumo, 103.
  Unusual Background advantage,
  26.
  Vow disadvantage, 29.
  Weapon Master advantage, 28,
  23, 36, 66, 67, 73, 77, 92,
  112, 114.
  Weapons, axes, 118; Chinese,
  117-118; cloaks, \25; costs,
  111; cybernetic, 127;
  disguised, 122; enhanced,
  120; European fencing, 125;
  flails, 118, 126; historical
  costs, 117; Indian, 123;
  Indonesian, 123; Japanese,
  118-119;fom>ey, 117, 118,
  123, 124, 125, 126; Korean,
  124; modern, 126; ninja, 119;
  other, l\9; Philippine, 124;
  polearms, 118, 124; ranged
  weapons, 119, 124, 127;
  readying, 66; staffs and clubs,
  123, 124, 126; special
  weapons, 124, 128; swords,
  117,118, 123, 124, 125, 126;
  tables, 130-135; training,
  128; Ultra-Tech, 126; whips,
  118, 127.
  Whips; chain-whip, 118;
  monomolecular, 127.
  Whirlwind Attack maneuver, 61.
  White Crane Kung Fu, 105.
  Will, 48.
  Wing Chun Kung Fu, 11, 15,
  105.
  Winged Folk Martial Art, see
  Aerie Fighting.
  Wrestling skill, 35.
  Wudong, 106.
  Wushu Kung Fu, 106.
  Yawara skill, 57.
  Yin/Yang Healing skill, 35, 37.
  Yrth, 82, 95, 140.
  Zen Archery skill, 36. 40. 66.
  Zen Buddhism, 9, 79.
  
SOURCE: textdata/thevault/GURPS [multi]/GURPS - Martial Arts.pdf