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HERO SYSTEM

MARTIAL ARTS



HERO SystemTM ® is DOJ, Inc.’s trademark for its roleplaying system.HERO System Copyright © 1984, 1989, 2002, 2009 by DOJ, Inc. d/b/a Hero Games. All rightsreserved.Champions, Dark Champions, and all associated characters © 1981-2008 Cryptic Studios, Inc.All rights reserved. “Champions” and “Dark Champions” are trademarks of Cryptic Studios, Inc.“Champions” and “Dark Champions” are used under license from Cryptic Studios, Inc.Fantasy Hero Copyright © 2003 by DOJ, Inc. d/b/a Hero Games. All rights reserved.Pulp Hero Copyright © 2005 by DOJ, Inc. d/b/a Hero Games. All rights reserved.Star Hero, Justice Inc., Danger International, and Western Hero Copyright © 2002 by DOJ, Inc.d/b/a Hero Games. All rights reserved.

No part of this book may be reproduced or transmitted in any formor by any means, electronic or mechanical, including photocopying,recording, or computerization, or by any information storage andretrieval system, without permission in writing from the Publisher:DOJ, Inc., 226 E. 54th Street, #605, New York, NY 10022-48541.Printed in Canada. First printing January 2010.Produced and distributed by DOJ, Inc. d/b/a Hero Games.Stock Number: DOJHERO1005ISBN Number: 978-1-58366-124-6www.herogames.com

AUTHORS

Steven S. Long, Michael Surbrook

ADDITIONAL CONTRIBUTIONS

Aaron Allston

EDITING AND DEVELOPMENT

Steven S. Long

LAYOUT, GRAPHIC DESIGN,

AND QUOTE-BUNNY

Bill Keyes

COVER ART

Fred Hicks

INTERIOR ARTBrett Barkley, Dan Christensen, Storn

Cook, Curtis Craddock, Andrew Dobell,

Brendon & Brian Fraim, Edd Ghent,

Mark Helwig, Sam Kennedy, Storm Kerr,

Bradley K. McDevitt, James Nguyen, Jeff

Preston, Christian N. St. Pierre, Jason

Williford, Kurt Wood, Jonathan Wyke

SPECIAL THANKS TO: All the HERO System fans who continue to

love All Things Martial Arts in their games.

STEVE’S SPECIAL THANKSI owe an additional special thanks to the following

people who have, over the years, answered

martial arts questions for me or provided withwith information or ideas that helped shape thisbook: Aaron Allston, Chris Avellone, Scott Bennie,Tim Binford, Garrett Charnaw, Cliff Christiansen,

Earl Cooley III, Storn Cook, John Cooper, KimCooper, Amy Crittenden, John “Case of Swords”

Cunningham, Mike Dean, Sean Fannon, MorganFlo, Thom Foster, John Grigni, Scott Jamison,Greg Kerner, Eric Livengood, John Losey, Andy

Mathews, Dave Mattingly, Riley McLaughlin, Rob

Miles, Greg Morero, Bryce Nakagawa, JamesPinkerton, Marcus Pritchett, Bob Quinlan, ScottSigler, Greg Smith, Geoff Speare, Steve Stone,

Michael Surbrook, Jason Walters, David West, EricWylie, Doug Young, various online commentators,

and, most especially, Greg “Devil’s Advocate” Lloydand Jeff “I have a license from Japan” Mueller.

Special thanks also to SETAC for its usualinsightful input and suggestions.

HERO SYSTEM

MARTIAL ARTS A Core Library Supplement for the HERO System



Enerjutsu ..................................................................80Four Celestial Kung Fu ..............................................80Gun Fu .....................................................................82Hypercombat ............................................................83Red In Tooth And Claw ..............................................84Shiroi Sumomo Kempo ..............................................85Thunder Dragon Kung Fu ..........................................86

DESIGNING NEW MARTIAL ARTS STYLES .......................87DESIGNING MARTIAL ARTS STYLES ...............................87STYLE BUILDING BLOCKS .............................................88EXTRA DAMAGE CLASSES AND WEAPON ELEMENTS .....89

CHAPTER TWOMARTIAL MANEUVERS

Designing Martial Arts Maneuvers .................................92MANEUVER BASIS ........................................................92MANEUVER ELEMENTS .................................................95MONGOOSE STYLE.....................................................101

RANGED MARTIAL ARTS ...............................................103DESIGNING RANGED MARTIAL MANEUVERS ................103

POWER ADVANTAGES FOR MARTIAL MANEUVERS ....106

ALTERNATE MARTIAL ARTS ..........................................109THE COMBAT SKILL LEVEL MARTIAL ARTS ..................109POWERS AS MARTIAL ARTS........................................110

CHAPTER THREE THE SECRETS OF THE MASTERS:

MARTIAL ARTS ABILITIESMARTIAL ARTS ABILITIES .............................................112

REALISTIC MARTIAL ARTS ABILITIES ............................113OFFENSIVE ABILITIES ..................................................113

DEFENSIVE ABILITIES ..................................................119MOVEMENT ABILITIES ................................................120MISCELLANEOUS ABILITIES ........................................121

CINEMATIC MARTIAL ARTS ABILITIES ...........................123OFFENSIVE ABILITIES ..................................................123DEFENSIVE ABILITIES ..................................................130MOVEMENT ABILITIES ................................................133SENSORY ABILITIES ....................................................135

WUXIA MARTIAL ARTS ABILITIES ..................................136OFFENSIVE ABILITIES ..................................................136DEFENSIVE ABILITIES ..................................................152MOVEMENT ABILITIES ................................................157SENSORY ABILITIES ....................................................160MISCELLANEOUS ABILITIES ........................................161

VIDEO GAME MARTIAL ARTS ........................................164 OFFENSIVE ABILITIES .................................................164 DEFENSIVE ABILITIES .................................................169 MOVEMENT ABILITIES ...............................................169

MISCELLANEOUS ABILITIES .......................................170 ANIME MARTIAL ARTS ..................................................172

OFFENSIVE ABILITIES .................................................172 DEFENSIVE ABILITIES .................................................176 MOVEMENT ABILITIES ...............................................177 MISCELLANEOUS ABILITIES .......................................177

NINJA ABILITIES ...........................................................178 OFFENSIVE ABILITIES .................................................178 DEFENSIVE ABILITIES .................................................183 MOVEMENT ABILITIES ...............................................183 MISCELLANEOUS ABILITIES .......................................185

CHAPTER FOUR TRAINING FOR PERFECTION:

CHARACTER CREATIONMARTIAL ARTIST

CHARACTER ARCHETYPES ...........................................188THE CAREER PATH OF THE MARTIAL ARTIST ................195

SKILLS .........................................................................197PERKS AND TALENTS ...................................................204

PERKS .......................................................................204TALENTS....................................................................205

POWERS .......................................................................206POWER ADVANTAGES .................................................208POWER LIMITATIONS ..................................................209COMPLICATIONS ........................................................209

CHAPTER FIVEMARTIAL ARTS GENRE BY GENRE

CHAMPIONS .................................................................214CYBER HERO..............................................................220DARK CHAMPIONS .....................................................223FANTASY ...................................................................226PULP HERO ................................................................231STAR HERO ................................................................234OTHER GENRES .........................................................238

Introduction .....................................................................4

CHAPTER ONE THE WAY OF THE WARRIOR:

MARTIAL ARTS STYLESTHE WAY OF THE HERO ....................................................6

MARTIAL ARTS MANEUVERS ...........................................6MANEUVERS AND WEAPONS ..........................................8

Ranged Martial Arts And Weapon Types .......................9LEARNING MARTIAL ARTS...............................................9

Building New Maneuvers And Styles ..........................13BELTS AND RANKS .......................................................13

REAL-WORLD MARTIAL ARTS .........................................15

STYLE DESCRIPTIONS ..................................................15JUTSU VERSUS DO; INTERNAL VERSUS EXTERNAL.........16

Aikido ......................................................................17 An Ch’i .....................................................................18 Angampora ..............................................................18 Arnis/Kali/Escrima .....................................................19 Arte dell’Abbracciare .................................................20Bandesh ...................................................................21Bando (Thaing) .........................................................21Baritsu .....................................................................22Bersilat ....................................................................23Bojutsu (Staff-fighting) ..............................................23Bokator ....................................................................24Boxing, Ancient .........................................................24Boxing, Modern ........................................................25Capoeira ..................................................................26Commando Training ..................................................26Dambe .....................................................................27Dirty Infighting/Fisticuffs/Cinematic Brawling ..............27

Fencing ....................................................................29Gatka .......................................................................31Generic Martial Arts ..................................................32Hapkido ....................................................................32Hisardut ...................................................................33Hsing-I .....................................................................33Hwarang-Do .............................................................34Jailhouse Rock .........................................................35Jeet Kune Do ............................................................35Jujutsu .....................................................................36Jukenjutsu ...............................................................38Kalaripayit ................................................................38Kampfringen .............................................................39Karate ......................................................................39Kenjutsu ...................................................................41Khridoli ....................................................................43Knifefighting .............................................................44Krav Maga ................................................................45Kuk Sool Won ...........................................................45Kung Fu (Wu Shu) .....................................................45Kuntao .....................................................................51Kyujutsu ...................................................................51Lua ..........................................................................52Lucha Libre ..............................................................53Marine Corps Martial Arts Program ............................54Muay Thai (Thai Kick-Boxing) .....................................54Naginatajutsu/Sojutsu ...............................................56Ninjutsu ...................................................................56Pakua ......................................................................58Pankration ................................................................59Pentjak-Silat .............................................................60Qwan Ki Do ..............................................................63Re-Efi Areh-Ehsee ....................................................64Saijutsu ....................................................................64Sambo .....................................................................64Savate ......................................................................65Shurikenjutsu ...........................................................66

Simgomdo ................................................................66Stickfighting .............................................................66Sumo Wrestling ........................................................68Swordfighting ...........................................................68Tae Kwon Do ............................................................69Tai Ch’i Ch’uan .........................................................69Tang Soo Do .............................................................70Thang-Ta .................................................................71Than Vo Dao .............................................................71Vovinam Viet Vo Dao .................................................71Weapons Combat .....................................................72Whipfighting .............................................................73Wrestling ..................................................................74Wrestling, Professional ..............................................75Yu-Sool ....................................................................75Zipota ......................................................................76

OTHER STYLES ............................................................76

FICTIONAL MARTIAL ARTS..............................................78Battle Shifting ...........................................................78

Brick Tricks ..............................................................79

CHAPTER SIX BLOOD AND STEEL:

MARTIAL ARTS COMBATCOMBAT AND MARTIAL MANEUVERS ...........................

General Rules .........................................................Bind ......................................................................Block .....................................................................Choke Hold .............................................................2Cover ....................................................................Crush ....................................................................Dodge ...................................................................Feints ...................................................................

Flying Dodge ..........................................................Flying Kick .............................................................Full Move ..............................................................Grab ......................................................................Grab Weapon .........................................................Joint Locks And Related Maneuvers .........................Killing Throw ...........................................................2Martial Escape .......................................................Move By/Move Through ...........................................2Multiple Attack ........................................................2Nerve Strike ............................................................2Passing Disarm .......................................................2The Response Element ............................................Root ......................................................................Takeaway ..............................................................Throw ...................................................................The Velocity/10 Element .........................................

SPECIAL CASES & OPTIONAL RULES ............................BLINDED CHARACT ERS AND MARTIAL ARTS ................2

BOUND CHARACT ERS AND MARTIAL ARTS ..................2CASUAL STR VERSUS BARRIERS ................................2CONCEALED WEAPONS AND GADGETS ......................2DISABLING ATTACKS ..................................................2HINDERING CIRCUMSTANCES AND MARTIAL ARTS ......2KNOCKBACK ..............................................................2SEQUENCE ATTACKS ..................................................2WOUNDS ..................................................................2

MARTIAL ARTS WEAPONS ............................................ ARMOR......................................................................2

CHAPTER SEVENNINJA HERO:

THE MARTIAL ARTS GENREMARTIAL ARTS SUBGENRES ........................................

RE ALISTIC MARTIAL ARTS .........................................2 CINEMATIC MARTIAL ARTS ........................................2 WUXIA MARTIAL ARTS ...............................................2 VIDEO GAME MARTIAL ARTS ......................................2 AN IME MARTIAL ARTS ...............................................2

ELEMENTS OF THE MARTIAL ARTS GENRE...................2 MARTIAL ARTS AND METAGENRES .............................2

Comedy ................................................................Horror ...................................................................Mystery .................................................................Romance ...............................................................Satire/Social Commentary .......................................Tragedy .................................................................

GAMEMASTERING NINJA HERO ...................................2 CREATING THE CAMPAIGN .........................................2

Power Levels And Point Ceilings ..............................2Campaign Tone ......................................................Campaign Viewpoint ...............................................Campaign Theme ...................................................Campaign Framework .............................................Campaign Setting ...................................................

RUNNING THE CAMPAIGN ..........................................2

MARTIAL ARTS VILLAINS ............................................2 MARTIAL ARTS NPCs .................................................3

BIBLIOGRAPHY & INDEX APPENDIX.....................................................................3

A GLOSSARY OF MARTIAL ARTS TERMS ......................3

ASIAN NAMES .............................................................

BIBLIOGRAPHY ............................................................NONFICTION BOOKS ...................................................3FICTION .....................................................................3

FILMOGRAPHY .............................................................HONG KONG CINEMA .................................................3JAPANESE CINEMA ....................................................3OTHER ASIAN CINEMA ................................................3JAPANESE ANIME .......................................................3

AMERICAN ACTION CINEMA ........................................3 AMERICAN TELEVISION ...............................................3

Table of Contents



4 n Introduction Hero System 6th Edition

INTRODUCTIONW

ith a ew exceptions, there’s one thingthat all game campaigns eature, regard-less o genre, setting, time period, orcharacter type: combat. Fights and

battles are exciting and un, so it’s natural thatthey’d appear in most roleplaying campaigns. Andwhile lots o games eature fights with guns, bows,and other Ranged attacks, Hand-o-Hand Combat

is an element o nearly every genre and adventure.HERO System Martial Arts is your completeguide to martial arts and other orms o hand-to-hand combat in the HERO System. It coversall aspects o the martial arts — the styles, themaneuvers, and the Martial Arts genre itsel.

Chapter One, Te Way O Te Warrior ,describes dozens o martial arts styles romaround the world and throughout history, andshows you how to buy them or your character.It also lists special abilities appropriate to eachstyle so you can expand beyond the basic MartialManeuvers to improve and better define yourcharacter.

Chapter wo, Martial Maneuvers, describeshow you can create your own Martial Maneuversrom scratch, and discusses other ways to buymartial arts and advanced fighting abilities oryour character. It also includes rules or buyingAdvantages or Martial Maneuvers.

Chapter Tree, Te Secrets O Te Masters,describes over 200 special martial arts abilitiescharacters can buy. With these powers at yourdisposal, you can easily re-create any “specialtechnique” you’ve seen in martial arts movies, orthat legend attributes to the greatest masters o aparticular fighting style.

Chapter Four, raining For Perection, covers

martial artist character creation. It includesarchetypes and emplates or characters whocommonly appear in Martial Arts stories, andspecial rules or Skills and other game elementsthat martial artists ofen buy.

Chapter Five, Martial Arts Genre By Genre,showcases how martial arts eature into variousgenres o adventure gaming, such as Superheroes,Fantasy, and Pulp. It includes a dozen genre-specific fictional martial arts and eight samplecharacters.

ABBREVIATIONS

This book uses the

following abbreviations

to refer to other HEROSystem books:

6E1: The HERO System

6th Edition, Volume I:

Character Creation

6E2: The HERO System

6th Edition, Volume II:

Combat And Adventuring

APG: The HERO System

Advanced Player’s Guide

Chapter Six, Blood And Steel , examines martialarts combat. It includes advanced rules and inor-mation or various Combat and Martial Maneu- vers, a comprehensive list o martial arts weaponsand equipment, and other useul inormation.

Chapter Seven, Ninja Hero, covers MartialArts as a genre. It reviews each o the five majorsubgenres o Martial Arts — Realistic, Cinematic,

Wuxia, Video Game, and Anime — and discusseshow to create characters and campaigns or eachtype.

Lastly, HERO System Martial Arts concludeswith an Appendix containing a glossary o martialarts terms, lists o names or Asian characters, anda comprehensive bibliography and filmography.

So practice your Fists o Fury maneuver andprepare your most secret techniques — it’s timeor action-packed martial arts combat with HEROSystem Martial Arts!

“l ET mORTAL cOMBAT bEGIN!”

- Shang Tzung, Mortal Kombat



CHAPTER ONE

THE WAY OF THE WARRIOR:

MARTIAL ARTS STYLES



6 n The Way Of The Warrior: Martial Arts Styles Hero System 6th Edition

THE WAY OF

THE HEROT

his section discusses the rules and otherterms used to describe martial arts stylesand related matters in the HERO System.Gamers interested in doing their own

research on these subjects should consult theBibliography at the end o this book.

MARTIAL ARTSMANEUVERSTe maneuvers (both Hand-o-Hand and

Ranged) in the accompanying list include most othe ones used to construct the martial arts pack-ages in this chapter.

In the list, the Maneuver column gives themaneuver’s generic name. ypically, a namespecific to the art replaces the generic name whenthe maneuver appears in a style. For example,Martial Strike becomes a “Punch” in one style, andan “Elbow Strike” in another.

Te next column, Phase, indicates how longit takes to perorm the maneuver. Most are HalPhase Actions; some, like a Haymaker, require aFull Phase plus one Segment and land at the endo the Segment afer they’re begun.

Te next column, Pts, gives the maneuver’s costin Character Points.

Te next two columns, OCV and DCV , showthe Combat Value modifiers o the maneuver.

In the Ranged Martial Arts Maneuvers list, thenext column, Rng , indicates the bonus or penaltyadded by the maneuver to the standard RangeModifier.

Te last column, Damage/Effect , describes (inshort orm) what the maneuver does when usedsuccessully. For explanations o the terms under“Damage/Effect,” reer to the “Designing MartialArts Manuevers” and “Combat Maneuvers”sections o this book.

rANGEDMARTIAL MANEUVERS

Maneuver Phase Pts OCV DCV Rng Damage/Effect

Basic Shot ½ 4 +0 +0 +2 Strike, +2 DC

Defensive Shot ½ 3 -1 +2 +0 Strike

Distance Shot 1+1 5 +0 -2 +6 Strike; +1 Segment

Far Shot ½ 5 +1 -1 +4 Strike

Offensive Ranged

Disarm ½ 5 +1 -1 +2 Disarm, +10 STR

Offensive Shot ½ 4 -1 -1 +0 Strike, +4 DC

Offensive Trip ½ 5 +1 -1 +0 Strike, +v/10; Target Falls

Quick Shot ½ 4 +1 +0 +0 Strike, +2 DC

Ranged Disarm ½ 4 +0 +0 +0 Disarm, +15 STR

Trip ½ 4 -1 -1 +2 v/10, Target Falls

1



Hero System Martial Arts n Chapter One

HAND-TO-HANDMARTIAL MANEUVERS

Maneuver Phase Pts OCV DCV Damage/Effect

Basic Strike ½ 3 +1 +0 STR +2d6 Strike

Charge ½ 4 +0 -2 STR +2d6 +v/10 Strike, FMove

Choke Hold ½ 4 -2 +0 Grab One Limb; 2d6 NND(2)

Counterstrike ½ 4 +2 +2 STR +2d6 Strike, Must Follow Block Crush ½ 4 +0 +0 STR +4d6 Crush, Must Follow Grab

Defensive Block ½ 5 +1 +3 Block, Abort

Defensive Strike ½ 5 +1 +3 STR Strike

Defensive Throw ½ 3 +1 +1 Block, Target Falls

Disarming Throw ½ 5 +0 +0 Grab Weapon, +5 STR to take weapon away; Target Falls

Fast Strike ½ 4 +2 +0 STR +2d6 Strike

Flying Dodge ½ 5 — +4 Dodge All Attacks, Abort; FMove

Flying Grab ½ 5 -2 -1 Grab Two Limbs, +10 STR for holding on; FMove

Flying Tackle ½ 3 +0 -1 STR +v/10 Strike; You Fall, Target Falls; FMove

Grappling Block ½ 4 +1 +1 Grab One Limb, Block

Grappling Throw ½ 3 +0 +2 STR +2d6 Strike; Target Falls; Must Follow Grab

Joint Break ½ 5 -1 -2 Grab One Limb; HKA ½d6, Disable

Joint Lock/Throw ½ 4 +1 +0 Grab One Limb; 1d6 NND(7); Target Falls

Killing Strike ½ 4 -2 +0 HKA ½d6

Killing Throw ½ 5 -2 +0 HKA ½d6; Target Falls

Legsweep ½ 3 +2 -1 STR +1d6 Strike; Target Falls

Martial Block ½ 4 +2 +2 Block, Abort

Martial Disarm ½ 4 -1 +1 Disarm; +10 STR to Disarm roll

Martial Dodge ½ 4 — +5 Dodge, Affects All Attacks, Abort

Martial Escape ½ 4 +0 +0 +15 STR vs. Grabs

Martial Flash ½ 4 -1 -1 Flash 4d6 (choose Sense Group)

Martial Grab ½ 3 -1 -1 Grab Two Limbs, +10 to STR for holding on

Martial Shove ½ 4 +0 +0 +15 STR to ShoveMartial Strike ½ 4 +0 +2 STR +2d6 Strike

Martial Throw ½ 3 +0 +1 STR +v/10; Target Falls

Nerve Strike ½ 4 -1 +1 2d6 NND(1)

Offensive Strike ½ 5 -2 +1 STR +4d6 Strike

Passing Disarm ½ 5 -1 -1 Disarm, +10 STR to Disarm roll; FMove

Passing Strike ½ 5 +1 +0 STR +v/10; FMove

Passing Throw ½ 5 +0 +0 STR +v/10; Target Falls; FMove

Reversal var 4 -1 -2 STR +15 to Escape; Grab Two Limbs

Root ½ 4 +0 +0 STR +15 to resist Shove; Block, Abort

Sacrifice Disarm ½ 4 +2 -2 Disarm, +10 STR to Disarm roll

Sacrifice Lunge ½ 4 +2 -2 STR +v/10; FMove

Sacrifice Strike ½ 5 +1 -2 STR +4d6 Strike

Sacrifice Throw ½ 3 +2 +1 STR Strike; You Fall, Target Falls

Takeaway ½ 5 +0 +0 Grab Weapon, +10 STR to take weapon away

Takedown ½ 3 +1 +1 STR Strike; Target Falls

Weapon Bind ½ 4 +1 +0 Bind, +10 STR




MODIFYING AND

BUILDING STYLES

Readers who practice

the martial arts may

have objections to the

way some of the styles

in this book are defined

in HERO System terms.Hero Games has made

every effort to make this

book as comprehensive

as possible, but limita-

tions imposed by the

nature of research,

dramatic sense,

and space in the

book itself make

it impossible to

depict every maneuver

associated with every

style.

To resolve this dilemma,

you can build your own

Martial Maneuvers and

martial arts styles, or

modify existing Maneu-

vers and styles, to suit

your own opinions and

tastes. To learn how,

refer to the end of this

chapter and to Chapter

Two.

Maneuver Type Can Be Used With These Weapons:

Basic Strike *

Charge *

Choke Hold Staves, Weapon Shafts, Garrotes, Chain & Rope

Weapons, Nunchaku, Three-Section Staff, Shinobi-Zue

Counterstrike *

Crush Staves, Weapon Shafts, Chain & Rope Weapons, Three-Section Staff, Shinobi-Zue

Defensive Block *

Defensive Strike *

Defensive Throw None

Disarming Throw None

Fast Strike *

Flying Dodge None

Flying Tackle None

Grappling Block None

Grappling Throw Chain & Rope Weapons

Head-Butt Helmet Spikes, Other Head-Worn Weapons

Joint Break None

Joint Lock/Throw Chain & Rope Weapons

Kick Ashiko

Killing Strike *

Killing Throw None

Legsweep Staves, Tetsubo, Shinobi Zue, Polearm Shafts, Nets

Martia l Block All Melee Weapons, Shields

Martial Disarm *

Martial Dodge None

Martial Escape None

Martial Flash None

Martial Grab Nets, Whips, Chain & Rope Weapons, Shinobi-Zue

Martial Shove All Large (L) Melee Weapons, Shields

Martial Strike *

Martial Throw Chain & Rope Weapons

Nerve Strike *, but only normal-damage weapons

Offensive Strike *

Passing Strike *

Passing Throw Chain & Rope Weapons

Punch All Melee Weapons

Reversal None

Root None

Sacrifice Disarm *

Sacrifice Lunge *

Sacrifice Strike *

Sacrifice Throw None

Takeaway All Melee Weapons

Takedown Staves, Polearm Shafts, Nets, Whips, Chain & RopeWeapons

Weapon Bind All Melee Weapons, Shields

*: I defined as Punch, see Punch; i defined as Kick, see Kick; idefined as Head-Butt, see Head-Butt

MANEUVERS AND

WEAPONSCharacters can use

some martial arts withweapons. But not all

maneuvers apply to allweapons; a kick can’twork with a machete, andholding a spear doesn’timprove a dodge.

Te accompanying listprovides general guidelinesor which sorts o weaponswork with which maneuvers. Te GM should usecommon sense whendealing with a weapon notound on this list — simplycompare it to weapons on

this list and decide whichone it most closely corre-sponds to.

When you’re usingnon-martial CombatManeuvers rom 6E2,compare the non-MartialManeuver to the Maneu- vers in the accompanyingchart. You can perorm anon-martial Block with thesorts o weapons used withthe Deensive and MartialBlocks; you can perorm a

non-martial Disarm withthe sorts o weapons usedwith Martial and SacrificeDisarms; and so on.

1



Hero System Martial Arts n Chapter One

Ranged Martial Arts And Weapon Types

A character with a Ranged Martial Art styleis typically trained in the use o a specific typeo weapon (though sometimes characters withinnate Ranged attacks buy Ranged MartialManeuvers, in which case you should considerthat Ranged attack as a “weapon”). In this case, he

cannot use his Ranged Martial Maneuvers withother weapons unless he’s received the propertraining (i.e., purchased the appropriate WeaponElement). In short, a character who knowsShurikenjutsu cannot use his Ranged MartialManeuvers with a bow or rifle unless he purchasesWE: Bows or WE: Firearms.

LEARNING MARTIAL ARTSBuilding a martial artist at the start o a

campaign usually poses ew problems — the char-acter needs, typically, at least 10 Character Points’

worth o Martial Maneuvers rom one style, an8- roll in the Knowledge Skill o that style, andthe Style Distinctive Feature. But things get a littlemore complicated when characters want to useExperience Points to improve their martial arts orbuy new martial arts abilities.

LEARNING MARTIAL ARTS FROM SCRATCH

Sometimes an existing character wants to learna martial arts style rom the ground up. Findinga teacher depends on plot and storytelling, thingsor the player and GM to work out. But the actualacquisition o the abilities requires the character tospend Experience Points, and that requires rules.

First, the character should spend at least onepoint or a Knowledge Skill with his style. Charac-ters shouldn’t learn any maneuvers beore takingthe KS.

Second, i the style requires an Element (suchas Weapons Element), the character must buy itnext.

Tird, a ew styles require practitioners topurchase specific Skills (the ones marked with anasterisk [*] in the style write-ups). For example,characters cannot learn Aikido and Jujutsuwithout knowing Breakall, or Kenjutsu withoutknowing WF: Blades. Te character must buy all

required Skills beore buying any maneuvers.A character can only start buying MartialManeuvers afer he’s satisfied all o these prereq-uisites. At that point, he can learn one maneuverafer another until he’s bought at least ten Char-acter Points’ worth o them. Te GM may lethim start using each maneuver as it’s learned, orrequire the character to wait until he’s acquired10 Character Points’ worth o them beore he canstart using them.

THE STYLE DISTINCTIVE FEATURE

Ultimately, the character can take the Style Distinctive Feature or his style (i it allows that).He can only take this Complication with the GM’sapproval, though. Te GM may not want to lethim receive new Character Points or the newComplication.

Tere are two different ways GMs mayapproach this question in their own campaigns:

Allow (or Require) the Character to Take the Style Distinctive Feature: Te character can add theStyle Distinctive Feature to his list o Complica-tions. He gets no additional Character Points tospend because o this, however.

Allow the Character to Substitute the Style Distinctive Feature For Another Complication: Te character can trade in another Complicationhe’s already been trying to buy down or buy off,and take the Style Distinctive Feature in its place.For example, recently the character deeated his10-point Hunted in a climactic ashion, and it’san appropriate time to get rid o that Hunted.

Te character erases the Hunted and substitutesthe Style Distinctive Feature or it. Note: GMsshould only allow this when a logical, plot-drivenreason already exists to change the Complication.Reasons such as “I’m tired o it” and “I like theStyle Distinctive Feature better” aren’t sufficient.

O these approaches, the second usually worksbest. It provides a point-cost incentive to learnMartial Maneuvers without providing the char-acter with new Character Points out o nowhere.

RATE OF LEARNING

How ast should characters learn new martialarts?

In the real world, a normal practitioner canearn a black belt in an average o about our years.In the HERO System, that corresponds to anexpenditure o only three or our Character Pointsper year on Martial Arts maneuvers and skills, artoo slow or most adventure genre purposes.

However, also in the real world, some legiti-mate martial arts champions have attained blackbelt rank in much less time. One amed heavy-weight ull-contact karate champion earned hisin only seven months — more like spending twoCharacter Points per month on Martial Artsmaneuvers and Skills.

Tereore, or game purposes, presume PCshave taken anywhere rom hal a year to ouryears to earn their belts. But when PCs learn newmaneuvers and arts afer they’ve begun play, youshould ollow one o these approaches:

One CP Every Adventure: A character can spendone Experience Point on Martial Arts maneuvers, Skills, and Elements every adventure. Tispresumes he’s receiving regular training in thecampaign setting. As a result, it takes quite a while(ten to fifeen game sessions) to earn a black belt’sworth o maneuvers and Skills. Tis approachworks well or Heroic campaigns not orientedaround martial arts, or or any campaign stressing

“realism.”

Shifu: You hav

done well, Pan

Po: Done well?

Done well? Ha

done awesome

Shifu: The sigof a true hero

humility. But, ye

you have done

awesome.

- Kung

Fu

Panda




Two or Three CP Every Adventure: A charactercan spend two or three Experience Points (the GMdecides which) on Martial Arts maneuvers, Skills,and Elements every adventure. Tis presumes he’sreceiving regular, and extraordinarily inten-sive, training in the campaign setting. With thisapproach, it takes our to seven adventures or acharacter to acquire a competitive level o prowessin his style. Tis approach works well or Heroicmartial arts-oriented campaigns and any Superhe-roic campaign.

Spend Many CP During Training Breaks: Ithe campaign skips a lot o time, the character,with GM permission, can spend any amount oExperience Points on martial arts. In other words,i the campaign skips six game-months betweenadventures, the character could conceivably dropquite a ew points into his fighting skills. Again,the character must receive regular training withinthe campaign setting. A realistic expenditure rateequals 2 Experience Points every game month;an acceptable expenditure or Heroic campaigns,presuming very intensive training, would be 4Experience Points every game month; in Superhe-roic campaigns, spending 6-8 Experience Pointsevery game month is easible.

LEARNING NEW AND MULTIPLE STYLES

Some characters want to learn new martial artsstyles in addition to their basic style, and some just wish to purchase individual maneuvers roma number o styles to supplement their basic style.Tis is fine, logical, and realistic, but you need aew rules to govern this practice so it doesn’t getout o hand.

BUYING MANEUVERS OUTSIDE YOUR STYLE

A character can learn a maneuver rom a styleother than his own, or (i the GM allows) create anew maneuver using the maneuver design rules.A character should know at least three maneuversin his original style beore he buys an “outside”maneuver.

Te player must have an acceptable rationaleor his character to learn this outside maneuver,such as learning rom a PC or established NPC.I he buys the maneuver afer play begins, he’ssubject to the time constraints chosen by the GM(see above), and must have a logical way to learnthe maneuver (i.e., access to a teacher and time tolearn).

I a character wishes to learn only one or twomaneuvers outside his style, he doesn’t have to buya KS in that style.

OUTSIDE MANEUVERS AND THE WEAPONS ELEMENT

I a character’s basic style includes the WeaponsElement or a particular weapon, and he buys amaneuver rom a second style, he can still use thenew maneuver with the weapons permitted or hisstyle. For example, i he knows Karate and buysthe Weapons Elements or Karate Weapons and

Staff, then buys the Fencing akeaway, he can usethe Fencing akeaway with both Karate Weaponsand Staff. Tis is possible because the martial artistadapts his new maneuvers to his old style, butsome restrictions exist.

First, the maneuver must be appropriate or theweapon. A Fencer who learns the Side/SpinningKick can’t use the kick with a blade. See the chartunder Martial Arts Maneuvers And Weapons, page8, to determine which types o maneuvers workwith which types o weapons.

Second, a character with at least 10 CharacterPoints’ worth o maneuvers in one style can buyan outside maneuver and use that maneuverwith his style’s weapons. However, he can’t use allhis original style’s maneuvers with the WeaponsElement rom the single outside maneuver.

Example: Okamura Masao knows Karate; heknows ten points’ worth o maneuvers and hasbought the Weapons Elements Karate Weaponsand Staff or his Karate. He now learns the KungFu Punch maneuver and the Kung Fu WeaponsElements o Clubs and Blades rom a Kung Futeacher. He can use the Punch with his KarateWeapons and Staff. However, he cannot use hisKarate maneuvers with Clubs and Swords.

However, i the practitioner knows twocomplete styles, he can use maneuvers rom eitherart with the Weapons Elements he’s purchased oreither art.

Example: Years later, Okamura Masao haslearned both Karate and Kung Fu (he has atleast ten points o maneuvers in each). He hasbought the Karate Weapons and Staff WeaponsElements or his Karate, and the Clubs and

Blades Weapons Elements or his Kung Fu. Now,he can use his Karate maneuvers and his KungFu maneuvers with Karate Weapons, Staff, Clubs,and Swords.

KNOWLEDGE SKILLS AND NEW STYLES

I a character already knows a particularmartial art (including having a KS in that art),and then buys a KS in a second art, he may useany maneuvers he has purchased which overlapboth styles in the ashion o either style. Tis is agood way or a character to vary his fighting styleto conuse an opponent or avoid the effects o asuccessul Analyze Style roll. But remember, just

purchasing a KS in a style doesn’t give a characteraccess to any Maneuvers he hasn’t paid points or.

1



Hero System Martial Arts n Chapter One 1

Example: Hitoshi knows Karate. He’s purchasedall o that style’s maneuvers and has KS: Karate11-. Afer a trip to Tailand, he becomesinterested in Muay Tai and begins studying it. Afer a couple o months o hard work, he knowsenough to buy KS: Muay Tai 11-.

Karate and Muay Tai have several maneu-vers in common: Killing Strike (called KniehandStrike (“Chop”) in Karate and Elbow/Knee KillingStrike in Muay Tai); Martial Block (called Blockin both styles); Martial Strike (called Punch/SnapKick in Karate and Low Kick in Muay Tai); andOffensive Strike (called Side/Spin Kick in Karateand Roundhouse Kick/Knee Strike in MuayTai). Since Hitoshi has a KS in both styles, hemay use either version o those maneuvers whenhe’s fighting, without having to pay or eachmaneuver twice.

Hitoshi soon has the misortune to get intoa fight with Seiki, another Karate practitioner. Afer a ew seconds o fighting, Hitoshi realizesSeiki has studied Hitoshi’s maneuvers and knowsenough about Hitoshi’s fighting style to deeat him

(in game terms, Seiki made an Analyze Style rolland used his I’ve aken Your Measure ability(see Chapter Tree) to gain extra DEX and CVwhen fighting Hitoshi, and Hitoshi made a PERRoll to realize Seiki “had the drop on him”).

So, Hitoshi switches to using Muay Taimaneuvers whenever possible. Seiki cannotanalyze these new maneuvers ( i.e. , he ails at asecond Analyze Style roll), so he cannot use his Aided DEX to increase his OCV and DCV when-ever Hitoshi uses a Muay Tai attack. Hitoshican use his Killing Strike, Martial Block, MartialStrike, and Offensive Strike as Muay Taimaneuvers and limit Seiki to his regular DEXand CVs (without the benefit o the Aid) whenattacking or deending against those maneuvers.However, i Hitoshi uses one o those maneuversas a Karate manuever, or i he uses any otherKarate maneuver, Seiki still gains the benefito his Aided DEX and CVersus Furthermore,Hitoshi’s KS: Muay Tai does not allow him touse that style’s Fast Strike or Shove maneuvers,since he’s never purchased either o them.




Ranking Martial ManeuversWhen buying Martial Maneuvers or their

characters, many players base their decision on thegame benefits provided by each Maneuver. Teybuy a Normal Damage Strike or two, then perhapssome Strikes that do Killing or NND damage (orhave some other effect, like Trow), and thenround out the Martial Arts package with severalManeuvers that provide different unctionality: aBlock; a Disarm (or maybe a akeaway); a Dodge;an Escape; a Grab; and so on.

Te reasoning behind this is that buyingmultiple Maneuvers that do basically the samething — Normal Damage, typically — isn’t cost-efficient. Tere’s a point o diminishing returns,since each Maneuver is largely the same, just withdifferent modifiers. I a character has a MartialStrike, why buy a Fast Strike? It does the exactsame damage; the only difference is that it has+2 OCV instead o +2 DCV. It’s more effective tospend the same 4 Character Points on +2 OCVwith Martial Strike.

Tis makes perect sense rom a gamingperspective, and there’s absolutely nothingwrong with it i that’s what your gaming groupenjoys. However, in campaigns that want tostress “realism” a little more, the points-efficiencyapproach doesn’t entirely make sense. In the realworld, martial artists spend years studying theirstyles and ofen learn dozens o ways to punch,kick, grab, or otherwise attack their opponents.While it’s true that in HERO System terms a singleMartial Maneuver can represent many differentreal-world maneuvers, in some campaigns the GMwould preer that players represent their char-acters’ depth and breadth o martial knowledge

by spending more points on Maneuvers (even“redundant” ones) than they otherwise would.

Te easiest way to do this is to rank MartialManeuvers in terms o difficulty, then requirecharacters to spend a certain amount o pointson Maneuvers rom each level o difficulty beorethey can buy any Maneuvers rom the next highestrank. Te rankings depend partly on real-worldconsiderations o complexity, and partly on gamebalance considerations. Each GM should estab-lish a ranking system that suits his preerencesand his campaign; the accompanying text boxesdescribe two such systems that work well ormost campaigns. Te first is or campaigns witha heavy martial arts emphasis where charactersare expected to spend a lot o points on Maneu- vers; the second is or games with a more casualapproach to martial arts, where it’s unlikely thatcharacters will ever buy any o the more esotericmaneuvers.

USING THE RANKING SYSTEM

Tere are several ways the GM can requirecharacters to use this (or any other) rankingsystem.

Te easiest is to establish that a character can’tbuy any Martial Maneuvers rom a given rankunless he’s spent a certain amount o points onManeuvers rom the previous rank. (Te pointtotals may vary rom rank to rank, since the

upper ranks have ewer Maneuvers to chooserom.) For example, i the GM’s using RankingSystem I, he might say: “Characters must spendat least 20 Character Points on Martial Maneu- vers rom the Easy rank beore they can buy anyrom the Complex rank. Tey must spend at least16 Character Points on Martial Maneuvers romthe Complex rank beore they can buy any romthe Advanced rank. Tey must spend at least 12Character Points on Martial Maneuvers rom theAdvanced rank beore they can buy any rom theVery Advanced rank. Tey must spend at least 8Character Points on Martial Maneuvers rom theVery Advanced rank beore they can buy any rom

the Highly Advanced rank.” A similar approachusing Ranking System II might be: “You haveto spend at least 16 Character Points on ype 1Martial Maneuvers beore you can buy any ype2s, at least 12 points on ype 2 Martial Maneu- vers beore you can buy any ype 3, and at least 8points on ype 3 Martial Maneuvers beore youcan buy any ype 4s.”

Te second approach is not to look at pointsbut at the actual number o Martial Maneuvers acharacter has to buy rom each rank. For example,maybe a character has to have eight Easy Maneu- vers beore he can learn any Complex Maneuvers,at least six Complex Maneuvers beore he canlearn any Advanced Maneuvers, at least ourAdvanced Maneuvers beore he can learn anyVery Advanced Maneuvers, and at least two VeryAdvanced Maneuvers beore he can learn anyHighly Advanced Maneuvers.

Te third and most complex approach is thata character can’t buy any Maneuver rom rank Xunless all the Elements in that Maneuver are a parto at least one Maneuver he’s bought rom a lesserrank. For example, a character couldn’t buy Grap-pling Block (an Advanced Maneuver which usesthe Block and Grab Elements) unless he has atleast one Easy or Complex Maneuver that eatures

the Block Element, and at least one that eaturesthe Grab Element. Te GM can even restrictlater purchases by requiring multiple Maneuverswith the necessary elements. For example, to buya Deensive Trow (which uses the Block andTrow Elements), a character might be requiredto have at least three lower-rank Maneuverseaturing Trow, and at least two eaturing Block.Tis requires some work on the GM’s part, but orcampaigns emphasizing martial arts it can be a loto un and add some real flavor.

MARTIALMANEUVERS

RANKINGSYSTEM I

Easy ManeuversBasic Strike

ChargeFlying Tackle

Legsweep

Martial Block

Martial Disarm

Martial Dodge

Martial

Escape

Martial Grab

Martial Shove

Martial Strike

Martial Throw

TakedownWeapon Bind

Complex ManeuversChoke Hold

Crush

Defensive Block

Defensive Strike

Fast Strike

Joint Lock/Throw

Killing Strike

Martial Flash

Offensive Strike

Reversal

Sacrifice Disarm

Sacrifice Lunge

Sacrifice Strike

Sacrifice Throw

Advanced ManeuversCounterstrike

Flying Grab

Grappling Block

Grappling Throw

Joint Break

Nerve Strike

Passing Strike

Root

Very AdvancedManeuvers

Defensive Throw

Disarming Throw

Killing Throw

Passing Disarm

Passing Throw

Highly AdvancedManeuvers

Flying Dodge

Takeaway

1




MANEUVER PREREQUISITES

Even i the GM doesn’t want to create a ormalranking system, he can achieve a similar resultsimply by establishing specific prerequisites oreach Martial Maneuver. Here are some examples,but the GM can easily make up his own or add tothis list:

1. To buy Nerve Strike, a character must alreadyhave three Strikes that do Normal Damage. obuy Choke Hold, he needs three Normal DamageStrikes and at least one Grab-based Maneuver.

2. To buy Flying Dodge, a character must first buyMartial Dodge, Passing Strike, and Flying Grab.

3. To buy any Combat Skill Levels or Extra DCs witha Martial Arts style, a character must first spend atleast 30 Character Points on Martial Maneuvers.

4. To buy any Disarm- or Takeaway-based Maneuver, a character must first buy at least two Grab-basedManeuvers (such as Martial Grab and Joint Lock/Trow).

5. To buy Joint Break, a character must first buyJoint Lock/Trow. o buy Killing Trow, a char-acter must first buy Martial Trow. o buy MartialTrow, a character must first buy Legsweep orakedown.

REWARDING MANEUVER PURCHASES

Another possibility is to reward characterswho purchase a lot o Martial Maneuvers. Forexample, maybe when one character makes anAnalyze Style roll against another, you subtract theopponent’s number o Martial Maneuvers romthe character’s. Tis tends to give characters withlots o Maneuvers a bonus, and ones with ew a

penalty. Depending on how ar the GM wantsto take this concept you could instead provideOCV bonuses (or penalties) or other benefits/restrictions.

Building New Maneuvers And Styles

A character can (with his GM’s permission)create all-new maneuvers with the rules romChapter wo, or even entire styles (see the end othis chapter). A character who designs his ownmartial art, i it turns out to be an efficient and

competitive style, should eventually find himselsought out by students who wish him to teachthem — and pursued by gunfighter-mentalitymartial artists who want to challenge him to provethe superiority o their own style.

Te character who designs an all-new style andfinds himsel in demand as a teacher should buyPS: eacher and set up his own dojo (school). Tecampaign may then start to eature adventuresthat revolve around the hero’s school, particularlyplots concerning the activities o enemy/rivalschools.

MARTIALMANEUVERS

RANKINGSYSTEM II

Type 1 Maneuvers

Basic StrikeCharge

Legsweep

Martial Block

Martial Grab

Martial Strike

Takedown

Weapon Bind

Type 2 Maneuvers

Choke Hold

Crush

Fast Strike

Flying Tackle

Martial Disarm

Martial Dodge

Martial Escape

Martial Shove

Martial Throw

Offensive Strike

Type 3 Maneuvers

Joint Lock/Throw

Killing Strike

Martial Flash

Nerve Strike

Reversal

Type 4 Maneuvers

All other Martial

Maneuvers

BELTS AND RANKSMany martial arts, as practiced today, use a

system o ranks indicated by the color o the beltworn by the practitioner. Tis belt-rank systemis a twentieth century invention, a tool used tomotivate students (especially Western students) tolearn.

For Japanese, Okinawan, and Korean martialarts, belt ranks typically come in two categories:kyu (grade) and dan (degree). Te accompanyingtext box shows the belt arrangement or Karate;other Japanese arts use variations on it (in act,belt colors may vary rom school to school).

Kyu (Grades) Grade

Belt Initiate: White or Red Belt

8th Kyu: White Belt

7th Kyu: Yellow Belt

6th Kyu: Orange Belt

5th Kyu: Green Belt

4th Kyu: Purple Belt

3rd Kyu: Brown Belt

2nd Kyu: Brown Belt

1st Kyu: Brown Belt

Dan (Degrees): All are Black Belts

Degree Name (Japanese)

1st Dan Shodan

2nd Dan Nidan

3rd Dan Sandan

4th Dan Yodan

5th Dan Godan

6th Dan Rokudan

7th Dan Shichidan

8th Dan Hachidan

9th Dan Kudan

10th Dan Judan

11th Dan Juichidan (Judo Only)

12th Dan Junidan (Judo Only)

BLACK BELT STATUS IN THE HERO SYSTEM

Te term “black belt” carries a certain mystiqueor some (particularly Westerners), who think itsignifies a person with superhuman fighting skills.It doesn’t, really; it simply indicates a practitionerwho’s trained long enough and hard enough,and who possesses sufficient knowledge o andskill with a particular fighting style, or others toconsider him an expert at it. Tis definition is not,perhaps, the same as the one applicable in the “realworld,” but it suffices or gaming purposes.




Remember, not all fighting styles rank prac-titioners with “belts” or other systems, althoughmany do. Details o some ranking systems aregiven above, or in the style descriptions later on inthis section.

For gaming purposes, there are several ways orcharacters to simulate various levels o martial artsability in the HERO System.

THE BASIC APPROACH

Te basic way to determine i a characterqualifies as a black belt is the one outlined on 6E293: “Characters who spend at least 15 CharacterPoints on the style’s Martial Maneuvers, have aKnowledge Skill o the style on at least an 11- roll,and have bought at least one 5-point CombatSkill Level with the style can be considered “blackbelts.” rue mastery involves buying all Maneuversand related Skills as well as several CSLs with thestyle.”

For campaigns with a strong martial artsemphasis, this definition needs a little amending.In addition to those requirements, to be consid-ered a “black belt,” a character must know all othe style’s required Skills and maneuvers (thosemarked with a “*” in the style’s description).

Tis guideline is simple, straightorward, andeasy to qualiy or. It allows characters who aren’tprimarily martial artists to still achieve a highdegree o proficiency at martial combat.

ALTERNATE APPROACHES

I the basic approach doesn’t satisy you,try one o these options instead. Feel ree toalter them to suit your personal preerences orcampaign.

Perk-based: Require a character who wants to be

a black belt to purchase a 1-point Fringe Benefit,Black Belt . Tis indicates he’s recognized as a blackbelt by a governing body o his style (or somesimilar organization) and has the right to reer tohimsel as an expert in that style. A character withthis Perk can ofen rely on members o the MartialWorld or work (i.e., teaching martial arts), shelter,and the like.

Te advantages to this approach are that it’ssimple and cheap. Te drawback is that char-acters with wildly different levels o proficiencywith martial arts can end up being “black belts,”making the rank seem worthless. Gamemastersmay wish to establish minimum requirements

(such as those outlined above) beore allowingcharacters to purchase this Perk.

Maneuver-based: Increase the amount o pointsworth o Maneuvers (including, at the GM’soption, Combat Skill Levels with the style) acharacter has to purchase beore being considereda black belt. wenty to thirty points should sufficeor most styles.

Te advantage to this approach is that it moreclearly differentiates the beginner with his 10minimum points o Maneuvers rom a higher-level practitioner. Te drawback is that it placesundue emphasis on acquiring lots o differentManeuvers. Remember that special effects are animportant element o the HERO System. When amartial artist buys, say, a “Kick” maneuver, thisgenerally doesn’t mean he knows just one type okick. Tat one maneuver is “gaming shorthand,”i you will, or what may be a dozen or moredifferent kinds o kicks. In a fight, a good martialartist player describes the different types o kickshe’s using, depending upon how his opponentfights, even though he’s using just one maneuver,“Kick.” Tus, it’s not unreasonable or a characterto have spent just 10 or so points to buy a small

number o Maneuvers, yet still be consideredto know dozens o different kicks, strikes, anddeensive techniques. (But see Ranking Martial Maneuvers, above.)

Skill-based: Increase the amount and/or level oSkills a character has to buy beore he’s considereda black belt. For example, a GM might decide that,regardless o the raw number o points a characterhas spent on maneuvers and Extra DCs, he cannotbe considered a black belt until he has at least a14- roll in his Knowledge Skill o his style. Proes-sional Skill: Instructor would allow the characterto teach his style properly; a Science Skill in his

style would give him knowledge o the mechanicalaspects o his fighting maneuvers. Either Skillmight include some appropriate “sports medicine”techniques or common dojo injuries. GMs couldalso require a character to purchase a certainnumber o 5-point Combat Skill Levels with hisstyle beore he qualifies or black belt status.

Inall skills and abilities

there is timing.

- Miyamoto Musashi,

Go Rin No Sho (“A Book of

Five Rings”)

1




REAL-WORLD

MARTIAL ARTSW

hen most Hero gamers think o theircharacters learning “martial arts,” theyhave some style rom the real world,like Kung Fu or Aikido, in mind.

o help you build such characters, this sectionincludes descriptions o numerous real-worldmartial arts styles in HERO System terms. Tesearts are not confined to the latter part o thetwentieth century; many date back into the firstmillennium BC, or perhaps urther back than that.You can find fictional martial arts styles in thenext section.

STYLE DESCRIPTIONSTe basic terms used to define each o the

styles in this chapter are:

MANEUVERS

Each style includes a table listing the maneuvers and techniques that comprise it. See pages 6-7or a master list o most o the Martial Maneuversused, though a ew styles have versions o theseManeuvers that are slightly altered. (You canuse the rules in Chapter wo to create your ownMartial Maneuvers, i desired.)

SKILLS

Tese are the Skills commonly associated witha style. Tose marked with an asterisk (“*”) arerequired : a character cannot practice the stylewithout buying them.

ELEMENTS

Elements are additions to the style. Primarilythis reers to Weapon Elements or any weaponsthe style teaches; Extra Damage Classes areavailable to any Martial Arts style but are neverrequired, and so aren’t listed. Reer to Maneuvers And Weapons, page 8, and Weapons, page 90, ormore inormation on using weapons with martialarts maneuvers.

HIT LOCATIONS

Tis section includes the optional Hit Loca-tions or appropriate maneuvers in the style. Basedon considerations o “realism,” many maneuversutilize Hit Location rolls other than the stan-dard 3d6 roll. A GM may or may not adopt thisoptional rule (and o course it doesn’t apply i the

MARTIAL ARTS AROUND THE WORLD

If you’re looking for a martial arts style appropriate

for a character from a particular nation or region,

here’s where the real-world arts described in thisbook come from:

Africa: Dambe; Re-efi Areh-ehsee

The Americas: Capoeira; Jailhouse Rock; Jeet

Kune Do; Lua; Lucha Libre; Marine Corps Martial

Arts Program; Professional Wrestling

China: An Ch’i; Hsing-I; Kung Fu; Pakua; Tai Ch’i

Ch’uan

Europe: Arte dell’Abbracciare; Baritsu; Fencing;

Kampfringen; Khridoli; Pankration; Sambo; Savate;

Zipota

India: Angampora; Bandesh; Gatka; Kalaripayit;Thang-Ta

Indonesia: Kuntao; Pentjak-Silat

Israel: Hisardut; Krav Maga

Japan: Aikido; Bojutsu; Jujutsu; Jukenjutsu;

Kenjutsu; Kyujutsu; Naginatajutsu/Sojutsu; Ninjutsu;

Saijutsu; Shurikenjutsu; Sumo Wrestling

Korea: Hapkido; Hwarang-Do; Kuk Sool Won;

Simgomdo; Tae Kwan Do; Tang Soo Do; Yu-Sool

Okinawa: Karate

Philippines: Arnis/Kali/Escrima Thailand, Burma, Cambodia, Malaysia: Bando;

Bersilat; Bokator; Muay Thai

Vietnam: Qwan Ki Do; Than Vo Dao; Vovinam Viet

Vo Dao

Various/Universal: Boxing (Ancient and Modern);

Commando Training; Dirty Infighting/Fisticuffs/Cine-

matic Brawling; Generic Martial Arts; Knifefighting;

Staff-fighting (Bojutsu); Stickfighting; Sword-

fighting; Weapons Combat; Whipfighting; Wrestling




campaign doesn’t use the Hit Location rules at all).I the campaign uses Hit Locations, and the GMwants to use this rule, each maneuver is assignedone o the ollowing location rolls: 2d6+1, 2d6+7,3d6, No Roll, and No Location.

I you use this rule, maneuvers suffer no OCVpenalty based on the targeted location (eventhough, or example, 2d6+1 and 2d6+7 ordinarilysuffer a -2 OCV; see 6E2 110).

2d6+1: Tis is a High Shot. Most fist strikes(punches), elbow strikes, and head-butts should beassigned this location.

2d6+7: Tis is a Low Shot. It’s best suited to kickswhich normally center around the stomach, groin,and legs.

3d6: Tis is the normal, all-around locationroll. It’s suitable or kicks which can range romhead to oot (which are common in martial artsstyles) and or attacks rom long weapons (such asswords, whips, and staves).

No Roll: Te maneuver automatically hits a

specific location — usually the head or vitals.However, the damage isn’t modified by the loca-tion, either. I the attack automatically hits thehead (as a Choke Hold and some head-butts will),you don’t multiply the maneuver’s damage becauseo the location. I the attack automatically goes toa hand (as some nerve-Pinches could), don’t halvethe maneuver’s damage because o the location.

No Location: Te maneuver hits no location at all— it doesn’t need one. Either it does no damage,so that no location roll is needed (or example,a Dodge or Block), or it does damage in sucha generalized ashion there’s no chance o the

damage being affected by the locations hit (as isthe case with many throws and takedowns).Generally, Ranged Martial Maneuvers use a

standard 3d6 roll to determine Hit Location. Aew o them, such as maneuvers with the Disarm or Trow Elements, may “target” a specific loca-tion. As usual, such maneuvers do not suffer HitLocation OCV or damage penalties or bonuses.

SPECIAL ABILITIES

Tis last section showcases some o theamazing (and even mystical) abilities attributedto martial artists who practice the style. In manycases this section simply lists by name one or

more o the abilities ound in Chapter Tree, butoccasionally there are other notes about how tosimulate an ability in HERO System terms.

Style ComplicationMost styles betray something about a char-

acter’s fighting abilities to a trained observer. InHERO System terms, a type o Distinctive Features Complication called Style simulates this. See page209 o this book or more inormation. Not allstyles qualiy or this Complication, but most do.

JUTSU VERSUS DO;INTERNAL VERSUS

EXTERNALMartial artists have two ways o thinking about

their styles and how they work that you shouldconsider in advance.

Te first is the distinction between jutsu anddo, two terms used in Japanese martial arts. Jutsu means, roughly, “technique” or “art”; it signifiesa martial art meant or actual fighting use. Do,meaning “way,” signifies just the opposite — aphilosophically-oriented approach stressing themoral, intellectual, sporting, and/or therapeuticbenefits o studying a particular “fighting” style. Do orms are not generally meant or actualcombat, though characters can use them thatway. Over time, most o the jutsu orms havetransormed into do orms. Tus, Aiki jutsu becomes Aikido, Ju jutsu becomes Judo, Ken jutsu becomes Kendo, and so orth. Te real-world

styles described in this book are almost all jutsu orms, since game characters intend to use themor combat.

Te “internal” versus “external” dichotomy(also known as “sof” versus “hard”) is describedin more detail in the Chinese styles, but exists inother arts as well. Styles identified as “internal”concentrate on the development o one’s internalpower, known as ch’i (China), ki (Japan), mana (Hawaii), prana or ting (India), or by many othernames. Ch’i is ofen thought to reside in thetantien (or tanden, meaning “cinnabar field”), apoint just a ew inches below the navel. Internalstylists try to keep it centered there so it flows

throughout their body in the correct ashion andenergizes them. Internal styles generally concen-trate on circular motion, yielding in the ace oattack, and using an enemy’s orce against him. aiCh’i Ch’uan, Hsing-I, Pakua, and Aikido all qualiyas “internal” styles. Internal stylists can sometimesmanipulate their ch’i to perorm astounding eats;in a gaming campaign, these abilities can becomeeven more spectacular and impressive!

External or “hard” styles, on the other hand,concentrate on the development o the bodyand its physical capabilities. Tey generally relyon powerul, linear attacks to overcome the oe.

Te Shaolin Kung Fu styles, Karate, Wing ChunKung Fu, Muay Tai, and similar fighting arts areconsidered external styles.

1




AikidoTis is a Japanese art ounded in 1942 by

Morihei Ueshiba and derived rom the earlierAikijutsu. It stresses discipline and a nonvio-lent attitude. Te art, as practiced in combat,concentrates on balance, rhythm, and use o anopponent’s orce against him. It largely involvesredirecting an opponent’s energies, especiallyin throws and takedown maneuvers. It includestraining to fight multiple opponents (taninzudori or taninzugaki).

Aikidoka (practitioners o aikido) traditionallywear a uniorm known as an aikidogi. Studentswear a uniorm similar to a karate gi (see “Karate,”below). Masters wear a pair o wide pants (almostlike a split skirt) called a hakama and a jacketsimilar to the karate gi, except that the sleeves areless ull. Te color o the hakama and jacket some-times indicates the fighter’s level o proficiency.

Since Ueshiba’s death, his ollowers have estab-lished their own orms o Aikido. Some o these,such as omiki Aikido, are more philosophically-

or sports-oriented; others, such as Yoshin Aikido,stress combat realism and are more similar toAikijutsu.

Te Strike maneuver is not rom Aikido as itis normally taught today, but rather rom the art’sancestor, Aikijutsu.

Some teachers o Aikido teach the relation-ship o the art’s maneuvers to the use o blades,the staff, and halberd-like weapons such as thenaginata.

Hit Locations: Te Strike may be either a punchor a kick; the character can make this choicebeore each attack with the maneuver. I a punch,it uses a Hit Location roll o 2d6+1; i a kick, ituses a Hit Location roll o 2d6+7; i it is not speci-fied, it uses a Hit Location roll o 3d6. None othe other maneuvers use Hit Location rolls; thosewhich dodamage do

generalizeddamage.

Special Abili-ties: Varioussources attri-bute manydifferentabilities and“powers”to MoriheiUeshibaand, to alesser extent,

some o hisollowers.Some othese abilitiesinclude:

1) Te abilityto fightagainst manyopponents

AikidoManeuver Points OCV DCV Damage/Effect

Dodge 4 — +5 Dodge, Affects All Attacks,

Abort

Escape 4 +0 +0 +15 STR versus Grabs

Extend Ki 4 +0 +0 STR +15 to resist Shove;

Block, Abort

Hold 3 -1 -1 Grab Two Limbs, +10 STR for

holding on

Joint Break 5 -1 -2 Grab One Limb; HKA ½d6,

Disable

Joint Lock/Throw 4 +1 +0 Grab One Limb; 1d6 NND(7);

Target Falls

Redirect 5 +1 +3 Block, Abort

Strike 5 +1 +3 STR StrikeTakedown 3 +1 +1 STR Strike; Target Falls

Throw 3 +0 +1 STR +v/10; Target Falls

Skills Breakfall*

Defense Maneuver

KS: Aikido

Enhanced Perception (Sight Group)

Elements

Weapons +1 Use Art with Blades

+1 Use Art with Staff

+1 Use Art with Polearms




AN CH’I HTH Maneuver Points OCV DCV Damage/Effect

Block 4 +2 +2 Block, Abort


Abort

Nerve Strike 4 -1 +1 2d6 NND(1)

Strike 4 +0 +2 STR +2d6 Strike

Ranged Maneuver Points OCV DCV Rng Damage/Effect

Basic Shot 4 +0 +0 +2 Weapon +2 DC

Defensive Shot 3 -1 +2 +0 Weapon

Moving Shot 5 -1 +0 +0 Weapon; FMove

Quick Shot 4 +1 +0 +0 Weapon +2 DC

Skills Combat Skill Levels with Ranged Attacks

Contortionist

Fast Draw

KS: An Ch’i

Mimicry SS: Pharmacology/Toxicology

Survival

Tracking

WF: Common Martial Arts Melee Weapons*

WF: Common Melee Weapons

WF: Common Missile Weapons*

WF: Off-Hand

Elements Weapons +1 Use Art with Blades



without being harmed, or even touched (DuckingAnd Weaving, One Against Many, Way O TeWarrior).

2) Te ability to sense an attacker’s actions beorehe even moved (Mind Reading, Dairokkan).

3) Te ability to move long distances in an instantand virtually without being seen. For example, it’ssaid Ueshiba could stand dozens o eet away rom

a man with his hand on a gun, then reach him andgrab his wrist beore he could draw the gun out othe holster! (Wind Running).

4) Te ability to paralyze opponents with but atouch (Iron Finger).

An Ch’iTis style might best be reerred to as “Chinese

ninjutsu.” Like Ninjutsu, it concentrates on theuse o deception, guerrilla warare, tricks andtraps, and the like. Practitioners o An Ch’i usuallycarry many hidden weapons, and are masters with

thrown weapons — they can even use commonobjects as lethal missiles! Te lin kuei, or “orestdemons,” China’s equivalent o the Japanese ninja(and said by some to be the ninja’s predecessors),were masters o An Ch’i.

Te character should choose which weaponhe uses with the Ranged maneuvers when hepurchases this style. Small, hand-held throwingweapons like throwing knives, darts, and shurikenare the most appropriate. At the GM’s option, the“weapon” in question could be the character’sTrowing Master ability, described below.

Hit Locations: Te Strike may be either a punch or

a kick; the character can make this choice beoreeach attack with the maneuver. I a punch, it usesa Hit Location roll o 2d6+1; i a kick, it uses a HitLocation roll o 2d6+7; i it is not specified, it usesa Hit Location roll o 3d6. Te Nerve Strike doesnot require a Hit Location roll; it does generalizeddamage.

Special Abilities: Te lin kuei are said to bemasters o many different special abilities. Someo these are simply highly-refined physical skills,but others are mystical in nature and supposedlyderive rom debased aoist magical teachings.Tey include: Trowing Master; Ninja Invisibility;

and Saiminjutsu (hypnosis option).

AngamporaAngampora is a martial art o the Sinhala

people o Ceylon (Sri Lanka) that supposedlyarose around the sixth century AD. It primarilyrelies on joint locks, grappling, and other submis-sion maneuvers, but also eatures strikes (suchas short kicks, elbow strikes, and punches). Testyle’s ast ootwork, flowing movements, and swif jumps show its kinship with certain types o nativedance. Additionally, practitioners learn illangam — weapon techniques. Te urumi is one o thestyle’s most distinctive weapons.

ANGAMPORAManeuver Points OCV DCV Damage/Effect



Abort


holding on

Joint Lock 3 +0 -1 Grab One Limb, +10 to STR

for holding on

Nila Shastraya 4 -1 +1 2d6 NND(1)

Punch/Kick/Elbow


Skills Acrobatics

Breakfall

KS: Angampora

PS: Dancing


+1 Use Art with Clubs

+1 Use Art with Staff +1 Use Art with Urumi

1




unless the character has learned to use the art withunarmed combat, at which time it takes a 3d6

location roll (since his legs and eet are now alsoemployed in that maneuver). Te Pattern Strike,Redonda, and Sinawali use a 3d6 Hit Locationroll. Te other maneuvers do not use Hit Locationrolls.

Special Abilities: Anting-Anting; BattlefieldPunch (weapon-based option); UnblinkingDeense.

SUBSTYLES OF ARNIS/KALI/ESCRIMA

Hundreds o different substyles o these arts(particularly Kali) are practiced throughout thePhilippines. Some o the more interesting onesinclude:

DOCES PARES

Doces Pares is a very flashy, stick-oriented styleo Kali. Te practitioner delivers strikes “florete”style, meaning that he usually accompanies eachstrike with a second strike to the spot on thetarget’s body that circles rom the attacker’s wrist.

o practice Doces Pares, a character should buyany two o the style’s Strike maneuvers, and shouldknow Off-Hand Deense as well. OCV CombatSkill Levels with the style also help.

Hit Locations: Te Punch/Elbow Strike uses a2d6+1 Hit Location roll, while the Kick orm othat maneuver uses a 2d6+1 Hit Location roll. TeNila Shastraya (a nerve-point strike) uses a 2d6+1Hit Location roll.

Special Abilities: None.

Arnis/Kali/EscrimaArnis, Kali, and Escrima are related Philip-

pine martial arts. Tey are very much weapons-oriented arts, but they include barehandedtechniques taught to more advanced students. Inany o its orms, this is a ast, efficient, brutal styleo combat, part o an extensive and longstandingtradition o Filipino martial arts.

Malays settling the Philippines rom the secondcentury BC onward were experts in knie-fightingtechniques. Chinese fleeing their native land in theninth century AD brought their martial arts to thearea, and Kali emerged rom the synthesis o thetwo combat styles.

Arnis, or arnis de mano, the modern orm othe art, utilizes 30” sticks in place o the knie orsword-and-knie techniques o the earlier Kali. Itis usually ought with two sticks (muton), a singlestick (solo baston), or one stick and one knie(espada y daga). Practitioners have adapted theart to more weapons, especially nunchaku, otherkarate weapons, and chain weapons. However, onecan still find plenty o traditional Kali practitio-ners who are experts at using their art with bladedweapons. Te style’s other name, Escrima, comesrom the Spanish term or “to fight”; the term“arnis” is a corruption o the Spanish word or“harness.”

Te style below includes both the traditionaland modern-day elements o the art. For Arnis orEscrima, buy the art usable with Clubs (the sticks);that’s the deault version presented below. For Kali,buy the art usable with Blades. Students can lateradd unarmed combat and Karate Weapons via theBarehanded and weapon-based Elements. Somepractitioners o these styles learn to use manyunusual objects, such as items o clothing, yo-yos,and ropes, as weapons. Characters can simulatespecialities in a particular type o weapon bybuying Combat Skill Levels with the weapon.

A practitioner o this style is known as abastonero or estocador . Male ranks are known aslakan; ranks or emale fighters are dayang . Beltswith colored edges indicate rank.

Notes: Te Kick, also known as a Sipat , may belearned only afer the character has bought theBarehanded element to use the art with unarmedcombat. Te Pattern Strike, Sinawali, and Redonda are stick-fighting patterns.

Te WF: Clubs isn’t listed among the Skillsor this package because characters have WeaponFamiliarity with the Clubs Group or ree.

Hit Locations: Te Punch uses a 2d6+1 Hit Loca-tion roll. Te Kick uses a 2d6+1 Hit Location roll.

Te Nerve Strike uses a 2d6+1 Hit Location roll

ARNIS/KALI/ESCRIMAUsed with Clubs Weapon Group; Clubs Weapon Element is Free

Maneuver Points OCV DCV Damage/Effect

Body Shift 4 — +5 Dodge, Affects All Attacks, Abort

De Cadena 4 +2 +2 Block, Abort

Disarm 4 -1 +1 Disarm, +10 STR to Disarm roll


Pattern Strike 4 +2 +2 STR +2d6 Strike, Must Follow Block

Redonda /Punch 4 +2 +0 STR +2d6 Strike

Sinawali /Kick 4 +0 +2 STR +2d6 Strike

Takeaway 5 +0 +0 Grab Weapon, +10 STR to take

weapon away

Takedown 3 +1 +1 STR Strike; Target Falls

Weapon Bind 4 +1 +0 Bind, +10 STR

Skills KS: Arnis (and/or Kali and/or Escrima)

PS: Moro-moro Dancing

WF: Blades

WF: Karate Weapons

WF: Chain & Rope Weapons

Talent: Off-Hand Defense


+1 Use Art with Karate Weapons

+1 Use Art with Chain & Rope Weapons

Barehanded +1 Use Art Barehanded




LACOSTE

Named afer its ounder, Jon Lacoste, thissubstyle melds many orms and skil ls including,but not limited to, Moro-Moro, two orms oCebu, and Occidental Negro. Lacoste is alsorenowned or its extremely deceptive ootworkpatterns.

o practice Lacoste, a character should buy theBody Shif, De Cadena, and Disarm maneuvers,and should also buy the Blades and Chain & RopeWeapons Elements.

LARGO MANO

“Large Hand” style, a long-range system,stresses attacks to the hands and arms. (ManyArnis/Kali/Escrima substyles do likewise — prac-titioners regard an attack to a man’s head as anattempt to kill him; damaging his hands merely“deangs” him.) Fighters try to maintain distancebetween one another and fight deensively.

o practice Largo Mano, characters shouldbuy at least three o the ollowing maneuvers:Body Shif, De Cadena, Disarm, Redonda/Punch,akeaway, Weapon Bind. Largo Mano practitio-ners usually have relatively high DCVs, and mayeven buy extra DCV that Costs Endurance (-½) torepresent their deensive stickwork.

PEKITI TERSIA

Sometimes known as Kali-Karate because o itsemphasis on patterns and its methods o instruc-tion, this substyle includes a variety o maneuversor the knie.

o practice Pekiti ersia, characters should buyat least three o these maneuvers — Body Shif,Disarm, Pattern Strike, Redonda/Punch, Sinawali/Kick — and the Blades Weapon Element.

REPETICIONTis substyle’s philosophy is a constant,orward-moving offensive. o overwhelm one’s

opponent with the sheer volume o one’s strikes isthe Repeticion fighter’s tactic.

o practice Repeticion, characters should buyat least three o the ollowing maneuvers: Disarm,Pattern Strike, Redonda/Punch, Sinawali/Kick.Off-Hand Deense and Combat Skill Levels (espe-cially 2-point ones with a specific Maneuver) arealso recommended.

SERADA

Serada is a close-quarters fighting system (itconcentrates on the punyo range, a term derivedrom the inch o stick that protrudes rom thebottom o the exponent’s fist). It mainly uses theespada y daga orm, with the knie held in the lefhand. Te techniques concentrate on using thestick to lock an opponent’s weapon so the practi-tioner can stab with the knie.

o practice Serada, a character should buy theDe Cadena, akeaway, and Weapon Bind maneuvers, and should also buy the Blades WeaponElement.

TOLEDO

oledo stylists, considered the hardest hitterso all Kali practitioners, use extra-thick sticks ortraining and or combat.

o practice oledo, a character should buy anytwo o the style’s Strike maneuvers, with at least +2Extra DC.

VILLABRILLE

Named afer its ounder, a our-time ull-contact stickfighting champion in the 1930s,this substyle emphasizes the use o barehandedmaneuvers. Many fighters get so used to beingattacked with the stick that they orget the handsand eet are also powerul weapons, and the Villa-

brille stylist tries to exploit this weakness.o practice Villabrille, a character should buyany one o the style’s Strike maneuvers, and mustbuy the Barehanded Element as well. Levels withHand-o-Hand Combat are also recommended.

Arte dell’Abbracciare Arte dell’Abbracciare (“art o the embrace”) is a

close-combat system developed in medieval Italy.It eatures grappling, joint-locks and -breaks, trip-ping, striking, pressure-point attacks, and controltechniques ocused on the opponent’s neck andhead. Most attacks have several variations, eachused in response to specific maneuvers employedby the opponent.

Arte dell’Abbracciare seems to have ofenbeen learned or practiced together with arte delladaga, a kniefighting art. Characters may learnthat art by buying a Weapon Element or Artedell’Abbracciare, or by buying maneuvers rom theKniefighting style (see below).

Hit Locations: Te Strike and Pressure PointStrike use 3d6 Hit Location rolls. None o theother maneuvers use Hit Location rolls.


ARTEDELL’ABBRACCIARE




Grapple 3 -1 -1 Grab Two Limbs, +10 STR for

holding on

Joint Break 5 -1 -2 Grab One Limb; HKA ½d6, DisableJoint Lock 3 +0 -1 Grab One Limb, +10 to STR for

holding on


Target Falls

Legsweep 3 +2 -1 STR +1d6 Strike; Target Falls

Pressure Point Strike 4 -1 +1 2d6 NND(1)



Skills

Breakfall

KS: Arte dell’Abbracciare

“Tie two

birds

ogether.

ven though

hey have four

ings, they

annot fly. ”

- Zen Proverb

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BandeshBandesh is a martial art rom India, thought

to have developed several centuries ago. It’sprimarily intended to allow an unarmed fighterto lock an armed opponent’s limbs so he can’teffectively attack, and then disarm him. Tetechniques taught include bandesh (lock-holds),cheen (snatches), ekan (throws), lapet (twistingmotions), pavithra (ootwork), and rokh (blocks).Te goal is to neutralize the oe and orce him tosubmit with minimal risk o injury to himsel orthe fighter.

Hit Locations: None o Bandesh’s maneuversinvolves a Hit Location roll.


Bando (Thaing)Bando is a fighting art rom Burma. (According

to some scholars, the proper name o the art,strictly speaking, is Taing ; Bando is the unarmed

branch o the art [or one o its schools] andBanshay the armed branch.) Te word “bando”is generally interpreted to mean “art o combat”or “systems o deense.” Bando is thought to havedeveloped under various influences, includingTai, Chinese, ibetan, and Indian; each Burmeseethnic subgroup has its own orm o the art. TeBritish banned the art in 1885, but practitionerscontinued to teach it in secret; afer World WarII Bando was organized and taught more openlythan in the past.

Bando includes both armed and unarmedmaneuvers. A airly brutal style, similar in manyways to Muay Tai, it stresses a withdrawal at first,then attacks to the body rom outside the oppo-nent’s reach; a grab may ollow these strikes. Tehead, shoulder, and hips are used in addition tothe hands/fists, eet, elbows, and knees. Tere aretwelve primary offensive orms or strategies, eachnamed afer an animal: Boar (rushes, knee andelbow strikes, headbutts and other close-contacttechniques); Bull (charges, tackles, power strikes);Cobra (attacking upper-body vital points); Deer(alertness); Eagle (double-handed blocks andstrikes); Monkey (agility); Paddy Bird (rapidmovement); Panther (leaping, tearing); Python(gripping, strangling); Scorpion (nerve-point

attacks); iger (clawing); and Viper (attackinglower-body vital points).Another Burmese fighting art, Lethwei, is

considered even “harder” than Bando. It’s ofenreerred to as a orm o “boxing,” but is muchmore similar to Muay Tai than Western boxing.Characters who want to practice Lethwei can usethe Muay Tai package, described below.

Hit Locations: Te Punch (and its varioussuborms), Panther Claw/iger Claw, and CobraStrike use a Hit Location roll o 2d6+1; the Kick/Knee Strike and the Viper Strike use a 2d6+7 HitLocation roll. Te Scorpion Strike uses a 3d6 Hit

Location roll. Te Boar Headbutt and Python

BANDESHManeuver Points OCV DCV Damage/Effect

Bandesh 3 +0 -1 Grab One Limb, +10 to STR

for holding on

Choke 4 -2 +0 Grab One Limb; 2d6 NND(2)

Fekan 3 +1 +1 STR Strike; Target Falls

Grappling Disarm 4 -1 +1 Disarm; +15 STR to Disarm

roll; Must Follow Grab


holding on

Rokh 4 +2 +2 Block, Abort

Skills Acrobatics

Breakfall

KS: Angampora

PS: Dancing

BANDOManeuver Points OCV DCV Damage/Effect



Kick/Knee Strike 5 +1 -2 STR +4d6 Strike

Panther Claw/Tiger

Claw 4 -2 +0 HKA ½d6

Punch/Elbow Strike/Eagle Strike/

Boar Headbutt 4 +0 +2 STR +2d6 Strike

Python Choke 4 -2 +0 Grab One Limb; 2d6 NND(2)

Python Crush 4 +0 +0 STR +4d6 Crush, Must FollowGrab

Python Grab 3 -1 -1 Grab Two Limbs, +10 STR for

holding on

Scorpion Strike/Cobra Strike/

Viper Strike 4 -1 +1 2d6 NND(1)

Tackle 3 +0 -1 STR +v/10 Strike; You Fall,

Target Falls; FMove


Skills Breakfall

KS: Bando


WF: Staff

Elements



+1 Use Art with Spear





Choke automatically target the head/neck, andthereore get neither bonuses nor penalties orthe location. Te other offensive maneuvers don’tuse Hit Location rolls since they do generalizeddamage.

Special Abilities: Battlefield Mobility; ImprovedLeaping.

BaritsuEdward William Barton-Wright was a Britishengineer who spent three years living in Japan,where he studied Jujutsu and Judo. In 1898 hereturned to England and, through a series omagazine articles, described the new fightingstyle he’d ormulated based on his experiences.He called his style Bartitsu. He ormed a club orthe teaching and practice o the art in London,possibly making him the first European to teachAsian-style martial arts in Europe or the Amer-icas. Over the next several years Bartitsu incorpo-rated techniques and maneuvers rom such diverse

sources as Boxing, Swiss schwingen Wrestling,Savate, and the stickfighting arts developed byPierre Vigny. Unortunately the club ared poorlyand shut down in 1903.

However, during the years it was active Barton’sstyle seems to have attracted the attention o SirArthur Conan Doyle, the creator o SherlockHolmes, who’d done some writing or the samemagazine. When Doyle gave in to the requestso his ans and brought Sherlock Holmes “backrom the dead” afer seemingly killing him offin “Te Adventure o the Final Problem,” he hadto provide an explanation or how Holmes haddeeated Proessor Moriarty at Reichenbach Falls.

Tat explanation was, in Holmes’s own words,“I have some knowledge, however, o baritsu, orthe Japanese system o wrestling, which has morethan once been very useul to me.” It remainsunclear whether Doyle mis-remembered thename, deliberately changed it to avoid copyrightproblems, or simply mis-typed it. But the nameBaritsu was remembered long afer knowledgeo Barton-Wright and Bartitsu had largely beenorgotten. Holmes ans puzzled over what Baritsuwas or years; it wasn’t until the 1990s that literaryscholars figured it out. In 2001 Barton-Wright’sarticles were republished and martial arts enthusi-asts began studying his style or the first time in a

century. (Tis book uses the name Baritsu or thestyle, since it’s more amiliar and euphonious than“Bartitsu.”)

According to Barton-Wright, it seems thatBaritsu emphasized the use o stick-fightingbeore opponents closed to grappling range, andJujutsu and Wrestling techniques when grapplingbegan. Boxing-style punches and Savate-stylekicks served or intermediate ranges, or i thefighter was attacked when he didn’t have a cane orwalking-stick with him.

BARITSUManeuver Points OCV DCV Damage/Effect

Atemi Strike 4 -1 +1 2d6 NND(1)


Grapple 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on


for holding on

Kick 5 -2 +1 STR +4d6 Strike

Punch 4 +0 +2 STR +2d6 Strike

Trip 3 +2 -1 STR +1d6 Strike; Target Falls

Skills Breakfall

KS: Baritsu

Elements


+1 Use Art with Clubs*

BERSILAT Maneuver Points OCV DCV Damage/Effect


Elak Mengelak (Dodge) 4 — +5 Dodge, Affects All Attacks,

Abort


Finger Strike 4 -1 +1 2d6 NND(1)

Flying Kick 5 +1 -2 STR +4d6 Strike

Hold 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Sepak Terajang (Kick) 5 -2 +1 STR +4d6 Strike



Skills

Acrobatics

Breakfall

KS: Bersilat

PS: Silat Pulot Dancing

WF: Blades

WF: Staff



+1 Use Art with Staffs

1




Hit Locations: Te Atemi Strike and Kick use a3d6 Hit Location roll; the Punch uses a 2d6+1 HitLocation roll.


BersilatBersilat is a martial art rom Malaysia. Its

name means, roughly, “to do fighting.” Its originsdate to the 1400s. According to Malayan legend,its ounder was Huang uah o Malaca; someother legends attribute the art to a Menangkabauwoman o Sumatra. As its name suggests, Bersilatis very similar to the Indonesian art Pentjak-Silat (q.v.) (in act, some scholars believe thatBersilat derives rom Pentjak-Silat). It consistso both combative maneuvers, called silat buah,and graceul dancelike movements (silat pulot )perormed or entertainment purposes.

Bersilat is an acrobatic fighting style whosepractitioners use a lot o kicks; it also eaturespunches, throws, and holds (some styles are, in

act, quite similar to various styles o Wrestling).It teaches the use o weapons such as blades, staffs,and sticks. Each state or region in the country hasits own distinctive substyle.

Bersilat fighters wear a black uniorm madeup o baggy trousers, a short-sleeved shirt, aheadband, and a colored belt (bengkong ) denotingrank: rom lowest to highest rank, the colors arewhite, green, red, yellow, and black.

Hit Locations: Te Punch, Finger Strike, andFlying Kick use Hit Location rolls o 2d6+1; theSepak erajang uses a 2d6+7 Hit Location roll.

Special Abilities: Improved Leaping.

SUBSTYLES OF BERSILAT

Like many martial arts, Bersilat has a numbero distinctive schools or substyles. Tey includethe ones described below, plus Langka Silat,Lintan, and Medan.

CHEKAK

Chekak Bersilat emphasizes open hand striketechniques and downplays kicks. o practiceChekak, a character must know the Block,Finger Strike, and Punch (“Open Hand Strike”)maneuvers.

KELANTAN

Kelantan Bersilat ocuses on locking and grap-pling techniques instead o strikes. o practiceKelantan, a character must know the Block, Elak Mengelak, Escape, and Hold maneuvers.

TERELAK

erelak Bersilat concentrates on muscularstrength and powerul attacks. o practice it, acharacter must known the Escape, Flying Kick,and Punch maneuvers.

Bojutsu (Staff-fighting)Bojutsu, the art o the staff, uses the bo staff

(also known as a rokushakubo, “six-oot staff”).Te fighter holds his staff two-handed. Staff-fighting was ofen used to help train warriors touse other weapons, since warriors can practice thestaff without causing atal injuries.

You can also use Bojutsu to represent medievalquarterstaff fighting and staff-based arts rommany other cultures. For fighting arts involvinglighter-weight sticks, or paired sticks, see Stick- fighting , pages 66-67.

Hit Locations: Te Atemi Strike uses a 2d6+1 HitLocation; the Smash and Strike maneuvers use 3d6Hit Location rolls. Te Legsweep automaticallytargets the legs, o course, but doesn’t suffer anyAttack Roll or damage penalties because o this.

Special Abilities: Battlefield Punch (weaponoption); Shield-Shattering Blow (especially theSwordbreaking Strike option).

BOJUTSUUsed with Staff Weapon Group; Staff Weapon Element is Free



Bind 4 +1 +0 Bind, +10 STR


Disarm 4 -1 +1 Disarm, +10 STR to Disarm

roll

Jab 5 +1 +3 Weapon

Legsweep 3 +2 -1 Weapon +1 DC Strike, Target

Falls

Shove 4 +0 +0 +15 STR to Shove

Strike 4 +0 +2 Weapon +2 DC Strike

Smash 5 -2 +1 Weapon +4 DC Strike

Skills KS: Bojutsu

WF: Staff*

“The teacher is as a needle,

the disciple is as thread. ”

- Miyamoto Musashi,

Go Rin No Sho (“A Book of Five

Rings”)




BokatorBokator (“pounding a lion”), also called labok

katao, is a martial art dating rom the earliestdays o Cambodian civilization. According tosome accounts it was practiced by the KhmerEmpire, and was one o the actors responsibleor the battlefield victories o the Angkor civili-zation (carved relies o Bokator fighters can beseen on the walls o the amed temple AngkorWat). During the Seventies the Khmer Rougesuppressed it, but in the early twenty-first centurysome old masters o the style have begun revivingit.

Much like Muay Tai (a style which someclaim Bokator is an ancestor to), Bokator relies on vicious elbow and knee strikes and short kicks, butalso eatures some submission and locking tech-niques. Other maneuvers involve using even theshoulders, jaws, hips, and fingers to strike painulblows. Some maneuvers derive rom the move-ments o real or mythological animals (such as thecrane, eagle, horse, monkey, dragon, and naga),

and hundreds o substyles are said to exist.Bokator fighters (known as yuthkhun) wear adistinctive uniorm consisting o a krama (scar)around the waist and sangvar day (red and bluesilk cords) tied around the head. Legends saythe cords used to be enchanted to increase thewearers’ strength. Te color o the scar indicatesa practitioner’s degree o skill: rom highestto lowest, white, green, blue, red, brown, black(which has 10 degrees), and finally gold.

Hit Locations: Te Punch and Elbow Strike usea Hit Location roll o 2d6+1; the Low Kick usesa Hit Location roll o 2d6+7; the Knee Strike and

Elbow/Knee Killing Strike use a Hit Location rollo 3d6. Te other maneuvers require no locationrolls.

Special Abilities: Like Tai kickboxers, Bokator yuthkhun can take a lot o punishment in a fight.Characters can simulate this with a high PD orabilities like ough In A Fight.

Boxing, AncientTis is a martial arts style practiced by many

cultures in the ancient world (reaching into theBronze Age and prehistory), especially the Greeks

and (Asian) Indians. A orm o boxing calledch’uan p’o was known in China as early as 700 BC,while the muki boxing o India may be equallyas old. Ancient Boxing is simpler than modernboxing, nowhere near as scientific or punishing inapplication.

In the Greek orm o the art, the fightingstance consists o the pugilist keeping his blocking(usually lef) arm outstretched beore him, withthe hand usually open, and his striking handcocked back or blows.

Te Jab and Punch maneuvers may be usedwith the cestus; see page 262 or inormation onthis weapon.

BOKATORManeuver Points OCV DCV Damage/Effect


Elbow/Knee Killing

Strike 4 -2 +0 HKA ½d6

Grapple 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Knee Strike 5 -2 +1 STR +4d6 Strike

Punch/Elbow Strike/

Low Kick 4 +2 +0 STR +2d6 Strike


Skills

KS: Bokator


Elements



BOXING, ANCIENT Maneuver Points OCV DCV Damage/Effect


Jab 3 +2 +1 STR Strike


Skills

KS: Ancient Boxing

Elements Weapons +1 Use Art with Cestus

BOXING, MODERNManeuver Points OCV DCV Damage/Effect


Clinch 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Cross 4 +0 +2 STR +2d6 Strike

Hook 5 -2 +1 STR +4d6 StrikeJab 3 +2 +1 STR Strike

Skills KS: Boxing

Paramedic


1




Hit Locations: Te Jab and Punch both use HitLocation rolls o 2d6+1; the Block doesn’t usea Hit Location roll. Alternatively, i you wishto better simulate the way boxing took place inclassical Greece, you can say that the Jab andPunch are automatically head shots but do noextra damage or striking the head (no multipleso SUN or BODY), since ancient Greek boxingblows were only directed at the head.

Special Abilities: Because they’re accustomed tothe brutality o this style, some boxers may havethe ability to sustain incredible injuries withoutalling (e.g., ough In A Fight).

Boxing, ModernModern Boxing evolved gradually rom

Ancient Boxing. According to legend, some effortat systemizing boxing as a sport took place 700years ago, when St. Bernard taught it to youths tokeep them rom knifing one another. In England,the practice o prize-fights began some 200 years

ago, with contests ought using bare fists, thoughthis sport was illegal and requently raided.

In 1865, the Marquis o Queensberry drafedhis amous rules or the sport; his rules calledor the use o boxing gloves and timed rounds inboxing matches that take place in a 24 oot by 24oot square-shaped “ring.” It’s around that timethat this martial arts style becomes available tocharacters; beore the middle o the nineteenthcentury, they should buy Ancient Boxing i theywant to box.

Nobody today teaches boxing with the cestus.However, the maneuvers work with a cestus,should someone be mad enough to train with one.Tereore, the Weapons Element remains in placein the Modern Boxing package, though ew boxerspurchase it.

Characters might consider replacing the Cross(a Martial Strike) with a Fast Strike instead. Manymodern boxers concentrate on power and speedand are willing to take a ew blows i they can landa ew. Te Fast Strike, with its OCV bonus, betterrepresents this strategy.

Hit Locations: Te Jab, Cross, and Hook use HitLocation rolls o 2d6+1; the other maneuvers takeno specific location rolls. Te Clinch will alwaysGrab the arms or head, never the legs.

Special Abilities: As Ancient Boxing.

“A champion

is someo

who gets up

when he can’t

- Jack Dempse




CapoeiraCapoeira is the national martial art o Brazil.

Its origins lie in Angola, where its ancestor wasa type o ritual dance. Te martial art’s develop-ment began afer 1530, when the first Angolanslaves were brought into Brazil; many o themescaped to live in ree communities. Capoeira wasthe fighting style they developed to resist attacksby government orces. It was banned in 1707,and “went underground” when its practitionersconverted it into a dance orm, disguising itscombat effectiveness.

Capoeira relies primarily upon kicks, take-downs, and dodges (to block attacks is rare).Among the art’s unusual eatures are its dance-like ootwork and the acrobatic prowess o thepractitioners. For many maneuvers, practitioners(called capoeiras or capoeiristas) stand on theirhands and attack with powerul kicks. Tis eatureo the art arose in part because it allowed capoei-ristas to fight with manacled hands; thereore, theart requires its practitioners to take the Acrobatics

Skill. Another example o this acrobatic skill isthe use o the au, or cartwheel, to move across thefield o combat.

Capoeiristas also added razor-fighting tech-niques to their repertoire, so the art includes aWeapon Familiarity with razors. None o the listedmaneuvers add CV or damage bonuses to razorattacks, however, so this is considered just an addi-tional skill, not a Weapons Element.

Capoeira is practiced to the accompaniment omusical instruments, including the musical bow,drums, bells, and tambourines, so skill with thoseinstruments is included among the Skills or thestyle.

Te Armado da costa maneuver can also becalled the Martelo (roundhouse kick) or, whenperormed in acrobatic mode (with the capoeiristastanding on one or both hands) as the Meia lua.

Hit Locations: Te Bencao, Armado da costa, andmeia lue de rente/queixada kicks use a standard3d6 Hit Location roll unless the practitionersuccessully uses his Acrobatics Skill to stand onhis hands, in which case the Hit Location roll is2d6+1. Te Asfixiante and vôo-do-morcego bothuse a 2d6+1 Hit Location roll. Te Cabeçada head-butt is backwards: its normal Hit Location rollis 2d6+1, but it changes to 2d6+7 i the attacker

stands on his hands. (I both attacker and targetare upside-down, the Hit Location rolls revert tonormal.)

Special Abilities: Ducking And Weaving.

Commando TrainingCommando training is the quick-and-dirty art

o elimination o the enemy. Its origins are withthe armed orces; many a Marine in World War IIwas taught the principles o Commando raining.oday, systemized commando styles such asCombato are taught like any other martial art, and

police departments, rape prevention activists, and

COMMANDO TRAININGManeuver Points OCV DCV Damage/Effect

Aikido Throw 3 +0 +1 STR +v/10; Target Falls

Boxing Cross 4 +0 +2 STR +2d6 Strike



Hold 4 -1 -1 Grab Three Limbs, +10 STR

for holding on

Judo Disarm 4 -1 +1 Disarm, +10 STR to Disarm

roll

Karate “Chop” 4 -2 +0 HKA ½d6

Kung Fu Block 4 +2 +2 Block, Abort

Skills Breakfall

WF: Small Arms

Elements Weapons +1 Use Art with Clubs

+1 Use Art with Knives

CAPOEIRAManeuver Points OCV DCV Damage/Effect

Armado da Costa (Spin Kick)/ Parafuso (Jumping

Spinning Kick) 5 -2 +1 STR +4d6 Strike

Bencao (Front Thrust Kick)/

Asfixiante (Punch) 4 +0 +2 STR +2d6 Strike

Block 5 +1 +3 Block, AbortCabeçada (Head-Butt) 3 +1 +0 STR +2d6 Strike

Cocorinha/Esquiva/

Queda de Quatro 4 — +5 Dodge, Affects All Attacks,

Abort

Dedeira (Eye Gouge) 4 -1 -1 Sight Group Flash 4d6

Meia lua de Frente/Queixada

(Crescent Kick) 4 +2 +0 STR +2d6 Strike

Rasteira/Banda/Tesoura/Arrastão (Legsweep/

Takedown) 3 +2 -1 STR +1d6 Strike; Target Falls

Vôo-do-morcego

(Flying Kick) 5 +1 -2 STR +4d6 Strike

Skills Acrobatics*

Breakfall

KS: Brazilian Music

PS: Dancing

PS: Play Instrument

WF: Straight Razor

1




the like teach Commando raining maneuvers assel-deense combat styles.

For an “advanced” orm o Commandoraining, see Marine Corps Martial Arts Program later in this section.

Characters can use the Karate “Chop”, JudoDisarm, and Kung Fu Block with Clubs andKnives (i the practitioner buys those WeaponsElements).

Hit Locations: Te Boxing Cross and Karate“Chop” use Hit Location rolls o 2d6+1; the Chokeautomatically targets the head, but gets neitherbonuses nor penalties or doing so; the Trow,Disarm, Hold, Escape, and Block take no locationrolls.

Special Abilities: None

DambeAlso known as “Hausa boxing” because it was

developed by the Hausa people o Nigeria andsurrounding regions, Dambe is a brutal punching-

based style mainly practiced or sport. It’s thoughtto have arisen as fighting contests between trav-eling butcher clans and local armers and workers.In the past it also included kokawa (wrestlingtechniques), but these have mostly been lost; somefighters also use a roundhouse-style kick.

Te traditional garb o a Dambe fighter isto wrap a metal chain (an akayau) around hisdominant leg (this provides +2 PD to strikesagainst that leg, which can be used to block),though modern fighters usually settle or a clothwrapping. He also wraps his striking fist (reerredto as a “spear”) in a cloth (a kara) over which isbound a knotted twine cord (a zare). Fighters relyon broad stances and keep their guards high, withthe lef hand (the “shield”) held out to block andthe “spear” ready to strike. Te goal is to knockthe opponent to the ground, preerably with oneblow. Whoever first touches the ground loses thematch, which lasts three rounds. Tis is reerredto as “killing” the opponent, and the strike thatachieves it is the “atal blow” (kwab daya). Eventoday, fighters ofen wear amulets thought toconer supernatural protection, and engage inother ritualistic practices.

Te Jab and Punch maneuvers may be usedwith the cestus; see the Weapons section o this

book or inormation on this weapon.Hit Locations: Te Jab and Punch both use HitLocation rolls o 2d6+1, and the Roundhouse Kicka roll o 3d6; the Block doesn’t use a Hit Locationroll.

Special Abilities: Like other boxers, Dambefighters can withstand a lot o pain while fighting.Abilities like ough In A Fight would be appro-priate or them.

Dirty Infighting/Fisticuffs/ Cinematic Brawling

Tis is not a martial art, but rather a set o

maneuvers skilled streetfighters can learn. It’s alsotaught to women as a series o rape-preventionmaneuvers (especially the Disarm, Low Blow, andTrow). Since it’s not a ormal martial art, practi-tioners cannot take a Style Distinctive Feature orit.

Not all streetfighting characters need to knowDirty Infighting — it represents a character with alot o rough and dirty fighting experience. You cansimulate many characters’ simple fighting skillsas a orm o “Brawling” by buying HA +1-2d6,perhaps with one or two Combat Skill Levels toreflect a crude “technique.”

For characters who aren’t the sort o peoplethat would learn a “dirty” way to fight, you cancharacterize this style in two other ways. Oneis as Fisticuffs, the general fighting skill o thestrong-jawed hero so ofen eatured in pulp talesand comics. A character with Fisticuffs is simplya good, all-American fighter; he doesn’t have anyormal training and doesn’t fight dirty. Alternately,some characters may want to know CinematicBrawling , the ree-wheeling sort o combat ofenseen in movies and on television. Like DirtyInfighting, Fisticuffs and Cinematic Brawlingcannot take the Style Distinctive Feature; theyaren’t “stylized” enough.

Te Block/Chin Block, Hoist ’n’ Heave, andwo-Fisted Smash are obviously ound only inFisticuffs/Cinematic Brawling, since they’re ar toocolorul to have a place in a vicious street brawl.Te Block/Chin Block can either be a standardblock with the orearm, or it can consist o thecharacter “blocking” the blow by taking it squareon the chin and “shrugging off” the effects — “Goahead, mate, take yer best shot!” Te Hoist ’n’Heave is the classic “grab him by the shirt-ront

DAMBEManeuver Points OCV DCV Damage/Effect


Jab 3 +2 +1 STR Strike

Kokawa 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on


Roundhouse Kick 3 -2 -1 STR +4d6 Strike

Skills KS: Dambe





and toss him out the window” maneuver; it“Grabs” two limbs because characters thrown inthis ashion never seem able to use their arms tokeep rom being thrown. Te highly unrealisticwo-Fisted Smash consists o lacing your fingerstogether and striking the enemy; the CinematicBrawler’s ability to do this without sufferingintense pain is perhaps his only “special ability.”On the other hand, Put Te Boot In is onlyappropriate or true Dirty Infighting; it representsstomping or kicking a target who’s already beenknocked to the ground.

Te “clubs” most ofen used with DirtyInfighting include bottles, pool cues, and otherweapons o opportunity.

Hit Locations: Te Punch/Backhand, Round-house/wo-Fisted Smash, and Kidney Blow useHit Location rolls o 2d6+1. Put Te Boot In usesa 3d6 Hit Location roll. Te Disarm takes nospecific location. Te Low Blow is automaticallya Vitals shot, but receives no extra damage orhitting the Vitals area. Te Eye Gouge automati-cally hits the eyes, but receives no extra damage orAttack Roll penalties or doing so. Te ackle doesgeneralized damage.


DIRTY INFIGHTING/ FISTICUFFS/

CINEMATIC BRAWLINGManeuver Points OCV DCV Damage/Effect

Block/Chin Block 4 +2 +2 Block, Abort


roll

Eye Gouge 4 -1 -1 Sight Group Flash 4d6

Hoist ’n’ Heave 5 -2 -2 Grab Two Limbs, +20 STR to

Throw

Kidney Blow 4 -2 +0 HKA ½d6

Low Blow 4 -1 +1 2d6 NND(3)

Punch/Backhand 4 +0 +2 STR +2d6 Strike

Put The Boot In 4 +0 -1 STR +4d6 Strike, Prone

Roundhouse/Two-

Fisted Smash 5 -2 +1 STR +4d6 Strike


Target Falls


Skills Streetwise



1




FencingFencing is a European sword-fighting tech-

nique which developed during the Renaissance (c.fifeenth century AD), though some maneuvers(or at least the basis or them) may predate thattime. It made use o long, light blades (especiallyrapier and sabre) and knives (including daggers,stilettos, and main gauches). In combat situa-tions, encers ofen ought “in the round” (i.e., notconfining themselves to the imaginary straightline utilized by modern encers).

Modern-day encing makes use o muchlighter, springier weapons with capped tips (tokeep them comparatively sae); these includeoil and epee. Fencing weapons are divided intothrusting weapons (oils, epees, rapiers, andsmallswords) and slashing weapons (sabers andthe like). In HERO System terms generally youdon’t have to reflect the differences with differentmaneuvers, but GMs desiring greater realism ordetail may rename certain maneuvers dependingupon the class o weapon a character uses, or

may restrict certain maneuvers to certain types oweapons. You could also use two different WeaponElements.

As a martial art, Fencing is automaticallydesigned or use with the Blades weapons group.(It’s intended or use with lighter encing weaponssuch as the rapier, sabre, oil, and epee, but inswashbuckling campaigns characters can useit with heavier cutlasses, broadswords, and soorth i the GM allows.) Characters may not buyFencing maneuvers or other classes o weapons(no polearms, no axes, and so on), or or use inunarmed combat. Fencers ofen do use otherweapons — especially such things as cloaks and

bucklers — but those weapons do not utilize theFencing weapon maneuvers.

See Swordfighting later in this chapter or aMartial Art intended or heavier blades, such asthose wielded by most Fantasy warriors.

Hit Locations: Te Ballestra, Cut, Double aDouble, Fleche, Lunge, Riposte, Slash, and Trustuse Hit Location rolls o 3d6 when used with amedium or long blade, or 2d6+1 when used witha short blade (like a dagger or short sword). TePasata Soto uses a 2d6+7 Hit Location roll. Teother maneuvers do not use Hit Location rolls.

Special Abilities: Battlefield Punch (weaponoption); False Disengage; Feint; Five WaysCutting; Genshin (known as colpo d’ arresto inFencing); Nito Style (complete option; this isknown as “fighting Florentine”); Speed O TeSwordsman; Weapon Riposte.

FENCING MANEUVERS

Fencing has many maneuvers, but ew encersbuy them all. Tis results in a wide variancebetween the styles o individual encers.

Ballestra: A rapid step or hop orward, ollowedimmediately by a lunge to take advantage o themomentum.

Cut: Using wrist action, the encer delivers a swifcut using the oremost edge and tip o his blade.Fencers usually aim a Cut at the wrist or ace.

Ceduto: A disengage movement in which theencer flips the blade up or down while steppingback or away.

Double a Double: Tis is a flexible patternmaneuver similar to a Riposte, except that instead

o ollowing a Block, it ollows a particularpredefined maneuver. At the beginning o aencing match, the encer must speciy whichmaneuver his Double a Double ollows (he canchange this maneuver rom fight to fight, butnot during a particular fight). Tis simulates theencer setting up his oe or a devastating blow.

Fleche: Te encer runs or leaps at his oe withblade extended. It requires a Full Move, and themomentum allows the encer to inflict extradamage.

FENCINGUsed with Blades Weapons Group; Blades Weapon Element is Free


Ballestra 5 +2 -2 Weapon +4 DC Strike; Half

Move Required

Cut 3 +2 +1 Weapon

Ceduto var 4 +0 +0 +15 STR to escape

Bind

Double a Double 4 +2 +2 Weapon +2 DC Strike, Must

Follow Predefined Maneuver

Fleche 4 +2 -2 Weapon +v/10; FMove

Froissement 4 -1 +1 Disarm, +10 STR to Disarm

rollGrypes 3 -1 -2 Grab One Limb, +10 STR

disarm

Lunge 5 +1 -2 Weapon +4 DC

Parry 4 +2 +2 Block, Abort

Pasata Soto 3 +2 +2 Weapon + foe’s v/10 Strike,

You Fall, Response to Ball-

estra, Fleche, Lunge

Prise de Fer 4 +1 +0 Bind, +10 STR

Riposte 4 +2 +2 Weapon +2 DC Strike, Must

Follow Block

Slash 5 -2 +1 Weapon +4 DC Strike

Takeaway 5 +0 +0 Grab Weapon, +10 STR toTake Weapon Away

Thrust 5 +1 +3 Weapon

Trip 3 +2 -1 STR +1d6 Strike, target falls

Void 4 — +5 Dodge, Affects All Attacks,

Abort

Skills KS: Fencing

Sleight Of Hand

Two-Weapon Fighting

WF: Blades*





Froissement: A disarming maneuver designedto knock the weapon rom a oe’s hand. It rangesrom a quick, strong “slap” at the base o the oppo-nent’s weapon to complicated bind maneuvers inwhich the encer locks up his opponent’s blade andthen “yanks” it out o his hand.

Grypes: Tis grab/disarm maneuver is peculiar tothe English school (see below). Te encer grabshis oe’s weapon arm and applies a lock/hold to

orce the weapon rom the oe’s hand. O course,this requires a ree hand, so a encer using a maingauche or buckler can’t employ it unless he dropsthat object.

Lunge: A deep, powerul lunging step at the oewith blade extended, most commonly used withsmaller weapons such as smallswords.

Parry: Te encer blocks his oe’s blade with oneo his own.

Pasata Soto: Te encer must execute thiscomplicated maneuver in response to a Ballestra,Fleche, or Lunge. He drops to the ground under-

neath the incoming weapon, and, supportinghimsel with his off-hand, perorms a rapid thrustat the oe up and under the oe’s guard. Althoughathletically demanding, and prone to leaving aencer open to other attacks i he can’t get backon his eet quickly, it is an impressive and ofendeadly maneuver.

Prise de Fer: Te encer presses his blade againsthis oe’s in such a way as to prevent the oe romusing his weapon to attack. Tis is sometimesreerred to as “locking up” the opponent’s blade.

Riposte: Te encer blocks one o his opponent’sblows, then ollows up with a rapid counterstrikebeore the opponent can recover his guard.

Slash: A basic encing attack in which the encerswings his blade at his oe using his whole arm topower the blow.

Takeaway: Te encer disarms his oe. Tis mayinvolve literally grabbing some sae part o theweapon (such as its ricasso) and yanking it outo his hand, or a bind-like maneuver in which helocks up his oe’s blade and then ollows throughto orce the blade out o his hand.

Thrust: A rapid jab at the oe using the point othe blade and without significant orward motionon the part o the encer.

Trip: aught primarily in the English encingschool, this maneuver is a swif kick or trippingmovement aimed at the oe in an attempt to knockhim down.

Void: Te encer steps to one side, or shifs hisbody out o the way o an attack. Unlike the othermaneuvers in the Fencing package, a encer canuse this one when he doesn’t have a blade in hishand (in short, at any time).

FENCING SUBSTYLES

Across Europe, dozens o different encingschools have taught students ways to use the blade.Some o the best known schools include:

ENGLISH SCHOOL

An Englishman named George Silver devel-oped this style o encing as a homegrownresponse to Italian styles. Silver preerred heavyblades (such as the broadsword) and a buckler tothe “flashy” Italian rapier-fighting. Te Englishschool emphasizes steady, deliberate movements,strong stances, solid blocks and parries, and cutsand slashes. It even incorporates some Wrestlingmaneuvers (bought rom that package i desired).o belong to the English school, a character mustbuy at least three o the ollowing maneuvers: Cut,Grypes, Lunge, Parry, Riposte, Slash, akeaway,Trust, rip, Void.

FRENCH SCHOOL

Te French school concentrates on maintaininga distance between the two fighters, parrying, andthen counterattacking. French stylists should keep

most o their Combat Skill Levels (i any) in DCV.o belong to the French school, a character mustbuy at least three o the ollowing maneuvers:Ballestra, Cut, Fleche, Froissement , Lunge, Parry,Prise de Fer , Riposte, Slash, akeaway, Trust,Void.

ITALIAN SCHOOL

Italian style encing is known or its ast,aggressive approach. Fencers typically concentrateon attacks, ofen using a second weapon, suchas a main gauche, spiked buckler, or o (a cloakwith a weighted hem). Many variants, such asthe schools o Vincentio Saviolo and Giacomo di

Grassi, existed. o belong to the Italian school, acharacter must buy at least three o the ollowingmaneuvers: Ballestra, Cut, Ceduto, Double aDouble, Lunge, Parry, Pasata Soto, Riposte, Slash,akeaway, Trust, Void. Italian encers usuallyput most o their Combat Skill Levels (i any) intoOCV.

SCHLAEGER SWORDFIGHTING (HEIDELBERG SCHOOL)

Tis late nineteenth century style, popular-ized by students o the German university atHeidelberg, is very physical. It involves holdingthe schlaeger sword at “high prime” (hand slightlyabove the head, tip o the blade at mouth level).

Duellists ofen wear goggles to protect the eyes,and metal caps on the head. Te goal is not to killor seriously injure the opponent, but to cut theopponent on his head or ace. In time the goalofen became to earn a duelling-scar one’s sel,as ellow duellists considered the scar a badge ohonor. o belong to the “Heidelberg school,” acharacter must buy at least three o the ollowingmaneuvers: Ballestra, Cut, Parry, Riposte, Slash,akeaway, Trust, Void.

SPANISH SCHOOL

Te Spanish school emphasizes ootwork andmovement based upon an imaginary “Mystic

Circle” circle encompassing the encer and his oe.

ack Sparrow:

ut your sword

way, son. It's not

orth you getting

eat again.

Will Turner: You

idn't beat me.ou ignored the

ules of engage-

ent. In a fair

fight, I'd kill

you.

Jack

Sparrow:

hat's not much

ncentive for me

o fight fair, then,

s it?

- Pirates

of the

Caribbean

1




Hit Locations: Te Strike and Power Strike use3d6 Hit Location rolls. Te other maneuvers donot require Hit Location rolls.

Special Abilities: Nito Style.

Generic Martial ArtsTis is a set o maneuvers or characters who

want to have Martial Arts but don’t want to botherwith inormation on or comparisons betweenmartial arts styles. It’s also a good way to representthe fighting skills learned by characters who trainwith a number o tutors espousing different styles.Since it’s not a ormalized style, characters wholearn it cannot take the Style Distinctive Feature.

Hit Locations: Te Punch uses a Hit Locationroll o 2d6+1; the kick uses a Hit Location roll o2d6+7; the Block, Trow, and Dodge don’t utilizelocations rolls.


HapkidoHapkido (roughly, “the way o coordinated

power”) is a Korean martial art a synthesizingseveral other styles, including Hwarang-Do,Aikido/Aikijutsu, Jujutsu, ae Kwon Do, andothers. It was developed by Choi Yong Suhl, aKorean martial artist who emigrated to Japanollowing the Japanese occupation o his home-land in the first decade o the twentieth century.In Japan he studied Japanese martial arts (particu-larly Daito-ryu Aikijutsu) and integrated someo their techniques with his Korean maneuvers.When he returned to Korea afer World War II, heopened the first Hapkido school so he could teachhis new style to others.

Hapkido is an art designed with fighting, notsport or artistry, in mind. It attempts to combinethe best o the “hard” and “sof” fighting styles toorm a versatile, well-rounded combat art. Likemost Korean styles, it emphasizes kicking overhand techniques. It grades students on a simplebelt system: rom lowest to highest, the ranks arewhite, blue, red, and black.

Hit Locations: Te Punch and Nerve Strike use a2d6+1 Hit Location roll, the Kick a 3d6 roll. Teother maneuvers either do not require Hit Loca-

tion rolls or target specific locations.

Special Abilities: Mind Like Te Moon.

GENERICMARTIAL ARTS




Abort

Kick 5 -2 +1 STR +4d6 StrikePunch 4 +0 +2 STR +2d6 Strike

Throw 3 +0 +1 STR +v/10; Target

Falls

Skills Breakfall


HAPKIDO

Maneuver Points OCV DCV Damage/Effect Block 4 +2 +2 Block, Abort

Breaking Throw 5 -2 +0 HKA ½d6, Disable; Target

Falls


roll


Abort



Disable

Joint Lock 3 +0 -1 Grab One Limb, +10 STR for

holding on




Sweep 3 +2 -1 STR +1d6 Strike; Target Falls


Falls

Skills Breakfall

KS: Hapkido




1




HisardutHisardut is a fighting art developed in Israel.

It was ounded by Dennis Hanover, who adaptedtechniques rom several martial arts to orm apractical fighting style suited or modern-daycombat. Intended as a practical fighting andsurvival art, it has ew sporting applications.

Hit Locations: Te Punch/Elbow Strike uses a

2d6+1 Hit Location roll, the Kick a 3d6 roll, andthe Knee Strike a 2d6+7 roll. Te Headbutt andChoke Hold automatically strike the head, withoutpenalty or bonus. Te other maneuvers do notrequire Hit Location rolls.


Hsing-IHsing-I (or Xingyi), usually translated as

“heart and mind” or “shape o mind,” is one o thethree main “internal” styles o Chinese martialarts (the other two are Pakua and ai Ch’i Ch’uan).

Like the practitioners o other internal styles,Hsing-I practitioners strive to unite the mind andthe body so the mind can reely command thebody’s ch’i, allowing the practitioner to perormamazing eats.

According to legend, the ounder o Hsing-Iwas a Sung Dynasty general named Yueh Fei, wholived rom 1103-1141. He was supposedly taughtthe basics o Hsing-I by a aoist named Chou on.His success in warare was so phenomenal that jealous rivals had him imprisoned and killed; hewrote the first book about Hsing-I in prison.

Hsing-I has two basic sets o movements ormaneuvers. Te first set is made up o block-strike patterns based on the five elements: Metal(Pi Ch’uan), Water (suan Ch’uan), Wood (PengCh’uan), Fire (Pao Ch’uan), and Earth (HengCh’uan). Each element has offensive and deensiveaspects; in accord with ancient Chinese philoso-phies, an attack based on one element (say, Fire)is subject to a deense based on the element it’s vulnerable to (in this example, Water). Te secondset o maneuvers is based around twelve animalorms: Dragon, iger, Monkey, Horse, urtle,Chicken, Phoenix (’ai Bird), Sparrow Hawk,Swallow, Snake, Eagle, and Bear (some masters useother animal orms as well).

Hsing-I practitioners combine these basic setso maneuvers into attack patterns that typicallyinvolve blocking an incoming attack, grabbingthe attacking limb, and then striking the attacker,usually with the hand. Hsing-I tends to be muchmore “linear” than the other internal styles, so it’sofen the first internal style a student studies (thenhe moves on to Pakua and ai Ch’i Ch’uan).

Some scholars divide Hsing-I into three“schools”: Honan; Hopei (the most common andleast internal); and Shansi (the least common).Some masters o these schools teach weapons suchas swords, staffs, and spears, but this is relativelyrare.

HISARDUT Maneuver Points OCV DCV Damage/Effect

Choke Hold 4 -2 +0 Grab One Limb, 2d6 NND(2)



Grab 3 +0 -1 Grab One Limb, +10 STR for

holding on

Kick/Knee Strike 5 -2 +1 STR +4d6 Strike

Punch/Elbow Strike/

Headbutt 4 +0 +2 STR +2d6 Strike


Falls

Skills KS: Hisardut

WF: Small Arms

HSING-I Maneuver Points OCV DCV Damage/Effect


Defensive Block 5 +1 +3 Block, Abort

Eagle Claw 4 +1 -1 Grab One Limb, +10 STR for

holding on

Grappling Block 5 +1 +1 Grab One Limb, Block

Hand Strike/Low Kick 4 +0 +2 STR +2d6 Strike

Monkey Slap 5 -2 +1 STR +4d6 Strike


Tiger Push 4 +0 +0 +15 STR to Shove

Takedown 3 +1 +1 STR Strike; Target FallsThrow 3 +0 +1 STR +v/10; Target Falls

Skills KS: Hsing-I

KS: Chinese Healing

KS: Chinese Philosophy


Elements




"Even though surrounded

by several enemies set to

attack, fight with the thought

that they are but one. "

- Morihei Ueshiba




Hit Locations: Te Hand Strike, Monkey Slap, andNerve Strike all use 2d6+1 Hit Location rolls; theLow Kick takes a 2d6+7 roll. None o the othermaneuvers requires a location roll.

Special Abilities: Te internal stylist’s ability toproject his ch’i to generate powerul attacks andspectacular eats is legendary. Possible specialabilities or Hsing-I practitioners include: Ch’iouch; Eight Steps O Te Heavenly Dragon;

Fighting Skill; Flesh Like Iron; Flesh Like Oak;Iron Shirt; ough In A Fight.

Hwarang-Do Tis ancient Korean martial art, which also

incorporates much healing knowledge, datesback some 1,800 years. According to tradition itwas developed by a Buddhist monk named WonKwang Bopsa. He taught his technique to manyyoung nobles o his day, who were called hwarang .Te hwarang were a combination o knights,statesmen, and military generals. Legend has it

they lived by a five-point code: loyal service tothe king (or, in modern terms, to one’s nation);filial piety; trust (in one’s peers) and trustworthi-ness; courageousness and valor; and justice anddiscrimination in the use o orce, especially lethalorce.

Hwarang-Do has our main “branches” ostudy: external power (wae gong ); internal power(nae gong ); weapons use (moo gi gong ); and mentalpower (shin gong ) (see Special Abilities, below).Its barehanded techniques, the “external power,”include punches and kicks, blocks, joint locks and joint breaking, nerve strikes, chokes, and manyother techniques. Te internal disciplines were

similar to those taught in some Chinese styles.Hwarang-Do practitioners wear uniorms

similar to Karate or Judo uniorms.As with other unarmed combat styles which

allow weapons use, the Hwarang-Do practitionercan learn to use his art with no weapons, with onlyone, or with several, as he sees fit.

Hit Locations: Te Hand Strike and Elbow Strikeuse a Hit Location roll o 2d6+1. Te Kick andFinger Strike use a Hit Location roll o 3d6. TeSnap Kick takes a 2d6+7 roll. Te Choke automat-ically targets a head location, but receives no extradamage or being a head location. Te Block, Joint

Break, and Joint Lock do not use location rolls.Special Abilities: Ch’i ouch (the Jusul option,a disease-healing chant, and the Jusul Variant tomake the target sick); Dairokkan; Mind Reading;Ninja Invisibility (called unsinbbop); Shin GongVisions; Sleeper Hold (called ch’oemyonsul ).

HWARANG-DOManeuver Points OCV DCV Damage/Effect



Finger Strike 4 -1 +1 2d6 NND(1)

Hand Strike/Elbow Strike/

Snap Kick 4 +0 +2 STR +2d6 Strike


Disable


holding on


Throw 5 -2 +0 HKA ½d6; Target Falls

Skills Breakfall

KS: Hwarang-Do

KS: Korean Healing

Paramedic

Stealth


WF: Staff

Talent: Defense Maneuver





“S tanding tiptoe a man loses

his balance,

Walking astride he has no pace,

Kindling himself he fails to light. ”

- Lao Tzu, Tao Te Ching

1




Jailhouse Rock According to John Soet’s book Martial Arts

Around Te World , Jailhouse Rock is “the styl-ized, organized fighting art o the Black American,developed in prison.” Chris Crudelli’s Way O TeWarrior urther states that “JHR” has developedsubstyles such as “baryard,” “52 hand blocks,”“strato,” and “gorilla”; supposedly specific prisonsor regions may also have their own substyles.Some sources even claim that the style’s roots liein fighting techniques developed by slaves in thenineteenth century. As its supposed origins indi-cate, it’s designed or effective use in close quartersand against multiple attackers or ambushes.

Te sort o weapons used with Jailhouse Rockare those commonly available in prisons: “shanks”and “shivs” (homemade knives), various kinds ocrude club-like weapons, and so orth.

Hit Locations: Te Elbow Strike uses a 2d6+1 HitLocation roll, the Knee Strike a 2d6+7 roll. TeGroin Blow automatically targets the Vitals, butgets neither penalties nor bonuses or this.


Jeet Kune DoJeet Kune Do (“the way o the intercepting

fist”), or JKD as it’s commonly known, is aneclectic martial arts style developed by the lateBruce Lee. He created it afer studying manydifferent martial arts styles and deciding all othem were too limiting because o their reli-ance on a body o predefined techniques. Tus,JKD depends on the principles o simplification, versatility, practicality, and useulness. Lee himseldescribed it as a tight, versatile art, withoutpatterns, orms, or rules, which relies on “brokenrhythm” to obtain the advantage o unpredict-ability. (Note that “Jeet Kune Do” is actually thename or the governing concepts o the art; thefighting style itsel is more accurately reerred to asJun Fan Kung Fu.)

Since Lee’s untimely death, the students towhom he taught JKD and the students they havetaught have continuously debated what JKDmeans and stands or, what qualifies as JKD, andwho is a true student o JKD. Anyone interested inthis ongoing discussion can easily ollow it in the

pages o dozens o books and magazines.o simulate the adaptability and unpredict-ability o JKD, practitioners should considerbuying several Combat Skill Levels with the style.In most situations they assign these to DCV,but they can shif them around as necessary tosurprise an opponent.

Bruce Lee’s own work on JKD, Te ao o JeetKune Do, does not discuss the use o weaponsat all. However, he was skilled in many differentweapons styles, including Filipino stick-fightingand Chinese weapons styles, and according to hisown tenets o unpredictability and adaptability,practitioners may sometimes need to use weapons.

JAILHOUSE ROCK Maneuver Points OCV DCV Damage/Effect


Elbow Strike 4 +0 +2 STR +2d6 Strike


Groin Blow 4 -1 +1 2d6 NND(3)

Knee Strike 5 -2 +1 STR +4d6 Strike


Skills KS: Jailhouse Rock

WF: Prison Weapons



JEET KUNE DO(JUN FAN KUNG FU)



Choke Hold 4 -2 +0 Grab One Limb; 2d6 NND(2)


Abort

Grab/Joint Lock 3 -1 -1 Grab Two Limbs, +10 STR for

holding on

Kick/Knee Strike 5 -2 +1 STR +4d6 Strike



Punch/Elbow Strike 4 +0 +2 STR +2d6 Strike


Skills Combat Skill Levels

KS: Jeet Kune Do








Tereore JKD instructors ofen teach variousweapons; the Clubs element is especially popular.

Hit Locations: Te Punch/Elbow Strike andNerve Strike use Hit Location rolls o 2d6+1. TeKick/Knee Strike uses a 2d6+7 Hit Location roll,since JKD kicks are usually low and quick. TeLegsweep and Choke Hold have set targets (thelegs and head/neck, respectively) and so do notrequire a Hit Location roll. None o the other

maneuvers needs a location roll.Special Abilities: Battlefield Punch; One-InchPunch

JujutsuTis Japanese art (and its more philosophical

counterpart, Judo) grew out o the integrationo the weapons techniques o katori shinto ryu and grappling techniques during the fifeenthcentury. Te roots o the art lie even earlier, inthe Heian period (about 794-1185 AD), but untilthe fifeenth century warriors usually considered

empty-hand techniques an aspect o whatevermajor weapon orm(s) they supported, not as aseparate jutsu. Te name jujutsu (or jiu-jitsu) wasfirst used in the late seventeenth century. Knowl-edge o Jujutsu was spread world-wide by travel-ling Japanese practitioners in the early years o thetwentieth century; today one o the most popularsubstyles is rom Brazil.

Te usual Jujutsu technique involves bearingan opponent to the ground and then pinninghim there or rendering him unconscious. Te artutilizes hip throws, sweeping throws, shoulder and

neck locks, and a sacrifice body drop. In the past,Jujutsu was more o a ully-integrated fighting art— it included a variety o punches, kicks, nervestrikes, and weapons techniques. Some schools orsubstyles still teach strike-based maneuvers.

Judoka (and some jujutsuka) wear a gi like thatworn by karateka, but made o heavier cloth andwithout many seams (Judo is harder on the clothesthan many other martial arts).

Only Jujutsu, not Judo, teaches the dangerousJoint Break maneuver. Te Strike and Atemi Strike maneuvers, which represent several typeso punches and kicks, are rom the older style oJujutsu; only certain schools teach them.

Students o the older, more warlike orm oJujutsu could also learn the ollowing WeaponsElements: Blades, Chain & Rope Weapons, Clubs,Polearms, Staffs. Some substyles are also designedor use by armored warriors (optionally, take a+1 point Element, “Use Art in Armor”; reer tothe discussion o “Hindering Circumstances” inChapter Tree or details).

Hit Locations: Te Shime automatically targetsthe head, but receives no extra damage or this.Te Strike and Atemi Strike use 3d6 Hit Locationrolls. None o the other maneuvers use Hit Loca-tion rolls.


SUBSTYLES OF JUJUTSU

Historically, scholars have recorded more than700 substyles o Jujutsu, ranging rom very broadfighting systems to styles concentrating on just aew maneuvers or techniques. Many substyles are

“When

the

opponent

expands, I

contract, when

he contracts,

I expand,

and when

there is an

opportunity,

I do not

hit -- it

hits all by

itself. ”

- Bruce Lee,

Enter TheDragon

1




so closely related to Aikijutsu, Sumo Wrestling, or various weapon-based fighting orms that sepa-rating them or gaming purposes is difficult, andin many cases pointless. A well-rounded medievalJapanese warrior would probably know not onlyone or more styles o Jujutsu, but many weaponorms (Kenjutsu, Naginatajutsu, Bojutsu, and soorth), various styles o wrestling and/or Aikijutsu,and many other combat-oriented skills.

Some o the more important and/or interestingJujutsu substyles include:

BRAZILIAN JUJUTSU

Tis substyle o Jujutsu was first developedby Mitsuo Maeda, a Japanese man trained inKodokan judo, afer he came to Brazil in 1914. It’smost closely associated with the Gracie amily,whose patriarchs Carlos and Helio, and Helio’ssons Rickson, Royler, Royce, and Rorion, devel-oped Brazilian Jujutsu rom a sport into a truefighting art.

As part o its stress on practical combatapplications, Brazilian Jujutsu recognizes thatmany fights end up on the ground, so it teachesgroundfighting techniques. Te effectiveness othis approach was demonstrated by the successo Brazilian Jujutsu fighters in the early days oMixed Martial Arts (MMA) and Ultimate FightingChampionship (UFC) competitions, whichbrought this substyle to worldwide attention.

o practice Brazilian Jujutsu, a character mustknow at least three o the ollowing maneuvers:Joint Lock, Joint Lock/Trow, Shime, Strike, ake-down. Tey must also buy PS: Groundfighting.

HAKKO-RYU

Founded in 1941, Hakko-Ryu ocuses onneutralizing and discouraging attacks by attacking

pressure points and locking joints. Te style’sgrabs and holds emphasize the use o the littlefinger, and are perormed by bending the joints ina natural direction, but so that the target suffersgreat pain. Hakko-Ryu’s kicks are low (2d6+7 HitLocation roll), and its hand attacks are usuallymade with the open hand, not a fist. (Characterswho study this substyle may buy the Kniehandmaneuver rom Karate.)

o practice Hakko-Ryu, a character mustknow at least three o the ollowing maneuvers: Atemi Strike, Joint Lock, Joint Lock/Trow, Strike,akedown.

KITO-RYUSupposedly ounded by a Chinese exile,

Gempin, in the seventeenth century, this substyleincorporates many different elements and philoso-phies to create a fighting technique describedas “fluid” and “supple.” o practice Kito-Ryu,a character need only know any three Jujutsumaneuvers.

SOSUISHITSU-RYU

Supposedly derived rom the akenouchi-Ryuby a samurai, Fugatami Hannosuke, in 1650, thisschool takes its name rom the “pure flowingwaters” o the Yoshino River. o practice this style,

a character must know the Escape, Joint Lock, andJoint Lock/Trow maneuvers.

TAKENOUCHI-RYU

Tis substyle was ounded in the sixteenthcentury by the samurai akenouchi Hisamori(also known as oichiro akeuchi). Legend has itakenouchi learned several secret techniques oimmobilization and weapons use rom a ghostly

yamabushi, or mountain hermit, who stressed theadvantages o short weapons over longer ones.akenouchi used these techniques as a basis andthen added to them maneuvers rom such fightingarts as Sumo Wrestling, an older orm o wrestlingcalled sumai, and kumi-uchi fighting (designed oruse by armored warriors). Tus he developed astyle which stresses various techniques o immobi-lizing one’s opponent; it also teaches combat withshort swords (kogusoku) and daggers.

o practice akenouchi-Ryu, a character mustknow the Joint Lock, Joint Lock/Trow, and Shime maneuvers.

TENJIN-SHINYO-RYUAlso called enshinshinyo-Ryu, this substyle is

known or its holds, chokes, and atemi strikes. Itdoes not teach any weapons. It was ounded by IsoMataemon (also known as Yanagi Masatari).

o practice enjin-Shinyo-Ryu, a charactermust know at least three o the ollowing maneuvers: Atemi Strike, Joint Lock, Joint Lock/Trow,Shime.

YOSHIN-RYU

Tis is the amous “willow school” o Jujutsu,so called because its ounder, the seventeenthcentury physician Akiyama Shirobei Yoshitoki

o Nagasaki, used the image o a willow as an

JUJUTSUManeuver Points OCV DCV Damage/Effect



Breaking Throw 5 -2 -2 Grab One Limb; HKA ½d6,

Disable; Target Falls


roll



for holding on


Target Falls


Sacrifice Throw 3 +2 +1 STR Strike; You Fall, Target

Falls

Shime 4 -2 +0 Grab One Limb; 2d6 NND(2)

Slam 3 +0 +1 STR +v/10; Target Falls



Skills Breakfall*

KS: Jujutsu

PS: Groundfighting




example or his students: it bends beore orce,but springs back unharmed, whereas the sturdyoak is knocked over.

o practice Yoshin-Ryu, a character must knowat least three o the ollowing maneuvers: Atemi Strike, Block, Dodge, Joint Lock, Strike.

Jukenjutsu

Jukenjutsu is the art o the bayonet. It wasdeveloped afer the introduction o the riflein Japan. Its primary technique is the thrust,but practitioners also learn more complicatedblocking, trapping, and slashing maneuvers.

Hit Locations: Te Slash and Trust use Hit Loca-tion rolls o 3d6. Te Block and rap do not useHit Location rolls.


KalaripayitKalaripayit (also known as kalari, kalaripayat,

kalarippayattu, and kalaripiyat) is a martial artdeveloped in ancient times in southern India.Te name means “battlefield practices.” Tere’sevidence o its existence as early as the sixth andseventh centuries AD. Some experts trace its rootsto vajra-musti, a style o boxing/wrestling used bythe Brahmin caste. Legends claim it was oundedby Parasurama, who created it 3,000 years ago sohe could protect a temple he’d ounded in Kerala

raining in Kalaripayit encompasses ourstages: unarmed fighting (verumkai), which is thebasis or all other techniques; stick-fighting tech-niques (silambam or kolthari); training with other

weapons, such as daggers (angathari); and, at itsmost esoteric level, training in knowledge o the108 secret vital points o the body (marma-adi)and how to exploit them in battle. (Practitionerscan also study the vital points o the elephant.)

Masters o Kalaripayit, known as gurus or gurukkal , are not only skilled in the fightingaspects o the art, but are usually accomplishedhealers as well, trained in the Ayurvedic systemo native medicine (which relates closely to manyo Kalaripayit’s fighting techniques). Mastersofen maintain special training compoundswhich double as places o healing. raining inthese compounds usually takes place early in the

morning and again right afer dusk, and is ofenshrouded in secrecy. Tere is some religioussignificance to these places; there are many ritualpractices and devotions surrounding Kalaripayit.Te goddess Kali, in her aspect as the goddess owar, is the patroness o Kalaripayit fighters.

Kalaripayit is mainly practiced in the arsouthern region o India, around the state oKerala and amilnadu. Tere are two “variants”— the “northern” style, centered on the city oCalicut; and the “southern” style, centered onthe cities o Nagercoil and Madras. Although themaneuvers used in each variant are the same, thenorthern style involves a lot o high jumps and

JUKENJUTSUUsed with Pole Arms Weapon Group; Pole Arms Weapon Element is Free




Abort

Slash 4 +0 +2 Weapon +2 DC Strike

Thrust 5 -2 +1 Weapon +4 DC Strike

Trap 4 +1 +0 Bind, +10 STR

Skills KS: Jukenjutsu

WF: Pole Arms*

KALARIPAYIT Maneuver Points OCV DCV Damage/Effect


Dodge 4 +0 +5 Dodge All Attacks, Abort

Flying Kick 5 +1 -2 STR +4d6

Joint Lock ( Kattaram ) 3 +0 -1 Grab One Limb, +10 STR for

holding on

Knifehand Strike 4 -2 +0 HKA ½d6

Marman Strike 4 -1 +1 2d6 NND(1)


Straight Kick/Roundhouse



Skills Breakfall

Contortionist

KS: Indian Healing

KS: Kalaripayit

KS: Yoga


WF: Urumi



+1 Use Art with Urumi

1




kicks, low, crouching stances, and long strides;whereas the cruder-looking southern styleinvolves more circular motion, more solid, higherstances, and use o the arms and torso. Linguisticand cultural differences also separate the twosubstyles. However, both styles require supple-ness and agility and involve a lot o leaping andcrouching. Fighters o both styles ofen cover theirbodies with oil beore fighting (see Contortionist in Chapter Four).

Hit Locations: Te Punch/Elbow Strike, FlyingKick, Kniehand Strike, and Marman Strike all useHit Location rolls o 2d6+1. Te Straight Kick/Roundhouse Kick takes a 3d6 roll. Te othermaneuvers do not require Hit Location rolls.

Special Abilities: Ch’i ouch.

KampfringenKampringen is a medieval German combat

and grappling art. Like Arte dell’Abbracciare, itinvolves a wide range o grapples, joint locks (and

breaks), and strikes (primarily short punches,knees to the groin, headbutts, and the like). Italso incorporates pain compliance techniquesand a hip throw. It includes deensive techniquesdesigned to protect the fighter against Dolch- echten, or kniefighting techniques.

Some sources present a more intriguing originor Kampringen, claiming it was developed bymedieval Jews as a orm o sel-deense. Accordingto this theory, the art has some basis in kabbalisticmeditation techniques and philosophies.

Hit Locations: Te Strike and Pressure PointStrike use 3d6 Hit Location rolls. None o the

other maneuvers use Hit Location rolls.Special Abilities: None.

KarateKarate arose rom the same ancient tradi-

tions which led to the development o Kung Fu.By the fifh century AD, on the Okinawa Islandsa weaponless combat system called te (“hand”)had developed. Later, when the teachings o theShaolin emple in China were carried to Okinawa,some o the Shaolin techniques were inused withthe te art.

During the fifeenth century, the Japanese whooccupied Okinawa orbade the natives to carryarms and te began to flourish; at the time, it wentby several names, including te and karate (a termwhich originally meant “China hand,” but whichin the twentieth century was redefined to mean“empty hand”).

In 1905, an Okinawan instructor named GichinFunakoshi introduced Okinawa-te to Japan,teaching it in public schools. At that time, its namewas ormalized as Karate. Afer World War II,American servicemen stationed in Japan learnedthe art, which helped to spread it worldwide.

KAMPFRINGENManeuver Points OCV DCV Damage/Effect

Arm Bar 4 +1 +0 Grab One Limb; 1d6 NND(7);

Target Falls



Grapple 3 -1 -1 Grab Two Limbs, +10 STR for

holding on

Hip Throw 3 +1 +1 STR Strike; Target Falls


Disable


for holding on


Skills Breakfall

KS: Kampfringen

KARATEManeuver Points OCV DCV Damage/Effect




Dodge 4 — +5 Dodge, Affects All Attacks, Abort

Knifehand Strike

(“Chop”) 4 -2 +0 HKA ½d6


Punch/Snap Kick 4 +0 +2 STR +2d6 StrikeSide/Spin Kick 5 -2 +1 STR +4d6 Strike

Skills KS: Karate

WF: Common Martial Arts Melee Weapons


Elements Weapons +1 Use Art with Karate Weapons


VARIANT FORM: KOBUJUTSU Used With Karate Weapons Group; Karate Weapons Element is Free

Maneuvers Same as above; practitioner can only buy the Kick if he knows the

Barehanded element, below.

Skills Same as Above; WF is Required (*)

Elements Weapons +1 Use Art with Staff

Barehanded +1 Use Art Barehanded




HERO System characters can buy Karate in oneo two ways. As Karate, it’s an unarmed fightingstyle. As Kobujutsu, it’s an armed Okinawanfighting style, using these weapons: bo (6’ staff)and several shorter staffs, sai, nunchaku, tona(threshing handles), kama (sickles), eiku (or chizi-kunbo or sunakakebo) (boat oar), timbe and rochin (tortoiseshell shield and hand-spear), suruchin (ashort, weighted rope), kue (hoe), and tekko (metalknuckle-dusters).

Karateka (Karate practitioners) can buy theWeapons Element to learn Kobujutsu techniques,and Kobujutsu practitioners can buy the Bare-handed element to learn empty-hand techniquesor their art. For game purposes, the two styles areunctionally identical.

Te traditional Karate uniorm is the gi, whichis also used by many other martial arts practitio-ners. Te gi consists o the uwagi (a long-sleeved jacket) and zubon (loose trousers). Te obi (belt)is colored; the color indicates the wearer’s rank.Originally the standard gi was beige; today it’swhite. Proessional Karate fighters wear gloves,

oot-and-shin armor, and loose pants rather likewarm-ups. Tey also wear athletic cups. MaleKarate proessionals go bare-chested.

Te Kniehand Strike maneuver above mayalso be interpreted as the Spearhand Strike, athrusting maneuver. Te Kniehand Strike wasor decades popularly known in America as the“karate chop.”

Te Side Kick and Spinning Kick are presentedhere as one maneuver.

Hit Locations: Te Punch/Snap Kick, Atemi Strike, and Kniehand Strike use Hit Location rollso 2d6+1. Te Side Kick and Spin Kick use Hit

Location rolls o 3d6. Te Block, Disarm, Dodge,and Legsweep do not use Hit Location rolls.

Special Abilities: Karate isn’t surrounded bymysticism the way much o Kung Fu is, butmaster karateka can still perorm amazing eats.Appropriate special abilities or karateka include:Battlefield Punch; Blade Flare (Chiburi option, toflick sand or water into an opponent’s eyes whenfighting with an eiku); Genshin; Weapon Flourish.

KARATE SUBSTYLES

Karate has developed several distinctivesubstyles, although not nearly as many as Kung Fuor Pentjak-Silat. Most o these styles are not strik-ingly different; none o them require the characterto buy particular maneuvers beore he can callhimsel a practitioner o that particular substyle.Te most prominent Karate substyles include:

GOJU-RYU

Tis style, which has both Japanese andOkinawan elements, relies primarily on hand tech-niques and low kicks. It was created by KanryoHigashionna in the late nineteenth century. As thename goju (“hard-sof”) indicates, practitionersattempt to maintain a balance o “hard” and “sof”in their fighting styles, which gives this substylea greater “internal” element than most Karate

substyles. Many o Goju-ryu’s techniques are

1




circular (unlike most Karate styles, which tend toemphasize linear motion).

ISSHIN-RYU

Tis Okinawan style, created by atsuo Shima-baku in 1954, stresses practicality and combateffectiveness. It eliminates flowery techniques andconcentrates on short, natural stances and maneuvers. Its attacks are evenly divided between handand oot strikes, but emphasize circular, flowing

techniques.KAJUKENBO

Kajukenbo is an eclectic martial art whichtakes its name rom the our styles which itcombines elements o: Karate, Judo, Kenpo, andBo (the latter is a orm o Chinese boxing, i.e.,Kung Fu). It was developed in Hawaii afer WorldWar II and is taught strictly as a combat art.Characters who want to practice this style can buymaneuvers rom Karate, Jujutsu (Judo), and KungFu.

KENPO

Kenpo was developed by American Ed Parkerbeginning in the 1950s as a modern orm oShorinji Kempo (see Kung Fu, below). Parkermethodically studied combat maneuvers andthen broke them down into a system or logical,progressive instruction. Kenpo is an effectivefighting style suited to close combat; it uses rapidhand movements, low kicks, and body checks.

KICKBOXING

Kickboxing is a orm o modern Americansport karate. It combines karate-like kicks andother maneuvers with boxing punches. Charac-ters who want to know this style should buy bothKarate and Boxing maneuvers.

KYOKUSHINKAI

Tis aggressive Japanese substyle uses closebody contact to overcome ear o combat. rainingconcentrates on powerul, rapid attacks andphysical toughness. It also emphasizes tameshi-wara (breaking exercises).

SHITO-RYU

Founded in 1930 by Kenwa Mabuni, this majorJapanese substyle emphasizes “hard” aspects over“sof,” though it does contain some sof tech-niques. Attacks are equally divided between hand-and oot-based maneuvers.

SHOREI-RYUUnlike almost all other Karate substyles, thiswell-rounded Okinawan substyle makes use othrows, takedowns, grabs, and joint-lock maneuvers (characters may buy appropriate maneuversrom the Jujutsu package). It also emphasizes thestudy o karate weapons.

SHORIN-RYU

One o the earliest and most influential othe Okinawan substyles. It has strong roots inthe Shaolin styles o Kung Fu. It has three mainbranches, the “small orest” school, “young orest”school, and “pine orest” school (each name reersto the orest where the Shaolin emple is said tohave been located). With the GM’s permission,

characters who study this substyle can also buymaneuvers rom the Kung Fu package.

SHOTOKAN

Tis Japanese styles was ounded by GichinFunakoshi, the Okinawan who introduced Karateto Japan. It concentrates on developing skill with asmall number o useul, efficient techniques; it alsoemphasizes balance and muscle control. Its strikes(mainly kicks) are primarily linear; they rely on

body momentum, such as shifing the hips, to addpower to a blow.

UECHI-RYU

An Okinawan style, Uechi-ryu was oundedaround the turn o the century by Kanbun Uechi,who had studied Kung Fu in addition to Karate.Its elements bear some similarity to the Dragon,iger, and Crane styles o Kung Fu. Its primaryattacks include a single-knuckle punch (Punch or Atemi Strike), the spear-hand strike (KniehandStrike), pointed kicks (Snap Kick or Side Kick),and circular blocks (Block). Kicks are generallydelivered low, and should use a 2d6+7 Hit Loca-tion roll.

WADO-RYU

Tis Japanese style, whose name means “way oharmony,” stresses inner preparation and strengtho character instead o simply concentrating onphysical abilities. Its techniques include bodyshifing (Dodge) and some joint-twisting maneuvers (use the Joint Lock rom Hapkido).

Kenjutsu Kenjutsu is the samurai’s sword art. It requires

the use o blades (especially Japanese blades suchas the katana, wakizashi, and no-daichi); you

cannot buy a Weapons Element to allow use oKenjutsu maneuvers with other weapon groups orwith unarmed combat (except as noted below).

Te elements o the art originated some1,500 years ago. By the ninth century AD (whenKenjutsu maneuvers first become available tocharacters), Kenjutsu schools flourished in Japan.Practitioners divide techniques into kamae (postures), kiri (cuts), tsuki (thrusts), and blocksand evasive maneuvers; each school avors its ownparticular types and combinations o maneuvers.

One o Kenjutsu’s most amous practitionersand teachers was the samurai Miyamoto Musashi,

author o A Book o Five Rings, a psychologicalguide to strategy and competition. Musashi lived,ought, and taught his amous two-sword (Nito-Ryu) technique during the early seventeenthcentury.

In many ways, Kenjutsu and Iaijutsu (the arto drawing the sword) intertwine. While Iaijutsu(the Skill Fast Draw, in HERO System terms) is notrequired or Kenjutsu practitioners, most shouldknow it.

Kenjutsu is known as kum do in Korea. Asporting version o the art, kendo, has been taughtworldwide since World War II.

“No such

thing

bad student

Only bad

teacher. ”

- Mr. Miyagi

The Kara

Kid




Hit Locations: Te Lightning Stroke, SacrificeStroke, and Slashing Stroke use Hit Location rollso 3d6; the Running Stroke uses a Hit Location rollo 2d6+1. Te Bind, Block and akeaway do notuse Hit Location rolls.

Special Abilities: Blade Flare; False Disengage;Feint; Five Ways Cutting; Genshin; Iaijutsu; I’veaken Your Measure; Nito Style; Speed O TeSwordsman; Weapon Flourish; Weapon Riposte;

Yadomejutsu.KENJUTSU SUBSTYLES

Troughout Japanese history, Kenjutsu wasusually taught by various schools or masters, eacho whom avored different kamae and swordsman-ship techniques; some o these schools continuetoday. I a swordsman character wants to belong toone o these schools, he can buy maneuvers whichpertain especially to that school.

A Kenjutsu practitioner doesn’t have to belongto any school, or can be built with many maneuvers and rightully claim to have studied severalstyles.

ITTO RYU

Created by the amed wandering swordsmanIto Ittosai, the Itto Ryu school teaches practitio-ners to concentrate not on victory, but on “not

losing.” Te idea is to use proper timing andskill to gain an advantage over an opponent.Te school’s main technique is the kiri-otoshi, amaneuver which deflects the opponent’s attackand makes a counterattack in one smooth motion.In game terms, practitioners o Itto Ryu may buythis as a Deensive Strike (even though Kenjutsunormally does not use that maneuver). Tey mustalso learn Block and one other Strike maneuver.

JIGEN-RYUDeveloped in the 1500s by ogo Shigekura

Bizen no Kami, this style concentrates on rapidattacks and offensive maneuvers. It was avored by,among others, the Satsuma clan.

A Jigen-Ryu stylist must know the LightningStroke and Slashing Stroke maneuvers.

KAGE RYU

Tis style, whose name means “shadow,” wasdeveloped by Aizu Iko (1452-1538). It ocuses onreading an opponent’s acial expression and bodylanguage to determine how he intends to attack,then counteracting or beating his attack. In game

terms, a practitioner o this school must buyeither (or both) o the Genshin or I’ve aken Your Measure abilities.

A Kage Ryu stylist must know Block and oneStroke maneuver.

KASHIMA STYLE

Practiced (and perhaps ounded) by thelegendary swordsman sukahara Bokuden (1490-1571), Kashima style concentrates on the concepto hitotsutachi—“one cut.” Te swordsman waitsuntil the very last second, then counters an oppo-nent’s attack (ideally, the opponent’s attack missesthe practitioner by an inch or less). Furthermore,

the masters o the style maintain that the last one-third o a blade does the most damage, and theinnermost one-third the least; thus, by steppinginto a blow a fighter can reduce, or even eliminate,injury.

A Kashima fighter must buy Genshin (or evenLightning Reflexes with no Limitation), then Holdhis Action. When his opponent attacks, he uses hisHeld Action to try to interrupt the attack. He maybuy Skill Levels with his DEX Roll to ensure hebeats out his opponent each time i he so desires.

A Kashima stylist must know the Block, Evade,and one Stroke maneuvers.

MIJIN STYLEMijin style emphasizes power and speed; itconcentrates on leaping and running attacks. Temost amous Mijin maneuver is the Soaring Larkstroke, a leaping ground-to-sky attack.

A Mijin stylist must know the Running Stroke,which is the Soaring Lark stroke. Extra meters oRunning or Leaping are recommended.

MUTO STYLE

Muto is a style o fighting without the sword.A Muto specialist buys the Barehanded elementor his art; this allows him to use the Bind, Block,Disarm, Evade, and akeaway maneuvers whenunarmed. It does not allow the character to use

KENJUTSUUsed with Blades Weapon Group; Blades Weapon Element is Free




Disarm 4 -1 +1 Disarm, +10 STR to Disarmroll

Evade 4 — +5 Dodge, Affects All Attacks,

Abort

Lightning Stroke 4 +2 +0 Weapon +2 DC Strike

Running Stroke 5 +1 +0 Weapon +v/10; FMove

Sacrifice Stroke 5 +1 -2 Weapon +4 DC Strike

Slashing Stroke 5 -2 +1 Weapon +4 DC Strike

Takeaway 5 +0 +0 Grab Weapon, +10 STR to

Take Weapon Away

Skills

Breakfall

Fast Draw (Iaijutsu)

Defense Maneuver

KS: Kenjutsu

Sleight Of Hand

Two-Weapon Fighting (HTH)

WF: Blades*

WF: Thrown Sword


Elements Barehanded +1 Use Art Barehanded (Bind,

Block, Disarm, Evade,

Takeaway maneuvers only)

Ifhe

attains

the virtue

of the long

sword, one

man can beat

ten men.

- Miyamoto

Musashi, Go

Rin No Sho

(“A Book

of Five

Rings”)1




KnifefightingShort stabbing weapons such as daggers,

knives, and poignards have been in existence orthousands o years. Since they can unction astools, they’ve ofen been the only weapon a personcould carry without breaking the law or lookingthreatening — and their easy concealability makesthem ideal or people who need a hidden weaponor some reason. Tus, many peoples and culturesaround the world have developed specific ways ofighting with knives, and you can use this MartialArt to represent those fighting skills.

Characters cannot use this style Barehanded(except or the Dodge and Grab maneuvers).It’s not distinctive enough to qualiy or a Style Distinctive Feature.

Hit Locations: Te Slash, Stab, and Trust alluse 2d6+1 Hit Location rolls. So does the Foist,which involves shifing the knie rom one hand tothe other so quickly that the opponent misses it,leaving him open to attack. Te other maneuversdo not use Hit Locations.

Special Abilities: Skilled kniefighters may beable to work knie-throwing techniques into theirrepertoire; these attacks can be bought as RangedMartial Arts maneuvers or as separate “powers.”

KNIFEFIGHTING SUBSTYLES

Many peoples have developed techniques orfighting with knives that you can represent withthis Martial Arts package. Tis includes militaryblade skills, the arte della daga o medieval Italy,the abilities o streetfighters skilled with knives,Dolchechten (medieval German kniefighting), elcuchillo (Mexican kniefighting), and the like.

SEVILLIAN KNIFEFIGHTING

Tis is a Spanish and southern Europeanknie-fighting art that employs weapons such asthe puñal (a short stabbing and thrusting oldingknie), the navaja (a longer, heavier olding knie),the cuchillo (a fixed-blade knie), and similararmas blancas (bladed weapons). Some schoolsalso teach the use o canes and sticks. While thepeople o the region (like those everywhere elsein the world) have always ought each other withknives, and the navaja itsel was invented in the1600s, and the more systematized maneuverso this style were probably not developed until

the nineteenth century. Practitioners are ofenreerred to as navajeros.In Sevillian Kniefighting, the Foist is called a

Cambio; the Slash a ajos; the Stab a Desjarretazo;and the Trust a Puñaladas.

Sevillian Kniefighting includes several “sub-substyles.” Te first, baratero style, is a quick,straightorward style emphasizing sel-protection.Te second, gitano style, was developed by SpanishGypsies. It uses flashy, stylized knie manipula-tions and maneuvers to conuse the opponentand create an opening (see Sleight O Hand inChapter Four or game rules on how to do this).Lastly, there’s the sevillano style, the most highly

KNIFEFIGHTINGUsed with Blades Weapon Group; Blades Weapon Element is Free




Abort

Foist 4 +2 +0 Weapon +2 DC Strike

Grab 3 +0 -1 Grab One Limb, +10 to STR

for holding on

Slashes 4 +0 +2 Weapon +2 DC Strike

Stab 5 -2 +1 Weapon +4 DC Strike

Thrusts 5 +1 +3 Weapon Strike

Skills Fast Draw

KS: Knifefighting

Sleight Of Hand

WF: Blades*

Talent: Ambidexterity



KRAV MAGAManeuver Points OCV DCV Damage/Effect


Choke Hold 4 -2 +0 Grab One Limb; 2d6 NND(2)



Abort


Grab 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on


Low Kick/Knee Strike/



Skills Breakfall

KS: Krav Maga


Elements



1




developed and “sophisticated” o the three. Similarin some ways to Fencing, it uses smooth, fluidmovements and swif attacks.

Krav MagaDeveloped approximately 40 years ago or use

by the Israeli Deense Forces, and later taughtto Israeli police and Mossad agents as well,Krav Maga is designed or combat effectiveness(and or quick, easy learning). It borrows tech-niques and ideas rom many different styles, butteaches no katas, stances, or other predefinedmovement orms; instead, a Krav Maga fighterlearns to fight rom any position and adapt hisskills to any situation. Te emphasis is on quickattacks and deenses designed to win fights, notto look impressive. Krav Maga has been repeat-edly studied and analyzed (sometimes usingcomputers) to make it as efficient and powerula fighting style as possible. Its deenses againstweapons are considered especially effective.

Because o Krav Maga’s emphasis on combat

practicality, Krav Maga practitioners do not learnmaneuvers or tournament fighting. However, ithas a belt ranking system established by the KravMaga Association in Israel: rom lowest to highestrank, the belts are white, yellow, orange, green,blue, brown, and black.

Hit Locations: Te Punch uses a 2d6+1 Hit Loca-tion roll; the Kick uses a 3d6 Hit Location roll. TeLow Kick/Knee Strike uses a 2d6+7 Hit Locationroll.


Kuk Sool WonKuk Sool Won (“Korean national martial artsassociation”) is a Korean fighting style ounded byIn Hyuk Suh in the late 1950s. It is a synthesis omaneuvers rom three traditional Korean martialarts: Sado Mu Sool (tribal martial arts); Buldo MuSool (Buddhist temple martial arts; see “Kung Fu,”below); and Koong Joong Mu Sool (royal courtmartial arts).

Kuk Sool Won practitioners wear uniormspatterned afer the traditional uniorms o Koreangenerals. A master o the style is known as asahbumnim.

Hit Locations: Te Punch and Nerve Strike use a2d6+1 Hit Location roll; the Kick takes a 3d6 roll.Te Legsweep automatically targets the legs andeet, o course, and receives neither bonuses norpenalties or so doing.

Special Abilities: Battlefield Mobility; ImprovedLeaping.

KUK SOOL WONManeuver Points OCV DCV Damage/Effect



roll


Abort

Joint Lock 3 +0 -1 Grab One Limb, +10 STR forholding on

Jonhwanbbop (Throws) 3 +0 +1 STR +v/10; Target Falls





Skills Acrobatics

Breakfall

KS: Kuk Sool Won

WF: Common Melee Weapons WF: Common Martial Arts Melee Weapons


+1 Use Art with Chain & RopeWeapons




+1 Use Art with War Fan

Kung Fu (Wu Shu)Kung Fu, in Chinese, simply means “hard

work” or “skill.” Te name Wu-Shu (meaning “warart”) is the style’s official name in China. Untilabout 1928, it was also known as kuo-shu.

Te origins o Kung Fu might date back as aras the Shang Dynasty (sixteenth century BC), butmost scholars conclude that it began to developsometime in the fifh century BC. A swordsman’sart which became prominent during the ChouDynasty (770 BC-221 BC) may have contributedto Kung Fu; so might have pankration (see below),

rom times when Alexander the Great tookpankratiasts with him on his conquests (includinghis journey to India). Te first emperor o China,Ch’in Shih Huang-i, banned the practice ounarmed martial arts during his reign (in act, hebanned and persecuted any thought or activity heconsidered too close to ree will or ree thinking),but open practice resumed in 206 BC, afer hisdeath.

In the sixth century AD, an Indian Buddhistpriest named Bodhidharma (called P’u-’i-a-Moin China) came to the Shaolin Ssu (Young Forestemple), in China’s Honan province. Te Shaolintemple had been built in the late fifh century AD

“Only th

weak

need to pro

their power

through for

but what

force leads

to is endles

hatred. ”

- Hou Yuanj

Fearless




by Emperor Hsiao-Wen to honor another Indianmonk, Bodhiruchi.

Te Indian fighting style which Bodhidharmataught there, blended with combat techniquesalready known to the Shaolin priests, becameknown as wai-chia; it eventually evolved intoboth Kung Fu and Karate (see the entry aboveor Karate). Kung Fu and unarmed combat werenot confined to the Shaolin monastery; the firstmartial arts schools in China also began teachingduring the sixth century AD. Tis is the earliestperiod when characters can buy something resem-bling the Kung Fu style maneuvers; characters inthe sixth century AD can buy the Block, Disarm,Dodge, Legsweep, Punch, and Trow maneuvers,with the Punch serving both as Punch and Kick.

A great deal o legend and mysticismsurrounds the Shaolin temple. Supposedly itsmasters were capable o a wide variety o amazingeats o combat and magic. Its course o studylasted many years, and at the conclusion studentshad to pass saely through a trap-filled maze to“graduate.” At the end o the maze they had to pick

up and carry a red-hot 500-pound cauldron whichwould brand their orearms with the symbols othe temple, a dragon (on the lef arm) and a tiger(on the right arm).

Te original Shaolin temple, which was locatedon the northern side o Shao-Shih Mountain,south o Sung San Mountain in Honan province,is said to have been destroyed in 617 AD. Overthe centuries it (and its great library o martialarts material) was destroyed more than once,its surviving priests scattering to the winds andteaching their art in all parts o the nation. Tus,uncountable variations on the style developed overthe next millennium. On those occasions when

the Shaolin temple was rebuilt, inevitably someenemy would find it and destroy it again. It wasmore or less destroyed or good in the late seven-teeth or early eighteenth century by the EmperorK’ang Hsi. Only five monks, the so-called Vener-able Five, supposedly survived the massacre: NgMui, Pak Mee, Fung Do ak, Miao Hin, and GeeSin. Tey split up and hid themselves throughoutChina, passing on their martial wisdom in secret.

Kung Fu was brought to the U.S. duringmassive Chinese immigration during the 1840s,though it was not popularly taught to non-Chinese students until the 1960s.

A very ragmented art, Kung Fu has innu-merable different styles and techniques, many owhich are described below. Te maneuvers andstyles presented here represent the “external”aspect o Chinese martial arts; the main internalstyles, such as Pakua and ai Ch’i Ch’uan, arediscussed separately even though technically theyall all under the rubric o “Kung Fu.” Practitionersgenerally divide Kung Fu substyles into “northern”styles, which are kick/leg-oriented (becauseo the prevalence o horse-riding in northernChina), and “southern” styles, which are punch/hand-oriented (because o the prevalence o boat-rowing in southern China).

A Kung Fu teacher is known as a siu. Te hallwhere he teaches his students is usually calleda kwoon. Te traditional Kung Fu outfit is a silkcostume consisting o a long-sleeved tunic withwhite cuffs, dang lung u (loose-fitting trousersgathered in at the ankles), and colorul sashesworn at the waist (these do not denote rank).Alternatively, fighters wear a vest or shirt resem-bling a -shirt instead o the tunic.

Hit Locations: Te Knie Hand, Punch and ien-hsueh Strike use Hit Location rolls o 2d6+1. Teiger Claw uses a Hit Location roll o 2d6+1,constituting the location where the Grab landed;other Grabs do not need a location rolled orthem. Te Kick and Flying Kick usually use a HitLocation roll o 3d6, but in some styles (see below)the Kick uses a 2d6+7 Hit Location roll. Te othermaneuvers don’t use Hit Location rolls.

Special Abilities: Te powers and special abilitiesattributed to Kung Fu masters are almost innu-merable; a ew relate to aoist magic. Some othe powers more commonly mentioned include:

Breaking Strike; Ch’i Strike; Create Food; DancingWeapon echnique; Dim Mak (also known asPoison Palm; ofen thought to be taught as parto the Eagle Claw and White Eyebrow substyles);Fa-Ch’ing; Fire Control; Fist Kung; Hing Kung;Instantaneous Movement; Iron Forearm (espe-cially the Iron Palm option); Iron Shirt; Kongjin;Red Sand Palm; Summon Ancestral Spirits.

KUNG FU SUBSTYLES

Hundreds o Kung Fu substyles exist; manyall into certain broad categories. Rather thantry to write every single one as a separate art, thepackage includes the maneuvers common to most

substyles. You can use the notes below to helpdetermine the maneuvers a character needs toknow to practice a particular substyle. O course,a martial artist character doesn’t have to choose aKung Fu substyle. He can remain a generic KungFu practitioner and not worry about the plethorao specific substyles available to him. And even ihe does choose a specific Kung Fu substyle, he canstill buy maneuvers rom the rest o the main listo Kung Fu maneuvers.

BEAR STYLE

Tis style simulates the ast, overpoweringstrike o the bear. Te practitioner uses the same

hand or powerul open-palm strikes, blocks, andcounterstrikes, instead o striking with one handand blocking with the other.

o practice Bear Style, a character must knowthe Block and Punch maneuvers. A Bear practi-tioner ofen puts hal or more o his Combat SkillLevels into increasing the damage o the Punchmaneuver.

CHEENA ADI

Tis is a Sri Lankan style o Kung Fu, saidto have first been taught to students there by aShaolin monk who came to visit a temple holdinga relic o the Buddha. It supposedly takes 15 years

to learn.

Invincibility is

in oneself. “

Sun Tzu,

The Art of War

1




o practice Cheena Adi, a character must knowthe Block, Punch, and Kick maneuvers.

CHIN NA

Tis style was developed in the early 1600s oruse by soldiers and policemen. It’s a good style orsubdual and restraint o prisoners. It depends lesson orce than on knowledge o human anatomy; itachieves its damage by attacking vulnerable pointsknown to medicine.

o practice Chin Na, a character must knowPS: Chinese Healing, at least on an 8-. He mustalso have at least three o the ollowing maneuvers:Block, Escape, Joint Lock/Grab, Knie Hand, ien-hsueh Strike.

CHOY LEE FUT

Tis southern style was developed in the earlyto mid-nineteenth century. It’s still a popularstyle; its power makes it good or ull-contactfighting. It ofen makes use o Weapons Elements,including Polearm, Whip (Chain Whip), Staff,and Swords, and even teaches practitioners to usesome unusual objects (such as small benches and

smoking pipes) as weapons.o practice Choy Lee Fut, the character must

know any three o the ollowing maneuvers: Block,Kick, Punch, Trow.

DRUNKEN STYLE

Tis style is actually a variation on the otherstyles; a character can fight with just DrunkenStyle (or example, the extremely difficult EightDrunken Fairies [s’ui Pa Hsien] style), or canlearn Drunken Monkey, Drunken Crane, and soorth.

Visually, the style involves drunken staggeringand swaying (requiring Acrobatics) and utilizes

attacks which (because o the drunken stances andapproaches) are deceptive and hard to see coming.I the character has Combat Skill Levels, moremust go into OCV than DCV; i possible, the char-acter must configure his CSLs so that his OCVexceeds his DCV.

When perorming Drunken Style, a characterdoesn’t have to make an Acrobatics roll everyPhase (he’s not always staggering that much), andmust observe all the other guidelines or the stylehe’s appending Drunken technique to.

o practice Drunken Style, a character mustknow the Acrobatics and Contortionist Skills andany three Kung Fu maneuvers.

EAGLE CLAW

Tis northern style, ounded 800 years ago byGeneral Ouk Fay, simulates the powerul talons othe eagle. It makes extensive uses o grabs, joint-locks, and takedowns; even some o its kicks havea joint-locking unction!

o practice Eagle Claw Style, the charactershould buy at least three o these maneuvers:Escape, Joint Lock/Grab, Legsweep, Punch, ien-hsueh Strike, iger/Dragon Claw (called EagleClaw or this style).

HUNG GAR

Fighters developed this southern style oruse in close quarters such as narrow alleyways; itworks well or streetfighters. It uses low stancesand strikes which are relatively slow but powerul.Its primary weapons include the tiger ork, staff,

and butterfly swords.

KUNG FU (WU SHU)Maneuver Points OCV DCV Damage/Effect



roll


Abort



Joint Lock/Grab 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on


Knife Hand 4 -2 +0 HKA ½d6




Tien-hsueh Strike 4 -1 +1 2d6 NND(1)

Tiger/Dragon Claw 4 +0 +0 STR +4d6 Crush, Must Follow

Grab

Uproot/Sand Palm 4 +0 +0 +15 STR to Shove

Skills Acrobatics

Breakfalll

Contortionist

KS: Chinese Healing


KS: Kung Fu

PS: Lion Dancing

Sleight Of Hand



WF: Hook Sword

WF: Three-Section Staff

WF: Wind And Fire Wheels


Elements Weapons +1 Use Art with Axes/Maces/Picks

+1 Use Art with Blades

+1 Use Art with Chain Weapons


+1 Use Art with Hook Sword



+1 Use Art with 3-Section Staff

+1 Use Art with Whip

+1 Use Art with Wind And Fire Wheels




o practice Hung Gar, the character must knowany three o the ollowing maneuvers: Block,Grab, Kick, Knie Hand, Punch, iger Claw (igerClaw requires Grab).

LONG FIST

Long Fist (Chang Ch’uan) is a northernstyle said to have been created during the SungDynasty, shortly beore the year 1000 AD. It is a very picturesque and “open” style incorporating

long-reaching and sweeping fist and arm maneuvers, low stances, and high kicks.

o practice Long Fist Style, the charactermust know the Block, Dodge, Kick, and Punchmaneuvers.

MONKEY STYLE

Te Monkey Style (ai Sing ) was developed inthe mid-nineteenth century by a jailed fighter, KouSze. He continually watched the monkeys aroundthe jail (monkeys were ofen used at jails, becausethey screeched when prisoners escaped), andeventually developed fighting maneuvers basedaround their actions.

Te practitioner fights rom a crouching stancereminiscent o a monkey’s. umbling, rolling,tricky ootwork, and comical postures are alsohallmarks o the Monkey Style.

Tere are several “substyles” o this style,each based on a particular set o movements or aparticular body type, allowing any kind o fighterto use the art: Lost Monkey (in which the fightersimulates panic to trick the enemy into overcon-fidence); Drunken Monkey (described above);Stone Monkey (suited to fighters with large, strongbodies; involves less acrobatics than the othersubstyles); Standing Monkey (suited to tall fighterswith long arms); and Wooden Monkey (in which

the fighter eigns retreat, luring his oe into pursuitso he can launch an aggressive surprise attack).A Monkey Style practitioner can use any o thesesubstyles.

o practice Monkey Style, the character musthave the Acrobatics, Breakall , and Sleight O Hand Skills, and any three o the ollowing maneuvers:Block, Disarm (defined as a kicking disarm),Dodge, Kick, and Legsweep.

Each Phase the character utilizes Monkey Style,he must make both his Acrobatics and Sleight OHand rolls. I he succeeds in both, the GM has thetarget make a Sight-based PER Roll (just like a

Skill Versus Skill Contest). I the Sleight O Handroll beats the PER Roll, the monkey stylist gets anOCV bonus to his maneuver. Te GM can applythis as a +1 to +3 bonus based on how clever hethinks the maneuver is (determined rom the play-er’s description o the attack), or he can give themaneuver a bonus based on how much better theSleight O Hand roll was than the PER Roll (witha maximum o +3 to OCV). As the opponent getsused to the character’s fighting style, the GM canoptionally decrease the OCV bonus provided bythe style. Naturally, i the rolls tie, or the targetmade his PER Roll by more, or the attacker missedeither Acrobatics or Sleight O Hand, no bonus is

awarded.

Monkey Style is also ought with the staff.

PRAYING MANTIS STYLE

Tis style, known as ’ang Lang in Chinese, wasderived rom a fighter’s observation o the prayingmantis in combat. It concentrates on grasping,clawing, and punching maneuvers. It was devel-oped 350 years ago; many different “substyles”(including the six harmonies, seven stars, andeight steps variants) have arisen since then.

o practice Praying Mantis, the character mustknow the Block maneuver, and at least two o theollowing maneuvers: Disarm, Joint Lock/Grab,Kick, and Punch.

When fighting an opponent, the PrayingMantis stylist usually uses a Block against anincoming attack and ollows up (on his nextPhase) with one o the other maneuvers. ypicalsequences include Block, Disarm; Block, Punch;and Block, Joint Lock/Grab, Punch. (I the GMpermits deensive maneuvers in a Multiple Attacksequence, as discussed on page 247, PrayingMantis stylists should use Block-attack sequencesrequently.) Alternatively, he delays, puts mostor all his Combat Skill Levels into DCV (withthe visual effect being that he blocks, rather thandodges, incoming attacks) and responds to attackswith any o the attack maneuvers.

SHAOLIN CRANE STYLE

Tis is an open, flowing style. Te practi-tioner shapes his hands like crane’s beaks; thestyle adopts many one-legged stances. Blocks areperormed with the backs o wrists or with theopen hand.

o practice Shaolin Crane ( pai-hao) style, thecharacter must know the Block, Punch, and ien-hsueh Strike maneuvers.

SHAOLIN DRAGON STYLE

Tis style simulates the coiling o the Chinesedragon; the practitioner moves with his waistloose and supple, and the style makes use ocircular waist movements and hip-turningmovements.

In this style, the attacker grabs his target,blocks attacks, and counterstrikes with astpunches. Te style also involves a Grab called theDragon Claw and joint-locking techniques.

o practice Dragon style, the character mustknow any three o the ollowing maneuvers:Block, Dragon Claw, Joint Lock/Grab, Kick,

Punch.o use Dragon Style, the character primarily

utilizes one o these two combinations: Blockollowed by the Grab, or Grab ollowed by Blockollowed by Punch. He also uses the Joint Lock/Grab maneuver and Dragon Claw (which ismechanically the same as the iger Claw).

SHAOLIN LEOPARD STYLE

Leopard Style is a ast, rugged, up-closecombat style. It concentrates on powerul flat-tened-fist blows (representing the attacks o aleopard’s paws).

o practice Leopard Style, the character must

know the Block, Dodge, and Punch maneuvers.

“Kung fu.

Hard

work over

time to

accomplish

skill. A

painter can

have kung

fu. Or the

butcher who

cuts meat

every day

with such

skill... his

knife never

touches bone.

The musician can have

kung fu...

or the poet

who paints

pictures

with words

and makes

emperors

weep. This,too, is kung

fu. Formless,

nameless, the

true master

dwells within.

Only you can

free him. ”

- Lu Yan

(JackieChan)

explains

the martial

arts in The

Forbidden

Kingdom

1




When perorming Leopard Style, i the char-acter has only one or two Combat Skill Levels, hemust put them into OCV (during the Block andPunch maneuvers, not during the Dodge); i he

has more than two, he must put at least two intoOCV.

SHAOLIN SNAKE STYLE

Tis is a sinuous, weaving combat style. Tehands, simulating the snake’s strike, are usedor fingertip strikes to the target’s temples, eyes,throat, and other vital regions; the style also useskicks.

o practice Snake Style, the character mustknow the Block, Dodge, Kick, Punch, and ien-hsueh Strike maneuvers.

SHAOLIN TIGER STYLE

Tis style simulates the ripping action o a

tiger’s claws. Te practitioner uses a rigid open-hand technique with fingers curled like claws,and makes use o palm-heel strikes and claw-hand strikes, both swung with downward arcs; healso uses palm-heel blocks and orearm blocks.Tere are several “suborms” o this substyle,including White iger, Red iger, and Black iger;their differences are not important or gamingpurposes.

o practice iger Style, the character mustknow any three o the ollowing maneuvers: Block,Dodge, Grab, Punch, ien-hsueh Strike, and igerClaw. iger Style is also ought with the broad-

sword (Darn-Do).

SHORINJI KEMPO

Shorinji kempo is the Japanese pronunciation oShaolin ch’uan-a, or Shaolin Kung Fu. Accordingto tradition, Chinese monks visited Japan beore

it became closed off to oreigners in the seven-teenth century and taught their Kung Fu art to theBuddhist monks. oday, the art, adapted to theJapanese way o lie and philosophies, still thrives.Its symbol is a counterclockwise-pointing swastika(the reverse o the kind used by Nazi Germany),which in Buddhism signifies peace and unity.

In the HERO System, the Kung Fu stylesimulates Shorinji Kempo; a Kempo practitionercan buy any or all Kung Fu maneuvers and reerto them as Kempo. Purists will note that this is agross oversimplification o the real-world relation-ship between Kempo and Kung Fu, but it sufficesor game purposes.

WHITE CRANE STYLE

Tis ibetan style, which simulates the moveso both cranes and apes, involves three basicprinciples: evading attacks instead o blockingthem (to increase counterattack speed); conusingthe target with many arm sweeps; and moving into the opponent or a better angle o attack. It wasfirst developed in ibet some 500 years ago, andwas introduced into middle and southern Chinasome 140 years ago.

o practice White Crane, a character mustknow any three o the ollowing maneuvers:Dodge, Kick, Punch, ien-hsueh Strike.




When a character uses White Crane, he mustapply any Skill Levels he has so that his DCVexceeds his OCV; the high DCV allows thecharacter to avoid using Dodges and continuouslyattack instead.

White Crane style is known as Bak Hok or PakHok Pai in Chinese.

WHITE EYEBROW

Tis southern style, called Bak Mei in Chinese

afer the traitorous white-eyebrowed priest whodeveloped it, uses both sof and hard techniques.Te arms and hands are kept “sof” and suppleuntil they reach the point o impact, when they“harden” to deliver powerul blows. Internal andexternal strength are both important in this style.

White Eyebrow stylists always wait or theiropponent to attack first, then react to his attackand counterattack using their “wit,” or clevernessand perceptiveness. In the game, White Eyebrowstylists should normally hold their actions, thenBlock or Dodge beore attacking.

White Eyebrow style incorporates some attacksrom Fong Ngan, or “Phoenix Eye” style, which isdescribed briefly below.

o practice White Eyebrow, a character mustknow any three o the ollowing maneuvers:Block, Dodge, Kick, Punch, ien-hsueh Strike.

WING CHUN STYLE

Tis style (whose name means “radiantspringtime” or “everlasting spring”) was developedin the eighteenth century by a fighting Buddhistnun named Ng Mui. According to some legendsshe was one o the Venerable Five who escapedthe final destruction o the Shaolin emple. Afercreating the art, she taught it to a young peasantwoman named Yim Wing Chun, rom whom it

takes its name. It was developed as an aggressive,practical style someone could learn in a relativelyshort amount o time. It involves up-close fightingtechniques including short punches, low kicks,and leg sweeps.

Wing Chun is so popular it has severalsubstyles; however, their differences are inconse-quential or gaming purposes.

o practice Wing Chun, the character mustknow any three o the ollowing maneuvers:Block, Kick, Legsweep, and Punch. Te Kick usesa 2d6+7 Hit Location roll.

OTHER KUNG FU SUBSTYLES

Tere are many other animal and non-animalKung Fu styles, ar too many to list extensivelyhere. However, in addition to the styles listedabove, several others deserve a brie mention: BaJi Quan (a powerul, direct style that incorpo-rates loud stomping actions intended to rightenopponents); Bak Fu Pai (a secretive art supposedlydeveloped by Fung Do Duk, one o the ew monksto escape the destruction o the Shaolin emplein 1723); Bul Mu Do or Buldo Mu Sool (a KoreanBuddhist temple style, supposedly derived romShaolin fighting arts); Ch’a Ch’uan (a style romMongolia, popular among Chinese Muslims andknown or its acrobatics and flying kicks); Ch’o

Chiao (a northern style eaturing high kicks);Choy Mok (a combination o two southern styles,Choy Gar and Mok Gar); E-mai Shan Pai (a stylesupposedly created on the sacred mountain othe same name; known in Vietnam as Nga MiPhai); Emei Quan (a style eaturing strong stances,hopping motions, and flipping motions gener-ated by the wrists); Fan zu (a simple northernstyle); Fong Ngan (the “Phoenix Eye” style, whichrelies almost entirely on hand attacks, includinga distinctive raised-middle-knuckle punch); HopGar (a practical fighting art derived rom ibet,also known as Lama kung u); Hung-Chia (asouthern style emphasizing powerul hand attacksdelivered rom low stances, supposedly created byone o the Venerable Five); Hung Fut (a 300-year-old southern style combining two other styles,Hung Gar and Fut Gar; practitioners always usetheir lef hands to strike and are trained to usetheir clothing as a weapon); Kuo-Ch’uan (“dogboxing,” an unpopular northern style in whichthe practitioner stays low to the ground, barkingand growling like a dog, hoping to antagonize

and distract his opponent); Liang I (an internalnorthern style which uses double-fist attacks);Li-Chia Ch’uan (“short hand” boxing, a southernstyle involving slapping and poking attacks, closeinfighting, and almost no kicks; also known as LiGar); Liu-Ho-Pa-Fa (“six harmonies, eight steps,”a sof northern style); Luohan Quan (a style devel-oped by Shaolin monks with 18 movements basedon the expressions shown by the Arhat [saint]statues at the emple); Mien Ch’uan (“cotton fist”style, a sof northern style); Mi sung-I (the “laby-rinthine art,” which uses rapid turns, changes odirection, and attacks to conuse the enemy); PocKhek (a Malaysian style); San-Hwang Pao-Ch’ui

(“cannon fist” style, also known as Hsing-Kung-Ch’uan); a-Cheng Ch’uan (“great achievement,”an internal style derived in part rom Hsing-I);’an ’ui (“Deep Legs” or “Springing Legs” KungFu, which uses very low kicks and legsweeps);ien Shan Pai (a style known or its “doubleblocks” system o deense, where the second hand“backs up” the first); and ’i ’ang (a fightingstyle which trains the student to fight while on theground).

As you can see, considerable overlap existsbetween the maneuvers required or the variousstyles. I a character wishes, he can considerhimsel a practitioner o multiple styles i heknows the minimum required maneuvers andSkills or each; in combat, he can describe howand when he switches between styles. Tis willnot, however, have an impact on an enemy’sAnalyze Style roll; to cancel the effects o such aroll, a character would have to switch to anotherstyle in which he has a separate Knowledge Skill.

For more inormation on the main “sof”Chinese styles, reer to the descriptions o Hsing-I,Pakua, and ai Ch’i Ch’uan.

“Be

formless...

shapeless,

like water. If

you put water

into a cup, it

becomes the

cup. You put

water into a

bottle; it

becomes

the

bottle. You

put it into

a teapot; it

becomes theteapot. Water

can flow, or

it can crash.

Be water, my

friend. ”

- Bruce Lee

1




KuntaoKuntao (also reerred to as kundao or kuntaw)

is an Indonesian fighting style. It was developedbeore the birth o Christ by Chinese immigrantswho transplanted early Kung Fu and mixed itwith maneuvers rom Pentjak-Silat and Bersilat.Tere are many different substyles, some avoringnorthern Chinese styles, some southern styles.Even today it’s normally taught in secrecy, andonly to those o Chinese ancestry. raditionally,practitioners o Kuntao are rivals with practitio-ners o Pentjak-Silat, which is one o the reasonsboth arts have seen actual combat use right up tothe present day.

Hit Locations: Te Punch and Nerve Strike use2d6+1 Hit Locations; the Kick uses a 3d6 HitLocation roll. None o the other maneuvers useHit Location rolls.

Special Abilities: Kuntao masters’ special abilitiesare similar to those o Kung Fu masters, but aregenerally less powerul.

KyujutsuKyujutsu is the Japanese art o the bow. In the

modern era, under the name kyudo, it has becomea highly philosophical orm o sport with strongties to Zen Buddhism, but in the past it was adeadly battlefield art. It changed rom a orm owarare to a sport ollowing the introduction oguns to Japan in about the sixteenth century.

In addition to learning standard archery, manywarriors were also trained in the art o archeryrom horseback, known as kyuba, soieijutsu, or yabusame.

Kyujutsu practitioners use the yumi, the Japa-nese longbow, and the ya, or Japanese arrow (owhich there are more than a dozen varieties). SeeChapter Six or inormation on these weapons.

Te Korean orm o Kyujutsu is known asKung-sool; its mounted counterpart is Ma-sool.

Kyujutsu cannot take the Style DistinctiveFeature.

Hit Locations: All maneuvers use a 3d6 Hit Loca-tion roll, except or the Ranged Disarm, whichuses no roll.

Special Abilities: Japanese legend and mythology

contains many stories o archers whose accuracyallowed them to accomplish amazing eats. Appro-priate special abilities include: Flying DaggerFinds Any arget (bow option); Master O TeBlade (ranged option); Piercing Missile; SublimeSword Strike (arrow option); Way O Te Warrior(ranged option).

KUNTAOManeuver Points OCV DCV Damage/Effect


Dodge 4 — +5 Dodge All Attacks, Abort





Skills

Acrobatics

Breakfall

KS: Kuntao


WF: Common Martial Arts Weapons


WF: Hook Swords



+1 Use Art with Chain & Rope

Weapons


+1 Use Art with Hook Swords




KYUJUTSUUsed with Bows Weapons Group; Bows Weapon Element is Free

Maneuver Points OCV DCV Rng Damage/Effect

Basic Shot 4 +0 +0 +2 Weapon +2 DC Strike

Defensive Shot 3 -1 +2 +0 Weapon Strike

Distance Shot 1+1 5 +0 -2 +6 Weapon Strike; +1

Segment

Far Shot 5 +1 -1 +4 Weapon Strike

Quick Shot 4 +1 +0 +0 Weapon +2 DC Strike

Ranged Disarm 4 +0 +0 +0 Disarm, +15 STR

Skills Riding

KS: Kyujutsu

PS: Bowyer

WF: Bows*




LuaLua is a fighting style native to Hawaii. Its name

translates variously as “hard and sof,” “disloca-tion o joints,” “lie and death,” or the number 2.It developed rom the lomilomi massages givento boat paddlers, which gradually grew into awrestling style that in turn grew into Lua. Bythe fifeenth century, twelve schools, each withits own “specialty” attacks, had been establishedthroughout the islands to teach the art. Some Luapractitioners were inclined to ambush innocentpeople to test out their joint-breaking and bone-breaking techniques, giving the art a bad reputa-tion as pilau (“savage”).

By the eighteenth and nineteenth centuries,Lua had virtually disappeared because o the lacko written records, the strict secrecy in which theknowledge was kept (’olohe-lua, master teachers,generally taught their complete repertoire o tech-niques only to their relatives), and, eventually, theinfluence o Christian missionaries (who bannedmany native practices). Even the establishment o

several schools by King Kamehameha (ruled 1790-1819) didn’t reverse this trend. Te art was finallyrevived in the time o King David Kalakaua (ruled1874-91), who saw in it parallels to Japanesefighting styles.

Lua is a diverse style concentrating on attacks,including punches, hand and elbow strikes, kicks, joint-locks and joint-breaking, and throws. Teancient students o Lua were likewise studentso anatomy; they were particularly skilled atdislocating and breaking joints, and their modern-day counterparts ofen use the same tactics. Luaalso involves the use o internal energy, or mana,which equates to ch’i or ki. Lua teaches the use o

some weapons; its stickfighting arts are known askakalaau.

Te version o Lua presented below is primarilythe modernized version being studied by someHawaiians today. It uses a number o animalorms. Crab attacks involve the grabbing andpinching o sof, vulnerable targets like the throator vitals. Dolphin techniques use the back o thehand and wrist, similar to Shaolin Crane KungFu. Eagle attacks rely on the hands and elbows todeliver powerul blows. Moray Eel attacks use thefinger and open hand. Mountain Pig techniquesinclude low kicks, stomps, some knee strikes,and a joint-breaking throw. Ocelot (or “cat”)maneuvers include not only palm-strikes and“slaps” but legsweeps and takedowns. Octopustechniques include rapid, interwoven blocks andstrikes and an attack in which the fighter uses hisfingers to “flick” or poke at the enemy’s eyes. Sharktechniques involve short, powerul jabs with thethumb or knuckles. Some masters teach maneuvers based on other animals, such as the iger,Hawk, and Owl. Te standard Lua attack pattern isto block an incoming blow and ollow up with oneor more appropriate attacks.

Te Spear Kick is a non-traditional maneuverand can only be learned by characters who

received Lua training afer 1965.

LUAManeuver Points OCV DCV Damage/Effect

Crab Pinch 4 -1 +0 Grab One Location; +2d6 to

Squeeze

Crab Throat Pinch 5 -2 +0 Grab One Limb; 2d6 NND(3)

Dolphin Nerve Strike/

Shark Strike 4 -1 +1 2d6 NND(1)

Dolphin Block/Eagle Block/

Octopus Block 4 +2 +2 Block, Abort

Eagle Grab 3 +0 -1 Grab One Limb, +10 STR for

holding on

Eagle Strike/Octopus

Strike 4 +2 +2 STR +2d6 Strike, Must Follow

Block

Joint Break 5 -1 -2 Grab One Limb; HKA ½d6, Disable

Moray Eel Hand Strike/

Ocelot Claw 4 -2 +0 HKA ½d6

Mountain Pig Kick/Ocelot

Palm Strike 5 -2 +1 STR +4d6 Strike

Mountain Pig Throw 5 -2 +0 HKA ½d6, Disable; Target Falls

Ocelot Sweep 3 +2 -1 STR +1d6 Strike; Target Falls

Octopus Poke 4 +0 +0 3d6 Sight Group Flash

Spear Kick 5 +1 -2 STR +4d6 Strike

Skills Breakfall

Contortionist

KS: Anatomy

KS: Lua

PS: Hula Dancing

PS: Masseuse


WF: Garotte

WF: Sling

WF: Staff

Elements


+1 Use Art with Cane

+1 Use Art with Flail

+1 Use Art with Garotte (Crab

Pinch and Crab Throat

Pinch only)


+1 Use Art with Staff/Oar

1




Hit Locations: Te Dolphin Nerve Strike/SharkStrike, Eagle Strike, Moray Eel Hand Strike/Ocelot Claw, and Ocelot Palm Strike all use a2d6+1 Hit Location roll. Te Mountain Pig Kicktakes a 2d6+7 roll. Te Spear Kick takes a 3d6 roll.Te other attacks all target specific locations andso do not require rolls (the Crab Pinch targetsthe throat, abdomen, or vitals), but get no extrabenefit or hitting such locations.

Special Abilities: Mind Reading; Saiminjutsu(hypnosis option).

Lucha LibreLucha Libre is Mexican proessional wrestling,

quite similar to the American version (see Proes-sional Wrestling , below) in many ways but withless emphasis on steroid-enhanced musclemenand more on high-flying acrobatic action, maskedidentities, and clearly-defined morality plays.As with Proessional Wrestling, this Martial Artassumes that a luchador has actual combat ability

and “pulls his punches” in the ring in the interesto giving the crowd a good show.Lucha Libre has inspired an entire genre o

action movies in Mexico starring the greatestluchadores. In these films they behave sort o likeAmerican superheroes and battle evil in variousorms (rom Universal Studios-style monstersto criminal mobs to alien invaders) using theirwrestling skills, the odd low-tech gadget, and theirpersonal bravery and toughness. Tese movies,made on the cheap but with great style and flair,combine the best parts o Hong Kong kung umovies with crazy American monster movies,sixties psychedelia, and liberal doses o just about

every other genre o B-movie to create a uniqueart orm, one beloved by Mexicans and that is justbeginning to be truly understood and appreci-ated by American audiences. A lucha moviemight include elements o horror, superheroes,espionage, science fiction, “gritty” true crime,or pulpish exploration o hidden lands. Tis, ocourse, makes it ideal or roleplaying!

For a detailed look at Lucha Libre, including anextensive list o wrestling maneuvers, please reerto Lucha Libre Hero.

Hit Locations: Te Arm Strike uses a 2d6+1 HitLocation roll. Te Head Butt automatically hits

the target in the head, but doesn’t get any bonusdamage (or suffer an OCV penalty) or this. TeLeg Strike uses a 2d6+7 Hit Location roll; theRana, Splash, and Suplex all use 3d6 Hit Locationrolls.

Special Abilities: Depending on just howcinematic and strange you want to get, LuchaLibre wrestlers could have all sorts o unusualfighting techniques and related abilities. See LuchaLibre Hero or more (particularly the Action Stunts section beginning on page 36 o that book).

LUCHA LIBREManeuver Points OCV DCV Damage/Effect

Arm Strike 4 +0 +2 STR +2d6 Strike

Choke Hold 4 -2 -2 Grab One Limb; 2d6 NND(2)


Grab 3 -1 -1 Grab Two Limbs; +10 STR to

hold on

Head Butt 4 +2 +0 STR +2d6 Strike

Leg Strike 5 -2 +1 STR +4d6 Strike

Rana 3 +1 +0 STR+3d6 Strike; Prone; Must

Follow Grab

Reversal 4 -1 -1 +15 STR to Escape;

STR+2d6 Strike

Shooter 3 -1 +1 2d6 NND(5); Must Follow

Grab

Splash 3 +2 +1 STR Strike; You Fall, Target

Falls

Suplex 3 +1 +1 STR Strike; Target Falls

Skills Breakfall

KS: Luche Libre




Marine Corps Martial Arts Program

Te Marine Corps Martial Arts Program(MCMAP, also known by such nicknames asSemper Fu, MC Slap, and MCNinja) is the latest(as o 2010) version o hand-to-hand combatbeing taught by the US Marine Corps. As suchit can be considered an advanced version o

Commando raining (page 26), since it incor-porates techniques such as joint locks and kneestrikes into a system o basic maneuvers similar tothose o Commando raining. It also teaches theuse o the knie and the bayonet. MCMAP fightersare graded using a belt system: rom highest tolowest, tan, gray, green, brown, and black (withseveral degrees o black).

MCMAP’s immediate predecessor was LINE(Linear Infighting Neural-Override Engagement),which was taught to hundreds o thousands oMarines rom 1989 to 1998. A ast, brutal art(described by its creator, Ron Donvito, as “getthem on the ground, stomp on their head”), it wasabandoned in avor o MCMAP because it didn’toffer techniques or use outside o pure combatsituations (such as peacekeeping missions). o buyLINE as a style, remove the Joint Lock/Trow andChoke maneuvers rom MCMAP.

Hit Locations: Te Punch and Kniehand use aHit Location o 2d6+1; the Knee Strike uses a 3d6Hit Location; the Choke automatically targets thehead, but gets neither bonuses nor penalties ordoing so; the other maneuvers don’t require HitLocation rolls.


Muay Thai (ThaiKick-Boxing)

Tis fighting style was developed sometimebeore the end o the sixteenth century, butrecords o the art have been lost and so it’s notknown just how long ago it began. Reugees romthe Yunnan province o China fled south andmerged with the Khmer people; as the populationsgrew together, so did their two orms o unarmedcombat, which became Muay Tai. oday MuayTai is practiced in Tailand, Vietnam, Laos,

Malaysia, and Cambodia both or fighting and as asport; it’s also taught to the Tai military in a ormcalled ler dit (or lerdrit ).

Tis lean, economical, punishing, and brutalfighting style uses blocks, punches, elbow-strikes,knee-strikes, kicks, and oot pushes — it’s some-times called “the art o eight limbs” because thefighter uses his eet, hands, elbows, and knees. Ithas no throws. Some maneuvers, such as the kneestrikes, ofen involve jumping up to add orce tothe blow and to allow the fighter to strike targetsin the upper region o the body. In times past,fighters sometimes wrapped their hands in horse-hair wrappings stiffened with glue; or some fights

MARINE CORPSMARTIAL ARTS

PROGRAMManeuver Points OCV DCV Damage/Effect







holding on


Target Falls

Knifehand 4 -2 +0 HKA ½d6

Punch/Knee Strike 4 +0 +2 STR +2d6 Strike


Skills

Breakfall PS: Groundfighting

WF: Small Arms

WF: Blades

WF: Polearms (Bayonet)

Talent: Combat Sense



+1 Use Art with Polearms (Bayonet)

Muay ThaiManeuver Points OCV DCV Damage/Effect


Elbow/Knee Killing

Strike 4 -2 +0 HKA ½d6

Foot Push 4 +0 +0 +15 STR to Shove

Low Kick 4 +0 +2 STR +2d6 Strike


Roundhouse Kick/Knee

Strike 5 -2 +1 STR +4d6 Strike

Skills

KS: Muay Thai


WF: Staff

Elements (Krabi-Krabong) Weapons +1 Use Art with Blades




1




ground glass was mixed in with the glue, thoughthis was officially stopped in 1929. (reat the lattersort o hand-wrapping as a orm o cestus; seeChapter Tree or details on cesti).

Muay Tai is a popular sport in Tailand.Beore each scheduled bout the fighters gothrough a ritual with components known as wai

kru (obeisance to the master) and ram muay (asort o dance). Knowledgeable fighters can ofenlearn something about an opponent’s fightingstyle and prowess by observing how he perormsthe ritual; allow kickboxers with Analyze Style tomake rolls afer observing their opponent’s rammuay ritual. During the ritual the fighter wearsa cord called a mongkon around his head; aferthe ritual the fighter’s master takes it off o him.Proessional Tai fighters use special fightingnames which include a boastul nickname and thename o the fighter’s training camp or school. Inthe ring, Tai kick-boxers wear gloves and shorts(with athletic cups); they go bareoot and wear no

other armor. Muay Tai fighters ofen learn a related orm o

weapons combat, called Krabi-Krabong , involvingthe use o swords, staffs, polearms, and clubs in various combinations. Rather than describing thisas a separate style, it is sufficient or HERO System purposes to simulate Krabi-Krabong as WeaponsElements or Muay Tai.

Southeast Asia has many similar styles ofighting which are likely all related. Besides onescovered elsewhere in this book (such as Bandoand Bokator), there’s Pradel Serey rom Cambodiaand omoi rom Malaysia. Similar styles romTailand include Ling Lom (which adds somegroundfighting techniques and eatures maneuvers

said to be based on the motions o the monkey-god Hanuman) and Muay Boran (“ancientboxing,” thought by some to be a predecessor totrue Muay Tai).

Hit Locations: Te Punch and Elbow Strike usea Hit Location roll o 2d6+1; the Low Kick uses aHit Location roll o 2d6+7; the Roundhouse Kick,Knee Strike, and Elbow/Knee Killing Strike usea Hit Location roll o 3d6. Te other maneuversrequire no location rolls.

Special Abilities: Tai kickboxers are well-knownor their ability to withstand tremendous amountso damage. Characters can simulate this with ahigh PD or abilities like ough In A Fight.

“There are only two kinds of

people that understand

Marines: Marines and the enemy.

Everyone else has a second-hand

opinion. ”

- Gen. William Thornson, U.S. Army




Naginatajutsu/SojutsuTe maneuvers listed below describe two

different, yet similar, weapon arts: Naginatajutsu(the art o the halberd) and Sojutsu (the art o thespear).

Naginatajutsu (also known as chotojutsu) isthe art o using the naginata, or Japanese halberd(including its shorter version, the nagakami).From earliest times it was one o the weaponsevery warrior was trained to use, and manywarrior-monks avored it as well. Some o theschools or substyles which taught it were theAnzawa-ryu, Gassan-ryu, Hoshin-ryu, Masaki-ryu, Seni-ryu, endo-ryu, ento-ryu, andoda-ryu.

During the Edo Period (1603-1867), thenaginata ell into disuse and eventually disap-peared rom the battlefield, only to become themain weapon o the homeront: many womentrained in naginatajutsu so that they could deendtheir homes while their husbands were away. Tenaginata soon came to be regarded as a “woman’s

weapon.” In modern Japan many women stillstudy the sport orm o the art, naginata-do.Naginatajutsu contains only a ew techniques,

but they are all effective. In pitched battles avoritetargets usually include enemy horses and inantry-men’s legs. In addition to the standard slashingand thrusting maneuvers, practitioners are trainedto reverse the weapon and use the iron cap on itsbutt to strike a target’s vital points.

Sojutsu (also known as Yarijutsu) is the art ousing the various types o Japanese spears, suchas the yari. A fighter could use the spear as a ormo staff, plus its spearhead allowed or deadlierattacks. Spear-fighting was a particular avorite o

the militant Buddhist sō-hei (“warrior-priests”).It died out afer the introduction o firearms toJapan, but ormed the basis o a later art, Juken- jutsu (see page 38). Characters can also useSojutsu to simulate spearfighting skills rom manyother cultures.

Characters cannot use the weapon’s shaf tostrike targets unless they buy the Staff WeaponElement; this includes the Atemi Strike maneuver,perormed with the butt end o the weapon’s shaf.

Hit Locations: Te Atemi Strike, Slash, and Trustall use 3d6 Hit Location rolls.


NinjutsuNinjutsu is a stealth- and espionage-oriented

art which saw its greatest development during thethirteenth to early seventeenth centuries in Japan.Its practitioners, the ninja, were warrior-assassin-spies; most belonged to the Iga and Koga moun-tain clans. Tey were the supreme reconnaissanceexperts and saboteurs o their day.

In the seventeenth century, a ban and crack-down orced the ninja to become even moresecretive about the practice o their art; the heyday

o the ninja was over, and most people believed

NAGINATAJUTSU/ SOJUTSU

Used with Polearms Weapons Group; Polearm Weapon Element is Free




Slash 5 -2 +1 Weapon +4 DC StrikeThrust 4 +0 +2 Weapon +2 DC Strike

Skills KS: Naginatajutsu (or Sojutsu, as appropriate)

Elements

Weapon +1 Use Art with Staff (for using

weapon’s shaft)

NINJUTSU (TAIJUTSU)Maneuver Points OCV DCV Damage/Effect

Atemi Punch 4 -1 +1 2d6 NND(1)


Breaking Throw 5 -2 -2 Grab One Limb; HKA ½d6,

Disable; Target Falls

Choke Hold 4 -2 +0 Grab One Limb, 2d6 NND(2)


Abort




Reversal 4 -1 -2 STR +15 to Escape; Grab Two

Limbs

Sacrifice Throw 3 +2 +1 STR Strike; You Fall; Target

Falls


Take Weapon Away



Falls

Skills Acrobatics

Breakfall

KS: Ninjutsu

WF: Common Martial Arts Melee Weapons* WF: Common Melee Weapons




+1 Use Art with Fist-Loads

+1 Use Art with Karate Weapon



+1 Use Art with War-Fan

1




the art and its practitioners were extinct. But inrecent years, Ninjutsu has come down out o themountains again and been practiced more openly;it’s been imported to and is taught in the UnitedStates and other countries. Additionally, severalmartial artists, especially in the United States, haveset about redeveloping Ninjutsu; they claim noassociation with the historical Ninjutsu style, butpractice most o the same tactics and skills.

Te word “ninjutsu” reers to all the arts andskills o the ninja; the combat fighting style ismore correctly known as taijutsu. It de-emphasizesthe use o “orms” or other regimented fightingmethods, concentrating instead on using whatevermaneuvers or tactics work best in a situation. It’san extremely practical and utilitarian fighting art(though like most traditional martial arts it alsohas a philosophical side).

Te ninja night-suit, the costume worn by theninja during missions, consists o three principalparts: the igabakama (a long-sleeved tunic andthe trousers, with many pockets in the sleeves,legs, and the body; also known as a shinobiuku);

the shinobi-zukin (the ninja mask); and thetabi (the split-toed boots worn by the ninja orimproved balance). In ancient times, the ninjanight-suit was colored in earth tones (green andbrown), or white in winter weather. oday, mostninja are represented as wearing black night-suits.It would be appropriate or a modern ninja towear his night-suit in modern camouflage patterns(either the green/brown orest camouflage or themixed-gray urban camouflage patterns). Movie-style ninja can wear night-suits o any color,including red and white; in the films, this has noeffect on their stealth abilities. In ancient times aninja didn’t usually wear his night-suit; he typi-

cally went about in normal dress or disguised as acommon person — a armer, merchant, or the like.

Hit Locations: Te Kick maneuver uses a HitLocation roll o 3d6. Te Atemi Punch, KnieHand, and Punch use Hit Location rolls o 2d6+1.Te Choke Hold automatically targets the head,but receives no extra damage or the head loca-tion. Te other maneuvers do not use Hit Locationrolls.

Special Abilities: See the Ninja Abilities section oChapter Tree.

SUBSTYLES OF NINJUTSU

Modern-day Ninjutsu synthesizes a number odifferent “schools” or substyles o Ninjutsu. Teollowing descriptions allow characters to pick aschool to “specialize” in i they preer, but this isnot required.

GIKAN RYU

Te Gikan Ryu was ounded by Sonyu HanganGikanbo o Kawachi in the sixteenth century. It’sa relatively offensive style whose practitionersofen buy OCV Combat Skill Levels. o practicethis substyle, a character must know three othe ollowing maneuvers: Atemi Punch, Block,Dodge, Kick, Knie Hand, Punch, and akedown.

GYOKKO RYU

“Te school o the jewel tiger” was broughtto Japan rom China during the all o the ’angDynasty (around 900 AD) by a monk named ChoGyokko, making it the oldest o the Ninjutsu Ryu.Te style was ormally organized by Sakagamiaro Kunishige in 1532.

Te primary principle o Gyokko Ryu is tomove the body around a central point in spacedefined by one’s opponent. Te ninja should stayat the “distance o rustration,” barely out o theopponent’s reach, so his oe isn’t sure i he can hitthe ninja. Gyokko Ryu concentrates on koshijutsu (skin and muscle tearing techniques) and shito- jutsu (thumb pressure techniques and finger-striketechniques). Advanced students o this school aresaid to be able to knock a man down with onefinger.

o practice Gyokko Ryu, a character mustknow at least our o the ollowing meneu- vers: Atemi Punch, Block, Choke Hold, Dodge,Reversal, akeaway, and akedown; practitionersshould also be allowed to purchase the iger/

Dragon Claw rom the Kung Fu package to simu-late their koshijutsu techniques. High DCVs arealso appropriate or students o this ryu.

GYOKKUSHIN RYU

Te Gyokkushin Ryu was ounded by SasakiOkormon Akirari and is known or its superioruse o the nagenawa (lasso). Te GyokkushinRyu is derived rom the Gyokko Ryu, and has thesame requirements or characters who want to bestudents o it. Te lasso skill may be bought as aorm o Entangle, or as Limited Stretching.

KOTO RYU

Tis school (whose name means “knocking

down the tiger”) is derived rom Gyokko Ryu.According to kuden (oral transmission), it origi-nated in China and was carried to Japan by themonk Chan Busho rom what is now known asKorea. From him it was passed down throughseveral generations until the techniques o thisryu were reorganized in 1542 by Sakagami aroKunishige.

Koto Ryu specializes in koppojutsu (bone-breaking techniques) and in atemi strikes. Char-acters rom this school should buy the Joint Breakmaneuver rom Hwarang-Do; OCV Combat SkillLevels are also appropriate.

o practice Koto Ryu, a character must knowat least three o the ollowing maneuvers: Atemi Punch, Block, Kick, Knie Hand, Reversal, andakedown, and the Joint Break described above.

KUKUSHINDEN RYU

Te Kukushinden Ryu was ounded by IzumoKanja Yoshiteru. Students o the KukushindenRyu style are known or their skill with weapons,including many unusual techniques. o practiceKukushinden Ryu, the character should buyat least hal o the Weapon Familiarities andWeapons Elements listed or Ninjutsu, and shouldknow at least three o the ollowing maneuvers:Block, Breaking Trow, Dodge, Kick, Reversal,

“These

symbols

will give your

mind ultimate

purpose. Gin,

Retsu, Zai,

Zen. They are

The Kobudera.

Ninja magic.

Ninjutsu-to,

ability

to seem

invisible

to cause

fear and para

in your enemie

- Shinyuki,

American

Ninja




akeaway, and akedown. High DCVs are alsoappropriate or Kukushinden Ryu practitioners.

KUMOGAKURE RYU

Te Kumogakure Ryu was ounded by Hein-aizaemon Ienaga Iga. Tis ryu seems to be closelyrelated to the ogakure Ryu. It ocuses on theuse o shuriken, sword, bo, hanbo, kusari-undo,kusarigama, kyoketsu-shoge, spear, naginata,shinobi-zue, kamayari, shuko, and metsubishi. o

practice this ryu, characters must know three othe ollowing maneuvers: Block, Breaking Trow,Dodge, Punch, Sacrifice Trow, akeaway, andTrow.

SHINDEN FUDO RYU

Te Shinden Fudo Ryu was ounded by IzumoKanja Yoshiteru (the same one who ounded theKukishinden Ryu). Te Ryu was ormally orga-nized by Genachiro ameyoshi in the mid-12thcentury.

Shinden Fudo Ryu ninja are known or theiruse o, and skill with, swords. Tey also knowAcrobatics, but do not know Breakall (they wear

the daisho, or paired swords, so learning Breakallis impractical).

o practice the Shinden Fudo Ryu, charactersmust know our o the ollowing maneuvers:Dodge, Punch, Reversal, Sacrifice Trow, ake-down, and Trow. Tey may also buy the Grap-pling Block maneuver rom the Hsing-I package.

TAKAGI YOSHIN RYU

Te akagi Yoshin Ryu, meaning “raise yourheart to the high trees,” was ounded by Soun Ryu.Its main principle is that o total body motion; italso teaches various elements o Bojutsu, Jujutsu,Shurikenjutsu, and Sojutsu. o practice this

ryu, characters must know our o the ollowingmaneuvers: Block, Breaking Trow, Dodge,Reversal, Trow, Sacrifice Trow, and akeaway.Tey may also buy the Grappling Block maneuverrom the Hsing-I package.

TOGAKURE RYU

Te ogakure Ryu was established in 1185, atthe beginning o the Kamakura period. Its ninjaare known or their use o weapons, particularlythe shuko, metsubishi, and tetsubishi.

o practice the ogakure Ryu, the charactermust know three o the ollowing maneuvers:Block, Dodge, Punch, Reversal, akeaway, Trow.

PakuaPakua (also spelled Pa-Kua, Paqua, and Bagwa,

meaning “eight diagrams”) is one o the threemain Chinese “internal” fighting styles. It’s said tohave been learned by ung Hai-ch’uan rom an oldmountain aoist o Kiangsu Province in the late1700s or early 1800s, though its roots are centuriesolder. It was originally called Ch’uan Chang, or“rotating palm.” ung used Pakua to deeat therenowned Hsing-I master Kuo Yun-shen. Kuotried or two days to deeat ung, but on the thirdday ung beat him easily. Tis resulted in a lie-long riendship between the two and a pact thatstudents o each style would learn the other style.

Pakua is based around the theories o the IChing , a book o Chinese philosophy (and, somebelieve, prophecy and ortunetelling). Te I Ching expresses a belie that the universe is in a state o“constant change.” In Pakua, changes — o direc-tion, o the angle o the hand, o the placement othe oot — are all-important. Whereas Hsing-I is(relatively) direct and linear, Pakua is circular, and

ai Ch’i Ch’uan works both ways.Pakua emphasizes motion and ootwork. Tepractitioner “walks the circle,” an imaginary circlebased on the I Ching’s eight-trigram pattern. Hecircles around his opponent constantly, rotatinghis body, whirling and shifing direction unex-pectedly, using subtle evasive tactics, and makingattacks rom unusual angles. Te postures usedwhile walking the circle include several namedafer animals: Bear, Dragon, Hawk, Lion, Monkey,Panther, Phoenix, Snake, Stork, Swallow, andUnicorn, among others. Although this motionmay sound limiting, in act it’s not; Pakua can bea very effective fighting style, with each step in the

circle creating a different angle o attack.Pakua’s attack techniques are primarily palm

strikes and other hand attacks. Trough theprojection o ch’i and the shifing o the angle othe hand (such as rom palm-up to palm-down,a technique called tzan szjin, “reeling silk”), thefighter can deliver very powerul blows whichlook like little more than light shoves to theuntrained eye. Te use o the palm as opposedto the fist allows the practitioner greater controlover the ch’i he releases. Some o the palm strikeshave extremely picturesque names, such as WhiteClouds Chasing the Stars, Swallow PenetratesTrough the Forest, and Scooping the Moon romthe Sea Bottom.

Some Pakua masters teach the use o weapons,such as swords, spear, and staff, and the unusualring needle. However, this is relatively rare;most Pakua practitioners use only barehandedtechniques.

Te two attack maneuvers in this packagedo not take the “Hal Move Required” restric-tive element. However, Pakua practitioners areconstantly in motion, walking the circle oneway or another around their opponent. A Pakuacharacter should almost always make a Hal Move(consisting o stepping around their opponent, not

moving backwards and orwards) in any Phase inwhich he takes a combat action.

“The

Way of

the warrior

is resolute

acceptance of

death.”

- Miyamoto

Musashi,

Go Rin

No Sho

(“A Book

of Five

Rings”)1




Hit Locations: Te Palm Strike uses a 2d6+1 HitLocation roll. Te Kick uses a 2d6+7 roll. None othe other maneuvers require Hit Location rolls.

Special Abilities: In addition to some o thegeneral special abilities attributed to other internalstyle masters (see ai Ch’i Ch’uan, below), Pakuapractitioners sometimes display such abilities asBattlefield Punch, Ch’i Strike, Iron Forearm, OneHundred Fists, and iger’s Fang Strike

PankrationPankration (“all-powerul”) is an ancient Greek

fighting style, one o the world’s earliest compre-hensive martial arts. Tere’s some speculation,because Alexander the Great took pankratiastswith him on his conquests, and they gave demon-strations during those travels, that Pankrationmight have had some slight influence on Easternmartial arts styles.

Pankration was first perormed in the OlympicGames in the seventh century BC, though it could

well be much older than that. It’s a brutal contestinvolving grappling, punching, stomach-kicking,legsweeping, joint-locking and joint-breaking.Pankration matches were ought until one contes-tant acknowledged deeat (or collapsed); therewere no timed rounds.

Pankration has been redeveloped in themodern world and is being taught today by somepractitioners.

Te maneuver listed as Kick or Punch isprecisely that; the pankratiast can choose eachround whether he wishes to punch or kick. (Tiskeeps the practitioner rom having to buy redun-dant Basic Strike maneuvers, one or punch, one

or kick.)Pankratiasts ofen bought the Block rom

Ancient Boxing; many knew the Jab as well, and sowere equally proficient in Pankration and Boxing.Many also studied Wrestling.

Hit Locations: Te Punch uses a Hit Locationroll o 2d6+1. Te Kick uses a Hit Location roll o2d6+7. Te Break Bone uses a Hit Location roll o2d6+1, or 3d6 i the target is on the ground, notstanding. For the Bend Joint, you can make a loca-tion roll o 3d6, but you must ignore and re-rollany location o 10-13; however, the location is or visual effects only, and has no effect on the damage

done by the maneuver. Te Crush, Escape, andGrab take no location rolls.

Special Abilities: Similar to those or AncientBoxing.

PAKUAManeuver Points OCV DCV Damage/Effect


Defensive Block 5 +1 +3 Block, Abort




holding on

Kick 3 +0 +1 STR +2d6 Strike

Palm Strike 5 -2 +1 STR +4d6 Strike

Root 4 +0 +0 STR +15 to resist Shove;

Block, Abort

Sweep/Throw 3 +2 -1 STR +1d6; Target Falls

Skills

Breakfall

KS: Analyze Style


KS: Pakua

WF: Common Melee Weapons WF: Staff


Elements



+1 Use Art with Ring Needle


PANKRATIONManeuver Points OCV DCV Damage/Effect

Bend Joint 4 -1 +1 2d6 NND(7)

Break Bone 4 -2 +0 HKA ½d6

Crush 4 +0 +0 STR +4d6 Crush, Must Follow

Grab



for holding on

Kick/Punch 3 +1 +0 STR +2d6 Strike


Sacrifice Throw 3 +2 +1 STR Strike; You Fall, TargetFalls

Skills KS: Pankration

Elements

Weapons +1 Use Art with Cestus




Pentjak-SilatPentjak-Silat (or Pencak Silat) is the national

fighting art o Indonesia. Tere are 157 recognized

substyles (and potentially hundreds more whichare unrecognized), making this art second onlyto Kung Fu in its breadth and diversity. Te nameusually translates as something like “to do fightingor sel-deense” or “to fight using skilled bodymovements.”

Pentjak-Silat was first developed as a rela-tively crude fighting orm between 600 and 1000AD, probably beginning on the island o Riouwand passing rom there into the Menangkabaukingdoms o Sumatra and out to all the islands. Bythe ourteenth century, it was sufficiently devel-oped that the government saw fit to restrict it: bylaw, the Majapahit sultans o the islands and their

court officials were the only ones allowed to learn

Pentjak-Silat. However, ongoing Hindu-Muslimconflicts in that time period and thereafer keptPentjak-Silat alive among the populace. It wasused to fight the native wars o independenceagainst the Dutch, and against the Japanese duringWorld War II. It’s remained in use or intertribal(and interschool) fighting right up until thepresent day.

Generally, experts can identiy the substylesrom a particular geographic area by their tech-niques and/or the emphasis placed on particulartypes o maneuvers when fighting. Sumatran stylesuse primarily kicks and leg-based attacks; stylesrom Borneo and West Java use mainly punchesand hand-based attacks; Central and East Javaneseand Balinese styles mix hand and oot techniquesevenly; and East Javanese, Sumatran, and Balinesestyles also emphasize grappling techniques.

Some styles are extremely acrobatic and involvea great deal o jumping, others are ought verylow to the ground (the latter tend to use twopostures called sempok and depok, in which thefighter virtually sits on the ground but can spring

instantly to the attack). Some styles use lineartechniques, some circular techniques. In short,the substyles o Pentjak-Silat vary tremendously.However, all fighters, regardless o style, aretrained to keep their eet on slippery or unevenground (simulate this with the Breakall Skill).Also, all Silat systems teach weapons, including(but not limited to) the kris, the Indonesiandagger.

A teacher or master o Pentjak-Silat is knownas a pandekar, guru, or maha guru. A silatistusually wears ordinary street clothes, but due tothe influences o other martial arts styles may weara black gi-like uniorm or practicing or tourna-

ments. Te uniorm’s samping , or waistcloth, has acolorul pattern ofen matching the pattern o theturban-like tengkokok worn on the head.

Related to this style is Pokulan (or Pukulan),which some authorities describe as a substyle oPentjak-Silat, and others term a separate indig-enous Indonesian fighting art containing manytechniques similar to Pentjak-Silat. A characterwho wants to practice Pokulan can simply buymaneuvers rom the Pentjak-Silat package.

Hit Locations: Te Killing Strike, Punch/ElbowStrike, and Rahasia Strike use 2d6+1 Hit Locationrolls. Te Kick uses a 3d6 roll, although in some

styles (see below) it uses a 2d6+7 roll instead. TeChoke automatically targets the throat, and theLegsweep automatically targets the legs. Te othermaneuvers do not use Hit Location rolls.

Special Abilities: Te special abilities attributedto Pentjak-Silat masters are almost limitless. Somea master can do by himsel, some require a kris.

Personal abilities include: Blindfighting; Ch’iouch; Mind Reading; Iron Finger; Iron Shirt; It’sAll In Te Reflexes; One Against Many (knownas kerojok); Point Blockage; Pressure Point Strike;Red Sand Palm (Pentjak-Silat Distance Killingoption); Saiminjutsu; Shin Gong Visions (the

Future Visions option); Warrior’s Instincts; and

PENTJAK-SILAT Maneuver Points OCV DCV Damage/Effect




roll



Grab 3 -1 -1 Grab Two Limbs, +10 STR for

holding on


Killing Strike 4 -2 +0 HKA ½d6


Rahasia Strike 4 -1 +1 2d6 NND(1)



Skills Acrobatics

Breakfall*

PS: Dancing

WF: Common Melee Weapons*


WF: Pendjepit

WF: Whip

Elements Weapons +1 Use Art with Blades*



+1 Use Art with Fist-Loads +1 Use Art with Karate Weapons

+1 Use Art with Pendjepit (Graband Killing Strike only)



+1 Use Art with Whip

1




the ability to take on the characteristics o certainanimals.

Kris-based abilities (all o which would be builtwith OAF (-1)) include:

1) uju (“sorcery by pointing”): the ability tokill someone at range merely by pointing the kris at them (Ranged Killing Attack). A related abilityallows a master to kill someone by stabbing one ohis ootprints (make the RKA Area O Effect (1mAccurate) and MegaScale the Area so it can hit thetarget anywhere in the world; Requires arget’sFootprint In Earth is a -2 Limitation).

2) Te kris warns its owner o danger byrattling in its sheath (sarong ) (Danger Sense).

3) Te ability to make the kris “dance” (i.e.,fight on its own) (Dancing Weapon echnique)

4) Te ability to draw fire rom one area toanother (Fire Control).

5) Te ability to turn away wild animals (aorm o Mind Control).

6) Te ability to draw water rom the kris’sblade (ransorm (air to water)).

7) Te ability to create a swarm o hornets

and send it afer an enemy (Summon swarm ohornets).8) Te ability to extend the kris’s hantu

(“guardian spirit”) over the owner, and over peopleother than the owner (Resistant Protection, UsableSimultaneously by one other at range (+1)).

9) Te ability to cure the common cold (bydrinking the oil used to polish the blade) (due tothe law o supply and demand, it is impossibleto determine the point cost or such a useul anduniversally sought-afer ability).

PENTJAK-SILAT SUBSTYLES

Tere are hundreds o substyles o Pentjak-

Silat. As with Kung Fu, it would be pointless tocome up with a separate set o maneuvers oreach one o them. Instead, several o the majorsubstyles are described here, so a player can pickone or his character i he wishes. A characterneed not have a substyle; he can simply be a“general” Silat practitioner.

BARU SILAT

Baru Silat is a Sumatran style rom the Padangarea. It combines some o the techniques o SterlakSilat (see below) with maneuvers borrowed romJapanese styles like Jujutsu and Karate. It empha-sizes evasiveness, blocking, and other deensive

maneuvers.o practice Baru Silat, a character must knowthe Block, Dodge, Grab, and Legsweep maneuvers.

BHAKTI NEGARA

Bhakti Negara, ounded in 1955, is a Balinesestyle which synthesizes several Silat substyles andsome Japanese fighting arts. It relies on deceptivestances and actions to lure an opponent in closeor a punch or kick. Attacks are usually directedto a rectangular section o the body covering thethroat to the vitals.

o practice Bhakti Negara, a character mustknow three o the ollowing maneuvers: Dodge,

Escape, Grab, Kick, Punch.

DELIMA

Tis modern East Javan style is named afera type o ruit. It concentrates on kicks andlegsweeps; hand attacks are usually deliveredopen-handed, rather than with fists. A Delimasilatist dodges and leaps around a great deal.

o practice Delima, a character must know theDodge, Legsweep, and Kick maneuvers.

HARIMAU SILAT

Harimau, or “tiger,” Silat, a Sumatran style romthe Menangkabau area, is an unusual fightingstyle. Te combatants crouch very low to theground, so low that they essentially crawl towardsone another. Tis practice arose because o thestability the stance provides on wet and slipperyground. Once the opponents get within strikingdistance, they may stay on the ground, or theymay leap at each other and attack rom a moreupright position. Silatists who practice other stylessometimes learn Harimau stances because o thestability they provide.

o practice Harimau Silat, a character mustknow the Block, Legsweep, and Kick maneuvers.Te Kick is usually low, using a 2d6+7 Hit Loca-tion roll, but i two Harimau stylist fight eachother on the ground the Kick uses its usual 3d6Hit Location roll.

KENDARI SILAT

Based in the city o the same name in theCelebes, this substyle is known or its unusualcross-legged stances, which are used to turnquickly and evade an attack. Very little orwards-backwards movement occurs in Kendari Silat; it’ssuited or use in narrow or cramped quarters, suchas alleys or ships.

o practice Kendari Silat, a character must

know the Block, Dodge, and Punch maneuvers.Kicks are almost never used; i they are, they use a2d6+7 Hit Location location roll.

KUMANGO SILAT

Kumango Silat is a Sumatran style rom theMenangkabau area. It emphasizes closing with theenemy to employ grabs, strikes, and chokes. Kicksare usually low (they use a 2d6+7 Hit Locationroll). Fighters normally make attacks to the centerline o the body.

o practice Kumango Silat, a character mustknow three o the ollowing maneuvers: Block,Choke, Grab, Legsweep, Kick, Punch, Trow.

PAMUR

Pamur is a Silat substyle rom the islando Madura. It was ounded in 1951 by HasanHubudin. Its techniques are taken mainly romseveral o the Sumatran styles. Te style’s emblemis a shield with a kris, cotton plant, and rice plantoverlaid.

o practice Pamur, a character must knowthree o the ollowing maneuvers: Block, Dodge,Grab, Kick, Killing Strike, Punch, Trow.

PATAI SILAT

Patai Silat is a Menangkabau style which wasounded sometime around 1900. Parrying, evasive

Ifnatur

does

not have to

insist,

Why should

man?

- Lao Tzu,

Tao Te

Ching




ootwork, and grabbing techniques characterizeit. A fighter jerks a grabbed opponent orward(to unbalance him), attacks him, and/or throwshim to the ground. Patai Silat practitioners wear ashort jacket and very baggy trousers with a sash.

o practice Patai Silat, a character must knowthree o the ollowing maneuvers: Block, Dodge,Grab, Kick, Trow.

PAUH SILAT

Tis is a Sumatran substyle rom the Menang-kabau area with a distinctive ootwork pattern.Practitioners who are ready to fight indicatetheir readiness by slapping their thighs and thenkeeping the hand in position to block attacks tothe groin. Te main attack employs a orm olocked-thumb fist similar to the “phoenix eye” fistused in some Kung Fu styles. Fighters typicallydirect their attacks to points along the center lineo the body.

o practice Pauh Silat, a character must knowthe Block, Punch, and Rahasia Strike maneuvers.

PERISAI DIRI

Perisai Diri (“P.D.”) is a popular Central Javanstyle whose name means “sel-shield.” Foundedin 1955, it currently orms the basis or the sel-deense training taught to most Indonesian mili-tary personnel. It synthesizes various Silat stylesbut doesn’t incorporate maneuvers rom any otherfighting systems.

P.D. techniques are mainly linear and usuallydo not involve the sempok and depok stances usedin many other substyles. Many o its movementsderive rom animals, including the swallow, eagle,tiger, otter, horse, dragon, and crane. Some move-

ments are named afer human archetypes, such

as the patriot, priest, and princess maneuvers.Attacks are directed at an inverted triangular areawith its apex at the enemy’s groin.

Perisai Diri uniorms consist o short-leggedpants and lapelless jackets whose sleeves endabove the wrist. Students wear black uniorms,their pandekars wear white.

o practice Perisai Diri, a character must knowthree o the ollowing maneuvers: Block, Dodge,Kick, Killing Strike, Punch, Trow.

PRISAI SAKTI

Also known as Perisai Sahkti, this substyle wasounded in 1941. Its name signifies “holy shield.”It combines Javanese silat orms with maneuversrom some Japanese fighting styles. Its philosoph-ical and religious roots tie it to Christianity andIndonesian nationalism.

Prisai Sakti emphasizes kicks and leg tech-niques, but it also uses some hand techniques and joint-locks.

o practice Prisai Sakti, a character must knowthe Block, Grab, and Kick maneuvers.

SANDANG SILAT

Sandang Silat is a Sumatran style designed tocounteract the powerul Sterlak style (see below).Even today it remains a very secretive style. Itemploys dodges and blocks to avoid and conuse aSterlak fighter.

o practice Sandang Silat, a character mustknow three o the ollowing maneuvers: Block,Dodge, Grab, Punch, Trow.

SETIA HATI

Setia Hati, meaning “aithul heart,” is a Central

Javan silat style. It uses the hands to block and

1




strike, and also employs a variety o kicks; SetiaHati practitioners are very dexterous.

o practice Setia Hati, a character must knowthree o the ollowing maneuvers: Block, Dodge,Legsweep, Kick, Punch.

STERLAK SILAT

Sterlak Silat is a Sumatran style whose namesignifies “to attack with strength.” It was developedin part to counteract the Harimau Silat style, and

emphasizes powerul attacks. Stories say skilledSterlak students can deeat tigers.

o practice Sterlak Silat, a character must knowthe ollowing maneuvers: Block, Kick, KillingStrike, Punch.

TAPAK SUTJI

Founded in 1963 by Ian Badjam, this CentralJavanese substyle combines techniques romseveral other orms o silat. Its practitioners turnon their own axis every ew seconds, so they’reconstantly in motion and difficult to hit.

o practice apak Sutji, a character must knowthe ollowing maneuvers: Dodge, Legsweep, Kick,

Killing Strike, Punch.TJAMPUR SILAT

A Sumatran style, jampur (“combined”) Silatsynthesizes maneuvers rom both Pentjak-Silatand Kuntao. It concentrates on aggressive tactics(launched rom surprise, i possible) and closeinfighting. A jampur stylist is never supposed totake more than one step backward during a fight.

Attacks are delivered to the center line othe body, primarily with the elbows and knees.Because o the dangers involved in using thisbrutal style, it’s usually only taught to studentswho have already studied other silat styles and

proven themselves worthy o advanced training.o practice jampur Silat, a character mustknow the ollowing maneuvers: Kick (which usesa 2d6+7 Hit Location roll and can also be definedas a Knee Strike), Killing Strike, Punch, andRahasia Strike.

TJIMANDE

Tis West Javan style relies primarily on the useo the hands and arms, though it does have somelow kicks. Fighting takes place at close range.

o practice jimande, a character must knowthe ollowing maneuvers: Block, Killing Strike,and Punch. Kicks in this substyle use a 2d6+7 Hit

Location Hit Location roll.TJINGKRIK

An acrobatic West Javan style, jingkrikemphasizes evasiveness, open-hand attacks, andthe use o the depok and sempok “sitting” stances.

o practice jingkrik, a character must knowthree o the ollowing maneuvers: Block, Dodge,Punch, and Rahasia Strike.

TRIDHARMA

Tis northern Balinese style, whose namemeans “three honesty/peaceul,” is a well-roundedfighting style with Sumatran influences. It usesboth high and low postures. Its hand movements

tend to be circular, but its kicks are linear.

o practice ridharma, a character must knowthree o the ollowing maneuvers: Block, Dodge,Legsweep, Kick, and Punch.

Qwan Ki DoQwan Ki Do is a Vietnamese martial arts

style whose name means “way o the fist andthe energy.” It was ounded afer World War IIby Pham Xuan ong. Qwan Ki Do resemblesKarate in many ways, but is more acrobatic andflamboyant in nature. In addition to standardbarehanded fighting techniques, the style teaches anumber o weapons, such blades, various pole-arms, and sticks and staffs.

Hit Locations: Te Cuoc Phap (kicks) uses a 3d6Hit Location roll. Te Tu Phap (hand tech-niques), Phuong Duc (elbow strike), and NghanhPhap/Cuong Dao (killing strikes) all use a 2d6+1Hit Location roll. Te ao Phong Cuoc (sweeps)automatically target the legs but receives neithera bonus nor a penalty or this. Te rest o themaneuvers do not require Hit Location rolls.

Special Abilities: Similar to those displayed byKarate practitioners.

QWAN KI DOManeuver Points OCV DCV Damage/Effect

Cung Thu (blocks) 4 +2 +2 Block, AbortCuoc Phap (kicks) 5 -2 +1 STR +4d6 Strike

Khao Go (locks) 3 +0 -1 Grab One Limb, +10 STR for

holding on

Nghanh Phap/Cuong Dao

(sword-hand) 4 -2 +0 HKA ½d6

Tao Phong Cuoc

(sweeps) 3 +2 -1 STR +1d6; Target Falls

Than Phap (evasion) 4 — +5 Dodge All Attacks, Abort

Thu Phap (hand techniques)/

Phuong Duc

(elbow strike) 4 +2 +0 STR +2d6 Strike

Vat (throws) 3 +0 +1 STR +v/10; Target Falls

Skills

Acrobatics

Breakfall (Nhao Lan)

KS: Qwan Ki Do


WF: Staff



+1 Use Art with Polearms +1 Use Art with Staff




RE-EFI AREH-EHSEEManeuver Points OCV DCV Damage/Effect




holding on

Punch/Elbow Strike/Knee Strike/

Headbutt 4 +0 +2 STR +2d6 Strike



Skills Breakfall

KS: Re-Efi Areh-Ehsee

Re-Efi Areh-EhseeAccording to Martial Arts Around Te World ,

by John Soet, Re-efi Areh-ehsee is a martial artrom Eritrea, a nation o East Arica. It relies ongrabs, takedowns, and strikes with the elbow,head, and knee.

Hit Locations: Te Punch/Elbow Strike uses a2d6+1 Hit Location roll, the Knee Strike uses a

2d6+7 Hit Location roll, and the Headbutt auto-matically targets the head and received no bonusesor penalties or doing so. Te other maneuverseither do general damage or do not require HitLocation rolls.


SaijutsuSaijutsu is the art o the sai, a weapon resem-

bling a metal rod with two upturned tines. Afighter can use a sai to interere with an opponent’sweapon, to strike, or to block. Characters can also

perorm Saijutsu with the jutte (or jitte), which hasonly one tine, and the nunte, which has one tinereversed.

Hit Locations: Te Strike uses a 2d6+1 Hit Loca-tion roll. Te other maneuvers do not require HitLocation rolls.


SamboSambo — rom Samozashchita Bez Oruzhiya,

“sel-deense without a weapon” — is a Russian

martial art that synthesizes techniques rom various native wrestling styles, Jujutsu, Karate, andsome other hand-to-hand combat systems. It wasdeveloped in the early twentieth century by VictorSpiridonov and Vasili Oschepkov (the latter wasexecuted in 1937 under orders rom Stalin, oneyear beore the sport orm o Sambo was officiallyrecognized by the Soviet Union).

Besides being a system o combat techniquesused by, among others, the Russian military,Sambo is also widely practiced in a sport orm.Fighters wear a short epauletted jacket (kurtka),one in red and the other in blue to distinguishthem. Armlocks, throws, pins, and other maneu-

vers are assigned points; to win, one wrestler hasto have scored at least our more points than hisopponent at the end o the match.

Hit Locations: Te Punch uses a Hit Location o2d6+1; the Kick uses a 2d6+7 Hit Location; theChoke automatically targets the head, but getsneither bonuses nor penalties or doing so; theother maneuvers don’t require Hit Location rolls.


SAIJUTSUUsed with Sai; Karate Weapons Element is FreeManeuver Points OCV DCV Damage/Effect




roll


Skills

KS: Saijutsu

WF: Karate Weapons

SAMBOManeuver Points OCV DCV Damage/Effect




roll




holding onJoint Break 5 -1 -2 Grab One Limb; HKA ½d6,

Disable


Target Falls

Punch/Kick 4 +0 +2 STR +2d6 Strike

Slam 3 +1 +1 STR Strike; Target Falls


Skills Breakfall

KS: Sambo

1




SavateSavate (known as boxe Francaise savate or la

boxe Francaise, and literally meaning “old shoe”)is a French martial art; according to many sourcesits development began in seventeenth-centuryMarseilles. Originally a type o kicking brawlingstyle, early in the eighteenth century it was synthe-sized with English boxing maneuvers. In the 1870sJoseph Charlemont created a systemized wayo teaching Savate and added a ranking system.oday it’s a ull-eatured and respected martial artsstyle.

It’s also a powerul one, known or breedingtough, determined fighters. For example, in theEighties, savate champion Gilles Le Duigou oughta ull-contact bout in Japan. His opponent’s kicksbroke both o his arms. Relying on just savate’skicks, Le Duigou continued fighting and wonthe match. And in 1993, Dutch savateur GerardGordeau made it to the final round o the firstUltimate Fighting Championship.

Savate combines boxing-style punches with a

variety o ast, powerul kicks. One o the mostdistinctive techniques is the Fouetté , a sort oroundhouse kick in which the lower limb isextended toward the floor to create leverage ora aster, more powerul blow. (It’s sometimesreerred to as a “whip kick” or “hand on thefloor kick.”) Te art also includes cane-fightingtechniques.

A Savate fighter is called a savateur (em.savateuse) or tireur . An inch-wide colored bandaround the wrist o the savate glove indicatesthe fighter’s rank; ranks rom lowest to highestare purple, blue, green, red, white, yellow,bronze, silver, and gold. Even today fighters

wear hard-toed shoes when fighting, rather thancompeting bareoot the way other kick-fightingstylists do.

o simulate the older, pre-boxing ormo Savate, do not buy the Direct or Crochet maneuvers.

Te Chassé maneuver can also be called theCoup de pied en reverse lateraux (lateral reversekick) or Coup de pied en reverse rontaux (ront

reverse kick).

SAVATEManeuver Points OCV DCV Damage/Effect


Chassé (Side Kick) 5 -2 +1 STR +4d6 Strike

Coup de Pied Bas

(Low Kick) 4 +0 +2 STR +2d6 Strike

Crochet (Hook) 4 +2 +0 STR +2d6 Strike


roll

Direct (Jab/Cross) 5 +1 +3 STR Strike

Footsweep 3 +2 -1 STR +1d6 Strike; Target Falls

Fouetté (Roundhouse

Kick) 5 +1 -2 STR +4d6 Strike

Skills KS: Savate

WF: Blades

WF: Cane


+1 Use Art with Clubs (Cane)




Only the Crochet , Disarm, and Direct maneuvers work with the Weapons allowed or Savate.

Hit Locations: Te Coup de pied bas uses a HitLocation roll o 2d6+7, the Chassé/Fouetté uses aHit Location roll o 3d6, the Direct and Crochet use Hit Location rolls o 2d6+1. Damage rom theFootsweep is general (no location), and the Blockand Disarm don’t use Hit Location rolls.


ShurikenjutsuShurikenjutsu is the art o throwing the

shuriken, a type o bladed missile invented inJapan. Te principal users o shuriken were theninja, but many other warriors studied this art aswell. Characters can also use Shurikenjutsu withother throwing blades, such as throwing knives.For more inormation on the different types oshuriken available, reer to Chapter Six.

Shurikenjutsu cannot take the Style DistinctiveFeature.

Hit Locations: All Trows take a 3d6 Hit Locationroll.

Special Abilities: It’s All In Te Reflexes;Trowing Master; Yadomejutsu (barehandedoption).

Simgomdo Simgomdo (“Mind Sword Way”) is a Korean

swordfighting style developed in 1965 by ChangSik Kim. According to the history o the art,Kim, while meditating in the Samgak Mountains,

received a vision o hundreds o martial arts swordorms which he developed into Simgomdo.Simgomdo practitioners use wooden swords

(like the Japanese bokken), though presumably thestyle’s maneuvers work just as well with an edgedmetal blade. Te training increases their strength,speed, and accuracy through both constantpractice and a spiritual regimen o breathing andmeditative exercises. While meditating, they visu-alize martial arts maneuvers or use in combat.

Simgomdo practitioners also learn certainunarmed combat techniques, which they callsinbbop.

Hit Locations: Te Rapid Strike, Sacrifice Strike,and Slash all use a 3d6 Hit Location roll.


StickfightingMany different peoples rom around the

world have developed fighting arts based on theuse o sticks. Unlike Bojutsu (Staff-fighting),which involves the use o one long, heavy “stick,”Stickfighting typically eatures one or two shorter,lighter-weight sticks (though in some cases thestickfighter uses a long, narrow stick, but wields

it with both hands at one end rather than like a

STICKFIGHTINGUsed with Clubs Weapon Group; that Weapon Element is Free


Atemi Strike 4 -1 +1 2d6 NND(1)Bind 4 +1 +0 Bind, +10 STR



roll

Jab 5 +1 +3 Weapon


Smash 5 -2 +1 Weapon +4 DC Strike

Skills

KS: Stickfighting (or specific subtype, as appropriate)

SHURIKENJUTSUUsed with Thrown Knives/Axes Weapons Group; Thrown Knives/Axes Weapon

Element is Free

Maneuver Points OCV DCV Rng Damage/Effect

Basic Throw 4 +0 +0 +2 Weapon +2 DC Strike

Defensive Throw 3 -1 +2 +0 Weapon Strike

Far Throw 5 +1 -1 +4 Weapon Strike

Quick Throw 4 +1 +0 +0 Weapon +2 DC Strike

Skills KS: Shurikenjutsu

SIMGOMDOUsed with Blades Weapon Group; Blades Weapon Element is Free




Evade 4 — +5 Dodge, Affects All Attacks,

Abort

Rapid Strike 4 +2 +0 Weapon +2 DC Strike

Sacrifice Strike 5 +1 -2 Weapon +4 DC Strike


Skills Fast Draw

KS: Simgomdo

WF: Blades*

Elements Barehanded +1 Use Art Barehanded (doing STR

damage in place of weapons

damage, as appropriate)

1




staff). In the hands o a skilled fighter, these simplesticks become dangerous weapons that strike withblinding speed. (For another, highly-developed,orm o Stickfighting, see Arnis/Kali/Escrima earlier in this section.)

Optional Rules: Te Atemi Strike uses a 2d6+1Hit Location; the Smash and Strike maneuvers use3d6 Hit Location rolls.

Special Abilities: Battlefield Punch (weaponoption); Shield-Shattering Blow (especially theSwordbreaking Strike option; the shijo o Jujutsuare said to be trained to break an enemy’s weaponwith their sticks).

STICKFIGHTING STYLES

Some styles o Stickfighting include:

AFRICAN STICKFIGHTING

Many different Arican peoples, including theNguni (o whom the Zulus are one tribe), Nuba,and Suri, have stickfighting arts. So do the Egyp-tians, whose style upposedly dates to the time othe pharaohs and involves the use o a single 1.2m

long stick called an asa or a nabboot .

BATAIREACHT

A traditional stickfighting art rom Ireland thatinvolves the use o short, medium, and long sticks,sometimes with an iron weight on the strikingend. Te sticks include the bata (a sort o walkingstick about three eet long) and the sail éille (shil-lelagh, which is about our to five eet long). Testick is usually held somewhat below the middlepoint and snapped or flicked at the opponent,rather than being swung.

CALINDA

Tis is a Stickfighting art ound on Haiti,rinidad and obago, and Martinique. It’s thoughtto have evolved among Arican slaves, but today ismainly seen as a dance orm.

JOGO DO PAU

A stickfighting style rom northern Portugal.Te stick used is more like a staff in size, but iswielded with both hands on one end in stick-fighting ashion.

JOJUTSU

Jojutsu, the Japanese art o the stick, usesthe jo, a short staff or stick about our eet long.According to legend, the art was developed

around 1500 by Muso Gonnosuke. Muso, asamurai, was taking the part o a mushashugyo (a samurai who travels the country, testing hismartial skills) to improve his Bojutsu techniques,and was proving himsel a superior warrior.Because o his reputation, another undeeatedwarrior, the great swordsman Miyamoto Musashi,sought him out and challenged him, using onlya bokken (wooden sword). Miyamoto deeatedMuso easily, but spared his lie. Muso, humiliated,continued his wanderings. Eventually he dreamedo an angelic being who told him to create a new,shorter staff, and instructed him in the techniqueso its use. Muso went into seclusion and perectedthe twelve techniques o Jojutsu. Ten he sought

out Miyamoto, challenged him, and beat him —the only deeat Miyamoto ever suffered accordingto some accounts (though others claim he retiredunbeaten). A practitioner o Jojutsu is known asa shijo; he wears a hakama and a type o jacketcalled a haori.

Te modern Japanese police have adaptedJojutsu into a style called keibo-soho (“policestick art”), which is part o their overall aiho- jutsu (“arresting art”) fighting style o techniquesevolved rom other Japanese styles or the purposeo stopping and restraining criminals.

JUEGO DEL PALO

Juego del Palo, or “the game o the stick,” isa stickfighting art rom the Canary Islands thatsupposedly began with the Gaunche (the nativeinhabitants o the island prior to the arrival oSpaniards in the 1400s). Fighters use sticks othree lengths: chico (“short,” about three eetlong); medio (“medium,” typically rom the groundto the user’s heart); and grande (“large,” which canbe up to 4m long!).

KAKALAAUKakalaau is a Hawaiian stickfighting art. It can

be considered one o the skills taught as part oLua (q.v.), or could be studied separately.

LATHI

Lathi is a stickfighting art rom eastern andsouthern India that uses the weapon o the samename — a slender bamboo pole, six to eight eetlong with a metal tip. (Tis is significantly longerthan most sticks used in Stickfighting, and in actis even longer than some staffs, but the weapon’swielded one-handed like a sword, and Lathi isthus better classified as Stickfighting than Staff-

fighting.) It’s thought to have developed partlyrom yogic techniques or energy release, andpartly rom armers’ skills at using the lathi tocontrol buffalo and other herd animals.

MANI STICK FIGHTING

Tis Cuban orm o Stickfighting is said tohave developed on sugar plantations in the 1800s.It uses a 40cm-long stick, but also includes sometechniques or striking with parts o the body.

SILAMBAM

Silambam is the stick-fighting aspect o Kalar-ipayit (page 38), but can be studied as a separateart i desired.

According to some sources, Silambam canbe considered a separate martial art, with anunarmed component known as kuttu varisai (“empty hand combat” in amil) or kai silambam (“hand silambam”). Tese sources also indicatethat Silambam teaches other weapons, includingthe maduvu (deer horn), kathi (knie), vaal (sword), trisool (trident), and shield. Substyleso Silambam are based on the length o the stickused, the grip on the stick, the fighter’s oot-work, and similar actors; some o them includekallapathu (“thieves’ ten”), kalyanavarisai (whichcould be considered Staff-fighting rather thanStickfighting), kidamuttu (“goat head butting”),and nagam-16 (“cobra-16’).

“Today is

victory

over yourself

of yesterday;

tomorrow is

your victory

over lesser

men. ”

- Miyamoto

Musashi,

Go Rin

No Sho

(“A Book

of Five

Rings”)




Sumo WrestlingSumo Wrestling is a Japanese fighting orm

which developed in the century beore Christ. It istraditionally practiced by huge, heavy fighters whotrain or years to have the physique and enduranceo a sumo wrestler.

Te object o Sumo Wrestling is to push theopponent out o the ring or bear him down to theground inside the ring. Matches are usually veryshort, but are preceded by lengthy ceremonies.

Hit Locations: Te Slap takes an automatic headlocation, but does no extra damage becauseo that. Te other maneuvers take no specificlocation.


SwordfightingIntended or use with a longsword, greatsword,

or similar blade, and possibly a shield as well,Swordfighting represents the martial skil ls devel-

oped by talented blade-wielders such as knightsand paladins. It’s most common among heavyfighters; light fighters avor styles such as Fencing.

Warriors can use this style to simulate varioustypes o sword-based fighting. ypically the fighterwields his sword in one hand (with a shield inthe other or protection), or two hands or largeweapons. However, he could also fight in “hal-sword” mode, in which he keeps one hand on thehilt and places the other on the ricasso (the lower,ofen unsharpened part o the blade), thus usingthe weapon as much like a short spear as a sword.Tis allows or short, swif, vicious stabs andstrokes, and even some disarming and trippingmaneuvers. (Te hal-sword maneuvers have a -0restrictive element, Requires Both Hands, indi-cating that characters with a shield or a weaponin each hand cannot perorm them.) By placingboth hands on the blade, the fighter can use thepommel and hilt as a metal club (this is the ClubWeapon Combat Maneuver).

Swordsmen versed in this style ofen learned various grapples and related maneuvers or close-in fighting or occasions when they lost their blade.With the GM’s permission, the character can alsobuy some unarmed maneuvers rom styles likeArte dell’Abbracciare or Kampringen.

Hit Locations: Te Slash and Trust use 3d6 HitLocation rolls. Te Plunging Strike uses a 2d6+1Hit Location roll.


SUMO WRESTLINGManeuver Points OCV DCV Damage/Effect


Grab 3 -1 -1 Grab, +10 to STR for holding

on

Grappling Throw 3 +0 +2 STR +2d6 Strike; Target Falls;

Must Follow Grab

Root 4 +0 +0 STR +15 to resist Shove;Block, Abort


Slap 4 +2 +0 STR +2d6 Strike

Skills

KS: Sumo Wrestling

SWORDFIGHTINGUsed with Blades Weapons Group; Blades Weapon Element is Free


Counterstrike 4 +2 +2 Weapon +2 DC Strike, Must

Follow Block

Lock 4 +1 +0 Bind, +10 STR

Half-Sword Disarm 4 -1 +1 Disarm, +10 STR to Disarm

roll, Requires Both Hands

Half-Sword Trip 3 +2 +0 Weapon Strike, Target Falls,

Requires Both Hands


Plunging Strike 5 -2 +1 Weapon +4 DC Strike


Thrust 5 +1 +3 Weapon StrikeTrip 3 +1 +1 STR Strike; Target Falls,

Requires Both Hands

Skills KS: Swordfighting

WF: Blades*



“Pain is the best instructor, but

no one wants to go to

his class. ”

- Choi Hong Hi, founder of Tae Kwon Do

1




Tae Kwon DoTis Korean martial art began systematic

development in the seventh century, when it wascalled t’ang-su (meaning “’ang hand,” named aferthe Chinese dynasty which was in power when theKoreans adopted its principles). Later names orthis art as it developed were subak and kwonpup.

Afer the sixteenth century, the art continueddevelopment under the new name o tae kwon (“oot and fist,” or “kicking and punching”). Teart was orced underground in the first decade othe twentieth century, when the Japanese occupiedKorea. In 1953, well afer World War II, whenKorea was reed rom Japanese rule, it became taekwon do (“the way o kicking and punching”).

ae Kwon Do is regarded as a powerul,combat-intensive martial art, relying on orceulpunches and high circling kicks; it’s also amousor its colorul flying side kick.

Schools teaching ae Kwon Do are known asdojangs. ae Kwon Do practitioners wear a gi-likeuniorm called a dobok.

Te Weapons Elements are not part o thetraditional art, but many ae Kwon Do instructorsteach weapons use anyway.

Hit Locations: Te Front, Side and RoundhouseKicks use Hit Location rolls o 3d6. Te FlyingSide Kick uses a Hit Location roll o 2d6+1. TePunch or Elbow Strike uses a Hit Location roll o2d6+1.


Tai Ch’i Ch’uanai Ch’i Ch’uan (also spelled aiji Quan, ’ai

Chi Chuan, and many other ways) is the mostadvanced o the Chinese internal fighting styles.Although best known in the West as a yoga-liketype o exercise, it has martial applications as well,as its name (“supreme ultimate fist” or “yin-yangboxing”) indicates.

According to the most popular legend, ai Ch’iCh’uan was originally developed by a aoist priestnamed Chang San-Feng who is said to have livedduring either the Sung, Yuan, or Ming Dynasties.One day he observed a snake and a hawk (or acrane) fighting, and was struck by the efficiencyo their movements — the act that they could be

both loose and supple, hard and ast at the sametime. Based on his observations, he developed aseries o fighting maneuvers, to which he addedmaneuvers derived rom other natural move-ments (such as the swaying o trees, the flowing owater, and the movement o clouds). Te result is afighting style combining sof, flowing movementswith rapid, almost explosive attack orms. Due tothe internal energy (ch’i) employed by a skilledai Ch’i Ch’uan fighter, the results achieved byan attack are ofen ar greater than the amount o visible orce would seem to indicate.

Te basis o ai Ch’i is the Tirteen Postures,which include eight actions (such as Ward-off,

Push, and Pull Down) and five directions (areas

TAE KWON DOManeuver Points OCV DCV Damage/Effect

Arm Sweep Block 4 +2 +2 Block, Abort

Crescent Kick Block 5 +1 +3 Block, Abort


roll

Flying Side Kick 5 +1 -2 STR +4d6 Strike

Front Kick 4 +0 +2 STR +2d6 Strike

Knifehand/Spearhand 4 -2 +0 HKA ½d6


Side or Roundhouse


Takedown 3 +1 +1 STR Strike; Target

Falls

Skills Breakfall

KS: Tae Kwon Do


Elements





TAI CH’I CH’UANManeuver Points OCV DCV Damage/Effect



roll

Escaping Throw 5 +0 +0 +15 STR versus Grabs; Target

Falls


holding on


Disable

Palm Slap/Kick 5 -2 +1 STR +4d6 Strike

Root 4 +0 +0 STR +15 to resist Shove;

Block, Abort


Strike 3 +1 +2 STR +2d6 Strike, Must FollowBlock

Sword Finger 4 -1 +1 2d6 NND(1)


Skills KS: Tai Ch’i Ch’uan

WF: Blades

WF: Staff






towards which one should look and/or move). Incombat, the fighter combines these into patterns inwhich he avoids an attack (usually by blocking it)and then uses an offensive maneuver (ofen a grab,ollowed by a strike or throw o some sort). Temaneuvers have beautiul, poetic names, such asLion Shakes His Head, Night Bird Returns o TeForest, Celestial Horse Walks In Te Sky, Carryiger o Te Mountain, and Meteor Chasing TeMoon.

Tere are several substyles o ai Ch’i Ch’uan.Te first is the Chen style, supposedly developedat the end o the Ming Dynasty. It is said to be themost martial o the ai Ch’i styles, and the basisor much o the modern combat orm o the style.Yang style is a modified orm o Chen which ismore flowing. Te two Wu styles are modifiedorms o Yang which emphasize small circularmotions and add throws and grabs to the aiCh’i arsenal. Lastly there is the Sun style, whichadds elements o Hsing-I and Pakua to ai Ch’imaneuvers. Some o these styles teach the use oweapons, primarily the sword.

Hit Locations: Te Palm Slap and Sword Fingeruse 2d6+1 Hit Location rolls; the Kick uses a 3d6roll. None o the other maneuvers require HitLocation rolls.

Special Abilities: ai Ch’i practitioners are ofencredited with many unique powers. Some o themoverlap those o Kung Fu masters or masters oother Chinese internal styles. Besides the oneslisted or those styles, they include: Dim Mak;Fa-Ch’ing; Iron Shirt; Kiaijutsu (especially the aiCh’i Chuan Breath Blast option); Kongjin; PeachBlessing; Push Hands; and Sword Finger.

Tang Soo Doang Soo Do (“China hand method”) is a

Korean martial art combining traditional Koreankicks with some Japanese maneuvers. It wasoriginally called Soo Bahk Do. Afer the Japaneseoccupation o Korea in the first decade o thetwentieth century, many Soo Bahk Do mastersfled their homeland; while they were in exile theystudied Chinese and Japanese fighting systems,including Aikido and Jujutsu, and added someo their techniques to the Soo Bahk Do reper-toire. In 1945 the style’s name was changed by its

Grandmaster, Hwang Kee. In the United States it’sperhaps best known or being the style practicedby actor Chuck Norris.

ang Soo Do uses many deceptive stances andtechniques. For example, the practitioner hidesone hand behind the other so he can use it ora surprise attack, or he might launch any one oseveral kicks rom the same basic stance, making itdifficult to determine which one he’ll actually use.Te attack maneuvers emphasize kicks, includingflying kicks.

raditionally, ang Soo Do does not teachweapons use.

TANG SOO DOManeuver Points OCV DCV Damage/Effect


Chop 4 -2 +0 HKA ½d6


Joint Lock 3 +0 -1 Grab One Limbs, +10 STR for

holding on




Skills Breakfall

KS: Tang Soo Do

THANG-TAManeuver Points OCV DCV Damage/Effect


Dodge 4 +0 +5 Dodge All Attacks, Abort

Knifehand Strike 4 -2 +0 HKA ½d6

Marman Strike 4 -1 +1 2d6 NND(1)



Skills Breakfall

Contortionist

KS: Indian Healing

KS: Thang-Ta KS: Yoga


WF: Common Missile Weapons

WF: Urumi




“Pride has never brought a

man greatness. ”


1




Hit Locations: Te Punch, Chop, and Flying Kickuse a 2d6+1 Hit Location roll. Te Kick uses a 3d6Hit Location roll. Te other maneuvers do notrequire rolls.

Special Abilities: Similar to those or Karatemasters.

Thang-TaTang-a (meaning “sword-spear”) is an

Indian martial art somewhat similar to Kalar-ipayit. In addition to teaching unarmed techniqueslike kicks and punches, it teaches weapons suchas spear, dagger, sword, bow, and dart. Tang-a’s unarmed fighting techniques involve sarit-sarat — ootwork and evasion abilities designednot only to avoid damage, but to put an attackeroff-balance.

One substyle o Tang-a, Muk’na, also incor-porates wrestling grabs and throws. Characterswho wish to practice Muk’na may buy maneuversrom both the Tang-a and Wrestling packages.

Hit Locations: Te Punch, Kniehand Strike, and Marman Strike all use Hit Location rolls o 2d6+1.Te Kick takes a 3d6 roll. Te other maneuvers donot require Hit Location rolls.

Special Abilities: Ch’i ouch.

Than Vo DaoTis Vietnamese style, whose name means

“spirit fist way,” is also known as Tan Quyen.Its roots lie in Buddhism and aoism; it came toVietnam rom Mongolia through China, Tailand,and Burma.

Tan Vo Dao combines internal and externaldisciplines and uses circular energy. It has anumber o animal-based orms, including dragon,phoenix, tiger, crane, monkey, snake, and eagle. Italso teaches some weapons.

Hit Locations: Te Punch uses a 2d6+1 Hit Loca-tion roll. Te Kick uses a 3d6 Hit Location roll.Te other maneuvers do not require rolls.

Special Abilities: Genshin (known as “mind-fist”); Iron Shirt (known as “iron body”).

Vovinam Viet Vo DaoVovinam Viet Vo Dao is a Vietnamese style

developed in Hanoi in 1945 by Nguyen Loc. Itcombines striking and wrestling maneuvers toorm a well-rounded combat style.

Vovinam Viet Vo Dao practitioners weara black uniorm (Vo Phuc). Beginners wear awhite belt; higher-ranking students wear a blackbelt with colored bands. A master o this style isknown as a Vo Sinh.

Hit Locations: Te Dam, Cho, Chem, and FlyingKick use a 2d6+1 Hit Location roll. Te Da uses a3d6 Hit Location roll. Te Goi takes a 2d6+7 Hit

Location roll. Te other maneuvers do not requirerolls.

THAN VO DAOManeuver Points OCV DCV Damage/Effect



Disable


holding on


Legsweep 3 +2 -1 STR +1d6; Target Falls



Skills

Breakfall

KS: Than Vo Dao



Elements

Weapons +1 Use Art with Blades +1 Use Art with Clubs


VOVINAM VIET VO DAOManeuver Points OCV DCV Damage/Effect

Chem (sword-hand) 4 -2 +0 HKA ½d6

Da (kicks)/ Goi (knee

strikes) 5 -2 +1 STR +4d6 Strike

Dam (fist blows)/ Cho (elbow strike) 4 +0 +2 STR +2d6 Strike

Do (blocks) 4 +2 +2 Block, Abort



holding on

Skills KS: Vovinam Viet Vo Dao








Special Abilities: Similar to those displayed byKarate practitioners.

Weapons CombatTis generically-named art represents Euro-

pean and Middle Eastern heavy weapons fightingstyles rom antiquity to the Renaissance. It’s thefighting art o the armored warrior, whether hebe an eleventh-century knight, a third-centuryRoman centurion, a hoplite rom Classical-eraGreece, an Achaean juggernaut rom the time othe rojan War, or some fighter Gilgamesh slew.O course, not all Fantasy fighters have this martialart; it’s a skill possessed by very well-trained andexperienced warriors, not common troops orinexperienced fighting men.

When buying Weapons Combat, the char-acter chooses one weapon type (rom the list oWeapons Elements provided below) with which he

can use the maneuvers. (Fighters cannot chooseFlail weapons; Weapons Combat is only suitedmore or rigid weapons.) Tat choice is ree.Additional Weapons Elements, as usual, cost 1point each.

Tere are no Bind, Disarm, Dodge, or Trowmaneuvers in this art, since those maneuvers don’tfit the heavy-weapons “eel” o Weapons Combat.However, there’s some historical precedent orfighters being trained to perorm sweeps andbinds with large weapons (particularly whenacing opponents with similarly large weapons),so the GM could permit characters to buy suchManeuvers i desired. And even i not, charac-

ters can always deault to the basic Dodge and

WEAPONS COMBAT Usable With One Weapons Group; that Weapon Element is Free

Maneuver Points OCV DCV Notes

All-Out 5 +1 -2 Weapon +4 DC Strike

Attack 4 +0 +2 Weapon +2 DC StrikeCharge 4 +0 -2 Weapon +2 DC Strike +v/10,

FMove

Defend 4 +2 +2 Block, Abort

Probe 5 +1 +3 Weapon Strike

Resist 4 +0 +0 +15 STR to resist Shove;

Block, Abort


Skills KS: [Type Of Weapon] Combat

WF: Common Melee Weapons (the character must know how to use

any weapons for which he has taken the Weapons Element, below)

WF: Staffs

Elements

Weapons +1 Use Art with Axes/Maces/Picks




+1 Use Art with Shields

+1 Use Art with Staffs

1




Disarm maneuvers (and, in Fantasy Hero games,to the basic Bind maneuver used in the Fantasygenre). See the Swordfighting style, above, or somepossible ways to build such Maneuvers.

Te GM should consider disallowing the use othe All-Out and Charge maneuvers in campaignswhich steer away rom high damage values (char-acters can still Push their Strength and use MoveTroughs, afer all).

Hit Locations: When the character uses Shortweapons, attack maneuvers have a 2d6+1 HitLocation roll. When the character uses Mediumor Long weapons, attacks have a 3d6 Hit Locationroll.


WEAPONS COMBAT MANEUVERS

Weapons Combat’s maneuvers work as ollows:

All-Out: An all-offense attack which sacrificessome o the character’s DCV to get a blow in.It does significantly more damage than a moreroutine attack.

Attack: A straightorward weapons attack. It issimply an improvement on a character’s normal,non-martial Strike Maneuver.

Charge: Tis maneuver allows the character tomake an attack at the end o a Full Move; it’s espe-cially apt or spearmen.

Defend: Te standard Martial Block, useul or awide variety o parries.

Probe: A maneuver used by a character who’s stilleeling out his opponent’s strengths and weak-nesses. It doesn’t allow the character to do as much

damage as other maneuvers, but it gives him someadditional DCV, appropriate to a cautious fightingapproach.

Resist: With this maneuver, a character can blockincoming attacks; the maneuver has a standardAbort unction. It also allows a character to roothimsel in place and resist Shove attacks. It’s espe-cially appropriate or characters who play at beingone-man shield-walls.

Shove: With this maneuver, the character placeshis weapon up against his opponent and heaveshis opponent backwards. It requires a Medium orLong weapon; characters cannot perorm it with a

Short weapon.

WHIPFIGHTINGUsable With Whip Weapons Group; Whip Weapon Element is Free


Choke 4 -2 +0 Grab One Limb; 2d6 NND (2)


roll


Snap 5 +1 +3 Weapon Strike

Trip 3 +0 +1 Weapon Strike +v/10; Target

Falls

Skills KS: Whipfighting

WF: Whip*

WhipfightingTis is a style or fighters who use the whip in

combat. Examples include several whipfighting

styles rom Indonesia and other cultures. Skilledwhipfighters can use their weapon with pinpointaccuracy, snapping weapons out o hands andputting out eyes.

Whipfighting cannot take the Style DistinctiveFeature.

Hit Locations: Te Slash and Snap both use 3d6Hit Location rolls; the Choke automatically targetsthe head/neck and the rip the legs/eet, butneither maneuver receives bonuses or penaltiesbecause o that.

Special Abilities: You can simulate a whipmaster’s ability to strike targets with pinpointaccuracy by buying argeting Skill Levels.

“The

unorthodox

and the

orthodox giv

rise to each

other, like a

beginningles

circle - who

could exhaus

them?”

- Sun Tzu,

The Art o

War




WrestlingWrestling, as a martial art, dates back into

prehistory. In history, amous examples owrestling arts include the wrestling practicedin Greece, China, and India rom their earliestrecorded histories. Wrestling continues as apopular collegiate and proessional sport today.

Te package below includes several varieties oWrestling practiced today, including modern andGreco-Roman.

Hit Locations: None o the Wrestling maneuversuses a Hit Location roll except or the Choke,which automatically Grabs the head but gets nopenalties or bonuses because o this.


SUBSTYLES OF WRESTLING

Many different cultures all over the world havetheir own different orms o wrestling. Some othem include:

Asura: A type o Indian wrestling in which

striking below the chest area is illegal, and the firstfighter to all to the ground loses the match.

Bkyukl Bökh: A orm o Mongolian sport wres-tling. Competitors wear a jodag (a short-sleeved jacket open at the ront), gutal (leather boots withupturned toes), and shuudag (tight-fighting shortpants).

Bûno: A Filipino wrestling art, with hundreds osubstyles throughout the islands. It also teachesthe use o some weapons.

Cireum: Tis Korean orm o wrestling (alsospelled Ssi-reum) resembles Sumo Wrestling in

some ways.

Dumog: Filipino wrestling in which a wrestlergrasps his opponent’s belt and tries to throw himdown. Te loser’s back has to squarely touch theground.

Glimae: A orm o Icelandic wrestling which usesmovements called “tricks.” Opponents grasp eachothers’ leather belts (climubelti) and try to throweach other to the ground. Te first wrestler whotouches the ground with any part o his bodyabove the knees loses.

Gouren: A orm o bareooted wrestling rom

Brittany.

Gulat: Indonesian wrestling.

Inbuan: A style o wrestling rom Mizoram inIndia. Matches take in a 4.5-4.9m diameter circleand are governed by strict rules; to win, one wres-tler must lif the other off the ground.

Koshti: A type o Iranian wrestling which takesplace in the Zour Xaneh (“house o strength”).

Kurash: A style o wrestling rom Uzbekistan inwhich victory is achieved by throwing an oppo-nent to the ground on his back.

Kushti: A orm o Indian wrestling.

PROFESSIONALWRESTLINGManeuver Points OCV DCV Damage/Effect

Body Slam 3 +2 +1 STR Strike; You Fall, Target

Falls

Crush 4 +0 +0 STR +4d6 Crush; Must Follow

Grab

Duck 4 — +5 Dodge, Affects All Attacks,

Abort

Fist/Forearm Smash 4 +2 +0 STR +2d6 Strike


for holding on

Head-Bash 4 +2 +0 STR +2d6 Strike

Stomp 4 -2 +1 STR +4d6 Strike, Prone

Skills

Acrobatics

Acting

Breakfall*

Elements Weapons +1 Use Art with Clubs (Fist/

Forearm Smash Only)

WRESTLINGManeuver Points OCV DCV Damage/Effect



Hold 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Reversal 4 -1 -2 STR +15 to Escape; Grab

Slam 3 +0 +1 STR +v/10; Target Falls

Take Down 3 +2 +1 STR Strike; You Fall, Target

Falls

Skills Breakfall

KS: Wrestling

“More than any other sport,

wrestling teaches self-

control and pride. Some have

wrestled without great skill.

None have wrestled without

pride. ”

- Dan Gable

1




Mallayuddha: A orm o Indian wrestling.

Malyutham: A orm o wrestling developed bythe amil people o India. ypically a wrestlerachieves victory by throwing his opponent to theground and pinning him so he’s unable to move orescape.

Naban: Burmese wrestling.

Okol: An Indonesian orm o wrestling rom the

island o Madura.

Schwingen: Swiss olk wrestling.

Shuai-chiao: Chinese wrestling, which dates backto the millennia beore the birth o Christ.

Tegumi: Okinawan wrestling.

Yaghliguresh: Also called yagh gures, this is aurkish orm o wrestling ought in a hall calleda kirpinar . Te wrestler is known as a pehlivan (“hero”) and wears hand-sewn garments calledkisbet .

Wrestling, Professional Proessional Wrestling, though it has only

recently become a mania in the US, has beenaround throughout the twentieth century, and haseven spread, in certain orms, to other countries(see Lucha Libre, above).

Tis package is or a pro wrestler who has realcombat ability. Such a character would alwayspull his punches or do zero damage with attacksin the ring, relying on his Acting to make it lookdamaging, but could still use his art to good effectin situations outside the ring.

One good way to give this art some “color”

is to create your own unusual names or themaneuvers. For example, the Fist Smash becomesan “Atomic Piledriver,” the Crush becomes the“Bulgarian Death-Lock,” and so orth. Playerscan elaborate on the maneuvers slightly, addingor subtracting an Element here or there, to create“signature” maneuvers or their Pro Wrestlingcharacters.

See Lucha Libre, page 53 or a look at anothertype o Proessional Wrestling (and the supple-ment Lucha Libre Hero or a lengthy list o LuchaMartial Maneuvers that could also be used instandard Proessional Wrestling).

Te “clubs” reerred to under the WeaponsElement usually includes stools, chairs, micro-phones, and other weapons o opportunity oundaround the ring.

Hit Locations: Te Fist Smash/Forearm Smashuses a 2d6+1 Hit Location roll. Te Head-Bashis struck with the head, against the target’s head;it takes an automatic Head location but does noextra damage because o the location. Te Stomptakes a 3d6 Hit Location roll. None o the othermaneuvers uses a Hit Location roll; they do gener-alized damage.


YU-SOOLManeuver Points OCV DCV Damage/Effect

Choke 4 -2 +0 Grab One Limb, 2d6 NND(2)



Kuchigi (Grabs) 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Kuepso Chirigi (Nerve

Strikes) 4 -1 +1 2d6 NND (1)

Mechigi (Throws) 3 +0 +1 STR +v/10; Target Falls

Strike 4 +0 +2 STR +2d6

Skills

Breakfall

KS: Yu Sool

Yu-Sool

Yu-Sool (“sof art”) is a Korean martial artderived rom some Chinese systems. It was mostpopular rom the years 1000-1300 AD, and hassince declined, though it’s still taught by somemasters. It concentrates on locks, throws, chokes,and other grappling techniques.

Hit Locations: Te Kuepso Chirigi and Strike use a2d6+1 Hit Location rolls. Te Choke automaticallytargets the head but receives neither bonuses norpenalties or this. None o the rest o the maneuvers requires Hit Location rolls.


“Wrestling is ballet with

violence. ”

- Pro Wrestler Jesse Ventura




ZipotaTis Basque fighting art (whose name means“shoe”) resembles Savate in many respects. Itsorigins are obscure, but likely date back at least asar as those o Savate. Like Savate, it employs manykicks and jabbing punches; unlike the Frenchstyle, it also incorporates leaping kicks, throws,and other energetic maneuvers.

Zipota fighters ofen train in stickfightingas well. Tey wield the makila (or malika), a1.5 meter long stick with an iron cap on oneend, which is used in sheepherding. Te handleunscrews to reveal a long, sharp point.

Hit Locations: Te Leaping Kick uses a 2d6+1Hit Location roll. Te Kick, Punch, and Side Kickmaneuvers all use 3d6 Hit Location rolls. Teother maneuvers don’t require Hit Location rolls.


OTHER STYLESTe ollowing styles are ones the author

came across while researching this book, but orwhich he lacked sufficient inormation to createa complete description. Players can do their own

research or construct their own versions o thesestyles i they wish.

Binot: An Indian style designed to allow anunarmed man to deend himsel against an armedone or beasts.

But Marma Atti: An Indian style which teachesthe practitioner to end off and evade attacks,thereby rustrating the attacker until, tired andhumiliated, he gives up.

Cha-Yon Ryu: An eclectic modern art combiningaspects o Hapkido, Karate, and Kung Fu.

Cuong-Nhu: A Vietnamese style ounded in 1965.Te name means “hard-sof,” and the art blends“hard” aspects taken rom Karate, Wing Chun,and Boxing with “sof” elements rom Jujutsu,Aikido, and ai Ch’i Ch’uan. It also incorporateselements rom Vovinam Viet Vo Dao.

Daletai: An ancient Chinese martial artcombining boxing and wrestling.

Kim Ke: Tis is a Vietnamese style said to deriverom cockfighting motions; the name means“golden cock.” Practitioners avor kicks and preerto attack rom the side; some maneuvers suppos-edly involve biting.

Koonomon Togip Baip: Tis is said to be a martialart or arts native to the Aborigines o Australia. Itsmaneuvers supposedly derive rom the move-ments o native animals (kite hawks, kangaroos,emus, wedge-tailed eagles, crocodiles, and thelike), or rom movements used in fishing and

other tasks.Kuki-shin Ryu: A Ninjutsu-like “secret” fightingstyle said to have been practiced by ascetic Japa-nese monks.

Kupigana Ngumi: A martial art developed inthe late Sixties or early Seventies that supposedlysynthesizes techniques rom a number o Aricanfighting traditions.

Mau Rakau: A weapon style o the Maori o NewZealand, which gradually died out afer the intro-duction o firearms in the late eighteenth century.Legend claims the techniques were handed down

by u (the god o war) and ane (the god o theorest). Te main weapon is the taiaha, a sort ostaff-club 5-6 eet long; others include the tao (a7-8 oot long spear), the maripi (a short club withteeth set into one side); and the pouwhenua (along club made rom whalebone).

Moi-saree: A Malaysian fighting art.

Mshindi Vita Saana: Swahili or “ChampionWar Art,” this is supposedly a fighting art createdin Philadelphia in 1973 based on Arican dancerhythms.

Nabebutajutsu: Te art o fighting with a

saucepan lid.Pakchigi: A crude Korean style involvinghead-butting.

Po Bok Sul: A Korean style using a rope to chokeor bind an opponent; used by Korean palaceguards since ancient times.

ZIPOTAManeuver Points OCV DCV Damage/Effect


Kick 4 +0 +2 STR +2d6 Strike

Leaping Kick 5 -2 +1 STR +4d6 Strike

Punch 5 +1 +3 STR Strike

Side Kick 4 +2 +0 STR +2d6 Strike



Skills KS: Zipota

WF: Blades



1




Russian martial arts: In addition to Sambo,Russian martial arts include Systema (a martialart taught to Russian special orces, similar toCommando raining), Buza (a fighting systemrom the Novgorod region that included unarmedtechniques, disarming techniques, and weaponsuse), Kulachnoi Boya, ROSS, Samoz (a “sof” ormo Sambo), Skobar, Spas, and many others.

Sebekkha: A martial art supposedly practiced in

ancient Egypt (the name is said to mean “Croco-dile Spirit”).

Sikaran: A kickfighting art rom the Philippines.Hands can only be used to block; striking theopponent with one’s hands brings instant disquali-fication in a match. echniques include the biakid (in which the fighter somersaults his body to bringone leg up in a vertical arc and smash it into theopponent’s ace), the panghilo (a paralyzing strikemade at the chest, kidneys, thighs, knees, or eet),and the pamatay (lethal strikes to the neck, spine,head, heart, or groin). Fighters ofen smear theireet with buffalo eces as a way o urther humili-

ating their opponents.Suntukan: A boxing-like art rom the northernPhilippines that eatures flowing movements andrapid-fire repeat striking techniques.

MIXEDMARTIAL ARTS

“Mixed Martial Arts,”

or MMA, is a term us

in the Martial World f

a type of full-contact

fighting, and the train

associated with it.

This form of martial

arts contest became

particularly popular

thanks to the Ultimat

Fighting Championsh

(UFC) competition, w

begun in 1993.

MMA training empha

sizes three areas. Th

first is groundwork —

fighting on the groun

Royce Gracia’s victorin the first, second,

and fourth UFCs (whi

were single-eliminat

tournaments) showed

how important this

aspect of combat is. T

second is clinchwork

— throws, takedown

and striking an oppon

while grabbing him.

Last is stand-up work

— punching, kicking

and other strikes and

maneuvers performe

while standing up.

MMA isn’t alone in th

world of full-contact

fighting. For example

Vale Tudo (“anything

goes”) is a similar fo

of fighting competitio

in Brazil. It began as

“taking on all chal-

lengers” fights in

Brazilian circuses in t

1920s and remains a

popular sport today.

In HERO System term

if you want to build a

MMA-style fighter, yo

should buy a variety

Martial Maneuvers an

Skills from the follow

styles: Boxing; Jujuts

(especially the Brazil

Jujutsu substyle);

Karate; Muay Thai; an

Wrestling.

Svebor: A Serbian style mainly ocused onweapons use but eaturing some head-butts andother unarmed techniques; it also includes severalmaneuvers designed to knock a mounted man offhis horse.

Ta Merrian: A martial art rom Arica said toderive its maneuvers rom totem animal move-ments and spirit dances.

Tegasajutsu: Te art o fighting with an umbrella. Testa: A style rom Eritrea that emphasizes head-butts, gouging, biting, and other “dirty fighting”techniques.

Thanh Long: A Vietnamese style whose namemeans “School o the Green Dragon.”

Vietnamese schools: Te ollowing arementioned in Louis Frederic’s Dictionary o the Martial Arts as “schools” o Vietnamese martialarts; they may be distinct styles or substyles oother styles: Doc Nhan (“one-eyed” school); HacHo (“black tiger” school); Son Lam (“rom the

mountain and rom the orest” school); ay-sonNhan (“mountain phoenix” school).




FICTIONAL MARTIAL

ARTS STYLES

This section details several completelyfictional martial arts styles. Charactersin the movies, comics, and other sourcematerial ofen study styles bearing no

resemblance to “real-world” styles. Tey alsodisplay special abilities exceeding those demon-strated by even the most accomplished real-worldmartial arts masters. Te styles in this section

allow HERO System gamers to simulate this sorto thing. I you don’t find any styles in this sectionsuitable the character you have in mind, use thesestyles as “models” to help you develop one o yourown.

BATTLE SHIFTINGManeuver Points OCV DCV Damage/Effect

Altered Form Dodge 4 — +5 Dodge, Affects All Attacks,

Abort

Body Like Water 4 +0 +0 +15 STR versus Grabs

Malleable Block 5 +1 +1 Grab One Limb, Block

Mallet Hand 4 +0 +2 STR +2d6 Strike

Sharpened Hand 4 -2 +0 HKA ½d6

Shifting Limbs 3 -1 -1 Grab Two Limbs, +10 to STR

for holding on

Battle ShiftingBattle Shifing is a martial art that simulates the

fighting skills, abilities, and “tricks” used by shape-shifers and other characters who can change theirorms, such as androids made o liquid metal,biokinetic or malleable superhumans, and evensome lycanthropes. Characters who can’t change

shape cannot learn it; the techniques depend onaltering the shape and location o limbs to strike,making the body sof to “block,” and so on.

Characters who know Battle Shifing cannottake the Style Distinctive Feature; while somegroups o shapeshifers do teach it in a system-atized way, the highly adaptable nature o combatshapechanging makes it impossible to study BattleShifing with Analyze Style.

Hit Locations: Te Mallet Hand and SharpenedHand use Hit Location rolls depending on howthe character shapes his body — i they’re actuallylimbs rom the upper part o the torso, they use

2d6+1 rolls, or example, while a sharpened ootwould probably use a 2d6+7 roll. Te Grabs andother maneuvers don’t require Hit Location rolls.

Special Abilities: None (though shapechangingcharacters may have all sorts o other abilities thatare useul in combat; see Champions and Cham- pions Powers or numerous examples).

“U

sing order to deal with

the disorderly, using calm

to deal with the clamorous, is

mastering the heart. ”

- Sun Tzu, The Art of War

1




Brick TricksTis martial arts package represents a ew

combat moves commonly used by “bricks” (i.e.,characters whose primary abilities involve greaterthan normal strength and resistance to damage).Te maneuvers rely on brawn and resilience, notfinesse and speed as with most styles.

Characters who know Brick ricks cannot takethe Style Distinctive Feature.

Bearhug II involves grabbing the target aroundthe middle (pinning his arms in the process) andsqueezing him hard enough to keep him rombreathing, but not hard enough to permanentlyinjure him. Te deense is not needing to breathe,or somehow being “immune” to such squeezing(or example, because the character is wearing

heavy armor).Te “Deadly” and Legbreaker maneuvers showwhat happens when the character doesn’t restrainhimsel and uses his massive strength to inflictserious injury.

Fist-Grab allows the brick to grab an incomingfist in one o his massive hands, stopping thepunch cold.

Hit Locations: Te Deadly Smash and Punch usea 2d6+1 Hit Location roll; the other maneuvers donot require Hit Location rolls.

Special Abilities: None (but see Champions andChampions Powers or all sorts o powers and

combat tricks or high-SR characters).

BRICK TRICKSManeuver Points OCV DCV Notes

Bearhug I 4 +0 +0 STR +4d6 Crush, Must Follow

Grab

Bearhug II 5 -2 +0 Grab Two Limbs, 2d6 NND

Big Push 4 +0 +0 +15 STR to Shove

Break Free 4 +0 +0 +15 STR versus Grabs

Deadly Smash 4 -2 +0 HKA ½d6

Deadly Throw 5 -2 +0 HKA ½d6; Target Falls

Fist-Grab 5 +1 +1 Grab One Limb, Block

Grab 4 +0 -1 Grab Two Limbs, +10 STR for

holding on

Legbreaker 5 -1 -2 Grab One Limb; HKA ½d6,

Disable


Slam 4 -1 -1 STR +2d6 Strike; Grab Two

Limbs; Target Falls


Target Falls; FMove

Toughness 4 +2 +2 Block, Abort

Wrestler’s Throw 3 +2 +1 STR Strike; You Fall, Target

Falls




EnerjutsuWhile the optional Ranged Martial Arts

Maneuvers rom Chapter wo are most ofen usedwith weapons, nothing in the rules orbids char-acters to buy them or innate powers. Here’s anexample — Enerjutsu, a martial art or characterswho can fire beams o energy rom their hands,eyes, or the like. (In some Fantasy campaigns,wizards could take this style as Magejutsu, theability to cast spells with particular accuracy andcombat skill.)

Hit Locations: All Enerjutsu attacks that requireHit Location rolls use a 3d6 roll.


Four Celestial Kung FuLegends told within the Martial World speak o

a mysterious, almost unstoppable orm o Kung Futhat harnesses a warrior’s ch’i to give him super-human powers. Most martial artists dismiss this asa myth born o fighters’ antasies and chop-sockymovies... but the legends are true.

Long ago in the mountains o China there liveda monk named Huang Hsi Chen. A man o great virtue and wisdom, he had isolated himsel romother men so that he could avoid temptation anddistraction. He dwelt alone in a hut in the moun-tains, contemplating the mysteries o existenceand writing manuals o philosophy.

One day while he was walking through theorest, Huang was set upon by bandits. Using hismodest Kung Fu skills he broke ree rom themand fled, but they pursued. He ran urther andurther into lands he’d never explored beore, butthe tenacious bandits wouldn’t stop their pursuit.ired and near despair, Huang ran into a og bank,hoping to find a place to hide.

He emerged rom the og to find himsel in asmall, beautiul valley... and at the entrance to the valley stood a ch’i-lin, one o the Four CelestialBeings o Chinese lore. “Greetings, Huang HsiChen,” it said in a voice like wind-chimes. “Restand ear not, or in the Valley o the Celestialsyour pursuers cannot find or harm you.” Ten itturned and walked down into the valley, and themonk ollowed.

When they got to the floor o the Valley,the creature introduced Huang to the otherthree Celestial Beings: powerul Dragon; noblePhoenix; sturdy ortoise. Each o them greetedhim with grave courtesy, and he in return made

obeisance to them and did them all honor.“Because o the great virtue with which you

have led your lie, we have chosen you or aspecial gif,” said Dragon. “We have knowledgeo a special way o fighting based on our celes-tial powers and natures, and we will teach it toyou. But you must keep it secret, passing on theknowledge o its techniques only to those who areworthy and pure o heart.”

So began a period o intense training and study.In the morning Huang Hsi Chen practiced the artsthe Four Celestial Beings taught him, and in theafernoon he labored to build them a fine temple.Afer several years the temple was finished and theFour deemed him ready, so he lef the Valley andbegan seeking worthy fighters to pass his knowl-edge on to.

ENERJUTSUUsable with Blasts; Blasts Weapon Element is Free

Rng Maneuvers Points OCV DCV Rng Damage/Effect

Accurate Blast 4 +2 -2 +2 Blast Strike

Basic Blast 4 +0 +0 +2 Blast +2 DC Strike

Disarming Blast 4 +0 +0 +0 Disarm, +15 STR to

roll

Dodging Blast 3 -1 +2 +0 Blast Strike

Leg Blast 3 +0 -1 +0 Blast +2 DC Strike,

Throw

Long-Range Blast I 5 +0 -2 +6 Blast Strike, +1

Segment

Long-Range Blast II 5 +1 -1 +4 Blast Strike

Power Blast 4 -1 -1 +0 Blast +4 DC Strike

Rapid Blast 4 +1 +0 +0 Blast +2 DC Strike

Elements Powers +1 Use Art with Ranged Killing

Attacks

+1 Use Art with Drains

Jack Burton: Hey, what more can a guy ask for?

Egg Shen: Oh, a Six-Demon Bag!

Jack Burton: Terrific, a Six-Demon Bag. Sensational. What’sin it, Egg?

Egg Shen: Wind, fire, all thatkind of thing!

- Big Trouble In Little China

1




Stories claim that Huang Hsi Chen, now asimmortal as his patrons, still walks the world onthat quest. He rarely finds anyone deserving o thesecrets o Four Celestial Kung Fu (called Ki-rinemple Fist by some), but when he does he spendsseveral years instructing them in its techniquesand abilities. He hopes one day to find a deservingsuccessor so that he can also pass on his quest andreturn to the Valley to live out a lie o peace andcontemplation.

Te techniques and abilities o Four CelestialKung Fu are divided into our categories, oneper Celestial Being. I no game inormation isprovided or an ability, it’s described in ChapterTree. Characters can buy these abilities (particu-larly the attacks) in Power Frameworks i desired.

CH’I-LIN ABILITIES

Te ch’i-lin is a being o peace and tranquilitythat wishes no harm to any living being; it walkswith a step so light it doesn’t crush the grass, andonly eats that which is already dead. Instead oteaching ways to fight, it teaches ways to avoid

attacks and to move with skill.Cost Ch’i-Lin Power8 Hing Kung

33 Tian Long Ba Bu (see Eight Steps Of The HeavenlyDragon in Chapter Three)

13 Ultimate Dodging Technique

7 Wind Running

DRAGON TECHNIQUES

Dragon is sinuous and powerul, able bothto strike with speed and strength and to blockthe attacks o oes. Power flows rom him into awarrior who fights with his blessing.

Cost Dragon Power45 Lung Ch’uan (Dragon Fist): HKA 2d6 (plus STR),

+2 Increased STUN Multiplier (+½)

10 The Dragon’s Power Flows To Me (see Ch’i Firesin Chapter Three)

20 Counterpunch

16 Ultimate Blocking Technique

PHOENIX TECHNIQUES

Feng hwang , the Phoenix, wie o Dragon, isa fiery righter o wrongs. She teaches just twotechniques, but both are powerul. One is the Five

Phoenix Strike, a series o punches and kicks thatcan avoid nearly any deense and injure nearlyany oe. Te second, and more spectacular, is thePhoenix Ascendant, which calls upon the warrior’sch’i to surround him with fiery energy so that hismere touch is dangerous.

Cost Phoenix Power48 Five Phoenix Strike: HA +6d6, Variable Advan-

tage (+½ Advantages; +1) (60 Active Points);Hand-To-Hand Attack (-¼)

17 Phoenix Ascendant: RKA 1d6, Area Of Effect(personal Surface — Damage Shield; +¼),Constant +½) (26 Active Points); No Range

(-½)

TORTOISE TECHNIQUES

ortoise is mighty; he gives strength andtoughness to warriors, and the mental andphysical ortitude to overcome difficulties.

Cost Tortoise Power23 Tortoise Strength: +40 STR (40 Active Points);

Only To Disarm, Escape, And Grab (-¾)

7 Tortoise’s Shell Technique: +10 PD (10 Active

Points); Costs Endurance (-½)

7 Tortoise’s Shell Technique: +10 ED (10 ActivePoints); Costs Endurance (-½)

7 Tortoise’s Shell Technique: Mental Defense (10

points) (10 Active Points); Costs Endurance

(-½)3 Resistance (3 points)

“L earn

the

form, but

seek the

formless.

Hear the

soundless.

Learn it all,

then forget

it all. Learn

The Way,

then

find your

own way.

But do not

name it, my

friend, for itis like water

Nothing is

softer then

water, yet it

can overcom

rock. It doe

not fight.

It flows

around theopponent. ”

- The Silent

Monk (Jet

Li) explain

the martia

arts in Th

Forbidde

Kingdom




Gun FuTis fighting style is best reerred to as “the art

o the gun.” Some practitioners call it Zen Riflery(a joking reerence to Kyujutsu/Kyudo , a.k.a. “Zenarchery”) or Woojutsu. It’s a modern-day refine-ment on several more or less extinct Japanesearts, including Jukenjutsu (the art o the bayonet),Hojutsu (the art o the arquebus), and Kajutsu(the art o firearms and explosives, also known asKayakujutsu and eppojutsu).

Zen Riflery cannot take the Style DistinctiveFeature.

Te “Club” reerred to above is the gun itsel,used as a hand-to-hand weapon. In some casesthis can damage the gun. Practitioners can alsolearn special techniques or using the bayonet ona rifle (they may also study true Jukenjutsu i theywish; see page 38).

Hit Locations: Te Smash/Trust uses a 2d6+1Hit Location roll. All other offensive maneuversuse a 3d6 Hit Location roll.

Special Abilities: Gun Fu practitioners havedeveloped a wide variety o abilities to simulatetheir skill with firearms. See Dark Champions ornumerous examples.

GUN FUUsable with Clubs Weapons Group; Clubs Weapon Element is Free




Smash/Thrust 4 +0 +2 Weapon +2 DC Strike


take weapon away

Usable with Pistols Weapons Group; Pistols Weapon Element is Free

Rng Maneuvers Points OCV DCV Rng Damage/Effect

Accurate Shot 4 +2 -2 +2 Weapon Strike

Basic Shot 4 +0 +0 +2 Weapon +2 DC Strike

Defensive Shot 3 -1 +2 +0 Weapon Strike

Distance Shot 5 +0 -2 +6 Weapon Strike, +1

Segment

Diving Shot 3 +0 +2 +1 Weapon Strike, Half Move

Required, You Fall

Far Shot 5 +1 -1 +4 Weapon Strike

Leg Shot 3 +0 -1 +0 Weapon +2 DC Strike,

Throw

Offensive Shot 4 -1 -1 +0 Weapon +4 DC Strike

Quick Shot 4 +1 +0 +0 Weapon +2 DC Strike

Ranged Disarm 4 +0 +0 +0 Disarm, +15 STR to roll

Trained Shot 4 +2 +0 +0 Weapon Strike

Skills Combat Skill Levels

Demolitions*

Fast Draw

KS: Zen Riflery

PS: Gunsmith

PS: Create Ammunition

TF: Parachuting

WF: Pole Arms (for Bayonet)

WF: Small Arms*

WF: other modern weapons

Weaponsmith

Elements Weapons +1 Use Art with Bayonet

Barehanded +1 Use Takeaway maneuver

“The gun kata treats the gun as a total weapon, each fluid

position representing a maximum kill zone, inflicting maximum

damage on the maximum number of opponents while keeping the

defender clear of the statistically traditional trajectories of

return fire. ”

- DuPont explains the Gun Kata in Equilibrium

1




HypercombatTis package o martial arts maneuvers repre-

sents combat abilities displayed by characters ableto move at high velocities — comic book “speed-sters,” bird-men in Fantasy campaigns, and the

like. Naturally, most o the maneuvers incorporatethe Full Move Element.Te Flying Grab maneuver allows the speed-

ster to run up to someone and grab him. TeFlying Trow maneuver allows the speedster tograb someone and then throw him, using thespeedster’s own velocity to increase the damage(visually, the speedster may pick up the target,carry him at high speed, and then let him go so hesmashes into a wall and takes damage, or he mayrun past him and hit him with a sort o takedownmaneuver using the character’s own velocity toaugment the blow). Te Passing Disarm involvesrunning past the target and knocking something

out o his hand. Te Passing Trow maneuverallows the speedster to “intercept” another movingcharacter and trip or throw him, so that thetarget’s own velocity works against him. Te RapidPunch involves hitting the target several times inthe space o a second. With both the Flying andPassing Trows, remember that the v/10 Elementrelies on relative velocity (see 6E2 71).

Hit Locations: Te Passing Strike and RapidPunch both use 2d6+1 Hit Location rolls. Teother maneuvers do not use Hit Location rolls.


HYPERCOMBAT Maneuver Points OCV DCV Notes

Flying Dodge 5 — +4 Dodge All Attacks, Abort;

FMove

Flying Grab 5 -2 -1 Grab Two Limbs, +10 STR forholding on; FMove

Flying Throw 5 -1 -2 Grab Two Limbs; STR +v/10;

Target Falls; FMove

Passing Disarm 5 -1 -1 Disarm, +10 STR to Disarm

roll; FMove

Passing Strike 5 +1 +0 STR +v/10; FMove

Passing Throw 5 +0 +0 STR +v/10; Target Falls;

FMove

Rapid Punch 5 +1 -2 STR +4d6 Strike




Red In Tooth And ClawWhile the term “Martial Arts” implies knowl-

edge o a highly-developed fighting style suchas Karate, that Skill really represents improvedhand-to-hand fighting ability. As such, the general“special effects” principle governing the HERO

System allows you to buy Martial Maneuvers oranimals, i that’s an appropriate way to representtheir fighting abilities. Red In ooth And Claw isone such “style,” designed or animals in general.It uses the Natural Weapons “Weapon Group,”meaning animals’ angs, claws, horns, and the like.(I an animal has two types o natural weaponsthat are used in very different ways, such as clawsand antlers, the GM may require him to pick onehe gets to use with the “style” or ree, and requirethe animal to buy the other as a +1 point WeaponElement.)

In most cases, animals should ollow the stan-dard rule requiring a character to spend at leastten Character Points on Martial Arts. However, atthe GM’s discretion, an animal can spend less thanthat, i only one or two maneuvers are necessary tosimulate the animal’s skill. Most animals buy onlyoffensive maneuvers (such as Martial Strike or

Offensive Strike), but a ew may also learn maneuvers like Martial Dodge.

Hit Locations: ypically any Martial Maneuverused by an animal that requires a Hit Locationroll uses a standard 3d6 roll (on the Hit Locationcharts or the target animal type in many cases,since animals ofen fight other animals; see TeHERO System Bestiary ). Depending on the natureo the attack and its angle, the GM can alter theHit Location roll as he sees fit.


RED IN TOOTHAND CLAW

Usable With Natural Weapons Weapon Group; Natural Weapons Element is

Free


Avoid Harm 4 +5 -- Dodge All Attacks, Abort

Holding Bite 3 +0 -1 Grab One Limb, +10 STR

Pounce 5 -2 +1 Strike +4 DC

Smash/Claw Slash 4 +0 +2 Strike +2 DC

Trip 3 +2 -1 Strike +1 DC; Target Falls

1




Shiroi Sumomo KempoShiroi Sumomo Kempo (“White Plum Kung

Fu”) is a Japanese martial art whose roots lie inthe seventeenth century. Shortly afer Japan wasunited (more or less) under the okugawa Shogu-nate, a Chinese monk named Chang Shangkung(or “Chikatsada” to the Japanese) came to Japanto teach Buddhist philosophy. He also broughtwith him plum tree seeds and his knowledge oKung Fu. He built a small temple and planted theseeds; when they grew the plums they bore werea distinctive light, almost white, color. And so hisplace o worship and meditation became known asthe Shiroi Sumomo Shinden — the emple o theWhite Plum.

Attracted by the Chikatsada’s obvious wisdomand insight, students came to his temple to learn.o the best o them he taught his Kung Fu secrets,that they might maintain a sound body to keeptheir minds sharp, and so they could protectthemselves. Over time they mingled his tech-niques with ones rom native Japanese styles like

Aikijutsu and Jujutsu. Te final product becameknown as Shiroi Sumomo Kempo (“White PlumKung Fu”), and is still practiced today. It’s a versatile style combining the powerul punchesand kicks o Kung Fu with the restraining tech-niques and pressure-point strikes o Aikijutsu andJujutsu. Action movie star Derek Lance, who’sappeared in such blockbuster films as Eight WaysO Death, Oversight , and Psilent Night , is the style’smost amous exponent in the modern world.

Hit Locations: Te Knie Hand, Punch and Atemi Strike use Hit Location rolls o 2d6+1. Te Kickuses a Hit Location roll o 3d6. Te other maneu-

vers don’t use Hit Location rolls.Special Abilities: Same as Kung Fu.

SHIROI SUMOMO KEMPOManeuver Points OCV DCV Damage/Effect




roll


Abort


Joint Lock/Grab 3 -1 -1 Grab Two Limbs, +10 STR for

holding on


Target Falls






Skills As Kung Fu

KS: Shiroi Sumomo Kempo

WF: same as Kung Fu

Elements Same as Kung Fu

“L

ook closely at this hand.

I eat with this hand, andI’ve written love letters with

this hand. But then this hand

becomes a fist, it can injure

people. It can even take their

lives. ”

- Yuka Tacheuchi’s sensei

instructs her on the proper use

of force in Variable Geo




Thunder Dragon Kung FuTis fighting style originated in Bhutan, “land

o the thunder dragon,” hence its name. Ancienttales say a Buddhist monk named Jigme developedit afer observing a crane struggling to capture a

large fish. He taught the art to his ellow monks,

one o whom took it to Tailand and China whenhe traveled there as a missionary. He integratedelements o Muay Tai and northern Kung Fustyles into the art to create a more well-roundedfighting style.

Tunder Dragon Kung Fu (Léilóng Ch’uan)

relies on kicks as its principle attack orm, keepingthe arms and hands in reserve to block or grab.Most o its movements are circular, in imitation othe sinuous body o the thunder dragon, giving itsstrikes great power. Tunder Dragon practitionersare also known or their ability to withstand blowsthat would knock other fighters unconscious.

Hit Locations: Te Roundhouse Kick and SnapKick use 3d6 Hit Location rolls. Te Punch/ElbowStrike and Axe Kick use 2d6+1 Hit Locationrolls; the Knee Strike uses a 2d6+7 roll. Te othermaneuvers do not require Hit Location rolls.

Special Abilities: Bridge O Te ide Dragon;Tunder-Kick; ough In A Fight.

According to some stories, masters o the TunderDragon can also control the weather (ChangeEnvironment (+/-5 emperature Levels), VaryingCombat Effects, Area O Effect (4m Radius; +¼),Varying Effect (+1), MegaArea (1m = 1 km broadand wide; +1); Can Only Alter Existing Weather,Not Create Weather (-¼), Extra ime (timerequired depends on the severity o the changein the weather the character wants to create, butminimum o a Full Phase; -½), No Range (-½);total cost 36 points).

THUNDER DRAGON KUNG FU



Crescent Kick 4 -1 +1 Disarm, +10 STR to Disarm

roll

Grab 3 +0 -1 Grab One Limb, +10 STR for

holding on

Knee Strike 5 +2 +1 STR +2d6 Strike

Legsweep 4 +2 +0 STR +1d6 Strike; Target Falls

Roundhouse Kick/Axe


Snap Kick/Punch/

Elbow Strike 4 +0 +2 STR +2d6 Strike

Skills As Kung Fu

KS: Thunder Dragon Kung Fu

WF: same as Kung Fu

Elements

Same as Kung Fu

1




DESIGNING NEW

MARTIAL ARTS STYLES

I the dozens o martial arts stylespresented earlier don’t include onethat’s quite what you’re looking or, youcan design your own styles using the

rules and guidelines in this section. (See Chapterwo or rules or designing your own MartialManeuvers.)

DESIGNING MARTIAL ARTS STYLES

Designing a martial arts style is a three-stepprocess.

First, come up with a style conception — theprinciples governing the martial art, what effectthose principles have on types o maneuvers thestyle includes, what those maneuvers look like,and so orth.

Second, choose maneuvers corresponding tothe principles in the style conception. In mostcases you should be able to pick maneuvers rom

the standard list on pages 6-7; sometimes you’llhave to use the rules presented below to designall-new maneuvers.

Tird, design the style by taking the maneuvers, then adding special Style Elements, deter-mining the Skills associated with the style,deciding whether the style qualifies or a Style Distinctive Feature, and so orth.

Style ConceptionTe first step in the design process is to

develop a style conception. Tis involves creating

a common philosophy, approach, or “theme” thatrelates all the style’s maneuvers to each other.Style conceptions typically all into one o threecategories: the Animal Kingdom; Energy Flow;and Constraints.

THE ANIMAL KINGDOM

Animal or natural motis inspire many martialarts. Such styles attempt to emulate the animal’smovement, speed, and methods o attack. Whendesigning new styles, you can take your inspira-tion rom more anciul animals that haven’tinspired styles in real lie — or perhaps which, likegriffons and manticores, are entirely mythic.

Example: Andy particularly admires the way themongoose can fight and kill deadly snakes, suchas cobras. Inspired by this, he decides to create a Mongoose Style martial art.

Te mongoose dances around in ront o itsenemy, eluding the snake’s lightning-swif strikes,then darts in to bite the snake behind the headso the snake cannot reach it. Eventually themongoose’s continued bite kills the snake.

Tereore, as Andy envisions it, MongooseStyle should concentrate on deensive maneuvers,such as Block and Dodge. It needs at least onehigh-DCV attack to simulate the mongoose’sordinary bite, and another or the lethal damagethe mongoose does when it gets its prey into ahelpless position.

ENERGY FLOW

Fighters develop some styles around theconcept o energy flow — the direction andredirection o energy. Some styles concentrateon straight lines o orce, such as powerul, direct

attacks; others ocus on circular motions andemploy orce more indirectly, such as throughredirecting an attacker’s energy via throws andgrabs. A ew esoteric styles depend upon the ebband flow o the figher’s internal energy, such asch’i, ki, or prana.

CONSTRAINTS

Lastly, many martial arts arise to deal withconstraints — circumstances that ordinarily don’tallow or effective fighting. For example, Brazilianslaves created Capoeira. Because slaves are ofenmanacled, they designed Capoeira to allowfighting while in chains (it uses the eet instead othe hands in many instances). Tereore, capoei-ristas don’t suffer the same penalties most martialartists do when their hands are bound. Similarly,slaves are ofen watched, so early capoeiristaslearned to disguise their fighting as dancing andtumbling, thus ooling their overseers. Teserestrictions require capoeiristas to learn suchthings as walking on their hands, kicking andfighting while upside down, and tumbling andflipping — which means they have to know the Acrobatics Skill.




STYLE BUILDING BLOCKSWith your conception firmly in mind, you

can proceed to the second and third steps, whichare to choose maneuvers (and i necessary, evenbuild them rom scratch) and other style elements(Skills, Weapon Elements, and the like).

O course, the GM has the final say on whetherany Martial Maneuver or martial arts style isappropriate or his campaign. Once he approvesa maneuver or style, he may later, afer sufficientplaytesting, decide he needs to revise it or drop itentirely because it’s too efficient or unbalancing.How can you tell i a maneuver or style is tooefficient or unbalancing? One good sign is i everyPC in the campaign wants to buy it. Tis means it’sso combat-efficient players are more than happy totrade in their characters’ individuality or an espe-cially point-efficient attack. When this happens,re-evaluate the maneuver or style, determinewhat’s “too good,” and modiy things to reduce thestyle’s efficiency slightly — but only slightly. Ten,

begin evaluating it again.UNARMED VERSUS ARMED STYLES

Another thing to consider when creating amartial art is whether the style is unarmed orarmed. Most are unarmed, but characters can onlyuse a ew o them with specific weapons.

Unarmed styles include what we traditionallythink o as martial arts: Karate, Kung Fu, Aikido,and other styles relying on empty-hand attacks,not weapons, to do damage. Characters cannotuse most unarmed styles with weapons (or theyrequire special, additional, training i a characterwants to use them with weapons — represented

by the Weapon Style Element [see below]). Forexample, an Aikido practitioner can’t pick up anaxe and use his Aikido maneuvers with it. Unlessotherwise listed or described, all martial arts stylesare unarmed.

Armed martial arts — fighting styles reflectinga character’s skill and training with a particularweapon or weapons — include Arnis/Kali/Escrima, Fencing, Kenjutsu, Kyujutsu, and Nagi-natajutsu. Characters may only use an armed stylewith weapons rom one or more 1-point WeaponFamiliarity weapon groups, specified by the style’sdesigner or when they learn the style. Examplesinclude the Blades Group, Karate Weapons, or

Staff. Generally, a character cannot use an armedstyle without the appropriate weapon; a encercannot make a Lunge with his fist. However, theBarehanded Weapon Element will allow charac-ters to use some maneuvers in some armed styleswhile weaponless.

Te cost o maneuvers remains the same,whether a style is armed or unarmed. An Offen-sive Strike is an Offensive Strike, regardless o howyou perorm it. For inormation on how MartialManeuvers add to the damage done by weapons,see the Adding Damage rules on 6E2 99-102.

I you create an armed style, note whichweapon (or, rarely, weapons) it’s meant or. When

writing up the style, make sure to include theproper Weapon Familiarity under Skills and to putan asterisk beside it to make it mandatory or allpractitioners o the style. Te GM must approveany decision to make a style usable with a weaponor class o weapons.

CHOOSING AND DESIGNINGMARTIAL ARTS MANEUVERS

Once you’ve got your style conception inmind, you need to choose the appropriate MartialManeuvers or it. Pick as many as possible romthe list on pages 6-7; it wil l save you time andeffort. Most styles should require no new maneuvers at all; you can find everything they need onthat page.

I you have a maneuver in mind which isn’tcovered by any o the ones listed, you can designit rom scratch (with the GM’s permission, ocourse). See Chapter wo.

HOW MANY MANEUVERS?

A Martial Arts style may not have less thanthree maneuvers. Most should have at least five

maneuvers, but a style can have as ew as three.(O the real-world martial arts styles presentedin this chapter, the only ones with ewer than fivemaneuvers are Ancient Boxing [a primitive style]and Naginatajutsu and Saijutsu [airly simpleweapon-based styles].) A style may theoreticallyhave as many maneuvers as its designers want, butyou’ll soon reach a point o diminishing returns,where each new maneuver overlaps others to sucha degree it’s airly worthless (see the sidebar onthis page or more discussion).

Remember that when a character purchasesMartial Arts, he must spend at least 10 points onMartial Maneuvers, which means a minimum otwo 5-point Maneuvers.

SKILLS

Every martial arts style described in thischapter includes a list o Skills. Tese are Skills awell-rounded practitioner o that particular styleshould have. Most are not absolutely mandatory;a character usually can learn a style’s maneuverswithout learning any o its associated Skills.However, a character must buy a Skill listed withan asterisk (*) when he buys the style (even i hedoesn’t buy all o its maneuvers). For example, acharacter can’t learn Fencing without WF: Blades,

or Capoeira without Acrobatics.Most dedicated martial artists should have aKnowledge Skill with their style(s) on at least an8-. Some styles include specific Weapon Famil-iarities, Acrobatics and/or Breakall, and evensuch Skills as Stealth, Climbing, or Streetwise, alldepending on the origins and special goals o thatmartial art.

SPECIAL ELEMENTS

Tese are two special style Elements that canimprove the effectiveness o a Martial Maneuveror how it’s used: Extra Damage Classes andWeapons. See below or more inormation.

REDUNDANT

MANEUVERS

When you create a

Martial Arts style, don’t

include Martial Maneu-

vers that are redundant.

For instance, if the style

has a fast, damaging(but not too brutal)

punch, you might define

that with the Fast Strike

maneuver. And if the

same style has a fast,

damaging kick that

falls short of the

raw damage of a

roundhouse kick,

you might also want

to define that as a Fast

Strike. But that’s putting

in the same maneuver

twice, and no one wantsto buy the same Martial

Maneuver twice.

If a real-world style

has two different

moves which, in game

mechanics terms, are the

same maneuver, put that

maneuver in the style

once . If the GM approves,

give the maneuver both

names (for example,

“Punch/Kick”). Also with

GM approval, assign adifferent optional loca-

tion roll to each name

— for example, the

Punch uses a 2d6+1 Hit

Location roll, while the

Kick uses a 2d6+7 Hit

Location roll (if you don’t

want to deal with that

complexity, just assign

the maneuver a 3d6

location roll instead).

Another form of redun-

dant maneuver to watchout for is the maneuver

that’s so similar to

another maneuver that

they effectively duplicate

each other. There are

sometimes reasons

to do this (particularly

when trying to repre-

sent a real-world style

where you want to allow

for choices so there’s

some variation among

practitioners), but gener-

ally you should avoid

1




STYLE DISTINCTIVE FEATURE

A true martial arts style can, with the GM’spermission, include a Style Distinctive Feature(discussed on page 209). Te GM should only givehis approval i all the style’s maneuvers are builtaround a consistent concept and he doesn’t thinkthe style designer has created an unbalancing orabusive style.

Characters who practice “styles” which aren’t

actual systematized styles o combat, such as DirtyInfighting, or which don’t have a recognized bodyo techniques that an opponent can study andanalyze, cannot take the Style Distinctive Feature.

EXTRA DAMAGE CLASSES AND WEAPON ELEMENTS

Tis section provides some additional rulesand inormation about Extra DCs and WeaponElements.

Extra Damage ClassesExtra Damage Classes (DCs) are discussed

on 6E2 92. On the Martial Maneuvers able (6E291) this Element’s listed as +1 DC in the bottom

o the chart. For +4 Character Points a charactercan buy +1 DC with all o his damaging MartialManeuvers (each Extra DC also adds +5 SR toExert-based Martial Maneuvers, such as MartialGrab). Te Adding Damage rules on 6E2 99-102discuss how Extra DC add to a Martial Maneuver’sdamage.

Extra DCs are permitted or any Martial Artsstyle, but they’re never required or any style —they’re options the GM may allow. Tereore, theExtra DC Element isn’t listed with any style.

WHAT EXTRA DAMAGE CLASSES ADD TO

Extra DCs add to damage rom MartialManeuvers. Tey add both to armed and unarmedMartial Maneuvers, and to any Maneuver thatdoes damage regardless o the type o damage(Normal, Killing, or NND). I a Maneuver isa punch, Extra DCs apply; i a Maneuver is aMartial Strike requiring the use o a sword, ExtraDCs apply. (See 6E2 99-102, particularly the para-graph at the bottom lef o 6E2 99, or rules aboutAdding Damage.)

Extra DCs do not add to any other sort odamage. For example, they do not add to rawNormal Damage rom SR, to Hand-o-HandAttack abilities, to HKA abilities, to the standard

it. The best example

of this is Martial Strike

and Fast Strike. The

only difference betwe

these maneuvers is

where they place the

bonus. In most (but no

all) cases, it’s pointles

to have both maneuve

in the same style, sinc

character with a Mart

Strike can spend the

4 points a Fast Strike

would cost him on tw

Combat Skill Levels w

his Martial Strike

(giving him +2

OCV and DCV

for the same

amount of points).

See page 12 for more

discussion of this issu




or optional Combat Maneuvers (such as MultipleAttack, Strike, or Suppression Fire), or the like.

An Extra DC adds to all o a character’sMartial Maneuvers (excepting ones like Blocksand Dodges, where it has no unction). Hedoesn’t have to purchase Extra DCs maneuver bymaneuver.

Similarly, Extra DCs apply to all o a charac-ter’s Martial Maneuvers even i those Maneuversdon’t all belong to the same style. I a characterknows Martial Maneuvers rom several styles, hisExtra DCs affect every one o them. For example,a Kung Fu practitioner who has Kung Fu maneuvers with Extra DCs, who then buys a Kenjutsumaneuver, can apply his Extra DCs to theKenjutsu maneuver. But he can’t apply they whenhe makes a Multiple Attack, since that’s a CombatManeuver.

I a character has a Martial Maneuver thatcombines two or more Elements that could bothbe affected by Extra DCs (such as a Reverse, whichcombines Escape and Grab), he can only applythe Extra DCs to one o those Elements. He must

choose which Element the Extra DCs apply towhen he buys the Maneuver (or the Extra DCs,whichever comes last), and cannot change thatallocation thereafer.

A character can choose not to use his ExtraDCs i he wants to do less damage than normal.

LIMITED DAMAGE CLASSES

A character cannot take Limitations on ExtraDCs (or example, to restrict them to only one ortwo Maneuvers in a Martial Arts style). Allowingthat would create significant game balanceproblems, so it’s orbidden. However, i he wantsto simulate a special orm o attack, he could buy

some Extra DCs at ull price, then voluntarilyrestrict them to only certain Maneuvers or nopoint savings.

Characters cannot purchase hal an Extra DC.

PUSHING EXTRA DAMAGE CLASSES

A character cannot Push Extra DC damage.In appropriate situations (see 6E2 133) he can, ocourse, Push his SR to do extra damage with aMartial Maneuver to which Extra DCs apply.

RANGED MARTIAL ARTS ANDEXTRA DAMAGE CLASSES

Characters may buy Extra DCs or Ranged

Martial Arts styles. Tey cost 4 point apiece, justlike hand-to-hand Extra DCs. However, ExtraDCs or a Ranged Martial Arts style are relativelyrare; Ranged Martial Arts styles rely on accuracyrather than on power in most instances. Some-times, though, a ew Extra DCs simulate a charac-ter’s ability to hit particularly vulnerable locationson his target.

I a character has both Hand-o-Hand andRanged Martial Maneuvers, Extra DCs boughtor HH Maneuvers do not add to the RangedManeuvers, and vice-versa. Characters mustpurchase Extra DCs or Ranged Martial Artsseparately.

WeaponsWeapon Elements are discussed generally on

6E2 92. Martial arts styles are initially built or useunarmed, or with one 1-point Weapon Familiaritycategory o weapons (see 6E1 94 or APG 43). Itcosts +1 Character Point to buy a Weapon Element — the ability to use maneuvers in a style with oneweapons group (weapons-based arts sometimesallow characters to buy the “Barehanded” WeaponElement to use the style without weapons). I hespends +1 point or a Weapon Element, a char-acter can use the appropriate Maneuvers o hisstyle with a specific 1-point melee weapons group.For arts which normally require a character to usea weapon, the Barehanded Weapon Element allowshim to use appropriate Maneuvers unarmed.

A ew Weapon Elements (e.g., Use Art In ZeroGravity, Use Art In Armor) work a little differ-ently — they unction sort o as Limited orms oEnvironmental Movement, allowing charactersto use their Martial Arts in situations where theywould otherwise be unable to use them or suffer

penalties.WEAPONS ELEMENT AND WEAPON FAMILIARITY

o buy a Weapons Element or a weaponsgroup, you must already have bought WeaponFamiliarity with that group. A +1 point WeaponElement does not include a WF with that weapongroup; the character must still buy that separately.Once he has both the WF and Weapons Element,he can use the appropriate Maneuvers rom hisstyle with that weapon group.

NO TWO-POINT WEAPONS GROUPS

A character must purchase a separate +1 point

Weapon Element or each 1-point Weapon Famil-iarity weapons group. Unlike the Weapon Famil-iarity Skill itsel, a character cannot pay +2 pointsor the ability to use all Common Melee Weaponswith his Martial Maneuvers — he has to spend +1point or Clubs, +1 or Axes/Maces/Picks, +1 orBlades, +1 or Polearms, and +1 or wo-HandedWeapons, or instance.

MARTIAL MANEUVERS USED WITH WEAPONS

When perorming a Martial Maneuver with aweapon, the character gets the Maneuver’s OCVand DCV bonuses and penalties in addition tothe weapon’s. He also adds any damage bonus

rom the maneuver (see 6E2 99-102 or moreinormation).A character can perorm standard and optional

Combat Maneuvers with weapons or which he’sbought Weapon Familiarity; the Martial ArtsWeapons Element has no bearing on this.

1



CHAPTER TWO

MARTIAL MANEUVERS



92 n Martial Maneuvers Hero System 6th Edition

DESIGNING MARTIAL

ARTS MANEUVERSI

you’ve thought o a maneuver youcan’t simulate with one o the MartialManeuvers listed on page 6-7, you can(with your GM’s permission) design

your own maneuver.Most Martial Maneuvers derive rom the stan-

dard Strike maneuver (6E2 80). Tey take a HalPhase to execute; grant +0 OCV and +0 DCV;and do the character’s SR damage (or weapon

damage, i he’s wielding one). As described below,characters can also use the standard Block andDodge maneuvers as Maneuver Bases.

o create a new Martial Maneuver, you startby picking a Basis or it. As discussed below,some Bases (like N-Damage) are Exclusive, andsome are Non-Exclusive, which affects whichother Bases (i any) you can combine in a singleManeuver. Once you’ve got a Basis or themaneuver, you add Elements to it. For example,you can increase or decrease the damage it does,or the OCV or DCV modifiers it applies. Eachaddition, deletion, or change is called a ManeuverElement . Elements that improve a Maneuver areHelpul Elements; those which restrict or reduceits effectiveness are Restrictive Elements.

COST RESTRICTIONS

When you create a Martial Maneuver, there’san important rule you have to ollow:

No Maneuver Can Cost Less Than 3 Points orMore Than 5.

I your Maneuver cost comes out to be lessthan 3, rewrite the Maneuver or round the costup to 3. I, or example, you wanted a Maneuverthat was +0 OCV, +0 DCV, and gave +2d6

damage, this would ordinarily cost only 2 points.But since the minimum Maneuver cost is 3points, you must either improve the Maneuver tocost 3, or just round the cost up to 3 without anyimprovement, whichever you choose.

I your Maneuver cost comes out to be morethan 5, tone the Maneuver down until it costs5 points or less. For example, you could build aManeuver that gives +2 OCV, +3 DCV, and did4 DCs Killing Damage. However, this would cost18 points, and the listed maximum is 5. You’dhave to tone the Maneuver way down in effective-ness and bring it down to 5 points or less.

Tis rule regarding the cost o Maneuvers

is a general one you should ollow in most

circumstances. However, there may be specialoccasions when the GM allows martial artists,particularly Superheroic ones, to design Maneu- vers which violate it. Similarly, the GM mightincrease the “cost ceiling” or Wuxia campaigns to6 points, and Anime and Video Game campaignsto 7 points. (Following this logic, Realisticcampaigns might be restricted to Maneuverscosting no more than 4 Character Points.) But

regardless o the campaign type, charactersshouldn’t be allowed to create and buy Maneuverscosting more than 5 Character Points without theGM evaluating and careully considering each one.

MANEUVER BASISWhen designing a Maneuver, the first thing to

ask yoursel is this:

What’s the purpose, or basis, of the maneuver?

Te HERO System Martial Arts design rulesuse ten Maneuver Bases. Some are Exclusive,

meaning a maneuver can only have one o them.Some are Non-Exclusive, meaning a maneuver canhave just one or can have more than one o them.A Non-Exclusive Basis can be the only Basis in aManeuver, or a Maneuver can have both a Non-Exclusive Basis and an Exclusive Basis.

You’re amiliar with Bind rom the stylesdescribed earlier (and page 95), and with Block,Disarm, Dodge, Strike, Grab, and Trow romthe HERO System 6 th Edition. Note that the TrowBasis, in and o itsel, doesn’t damage to a target; aTrow maneuver could be gentle enough to do nodamage at all to a oe. Reer to Trow on 6E2 80

and APG 171, and page 100 o this book, or moreinormation.Te Exert Basis means the character can

exert his Strength (usually with a bonus rom themaneuver) on his target or one specific purpose,such as to increase the chances o a successulDisarm, decrease the target’s chances to breakout o a Grab, prevent himsel rom being pushedbackward, or the like. Many Exert maneuvers arelisted in the Hand-o-Hand Martial Maneuverstable on page 7. Te extra SR rom the Exertdoes not cost extra END.

Te Flash Basis means the character hassomehow temporarily “blinded” or disabled one o

his target’s senses (almost always Sight). Common

2



Hero System Martial Arts n Chapter Two 9

attacks o this sort include poking someone inthe eyes, clapping their ears to temporarily deaenthem, and striking certain nerve clusters to numbthe sense o touch.

MANEUVER BASESExclusive

Basis Purpose of Bases

Bind Locks up an opponent’sweapon

Block Blocks an incoming attack

Disarm Attempts to knock an oppo-

nent’s weapon out of his grasp

Dodge Gives the character a DCVbonus against attacks

Flash Disrupts opponent’s senses

Grab Weapon Gives the attacker a hold on theopponent’s weapon

Strike Does damage to the opponent

Non-ExclusiveBasis Purpose of Bases

Exert Uses non-damaging strengthon the opponent

Grab Opponent Gives the attacker a hold on theopponent

Throw Puts the opponent on theground

EXCLUSIVE VERSUS NON-EXCLUSIVE BASES

You can only use one Exclusive Basis ina maneuver. For example, you can’t create aManeuver which perorms both a Block and aStrike. (But see Multiple Attack on page 247, andthe Blocking Strike ability in Chapter Tree.) AManeuver doesn’t have to have an Exclusive Basis;some use only Non-Exclusive Bases.

You can use none, one, or several Non-

Exclusive Bases in a Maneuver, and can create aManeuver which has both an Exclusive Basis and one or more Non-Exclusive Bases. For example,you could have a Maneuver where you establisha hold on a target and make it hard or him toescape (the Grab Basis with the Exert Basis), onewhere you throw a target roughly to the ground,doing him harm (the Strike Basis with the Trow Basis), or one where you establish a hold on atarget and hit him simultaneously (the Strike Basiswith the Grab Basis).

Whatever you choose, this is all just thework o conceiving the Maneuver — and under-standing the rules about which Bases you can

combine to create a Maneuver. o actually buildthe Maneuver, to buy the appropriate Bases, youhave to start shelling out Character Points orManeuver Elements (see below).

TYPES OF DAMAGE

Maneuver damage comes in three types:N-Damage (Normal Damage), K-Damage(Killing Damage), and NND (No Normal DeenseDamage). A single maneuver may have only one othese three types o damage.




HELPFUL ELEMENTSElement Description Maximum

Abort +1 point if you can abort to maneuver Take Once

Bind +1 point to bind enemy weapon Take Once

Block +0 points if maneuver is based on Block instead of Strike (Abort is Free) Take Once

DCV + +1 point per +1 DCV up to +2, +2 points for additional +1 DCV up to +3 +3

Disable +0 points if maneuver is intended to disable a limb Take OnceDisarm +2 points if maneuver disarms opponent Take Once

Dodge +0 points i f maneuver is based on Dodge instead of Strike (Abort is Free) Take Once

Flash +1 point per +1d6 Sense Group Flash up to +2d6, +2 points per additional+1d6 Flash; +1 point per additional Sense Group

4d6

FMove +3 points if can attack after Full Move Take Once

Grab Oppt +3 points if hit Grabs two of opponent’s limbs, +1 point per additional limb Take Once; up to

5 limbs

Grab Weap +3 points if hit Grabs target’s weapon Take Once

K-Damage +3 points per +1 DC (Killing) +4 DC/K

N-Damage +1 point per +1d6 normal DMG up to +2d6, +2 points per additional +1d6 +4d6

NND DMG +1 point per +½d6 NND up to +1d6, +2 points per additional +½d6 NND 2d6

OCV + +1 point per +1 OCV up to +2 +2 OCV

STR + +1 point per +5 STR up to +10 STR, +2 points per additional +5 STR +20

STR Strike +0 points if maneuver is based on Strike (+0 OCV, +0 DCV, does STR damage) Take Once

Throw +1 point to throw opponent to ground Take Once

v/6 +3 points to do +(v/6)d6 extra damage Take Once

v/10 +1 point to do +(v/10)d6 extra damage Take Once

RESTRICTIVE ELEMENTSElement Description Maximum

DCV - -1 point per -1 DCV up to -2 DCV -2Fall -1 point if you fall Take Once

Follow -2 points if maneuver must follow other specific successful maneuver Take Once

Half MoveRequired

-1 point if maneuver requires character to make a Half Move; see text Take Once

LastingRestriction

-1 points if the maneuver’s penalties last for +1 Phase Take Once

OCV - -1 point per -1 OCV up to -2 -2

One Limb -1 point if Grab only Grabs one limb -1

Prone -1 point if the victim must be prone before Maneuver can be used Take Once

Requires

Both Hands

-0 if character needs both hands free to use Maneuver Take Once

Requires

Object/ Condition

-2 points i f Maneuver only works with a specified object or condition Take Once

Response -3 points if the maneuver can only be used following a specific maneuver used

by one’s opponent

Take Once

STR - -1 point if maneuver is at half STR, -2 points if maneuver uses no STR No STR

Take FullDMG

-2 points if attacker takes full damage Take Once

Take HalfDMG

-1 point if attacker takes half damage Take Once

Time + -1 point if attack takes extra segment (landing at end of next segment) Take Once

Unbalancing -1 point if opponent automatically attacks first in next Phase Take Once

2




MANEUVER ELEMENTSTe accompanying table lists the Maneuver

Elements you can use to build your own MartialManeuvers. Te first column is the name o theElement; the second is a brie description othe Element and its cost; the third indicates themaximum amount o the Element you can add toa Maneuver.

o build a Maneuver, simply take yourManeuver Basis (or Bases) and add Elements tocustomize the Basis/Bases to your satisaction.Ten make sure that the cost is between 3 and5 Character Points, and you’ll have a completeMartial Maneuver.

“ake Once” means the Element can onlybe taken once in a Maneuver. You cannot, orinstance, take “Fall” three times or -3 points tothe Maneuver cost, and explain that you all downthree times during the Maneuver execution. Tat’snot just silly, it’s rules abuse.

Basis And ElementDescriptions

Tese are the Maneuver Bases and Elements:

ABORT

Te character can Abort his next Phaseto perorm this Maneuver on a Segment notnormally his Phase. (See Aborting An Action,6E2 21). Tis adds +1 point to the cost o theManeuver.

A character can never Abort to any Maneuverwhich does damage or is in any way aggressive,

which includes any Maneuver with the Disarm,Grab Opponent , or Trow Bases. Tereore, acharacter may only buy the Abort Element intoBlocks, Dodges, and Escapes (an Escape is anExert Maneuver which uses the SR bonus onlyor getting out o an enemy’s Grab).

I a character has a Maneuver with two ormore Bases, some o which he could Abort to andthe rest o which he could not (such as a Block-based Maneuver that also Trows the target to theground when the Block’s executed), he’s allowed tobuy Abort or the Maneuver. However, he can onlyAbort to the non-damaging, non-aggressive partso the Maneuver (in this example, the Block); i

he Aborts to use them, the rest o the Maneuverhas no effect at all (unless indicated otherwise inspecific rules or that Maneuver).

BIND

Characters can only use this ManeuverElement against a weapon. I successul, it “binds”the weapon, pushing it away or locking it intoposition somehow so its wielder cannot use it (seepage 243 or more inormation). Te characterusing the Maneuver doesn’t suffer any damagerom grabbing or touching the weapon (i that’show the Maneuver is defined).

Bind is an Exclusive Basis, so a Maneuver withthe Bind Basis may not have any o the ollowingBases: Block, Disarm, Dodge, Flash, GrabWeapon, Strike.

Tis Element adds +1 point to the cost o theManeuver.

BLOCK

Tis Maneuver is based on the normal Block.It grants basic modifiers — +0 to OCV and +0 toDCV. As with the normal Block, it keeps attacksrom hitting the target, sets up the deender tostrike first on the next Phase (assuming they bothact in the same Phase), and comes with a reeAbort option.

A Block requires the character doing theblocking to compare his OCV to the opponent’sOCV, rather than to his DCV. Once a characterhas decided to Block, he can block multipleattacks in a single Phase. (See 6E2 57-59.) TeBlock Element adds +0 points to the cost o theManeuver.

For Maneuvers that combine Block with an

offensive Basis (such as Grab Opponent), usingboth parts only requires a single Attack Roll(albeit one that pits OCV against OCV, as usualor Block).

Block is an Exclusive Basis, so a Maneuver withthe Block Basis may not have any o the ollowingBases: Bind, Disarm, Dodge, Flash, Grab Weapon,Strike.

DCV -

Tis represents a penalty to the attacker’s DCV.It’s used to build Maneuvers that tend to exposethe attacker to counterattack. Te maximumpenalty you can take on a Maneuver is -2 DCV. A

character may not have both DCV - penalties andDCV + bonuses on the same Maneuver.

DCV +

Tis represents a bonus to the attacker’s DCV.Use it to build Maneuvers so ast, graceul, orunpredictable they make the attacker more diffi-cult to counterattack. Te maximum bonus youcan take on a Maneuver is +3 DCV. A charactermay not have both DCV + bonuses and DCV -penalties on the same Maneuver.

DISABLE

Tis Element signifies a Maneuver intended

to disable or cripple a particular limb, such asmany joint-breaks. It adds +0 to the cost o theManeuver because it grants as many restrictions asit does benefits.

Like other Maneuvers which target specificparts o the body, Maneuvers with the Disable Element don’t suffer Hit Location Attack Rollor damage penalties or bonuses. For example, aKilling Strike defined as a knee-breaking low kickbuilt with this Element would not be at -6 OCV,and the victim would take ull damage — not halBODY and a x2 SUN Multiplier, as normallyapplies to the Leg region. Instead, the victim takeswhatever BODY and SUN damage was rolled on

the dice. Any possibility o Impairing or Disablingeffects, i the campaign uses those rules, can then

“Waiting i

bad. ”

- Miyamoto

Musashi,

Go Rin No S

(“A Book o

Five Rings




be determined (see 6E2 111, and the discussiono Disabling Attacks on page 251 o this book,or more inormation on attacking to Impair orDisable a limb).

For purposes o determining whether aDisable-based attack Impairs/Disables a limb, acharacter can do as much damage to that limb ashe wants or needs to Impair/Disable it (thoughthat may take several damage rolls dependingon the situation). He’s not limited to the typical“one-third o the target’s standard BODY” rulediscussed on 6E2 107. Disable-based attacksgenerally also don’t use the “severing limbs” ruleon that page; they don’t actually cut the limb, theysimply contort, break, or otherwise harm it inways that make it less useul or a time.

Te limb targeted by a Disable-based attackgenerally doesn’t need to be chosen in advance.However, GMs should remember that attackswhich “Disable” the Head don’t affect the victim’sintelligence or his ability to move the rest o hisbody, they just prevent him rom using his head asa weapon.

Te drawback to using the Disable Element isthat a fighter can only use the attack on limbs. Hecan’t use it to do generalized damage, or againstnon-limb-like objects. At the GM’s discretion, acharacter can define a single specific non-limbtarget (say, the Chest) or use with the DisableElement i he can use the Maneuver only againstthat Hit Location and no other. Also at the GM’soption, a character can use a Disable Maneuveragainst limb-like objects, such as tree branches.

Reer to the discussion o Grab on 6E2 65 ormore inormation on limbs.

DISARM

A character who successully perorms aDisarm can try to knock a weapon or otherhand-held device rom his opponent’s grasp, asdiscussed on 6E2 60. Tis Basis adds +2 points tothe cost o the Maneuver.

Additional SR bought or a Disarm increasesthe character’s SR just to Disarm. It doesn’t allowthe character to injure the target; a Disarm neverdamages the target.

Disarm is an Exclusive Basis, so a Maneuverwith the Disarm Basis may not have any o theother ollowing Bases: Bind, Block, Dodge, Flash,Grab Weapon, Strike.

DODGETis means the Maneuver is used to avoid

damage (just like the Dodge Combat Maneuver)instead o inflicting injury in a Strike-like ashion.When he takes this Basis, a character starts outwith no OCV (a Dodge-based Maneuver can’t dodamage), +3 DCV, and Abort or ree. Tis costs+0 points because it grants as many restrictions asbenefits. Additional DCV bought with the Dodgestarts out costing 2 points per +1 DCV. You maynot buy a Dodge Maneuver with more than anadditional +2 DCV (or a possible total o +5DCV). A character cannot “buy down” the OCVo a Dodge Maneuver (in other words, he can’ttake the OCV - Element on it to reduce its cost).

Dodge is an Exclusive Basis, so a Maneuverwith the Dodge Basis cannot have any o the otherollowing Bases: Bind, Block, Disarm, Flash, GrabWeapon, Strike.

FALL

You automatically all down at the locationwhere you perormed the attack. Tis Elementsubtracts 1 point rom the cost o the Maneuver.In Maneuver listings, Fall is normally indicated byuse o the phrase “You Fall.”

FLASH

You use this Exclusive Basis to build Maneu- vers that disrupt and temporarily “blind” one ormore o the target’s Sense Groups. Te Flash Basiscosts +1 point per 1d6 o Flash up to 2d6, and +2points per +1d6 thereafer, to a maximum o Flash4d6. Te basic attack affects one Sense Group(almost always the Sense Group); the charactercan purchase additional Sense Groups or +1point. However, the GM should be wary o FlashManeuvers affecting more than one Sense Groupand allow them only when they’re balanced. EachExtra DC adds +1d6 to a Flash-based attack.

In most cases, the appropriate orm o FlashDeense protects a character against a Maneuverwith the Flash Basis. However, there may be someexceptions, adjudicated by the GM on a case-by-case basis. For example, a character whose SightFlash Deense derives rom his light-based powers(making him used to bright lights) won’t havemuch deense against a Martial Flash defined aspoking him in the eyes.

Te GM should also remember that there aremany things that would prevent a Maneuver withthe Flash Basis rom working, given its nature.

For example, a ully-helmeted character usually isprotected rom Sight and Hearing Group Flashes,since it’s impossible or the martial artist to reachhis eyes and ears to affect them.

In Maneuver listings, this Basis is indicated byuse o the phrase, “[Sense] Group Flash __d6.”

Flash is an Exclusive Basis, so a Maneuverwith the Flash Basis cannot have any o the otherollowing Bases: Bind, Block, Disarm, Dodge,Grab Weapon, Strike.

FMOVE

A character can perorm a Maneuver withthis Element during or at the end o a Full Move

instead o just a Hal Move. (Tis doesn’t meanit’s a Zero Phase Action; i perormed afer a HalMove or no move at all, it counts as a Hal PhaseAction.) For example, combining “FMove” with“Fall,” “Trow,” and “v/10” creates a flying tacklea character can perorm at the end o a ull run.Tis Element adds +3 points to the cost o theManeuver.

I a character has a Martial Maneuver withthe FMove element, such as a Passing Strike, hecan perorm a Hal Phase Action beore usingit. However, that means he can only make a HalMove when using a Movement Power with hisMartial Maneuver.

2




Attacks built with this Element do not auto-matically have to take place at the very end o acharacter’s move. For example, an attack definedas a Strike made while the character moves pastsomeone (a “Martial Move By,” i you will) couldtake place at any point during the character’s

move. However, the GM should treat this aspecto the FMove Element careully and not allowplayers to abuse it; most attacks with the FMove Element should still take place at or near the endo the attacker’s ull move. I used indiscriminately,the FMove Element can make some characters“un-attackable,” which unbalances the game.

Example: Nakada Shigeru knows Kenjutsu. He fights a duel with another samurai and wishesto use his Running Stroke (a Passing Strike). Hisopponent stands 10m away rom him; Nakada-san has 18m o Running. His FMove-basedattack takes place 10m into his Full Move o

18m so when the attack ends, he’s 8m beyond hisopponent.

I Nakada-san had been significantly closerto his oe (say, 4-6m distance), the GM mightconsider orbidding the use o the Running Stroke,since it could unairly place Nakada-san out othe range o a counterattack (i.e., the attack, iused repeatedly in such situations, could affect game balance, so the GM disallows it).

You cannot take this Element or a Maneuverthat has the ime + Element.

FOLLOW

Tis means the Maneuver must ollow someother specific successul Maneuver (defined whenyou create the Maneuver). An example would be aManeuver that grants a bonus to Crushing SR; acharacter can only perorm this Maneuver on hisPhase ollowing a successul Grab. Tis Elementsubtracts 2 points rom the cost o the Maneuver.

Both a Follow-based Maneuver and theManeuver it Follows may not occur on the samePhase — the required attack takes place on onePhase, and the Follow-based Maneuver on thenext. A Follow-based Maneuver may also Followitsel; or example, a Crush may ollow a Grab ora previous Crush. For a Follow-based Maneuverto succeed, the character must have successullyperormed (or maintained) at least one o theManeuvers it Follows on his previous Phase.

Since a Follow-based Maneuver doesn’t take

place until the next Phase, the character mustmake a new Attack Roll. You can visualize this asthe attacker having to change grips or angles oattack to accomplish the Maneuver, or having tostruggle to maintain the effect as the victim triesto resist or protect himsel. Tis applies even whenthe Maneuver Follows itsel. With Maneuversollowing Grabs, the victim is at ½ DCV. (At theGM’s option, the Follow-based attack could occurwithout requiring the character to make a newAttack Roll, but this should be rare.)




Example: Tunderhead, a SPD 3 pro wrestler,has a Crush Maneuver, which must ollow aGrab. In Segment 4, he successully Grabs JoeHall “Te Wrecking Ball.” In Segment 8, he mayuse the Crush Maneuver, since it ollows Grab,but he must roll to hit against Hall’s new, reducedDCV. I he misses, the Crush doesn’t work, but hemaintains the Grab on Hall. Whether he hits orhe misses, in Segment 12 he may use the Crush Maneuver again, since it can ollow itsel, butagain he must roll to hit.

In Maneuver listings, Follow is normally indi-cated by use o the phrase “Must Follow [Name oManeuver].”

GRAB OPPONENT

Tis Basis allows a character to get his oppo-nent in a hold. You can define a Grab-basedManeuver as a simple hold placed on the target,a bearhug, an elaborate joint-lock, or anythingsimilar. Tis Basis adds +3 points to the cost o theManeuver.

Te Grab Basis allows a character to Grab

two limbs. Each additional limb costs +1 point(only being able to Grab one limb is a -1 pointRestrictive Element; see below). Most joint-lockManeuvers only Grab one to two limbs; pins andull body holds may incapacitate 4 or 5 limbs, thuspreventing the character rom moving or attackingat all. O course, characters can use multiple Grabson a single character to successively pinion all ohis limbs — it just takes a ew Phases and severalsuccessul Attack Rolls (or a Multiple Attack Grabagainst a single target enough times to Grab all hislimbs).

Te Grabbing character may, in the same Phaseas a successul Grab is executed, Squeeze, Slam,or Trow him, per the standard rules or Grabs.For more inormation on Grabbing, its effects oncombat, and options or it, see 6E2 62 and APG167.

Characters may buy additional damage or thisManeuver as N-Damage (or crushing or stran-gling), or as additional SR or holding on to astruggling target, or as both. A Grab Maneuvercould have +2d6 damage, costing 2 points, and +10 SR or holding on, costing 2 more points.

GRAB WEAPON

Tis Basis allows the character to establish a

hold on his enemy’s weapon (or other item carriedin hand). Te Grabbing character may, in the samePhase as a successul Grab is executed, make aSR Versus SR Contest against the target; i hewins, he wrests the held item away rom his oe.(I the target wins, the target wrests it out o thecharacter’s grasp, and i the roll is a tie, neither canpull it away rom the other.) Tis Basis adds +3points to the cost o the Maneuver.

Extra DCs applied to a Maneuver with thisBasis increase the character’s SR or purposes owresting the weapon away.

HALF MOVE REQUIRED

Tis Restrictive Element is taken or anyManeuver which by its nature requires the char-acter to make a Hal Move, usually to “build upmomentum.” I the character cannot make a HalMove, he cannot use the Maneuver (or, at theGM’s discretion, can only use it to greatly reducedeffect). Tis Element is similar to the Gestures Limitation, because a character can only use a

Maneuver with it i he can move reely and isn’tconfined or restrained. Flying kicks and similarManeuvers may have this restriction.

Hal Move Required cannot be taken orany Maneuver which has the FMove or ime+ Elements. It can only be taken once or anyManeuver.

Te GM may, i he wishes, expand the defini-tion o what amounts to a “Hal Move” to coverany sort o requirement that a character make aparticular movement or have a certain amount ospace available beore he can perorm a Maneuver.For example, you can use Hal Move Requiredto simulate a Maneuver which a character could

only perorm i he had at least 2m o open spacearound him on all sides. Similarly, i the Maneuverrequired a character to make some specificmotion, such as a cartwheel, beore he used theManeuver, you could also simulate this with HalMove Required.

K-DAMAGE

Tis Element stands or Killing Damage. I aManeuver does Killing Damage instead o NormalDamage, additional damage costs +3 points per+1 DC, up to a maximum o +4 DC. (Note thata Strike-based Martial Maneuver does NormalDamage unless K-Damage or NND Damage

bonuses are bought or it, which “converts” it tothe other type o damage.) Te character’s SRadds to the Killing Damage ollowing the usualrules or Adding Damage (6E2 99-102).

As mentioned above, a Maneuver may not mix damage types. It can have only one othe ollowing three types o damage bonus:K-Damage, N-Damage, or NND DMG. AManeuver may have both K-Damage and v/6 or v/10 (see Adding Damage, 6E2 99-102, or inor-mation about adding damage with velocity).

LASTING RESTRICTION

A character can only take this RestrictiveElement or a Maneuver which has at least -1worth o penalties to OCV or DCV. It signifiesthat the CV penalty lasts or one additional Phasebeyond when it would normally disappear. Itdoesn’t matter or purposes o this Element whatManeuver is used in that additional Phase, thepenalty still remains.

Example: Chang wants to build a SacrificeStrike-like Maneuver which simulates an all-outattack he has a difficult time recovering rom.He takes the Lasting Restriction Element on hisSacrifice Strike Maneuver, reducing its costs to4 points but subjecting himsel to the -2 DCV

penalty or an extra Phase.

“If the enemy

thinks of

he mountains,

ttack like the

ea; and if he

hinks of the sea,

ttack like the

ountains. ”

- Miyamoto

Musashi, Go

Rin No Sho (“A

Book of Five

Rings”)

2




Chang, SPD 6, gets into a fight with Jeung,SPD 5. Chang decides to try to finish Jeung offquickly and uses his Sacrifice Strike in Phase 2.Unortunately, Chang misses. Jeung also missesin Phase 3. In Phase 4, Chang can act again.Normally, the -2 DCV penalty rom the OffensiveStrike would no longer apply, since it’s a newPhase, but because he took the Lasting Restric-tion Element on his Maneuver, he will start at abase -2 DCV in Phase 4, regardless o what attackhe uses.

Lasting Restriction penalties do not accumu-late i Maneuvers with the Element are used insuccession. Tus, in the example above, i Changhad used his Sacrifice Strike again in Phase 4,he would be at -4 DCV (-2 rom Phase 2, andanother -2 or the Maneuver he uses in Phase 4).Ten, in Phase 6, he would start off with a base -2DCV penalty because he used a Maneuver witha Lasting Restriction in Phase 4 — not a base -4DCV.

Lasting Restriction subtracts -1 point romthe cost o the Maneuver. It’s most appropriate orManeuvers with DCV penalties, but you can use itor Maneuvers with OCV penalties as well.

N-DAMAGE

Tis Element stands or Normal Damage. Itadds damage dice to the Normal Damage romSR used with the Maneuver. It costs +1 point per+1d6 normal damage up to +2d6, then costs +2points per additional +1d6 up to the maximum o+4d6 (thereore +4d6 would cost 6 points). (Notethat a Strike does Normal Damage by deault; thisElement simply increases the amount o NormalDamage a Strike does.)

As mentioned above, a Maneuver may not mix damage types. It can have only one othe ollowing three types o damage bonus:K-Damage, N-Damage, or NND DMG. AManeuver may have both N-Damage and v/6 or v/10 (see Adding Damage, 6E2 99-102, or inor-mation about adding damage with velocity).

NND DMG

Tis Element stands or No Normal DeenseDamage (see 6E1 326). I a Maneuver does NNDDamage instead o Normal Damage, each +1point spent gives the Maneuver +½d6 NND, upto 1d6; each +½d6 thereafer costs +2 points, up

to its maximum o 2d6 NND. Te character’s SRdoes not add damage to this Maneuver, so NNDDMG Maneuvers must take the SR - Elementat the No SR level (or -2 points). (Note that aStrike does Normal Damage unless K-Damage orNND Damage bonuses are bought or it, which“converts” it to the other type o damage.)

As with any No Normal Deense attack,an NND DMG-based Maneuver must have areasonably common deense, such as Lie Support(Sel-Contained Breathing) or a choking attackor Resistant Protection or nerve strikes. See page247 or a list o suggested deenses, optional rulesor NND Maneuvers, and the like.

As mentioned above, a Maneuver may not mix damage types. It can have only one othe ollowing three types o damage bonus:K-Damage, N-Damage, or NND DMG. AManeuver may have both NND Damage and v/6 or v/10 (see Adding Damage, 6E2 99-102, orinormation about adding damage with velocity),though this is rare and the GM should examinesuch Maneuvers careully to ensure they makesense and are balanced.

OCV -

Tis Element indicates a penalty to theattacker’s OCV. It’s used to represent Maneu- vers which are awkward and less accurate thanordinary attacks. It subtracts 1 point rom the costo a Maneuver per -1 OCV taken; the maximumpenalty a character can take or a Maneuver is-2 OCV. A character may not have both OCV- penalties and OCV + bonuses on the sameManeuver.

OCV +

Tis Element indicates a bonus to the attacker’sOCV. You use it to represent Maneuvers so ast,powerul, or unpredictable a deender is less ableto anticipate them or deend against them. TisElement costs +1 point to the Maneuver per +1OCV taken to the Maneuver. Te maximumbonus you can take on a Maneuver is +2 OCV. Acharacter may not have both OCV + bonuses andOCV - penalties on the same Maneuver.

ONE LIMB

Tis Restrictive Element applies to GrabManeuvers which only immobilize one limb.Many joint-locks, choke holds, and similar

Maneuvers take this restriction. Tis Elementsubtracts 1 point rom the cost o a Grab.

PRONE

Tis Restrictive Element signifies that theManeuver only applies against targets that areProne (i.e., on the ground; see 6E2 49). It typicallyrepresents stomping attacks, maneuvers specifi-cally designed or groundfighting, and the like. Itsubtracts -1 point rom the cost o a Maneuver.

REQUIRES BOTH HANDS

Some Maneuvers are specifically defined asrequiring two hands to perorm. Tis Restrictive

Element subtracts -0 points rom a Maneuver’scost in most cases, but the GM can increase thatto -1 in campaigns or settings where charactersordinarily don’t have both hands ree.

REQUIRES OBJECT/CONDITION

Tis general Restrictive Element signifiesthat a Maneuver only works in certain condi-tions or when a specific type o object is present.Te condition or object must be defined whenthe character buys the Maneuver, and cannot bechanged thereafer. For example, a flamboyantproessional wrestler might buy Requires Object(urnbuckle) to represent a Maneuver that

requires him to leap off the turnbuckle (or anysimilar elevated object) to make his attack.

“Ifind go

people

and I find bad

people good

If I am good

enough. ”

- Lao Tzu, Tao

Ching




Requires Object/Condition typically subtracts-2 points rom the cost o a Maneuver. However,the GM can reduce that to -1 (or even -0) ihe eels the object/condition isn’t particularlyrestrictive.

RESPONSE

Tis Restrictive Element applies to Maneuversthat can only ollow a specific Maneuver used byone’s opponent. Te attacker’s Maneuver can bedefined in airly general terms (such as “a punch,”“a kick,” or “a Nerve Strike”), but cannot bedefined as “an offensive Maneuver.” Te GM hasfinal say-so over whether the attacker’s Maneuverhas been defined properly; the more specific ordetailed a definition, the better.

Tis Element subtracts -3 points rom the costo a Maneuver. In Maneuver descriptions thisElement is indicated by the words “Can Only BeUsed Afer X,” where X is the attacker’s Maneuver.

STR -

Te character using a Maneuver with thisElement cannot use some or all o his SR withthe Maneuver. It subtracts -1 point i he can onlyuse hal his SR with the Maneuver, or -2 points ihe can use none o his SR with the Maneuver. Acharacter may not have both SR - penalties andSR + bonuses on the same Maneuver.

STR +

Te character may add to his SR or thisManeuver. Tis Element costs 1 point per +5 SRup to +10 SR, then it costs +2 points per addi-tional +5 SR up to the maximum o +20 SR.

Te SR obtained rom SR + must be definedas being or one purpose only . For example, it may

be Only For Holding On With Grab, Only ForShoving, Only For Escaping Grab, Only o ResistShove, and so orth.

A Grab-based Maneuver may have bothan N-Damage bonus and a SR + bonus; theN-Damage would augment the SR damage donei the character decides to apply SR to hurt the victim, while the SR + bonus would improvehis chances to hold onto the victim. (At the GM’soption, a character may also have an NND DMGbonus and a SR + bonus, where the SR addsonly to the Grab Element; ordinarily, this wouldnot be allowed, since NND DMG Maneuvers takethe SR - Element at the 0 SR level. I the GM

allows a character to purchase such a Maneuver,the character cannot take that Restrictive Element,but the Maneuver’s SR + bonus still does not addto his NND DMG.)

A character may not have both SR + bonusesand SR - penalties on the same Maneuver.

STRIKE

Tis Maneuver does damage to the target. Itstarts out with +0 OCV, +0 DCV, takes a HalPhase to use, and does the character’s NormalDamage rom SR to the target. Even i theManeuver is built in such a way that it does nodamage to its target, it counts as an attack (i.e., the

character cannot ollow it with another action inthe same Phase).

It’s possible to add the SR - Element to theManeuver so that it does little or no damage,which is especially appropriate with Trow-basedManeuvers that do no direct harm to the target.

Te Strike Basis is an Exclusive Basis, so aStrike-based Maneuver may have none o theollowing Bases in it: Bind, Block, Disarm, Dodge,Flash, Grab Weapon.

TAKE FULL DMG

Te character takes ull damage rom theManeuver. Tis is especially appropriate orcollision-based Maneuvers. Tis Element subtracts-2 points rom the cost o the Maneuver.

For example, a SR 15 character perorming aSR+3d6 ackle with the ake Full DMG Elementon it would do 6d6 damage to his victim andwould also sustain 6d6 damage when he success-ully perormed the Maneuver.

With NND DMG and K-Damage attacks,the character takes an equivalent DC o NormalDamage (Physical). For example, i the attack does2d6 K (6 DC), the character sustains 6d6 Normal

Damage, and i the attack does 2d6 NND (4 DC),the character sustains 4d6 Normal Damage.

TAKE HALF DMG

Tis Element is exactly like the akes Full DMG Element, except that the character perormingthe Maneuver only takes hal damage, not ulldamage. It subtracts -1 point rom the cost o theManeuver.

THROW

Successul use o a Maneuver with thisNon-Exclusive Basis throws the opponent to theground; in Maneuver listings, this is indicated

with use o the words “arget Falls,” “He Falls,”or “Opponent Falls,” instead o “Trow.” Trowsare typically bought as Strikes, so the target takesthe attacker’s SR damage rom impacting theground. Tis Element adds +1 point to the cost othe Maneuver.

See 6E2 80, APG 171, and page 249 o thisbook, or inormation about, and additional rulesor, Trows.

TIME +

A Maneuver with this Element takes extratime to perorm. A character cannot move inthe Phase in which he prepares or perorms this

attack. It subtracts -1 point rom the Maneuvercost i the attack is not launched until the end othe next Segment. You cannot take this Elementor a Maneuver that has the FMove or Hal MoveRequired Elements.

Tis Element is especially appropriate orManeuvers where the attacker must preparehimsel or a second or two beore launching theattack. It’s best used to simulate Maneuvers whereyou have to stand in one place to summon a lot opower into a strike, and is sometimes taken withthe DCV - Element. In a Maneuver’s descrip-tion, this Element is indicated by the words “+1Segment.”

2




UNBALANCING

ake this Restrictive Element or Maneuverswhich tend to throw the user off-balance. Becauseo this, the user’s opponent gets to attack himfirst in the first Segment in which they both havea Phase, regardless o relative DEX — sort o theopposite o the effect o a Block or Trow.

However, unlike a Block or a Trow, this effectstill applies even i the characters’ first Phase in

common is not their next Phase — i necessary, it“carries over” and applies on Segment 12, when allcharacters move. (I this were not so, characterscould take this Restrictive Element on Maneu- vers and then use them only on Phases whenthey knew the restriction wouldn’t affect them,because their next Phase would not coincide withtheir opponents’.) Te effect does not “carry over”beyond a Phase which the characters normallyhave in common, but which they do not have thisurn because one o them Aborted that Phase.

Example: A SPD 3, DEX 14 character anda SPD 4, DEX 20 character are fighting each

other. In Phase 3, the SPD 4 character uses a Maneuver with the Unbalancing RestrictiveElement. Since the two characters do not havea Phase in common until Phase 12, the penalty rom the Maneuver “carries over” until Segment12, when the SPD 3 character gets to attack first,even though his opponent has a higher DEX. Ithe SPD 3 character Aborts his Phase 12 (say,to Dodge the SPD 4 character’s Phase 9 attack),the Maneuver penalty vanishes, since the SPD 3character voluntarily “skipped” his own Phase 12by Aborting.

Tis Element subtracts -1 point rom the costo a Maneuver.

V/6

Tis Element is identical to the v/10 Element(see below), but does more damage.

V/10

A Maneuver with this Element gets a damagebonus based on the relative velocity o the twocombatants. ypically a Maneuver with thisElement does +(v/10)d6 Normal Damage, where“v” is the relative velocity. (See 6E2 71 regardingrelative velocity.) However, a character can buyit or K-Damage or NND DMG Maneuvers anduse the Adding Damage rules (6E2 99-102) todetermine the effects o velocity on those types odamage. Tis Element adds +1 point to the cost oa Maneuver, and may only be bought once.

Te GM may alter this rule i he eels it makesthe v/10 Element too powerul. For example,you could distinguish the effects o v/10 basedon the type o Maneuver: i the Maneuver usesthe attacker’s impact to injure the target (such asFlying ackle), velocities should add together;i the Maneuver involves using the target’s ownmomentum against him (such as Martial Trow),then only the target’s velocity matters.

MONGOOSE STYLENow, as an example o use o these rules, here’s

the Mongoose Style described earlier in thissection.

Andy decided earlier that the Mongoose Stylewould have a Block, a Dodge, a high-DCV attackto simulate the mongoose bite, a grab, and aManeuver to perorm damage on a held oe. We’lladd another Maneuver: an Escape, appropriate orthe high-DEX, wriggly mongoose. Now, let’s buildthese six Maneuvers. According to the earlierdescription, most or all o the Mongoose StyleManeuvers will be high DCV — it’s a ast, highlydeensive style allowing the practitioner to stayloose, grab his target, and destroy the target withthe earsome “bite.”

Mongoose Bite: Tis Maneuver, a crushingtechnique using the hands, is perormed aferthe Mongoose Grab: the attacker proceeds tocrush the deender’s skull and break bones. It’s aKilling Damage attack. OCV -2 (-2 points), DCV

-2 (-2 points), K-Damage +4 DC (12 points),Follows Grab (-2 points), ime + (it takes an ExtraSegment; -1 point). otal: 5 points. I you use theoptional location rules, the Mongoose Bite uses a2d6+1 Hit Location roll; this indicates where theGrab landed.

Mongoose Block: Unlike the ordinary MartialBlock, this Maneuver is high-DCV but nothingspecial or OCV, even though the Block is anOCV versus OCV attack. So, we take +0 OCV(0 points), +3 DCV (4 points), Block (0 point,includes Abort). otal: 4 points. I you use theoptional location rules, the Mongoose Block takes

No Location.Mongoose Dodge: Tis is the ordinary MartialDodge: OCV not relevant, DCV +5 (Maneuverstarts with +3 DCV; +2 more DCV costs 4 points),Dodge (+0 point), Abort (+0 point because it’spart o the Dodge element). otal: 4 points. Iyou use the optional location rules, the MongooseDodge takes No Location.

Mongoose Escape: Tis is similar to the ordinaryMartial Escape, but has a slightly better DCV.OCV +0 (0 points), DCV +1 (1 point), +15 toSR versus Grabs (4 points). otal: 5 points. (Teextra DCV doesn’t help during the Escape, butdoes help i the character is attacked in the sameSegment once he is ree.) I you use the optionallocation rules, the Mongoose Escape takes NoLocation.

Mongoose Grab: Tis is what enables theMongoose practitioner to get his hands on hisoe. It’s not even as accurate as the normal MartialGrab but still gives the martial artist a DCVbonus. OCV -2 (-2 points), DCV +2 (2 points),Grab (3 points). otal: 3 points. I you use theoptional location rules, the Mongoose Grabis normally counted as taking No Location. Iit’s ollowed by a Mongoose Bite, you check or

“S tep by s

walk th

thousand-mil

road.”

- Miyamoto

Musashi,

Go Rin No S(“A Book o

Five Rings




the location o the Grab and Bite with a 2d6+1location roll.

Mongoose Strike: Tis is a ast blow that doesonly the character’s normal SR damage. OCV +0(0 points), DCV +3 (4 points). otal: 4 points. Iyou use the optional location rules, the MongooseStrike uses a 2d6+1 Hit Location roll.

With the Maneuvers designed, now Andy justneeds some Skills, Elements, special abilities, and

a little background to create a ully-fleshed-outMartial Arts style.

Skills: In addition to the basic KS: MongooseStyle, Acrobatics is appropriate to representthe mongoose’s agility. Since mongooses haveshort but sharp claws and teeth, it would also beappropriate or practitioners to learn how to useshort blades (including the shuko, see Martial ArtsWeapons in Chapter Six) with the art.

Elements: No style requires Extra DCs, so thatisn’t listed. Using the art with the short bladesmentioned above is appropriate.

Special Abilities: Mongoose practitioners are ast,both in terms o agility and general speed, so someextra Running is common among them.

MONGOOSE STYLEManeuver Points OCV DCV Damage/Effect

Mongoose Bite 5 -2 -2 HKA 1d6+1, Must Follow

Grab, +1 Segment

Mongoose Block 4 +0 +3 Block, Abort

Mongoose Dodge 4 — +5 Dodge, Affects All Attacks,

Abort

Mongoose Escape 4 +0 +1 +15 STR versus Grabs

Mongoose Grab 3 -2 +2 Grab Two Limbs, +10 STR for

holding on

Mongoose Strike 4 +0 +3 STR Strike

Skills Acrobatics

KS: Mongoose Style

WF: Blades

Elements Weapons +1 Use Art with Small Blades

+1 Use Art with Shuko

Optional Rules: Te Strike and Bite use 3d6 HitLocation rolls. None o the other Maneuvers useHit Location rolls.

Special Abilities: Eight Steps O Te HeavenlyDragon

Mongoose Style developed in India sometimeduring the ninth and tenth centuries AD, but was

known only to a ew Buddhist monasteries. Inthe late seventeenth century, a Mongoose stylistturned away rom his aith and began worshippingKali; he joined an order o Tugs (Indian stran-gler-assassins) and taught them his fighting skills.

Mongoose Style was nearly wiped out duringthe British Empire’s crackdown on the Tugsduring the nineteenth century, but survivedamong descendants o the Tugs. Some o themlef the path o Tuggee and practiced the artsolely or sel-deense and exercise.

oday, Mongoose Style remains a airly obscurefighting art. One isolated Buddhist monastery stillteaches a pure orm o the style, and rumors say

that sects o Mongoose-stylist Tugs survive in thedark and shadowy corners o India. But mostly theart is taught by Indian martial artists, especially inlarger cities such as Calcutta and Bombay. A ewinstructors have migrated to the United States orGreat Britain, and so some large Western citieshave Mongoose schools.

Itis a mistake to put forth

effort and obtain some

understanding and then stop at

that.

- Yamamoto Tsunetomo,

Hagakure

2




HELPFUL ELEMENTSElement Description Maximum

DCV + +2 points per +1 DCV +2

Disarm + +1 point per +5 STR up to +10 STR; +2 points per additional+5 STR

+20 STR

N-Damage +1 point per +1 DC up to +2 DC; +2 points per +1 DC peradditional +1 DC

+4 DC

OCV + +2 point per +1 OCV +2 OCV

Rng + +1 point per +1 OCV vs. Range up to +4; +2 points per addi-tional +1 OCV vs. Range

+8 OCV vs. Range

Strike +0 points if Maneuver is based on Strike (+OCV, +0 DCV, doesSTR damage)

Take Once

Throw +2 points to throw opponent to ground Take Once

v/10 +2 points to do +v/10 extra damage v/10

RESTRICTIVE ELEMENTSElement Description Maximum

DCV - -1 point per -1 DCV -2 DCV

Half MoveRequired

-1 point if Maneuver requires character to make a Half Move Take Once

OCV - -1 point per -1 OCV -2 OCV

Rng - -1 point per -1 OCV vs. Range -2 OCV vs. Range

Time + -1 point if attack takes an extra Segment to perform (landing atthe end of the next Segment)

Take Once

Even though there are three types o damagea character can do using regular martial arts,there is only one type at range: Normal Damage(N-Damage). Tis is because the Ranged MartialArts design system is intended primarily orbuilding styles involving missile weapons such asbows, guns, and shuriken. Te N-Damage bonusessimply add DCs to the weapon, as explainedon 6E2 99-102. I you want to design a RangedMartial Arts style involving Killing Damage orNND DMG (and can get GM permission to doso), you can import the K-Damage and NNDDMG Elements rom the hand-to-hand Elementschart on page 94.

Element DescriptionsElements not described here work exactly the

same as the corresponding hand-to-hand Element(see above).

DCV +

DCV bonuses are a relatively rare Elementin Ranged Martial Maneuvers. Tey indicate aManeuver which the character has practiced somuch and is so proficient with that he can movearound and avoid enemy attacks while still aimingaccurately at his target. DCV + costs 2 pointsper +1 DCV (with a maximum o +2 DCV). Acharacter may not have both DCV + and DCV -Elements in the same Maneuver.

DISARM +

A Disarm Maneuver is used to knock aweapon out o an opponent’s grasp. Use the rules

or Ranged Disarms on 6E2 61 to determine theoutcome o this sort o attack.Te Disarm + Element adds SR to a ranged

weapon’s Disarm ability. Tis reflects the attacker’saccuracy with the Maneuver and his general skillat disarming opponents with his Ranged attack. Amaximum o +20 SR may be added; the first +10SR costs 1 point per +5 SR; all SR thereafercosts 2 points per +5 SR.

Te GM decides whether the disarmed weaponsuffers damage; the Disarm + Element itsel doesno damage to the weapon.

N-DAMAGE

Tis Element stands or Normal Damage,which adds DCs to the damage done by themissile weapon the character uses. See 6E2 99-102or rules on adding damage to weapons.

N-Damage costs 1 point per +1 DC up to 2DC, and +2 points or every +1 DC thereafer, toa maximum o +4 DC. Tus, +4 DC would cost 6points.

OCV +

OCV + is the same as the hand-to-hand version, except that it costs 2 points per +1 OCVtaken, to a maximum o +2 OCV.

MIXING HAND-

TO-HAND

AND RANGED

MANEUVERS

A character can, with

GM permission, have amartial arts style with

both hand-to-hand and

ranged Maneuvers.

For example, a skilled

knifefighter might

want to add a Ranged

martial Maneuver to his

Knifefighting style to

reflect his skill with

thrown knives.

Some of the

styles described

in Chapter One,

such as An Ch’i,have both HTH and

Ranged Maneuvers.

Provided the GM doesn’t

think this unbalances

the campaign, it’s

perfectly acceptable.

However, just like

Extra DC (see below),

Combat Skill Levels

with a HTH style do not

affect Ranged Maneu-

vers in that style, and

vice-versa. A characterwould have to buy

8-point CSLs with a

specific style to be

able to apply the Level

to both his HTH and

Ranged Maneuvers.

2




RNG -

Tis Restrictive Element reflects the inherentdifficulty or inaccuracy o a particular Maneuverover distance. Rng - points add to the standardRange Modifier (6E2 38). For every 1 point oRng -, there’s an additional -1 OCV at Range orthe Maneuver.

Characters may take a maximum o -2 pointso Rng - or a Maneuver, at a subtraction o -1

point each rom the total cost o the Maneuver. AManeuver may not have both the Rng - and Rng +Elements.

RNG +

Characters buy Rng + or Maneuvers whichare inherently more accurate than normal over adistance. Rng + points add to OCV to counteractthe standard penalties or Ranged attacks (like aRange Skill Level).

Rng + costs +1 point per point or the first ourpoints, and +2 points per point or the next ourpoints, or a maximum o +8 OCV vs. Range.

A Maneuver may not have both Rng + and Rng

- modifiers. THROW

Characters use this Basis or Ranged attacksdesigned to trip an opponent or knock his eet outrom under him. It costs +2 points.

With larger weapons (such as arrows, spears,and throwing axes), the Trow Basis usuallymeans the weapon snags the opponent’s eet andtrips him or knocks him down. Tis orm o

Trow does no damage to the opponent (just likea hand-to-hand Trow). With smaller weapons(such as bullets, shuriken, and throwing knives),this Maneuver typically involves hitting the oppo-nent in the legs or eet, thereby “cutting his eetout rom under him” or knocking him down (butagain, the Trow Basis doesn’t do any damage to atarget by itsel).

In the description o a Maneuver, a Trowis indicated by the use o the word “Falls,” as in“arget Falls.”

TIME +

Some Ranged Martial Maneuvers take anextra Phase to perorm, simulating the character’sneed to careully aim the attack. Tis Restric-tive Element subtracts -1 point rom the cost othe Maneuver. In a Maneuver’s description thisElement is indicated by the words “+1 Segment.”

V/10

Te Maneuver gets a damage bonus basedon the velocity o the target (not on the relative velocity o the attacker and his target, like thehand-to-hand v/10 Element, or the velocity o themissile used to make the attack). “V” indicates thetarget’s velocity. In most cases, Ranged MartialManeuvers built with this Element do only v/10damage, not v/10 plus the weapon’s damage or thecharacter’s SR, since the effect is one o trippingsomebody, not o knocking them down. Charac-ters may take v/10 once, at a cost o +2 points.




POWER ADVANTAGES FOR

MARTIAL MANEUVERS

S ome characters may want to apply PowerAdvantages to Martial Maneuvers toachieve certain effects or create certainpowers. Tis section contains rules or

doing so. Tese rules are strictly optional ; the GMdoesn’t have to allow them in his campaign.

CAVEAT

wo warnings are appropriate beore the readerexplores this section ully.First, adding an Advantage to a Martial

Maneuver is a way o giving a character a special,ofen unique, ability. It should not becomecommon in the campaign or characters to buy“Martial Advantages.”

Furthermore, and this is an absolute restric-tion, characters must purchase each martial Advantage separately — a character cannot buy a+¼ Armor Piercing Advantage or his base SRand apply it to all o his Martial Maneuvers. TatAdvantage affects the character’s basic Strike Combat Maneuver, but not his Martial Maneu-

vers. He should purchase the AP effect or eachManeuver individually. Since characters can’t putnaked Power Advantages in Power Frameworkswithout GM’s permission (see 6E1 314), this getsexpensive.

Second, GMs should not allow characters touse the point figures in the accompanying tables toadd effects to their SR or other abilities. A char-acter cannot gain the ability to Trow someonewith every punch simply by paying 25 points. Hemust buy a GM-approved Martial Arts packagewith an appropriate Maneuver to gain that ability.

Point Value Of Baseso calculate the cost o an Advantage on a

Martial Maneuver, first you must determine theCharacter Point value o the Basis or Bases inthe Maneuver. With some Bases (such as Strikeor Exert), this is relatively easy; with others (likeBlock, Dodge, or Trow), it’s a little more difficult.Te solution is to assign standard “Active Point values” to such Bases. Te accompanying table setsout the value o the various Bases; GMs may adjustthese values as appropriate or their campaigns.

Te minimum point value o a Maneuverinvolving the application o SR (such as Bind

or Disarm) is the character’s base SR. In other

words, a SR 10 character can’t build a +5 SRBind Maneuver and then use a point value o 5(SR 10 + 5 - 10) to add an Advantage to it; hisSR 10 is the minimum point value.

Te rationale or these values is relativelystraightorward. Maneuvers which add SR or acertain purpose have that amount o SR, modi-fied by an appropriate “Limitation” reflecting the

limited nature o the Maneuver’s purpose, plusthe character’s own SR as their base value. Techaracter’s own SR gets no “Limitation” value orthis purpose, since it’s not Limited in any way.

Grab Weapon is about the same as Disarm,but Disarm is less disadvantageous than Bind(because in a Bind, the target maintains controlover his weapon); hence the values or their pointsubtractions. Te values or Dodge and Blockderive rom the cost o the OCV and DCV Char-acteristics (the +3 DCV a basic Dodge CombatManeuver provides), and Trow is consideredroughly equivalent to them. Strike is based on thecost o an equivalent Blast, Flash on the cost o an

equivalent Flash.I a Maneuver has multiple Bases, add their

point values together to get the overall value o theManeuver beore applying Advantages.

POINT VALUE OF BASESBasis Point Value

Bind Maneuver’s total STR -10

Block 5 points per +1 OCV and +1 DCV

Disarm Maneuver’s total STR -5

Dodge 5 points per +1 DCVExert Maneuver’s total STR -5

Flash Same as equivalent Flash Attack

GrabOpponent

Maneuver’s total STR -5

Grab Weapon Maneuver’s total STR -5

Strike Same as an equal number of DC ofBlast

Throw 25

2




MARTIAL ARTS MANEUVERELEMENTS VALUE

Element Value

Abort +10

DCV + +5 points per +1 DCV

DCV - -5 points per -1 DCV

Disable +5

Fall -5

FMove +20

Follow -10

Half-Move Required -5

Lasting Restriction -5

K-Damage See below

N-Damage +0

NND DMG See below

OCV + +5 points per +1 OCV

OCV - -5 points per -1 OCV

One Limb -5

Prone -5

Requires Both Hands -0

Requires Object/

Condition

-10

Response -15

STR + Same as STR added toManeuver, with appropriatesubtraction (see above)

STR - Same as STR in Maneuver (if

STR is halved); STR is not usedto calculate

Active Point value if it is notpart of a Maneuver at all.

Take Full Damage -10

Take Half Damage -5

Time + -5

Unbalancing -5

v/10 +10

V/6 +20

Flash Maneuvers, Killing-Damage attacks, and NND

DMG attacks are handled slightly differently than otherManeuvers. Calculate the cost of the Maneuver asequivalent to the cost of a Flash of the appropriateSense Group, an HKA (plus damage added by thecharacter’s STR), or an NND Blast, respectively. See

below for some examples.

For weapons-based Maneuvers, treat them as Strikes:

figure up the total DCs of the attack (weapon damageplus damage added from STR), then convert it to theequivalent number of DCs of Blast to derive the cost.

Modifier Value OfOther Elements

Te other elements used to build MartialManeuvers are simulated as either additions orsubtractions to the total “Active Point value” o theBases in the Maneuver. Te accompanying tablelists the modifier values or them.

Extra Damage ClassesExtra Damage Classes or a Maneuver either

add to the damage or increase the SR usable witha Maneuver, and should be figured in accordingto how they increase the Bases used with theManeuver.

Endurance And Martial Advantages

Although Martial Maneuvers themselves cost

no END, naked Advantages applied to them docost END, at the standard rate. I the characterwants the Advantage to cost no END, he must buythe Reduced Endurance (0 END; +½) Advantageor the naked Advantage.

ExamplesWith the inormation in these two charts,

calculating the cost o adding an Advantage toa Martial Maneuver becomes a relatively simplematter. Determine the cost o the Maneuverwithout the Advantage, then with the Advantage,and subtract the first number rom the second to

give you the point value o the Advantage itsel.Here are several examples; you can find others

in the martial arts abilities in Chapter Tree.

Example: Kickmaster wants to add the Advan-tage Armor Piercing to his Offensive Strike,which does 12d6 damage (4d6 rom his 20 SR plus 4d6). Tis Offensive Strike has a simulatedcost o 55 points: a base o 60 points or his 12DC Strike attack, -10 or the -2 OCV, and +5 orthe +1 DCV. A 55-point Armor Piercing (+¼) power costs (55 x 1.25 = 69; 69-55 =) 14 points,so that’s what the Advantage costs him. He uses 1END every time he uses this ability. o make the

Advantage cost 0 END would increase the cost to(14 x 1.5) = 21 points.

Example: Snake wants to make his Killing Strikean Autofire Double Knockback attack (Snake is alittle disturbed). He has SR 15. He has +2 ExtraDCs or his Killing Strike, making it an HKA1d6+1, worth 20 points. Tus, the total pointvalue o the Maneuver is 25 points (15 SR, plus20 points or HKA 1d6+1, -10 or the decreasein OCV). 25 points multiplied by +1 worth o Advantages becomes 50 points; 50 - 25 = 25 points cost. It costs Snake 2 END or every punchhe throws with this Advantage (that’s 2 END per Autofire “shot,” not 2 END total).

DETERMINING

MANEUVER’S

POINT VALUE

STEPS

1) Calculate value of

Base or Bases.

2) Calculate addition

points from other

Elements.

a) Add any points

from Helpful Eleme

and from Extra DCs

b) Subtract any

points for Restric-

tive Elements.

3) Take the final

total from Steps

1-2 and apply

the Advantage(s) you

wish to add.

4) Subtract the Step

2 total from the Step 3

total. This is the cost

of the Advantage, from

which you determine

how much END it cos




Example: Snake also wants to make his NerveStrike Indirect (+½) so his opponents can’t Blockit. He has a base 2d6 NND(1) attack, and withhis +2 Extra DCs, it becomes a 3d6 NND(1)attack. A 3d6 Nerve Strike is the equivalent o aBlast 3d6 NND, which costs 30 points; +1 DCVadds 5 points, -1 OCV subtracts 5 points, or a final cost o 30 points or the Maneuver. Since theSR - Restrictive Element means no SR adds tothis Maneuver, Snake’s base SR doesn’t figureinto this point value. o make a 30-point powerIndirect costs 15 points (30 x 1.5 = 45, 45 - 30 =15). Tis special ability costs Snake 1 END everytime he uses it.

Example: Henri Pétion, a encer, wants to add arigger Advantage (+¼) to his Martial Disarm soit “goes off” the first time someone tries to Blockhis sword in a duel. He’s SR 10, and the bonuses rom the Maneuver and his Extra DCs add +40SR to this, or a total SR o 50. He applies the-5 subtraction or added Disarm SR and derivesa base value o 45 points; the OCV/DCV modifiers cancel each other out, or a final cost o 45 points. 45 x 1.25 = 56 points, 56 - 45 = 11 points,which is what this special ability costs Henri.

Chapter Four addresses the effects o addingthe various Advantages to Martial Maneuvers. Asalways, the GM has final say-so on what Advan-tages characters can and cannot add to MartialManeuvers in his campaign, and their effects.

2




ALTERNATE

MARTIAL ARTST

he Martial Arts Skill isn’t the only wayor a HERO System character to simulatea high degree o proficiency at hand-to-hand fighting. Remember, the special

effect matters most in the HERO System, not howyou define an ability in game terms. Here aretwo ways to buy “hand-to-hand fighting skill” or“martial arts” without buying Martial Maneuvers.

THE COMBAT SKILLLEVEL MARTIAL ARTS

Te basic HERO System Combat Maneuvers,which every character knows or ree, cover the vast majority o hand-to-hand combat attacksand deenses that a character’s likely to need inmost campaigns. Most Martial Maneuvers are just “improved” versions o those Maneuvers.(Tere are a ew exceptions — there’s no CombatManeuver equivalent or a Nerve Strike or Escape,nor a Martial Arts enhancement o MultipleAttack or Pulling A Punch, or example.)

Tat being the case, one way to buy martialarts is to ignore the Martial Arts Skill and just buyCombat Skill Levels with various Combat Maneu- vers. A 3-point CSL would apply to any threeCombat Maneuvers; and a 5-point CSL wouldapply to all HH Combat Maneuvers. (However, ia character has ew or no other ways to fight HH,the GM might require him to buy 8-point AllHH Combat CSLs rather than 5-point Levels.)Since CSL can be used to improve a character’sOCV, DCV, and/or damage with a CombatManeuver, i a character has enough o them he

can in effect simulate most Martial Maneuvers.For example, suppose a character buys eight3-point CSLs with Dodge, Grab, and Strike anddefines that as his “martial arts.” Tat’s enough tomake him a pretty effective HH Combat fighter.When using his Strike, he could have +8 OCV, or+8 DCV, or +4 OCV and +4 DCV, or any othercombination adding up to +8. He could also usesome or all o the CSLs to increase his damage,at the rate o 2 CSLs per +1 DC; i he put themall into damage, he’d have +0 OCV, +0 DCV, and+4d6 Normal Damage. I he allots the CSLs as +2OCV, +2 DCV, and +2d6 damage, he’s effectivelyre-created Martial Strike with +2 OCV to boot!

When he uses Dodge, he’d have +11 DCV— enough o a bonus to make most Superheroic-level attackers blanch. When using Grab, he couldgreatly improve his OCV and DCV, but couldn’tincrease his SR or improve the damage he doeswith Squeezing, Slamming, or Trowing the target(see the text box on 6E2 62).

Now imagine he buys 8-point CSLs with All

HH Combat. Tat costs him a lot more — 64Character Points — but gives him a lot morecombat flexibility. Now he can increase thedamage he does to a Grabbed target, or counteracta lot o the penalties he suffers when making aHH Multiple Attack, or improve his OCV andDCV with rip, just to name a ew. He can’t usethem to increase his SR with Combat Maneuverslike Disarm and Grab, but he could buy an abilityto do that (see below).

O course, i the campaign imposes a pointor effectiveness ceiling on characters’ damage,CVs, or the like (see 6E2 282), a CSL martial artstill cannot exceed that ceiling. For example, i

the campaign limits characters to OCV 13, thenan OCV 6 character cannot use eight CSLs toimprove his OCV — at most he could use seven.Additionally, a character cannot buy a batch oCombat Skill Levels, define them as a martial artsstyle, and then take a Style Distinctive Feature orthem. Characters can only take Style or stylesbuilt with Martial Maneuvers.

“Force is not the way at all,

Deny the way of life and

you are dead. ”





POWERS ASMARTIAL ARTS

Another possibility is to avoid Skills altogetherand create martial arts abilities using Powers.Tis is airly simple and straightorward, andthus may appeal to players who preer not to juggle the various Martial Maneuver modifiers in

mid-combat.o take the place o Normal Damage Martial

Maneuvers, characters can buy Hand-o-HandAttack. Applying an Advantage or two can makethe attack more effective, or even simulate variousmystical martial arts abilities (see Chapter Treeor many examples). A Variable Advantage (+½Advantages; +1) or the HA makes or a very effi-cient “set” o attacks all by itsel.

o take the place o Killing Damage and NNDMartial Maneuvers, characters can buy HKA anda Blast, NND, No Range (or buy NND as a nakedAdvantage or SR).

o take the place o Exert-based Martial

Maneuvers such as Martial Disarm and MartialGrab, a character buys extra SR with a Limita-tion restricting what it can be used or. I he canonly use the SR or a single type o Exert (suchas Only o Hold Grabbed arget or Only oDisarm), the Limitation’s typically worth -1. I hecan use it or two or three types o Exert (such asOnly o Disarm, Escape, And Grab), it’s worth -¾.I he can use it or our or more types o Exert, it’sworth -½ (you can write this as Only For Exerts).

o take the place o the Disable Element, buyHA dice with the -1 Limitation Only o DisableLimbs, which makes the whole attack unction like

a Disable as described on page 251.o take the place o the FMove Element, acharacter should buy Combat Running (page 133)or an ability like it.

o take the place o the v/6 and v/10 Elements,a character should buy HA bonus dice equal to theamount they’d get based on the maximum amounto velocity they can use, then apply with Limita-tion Velocity Damage Only (-½ or v/10, -¼ or v/6). Tese dice add to the attack only when thecharacter has velocity, and only at the rate dictatedby the Limitation.

o take the place o Elements that simulatethe abilities provided by Standard or Optional

Combat Maneuvers (such as Choke, Shove, Trow,and rip), characters can buy Combat Skill Levelsthat apply to those attacks, or HA dice that onlywork with them (which o course means taking aLimitation on the HA).

o take the place o OCV and DCV bonuses,a character buys Combat Skill Levels and assignthem appropriately.

o simulate the various Restrictive Elements,use Limitations. See the accompanying text boxor suggested Limitations and values.

For many other examples o ways to buymartial arts-like abilities in the HERO System, seeChapter Tree. For example a character can buyDesolidification to represent an “irresistible blocktechnique,” Knockback Resistance to simulate hisathletic skill at avoiding Knockback, and so on.alents like Deadly Blow and Weaponmaster couldalso help to simulate martial arts abilities.

ypically when a character buys his “martialarts” this way, he buys all the abilities (or at leastall o the attacks) in a Multipower (or possiblya VPP) to minimize cost. Clever players mayfind other ways to save a ew points here andthere, such as the HA, Variable Advantage abilitymentioned above. Naked Advantages are anotherclever way to simulate many abilities; or example,a naked rigger Advantage on a character’s SRcould simulate a counterpunch.

RESTRICTIVE ELEMENTS AS LIMITATIONS

Element Limitation

DCV - Side Effect (-½)

Fall Side Effect (-½)

Follow Can Only Be Used AfterSuccessful [Other Maneuver]

(-½)

Half Move Required Half Move Required (-¼)

Lasting Restriction Side Effect (-½)

OCV - Side Effect (-½)

One Limb Can Only Grab One Limb (typi-cally -0, possibly -¼)

Prone Only Works On Prone Targets

(-½)

Requires BothHands

Typically Requires Both Hands(-0), but possibly -¼

Requires Object/

Condition

A Limited Power Limitation

(value depends on scarcity ofobject or frequency of condition)

Response Can Only Be Used After

Successful [Other Maneuver] ByOpponent (-1)

STR - No STR Bonus (-½) (or Half STRBonus (-¼))

Take Full DMG Side Effect (-½)

Take Half DMG Side Effect (-½)

Time + Extra Time (Extra Segment; -½)

Unbalancing Side Effect (-½)

2



CHAPTER THRE

THE SECRETS OF THE MASTERS

MARTIAL ARTS ABILITIE



112 n The Secrets Of The Masters: Martial Arts Abilities Hero System 6th Edition

MARTIAL ARTS

ABILITIESM

artial Arts Abilities are the vast arrayo skills, techniques, powers, and otherabilities martial artists (o all varieties)might have. You can build plenty o

great martial artists using just the standard HEROSystem Skills, Perks, and alents, but sometimesyou want something that’s a little different, moreeffective in certain situations, or reflective o the

special effects o a character’s fighting arts. Tat’swhere this chapter comes in — you can either buythe examples here as-is, or use them as inspirationto design your own.

Te abilities in this chapter are organized intosix categories: Realistic; Cinematic; Wuxia; VideoGame; Anime; and Ninja. Te first five mirror thegenres discussed in Chapter Seven, and gener-ally speaking each one includes all the abilitiesrom the category that precedes it. For example,in a Wuxia Martial Arts campaign a characterisn’t just restricted to the Wuxia abilities; he’s alsoree to buy the Realistic and Cinematic ones ihe wants to. But he can’t buy the Video Game or

Anime abilities; those aren’t appropriate to histype o campaign. Te final category is a thematicone — abilities attributable to the legendary ninjao Japan. For the most part you can rank themas Realistic, Cinematic, or Wuxia abilities orcampaigning purposes, though some might vergebeyond that.

Tis chapter describes each power with a stan-dard template. Te inormation provided appliesonly to the standard power; the options may havedifferent areas o effect, ranges, END costs, and soorth.

Name indicates the name o the power. Youcan, o course, rename it to suit your own char-

acter i you preer.Effect lists the basic game effect o the power

in simple terms: Energy Blast 8d6, Explosive;Desolidification; elekinesis (30 SR). Tis tellsyou quickly what a power can do so you don’t haveto delve into the ull game write-up.

arget describes who or what the poweraffects. An Attack Power usually indicates “Onecharacter” or the area covered due to the Area OEffect Advantage. (O course, sometimes even a“one character” power can be Spread, or used withMultiple Attack to affect more than one target; apower’s shorthand description doesn’t override therules.) “Sel” indicates the power only works onthe character using it (though it may still “affect”other characters; or example, other characters can

perceive the effects o Shape Shif, even though it’sa “Sel” power.)

Duration lists the power’s duration, typicallyInstant, Constant, Persistent, or Inherent (see 6E1127-28). “Uncontrolled” indicates the power hasthat Advantage; Continuing Charges are also listedhere.

Range lists the range or the power. Ranged

powers usually have a range in inches (ActivePoints x 10m in most cases), but may have “LOS”(Line O Sight) range. “No Range” indicates thatthe power has No Range; “Sel” that the poweronly affects the character using it; “ouch” that thepower involves having to touch another character(which usually requires an Attack Roll).

END Cost lists the power’s Endurance cost.Skill Roll Penalty indicates the penalty when

a Skill’s required to use the ability. ypically thismeans the Martial Arts ricks orm o the Power Skill, but in some cases the appropriate Skill maybe Acrobatics, Breakall, a DEX Roll, or somethingelse. A Skill Roll’s only required when the ability

has the Requires A Roll Limitation, but there maybe times when when the GM permits a characterto use a power as an impromptu “martial artstrick” based on a Skill Roll. As usual, a charactershouldn’t use a Skill to perorm one o these abili-ties repeatedly; i he wants to use a martial artsstunt requently, he should pay Character Pointsor it. “N/A” indicates that characters can’t activatethat ability with a Skill roll — it’s not a “trick” or a“stunt,” but rather an innate power a martial artistmight possess.

Description provides a (usually brie) textualdescription o the power. Tis section notes anyspecial rules or rules applications relevant to the

power.Game Inormation is a ull write-up o the

power in game terms, including Active Point andReal Point costs. (I only one point total is listed,that means the Active and Real Point costs are thesame.)

Lastly, many powers have Options listed belowthe game inormation. Tese describe variousstandard ways to alter the power to create aslightly different ability. Optional powers ofenhave their own names related to the standardpower’s name. For example, under the power Feintyou can find an optional power called Weapon-Based Feint which is nothing more than adding anOIF (-½) Limitation to the basic power.

3



Hero System Martial Arts n Chapter Three 11

REALISTIC MARTIAL

ARTS ABILITIESR

ealistic Martial Arts Powers are the abili-ties and skills an aspiring martial artistcan attempt to learn and perect in the“real world.”

OFFENSIVE ABILITIES

BBATTLEFIELD PUNCHEffect: Autofire (5 shots) for up

to Martial Strike 10d6

Target: One character

Duration: Instant

Range: Self

END Cost: 2 per punch

Skill Roll Penalty: -2

Description: Te character has the ability topunch (or kick, or use some other sort o strike)with such blinding speed that he can hit his

target up to five times in the space o a second. hemust define which Martial Maneuver this abilityworks with when he buys it, and cannot change itthereafer (though he can buy it multiple times ormultiple maneuvers). Since this is a realistic power,GMs may rule that the more damage a MartialManeuver does, the ewer shots the character canattempt with it.

Game Information: Autofire (5 shots; +½) orup to Martial Strike 10d6 (25 Active Points); AllAttacks Must Be Against Te Same arget (-0),Requires A Martial Arts ricks Roll (-½). otalcost: 17 points.

Options:1) Stronger Battlefield Punch: Increase to Auto-fire (8 shots; +1). otal cost: 33 points.

2) Weaker Battlefield Punch: Decrease to Auto-fire (3 shots; +¼). otal cost: 8 points.

3) Master Of The Battlefield Punch: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 25 points.

4) Weapon-Based Strike: Add OIF (specific typeo weapon o opportunity; -½). otal cost: 12points.

BDEMONSTRATION OF SKILLEffect: +10 PRE, Only For Appropriate

Presence Attacks (see text)

Target: Self

Duration: Instant

Range: Self

END Cost: 1


Description: Te character flourishes his fists andeet, or his weapon, in such a way as to impressonlookers with his speed, power, precision, andaccuracy. Tis gives him a bonus to his PRE tomake an immediate Presence Attack o an appro-priate nature, such as to convince an enemy tosurrender or make a group o opponents flee.

Game Information: +10 PRE (10 Active Points);Costs Endurance (-½), Extra ime (Full Phase;-½), Instant (-½), Only For Appropriate PresenceAttacks (see text; -½), Requires A DEX Roll (-½).

otal cost: 3 points.Options:

1) Stronger Demonstration: Increase +15 PRE.15 Active Points; total cost 4 points.

2) Even Stronger Demonstration: Increase to +20PRE. 20 Active Points; total cost 6 points.

3) Weaker Demonstration: Decrease to +5 PRE. 5Active Points; total cost 1 point.

4) Master Of Demonstration: Remove RequiresA DEX Roll (-½). otal cost: 3 points.

BFALSE DISENGAGEEffect: +1 OCV, Requires ASleight Of Hand Roll

Target: Self

Duration: Instant

Range: Self

END Cost: 0


Description: Some weapon-masters are skilled atperorming alse “disengages” in battle. Basicallythey eign a slight withdrawal to trick their oppo-nent into reacting improperly, then rapidly shif

into an attack that takes advantage o the momen-tary vulnerability.

“Don't ev

make

trouble here,

I'll beat you

each time. Car

mind the

step. ”

- Ah Keung,

Rumble in

the Bronx




In HERO System terms, perorming a FalseDisengage requires a Sleight O Hand roll. Tisrequires a Hal Phase Action, but is not an AttackAction. I the roll ails, nothing happens. I theroll succeeds, the character receives a +1 OCVto attack that oe with that weapon in that Phaseor his next Phase. (At the GM’s option, i the rollsucceeds by hal or more, the character gets +2OCV).

At the GM’s option, other fighters (either anywarrior, or only those who also have this ability)can make a PER Roll in a Skill Versus Skill Contestagainst the character’s Sleight O Hand to deter-mine what he’s doing and avoid the trap (and thusdeny the character his +1 OCV i they win theContest).

For an alternate way o simulating this sort oability, see the optional Feint Skill in Chapter Four,and page 244.

Game Information: +1 OCV (5 Active Points);Extra ime (takes a Hal Phase to use; -¼),Nonpersistent (see text; -¼), Only Applies oHH Combat With Weapons (-½), Requires ASleight O Hand Roll (-½). otal cost: 2 points.

Options:

1) Stronger False Disengage: Add +2 to SleightO Hand rolls (4 Active Points); Only o PerormFalse Disengages (-2). otal cost: 1 point.

BFEINTEffect: Drain DCV 3d6


Duration: Instant

Range: No Range

END Cost: 3Skill Roll Penalty: -3

Description: Tis “attack” is actually a ake,designed to set the target up or a real attack in theattacker’s next Phase. I the attacker is unable toattack the target in his next Phase or any reason,the Drain ceases to affect the target. (For a similarway to achieve this sort o effect, see the optionalFeint Skill in Chapter Four, and page 244.)

Game Information: Drain DCV 3d6 (30 ActivePoints); DCV Reduction Only Works For Attacker(-1), Instant (only lasts through attacker’s next

Phase, see text; -½), No Range (-½), Requires AMartial Arts ricks Roll (-½). otal cost: 8 points.

Options:

1) Stronger Feint: Increase to Drain DCV 4d6.40 Active Points; total cost 11 points.

2) Even Stronger Feint: Increase to Drain DCV5d6. 50 Active Points; total cost 14 points.

3) Weaker Feint: Decrease to Drain DCV 2d6. 20Active Points; total cost 6 points.

4) Master Of The Feint: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 10

points.

5) Weapon-Based Feint: Add OIF (specifictype o weapon o opportunity; -½). otal cost: 7points.

6) Images-Based Feint: Instead o simulating aeint with Drain DCV, you can do so with Images.For every 2 ull points the opponent ails hisPER Roll by, he suffers a -1 DCV penalty. (Whenmaking the target’s PER Roll, the GM should notlet the player know the effect o the attempted

Feint until afer he (the player) makes his realattack.) Change to: Sight Group Images, -2 to PERRolls, rigger (when character wants to use it,activating rigger takes no time, resetting riggeris a Hal Phase Action; +½) (24 Active Points);No Range (-½), DCV Reduction Only Works ForCharacter (-1), DCV Reduction Only Lasts ForOne Phase (-½), Only For Martial Arts Feints (-1),Side Effects (i target makes PER Roll, attackersuffers -1 OCV on real attack; -¼). otal cost: 6points.

BFIGHTING SKILLEffect: +1 Extra Damage Class

Target: Self

Duration: Persistent

Range: Self

END Cost: 0

Skill Roll Penalty: N/A

Description: Te character knows how to hitwith particular skill and power, making his blowsdo extra damage (and his other attacks, such asGrabs, also more effective).

Gamemasters should monitor the use oDamage Classes careully in a Realistic Martial

Arts campaign. Buying too many will push acharacter’s damage capabilities into the realm oCinematic Martial Arts. Usually no more than 2-3Extra DCs is the maximum, especially or high-SR characters.

Game Information: +1 Extra Damage Class. otalcost: 4 points.

Options:

1) Stronger Fighting Skill: Increase to +2 ExtraDamage Classes. otal cost: 8 points.

BGENSHINEffect: Lightning Reflexes (+4 DEX),

Requires A PER Roll

Target: Self

Duration: Instant (see text)

Range: Self

END Cost: 0


Description: Genshin is the martial artist’slegendary ability to anticipate an attack a split-second beore it occurs and to launch a lightning-ast attack o his own to beat his enemy to thepunch (literally!).

“Amilitary

operation

volves

eception. “

- Sun Tzu,

The Art of

War

3




In HERO System terms, this ability onlyapplies when a character with Genshin is fightinganother character, they both have a Phase in thesame Segment, and they both intend to attackeach other. I those conditions exist, at the verybeginning o the Segment the character withGenshin gets to make a PER Roll (this is an Actionthat takes no time; i the character has DangerSense he can redefine the ability to use that Senseinstead i he preers). I the PER Roll succeeds,the character gets the benefits o Genshin or thatone Phase against that one person only. ypicallythat’s enough extra DEX to allow him to act first(though it’s no guarantee).

Game Information: Lightning Reflexes: +4 DEXto act first with all Actions (4 Active Points);Instant (only applies against that one target orthat Phase, see text; -½), Requires A PER Roll(-½). otal cost: 2 points.

Options:

1) Stronger Genshin: Increase +6 DEX. 6 ActivePoints; total cost 3 points.

2) Even Stronger Genshin: Increase to +8 DEX. 8Active Points; total cost 4 points.

3) Weaker Genshin: Decrease to +2 DEX. 2Active Points; total cost 1 point.

4) Master Of Genshin: Remove Requires A PERRoll (-½). otal cost: 3 points.

BI TRAINED WITH BRUCE LEEEffect: +20 PRE, Only For Fear-/

Intimidation-Based Pres-ence Attacks, Requires APositive Reputation Roll

Target: SelfDuration: Instant

Range: Self

END Cost: 0


Description: Te character’s so well-known in theMartial World or his fighting skill that just real-izing who he is can intimidate other fighters. Oneo the classic orms o this ability is realizing thatthe character trained with some legendary masteror ellow warrior, or that he studied at a school ortemple whose existence is but whispered rumor to

most martial artists.o use this ability, the character must indi-cate to the GM that he wants to make a ear- orintimidation-based Presence Attack againstanother martial artist. Te GM then makes aPositive Reputation roll or the target to see ihe knows who the character is. (Obviously thisability requires the character to have a PositiveReputation that members o the Martial Worldknow about that tells the target something aboutthe character’s training or fighting skill.) I the rollsucceeds, the character gets a PRE bonus or theAttack; i it ails his poor, ignorant opponent is justgoing to have to learn first-hand why everyone

else ears the character.

Game Information: +20 PRE (20 Active Points);Only For Fear-/Intimidation-Based PresenceAttacks (-1), Requires A Positive Reputation Roll(see text; -½). otal cost: 8 points.

BI’VE TAKEN YOUR MEASUREEffect: Aid DEX, OCV, and DCV 2d6,

Requires An Analyze Style Roll

Target: Self

Duration: Instant

Range: Self

END Cost: 2


Description: Te martial artist is so skilled atevaluating how others fight that he gains combatbenefits rom doing so. I he succeeds with anAnalyze Style roll against another martial artist(this requires a Hal Phase Action), he’s figuredout the patterns and weaknesses in his opponent’sstyle and can exploit them to strike that opponentmore quickly and accurately, and dodge his attacks

more easily.Beore the martial artist can use this ability, he

must observe the fighter he wants to evaluate or atleast one Full Phase (or must fight against him orthat amount o time). I he wants to make urtherrolls to keep using the Aid, each roll requires thesame Full Phase o additional observation/combat.Te Aid only applies against the single oppo-nent observed/ought, not against all opponentsgenerally.

I the character ails an Analyze Style roll,or something interrupts his concentration (orexample, someone else attacks or distracts him),he can make no urther rolls against the target

opponent during that fight. (Te exact length o a“fight” varies, but it’s long enough or all hostili-ties to cease and or the character’s Aid bonus towear completely off. Until both conditions aremet, consider the “fight” to remain in effect.)Tis means once he misses a roll, or somethinginterrupts his observation, or he simply stopsmaking his roll or any reason, he’s gotten all thebenefit rom his power he can get. Gradually, hisAid wears off; this corresponds to his opponentfiguring out how to compensate or the weak spotsin his own fighting style.

You can use this ability as a guideline to build

other Aid-based martial arts powers that RequireA Skill Roll (besides Analyze Style, Sense Ch’i,Acrobatics, Breakall, a DEX Roll, or a Power:Martial Arts ricks roll may all be appropriate,depending on the nature o the ability in ques-tion). ypically such abilities shouldn’t have morethan Aid 4d6 effect (and usually 1-2d6 is better,especially in Realistic/Cinematic campaigns).Besides the Limitations on the example power,other appropriate ones include Concentration (½DCV; -¼). Delayed Return Rate (no more than5 Minutes) is appropriate or Cinematic or morepowerul campaigns.

“You must

not be

influenced by

opponent. ”

- Miyamoto

Musashi,

Go Rin No S

(“A Book o

Five Rings




BONE-INCH PUNCHEffect: HA +4d6, Double Knockback


Duration: Instant

Range: Touch

END Cost: 3


Description: Tis technique was made amous bythe late Bruce Lee. He could place his fingertipson the target’s chest, then without retracting hisarm back at all rapidly curl his hand into a fistand punch the target. Tis would send the targetstumbling backward (Lee ofen demonstrated thetechnique with a chair or pool behind the target sohe’d all saely into it), and many targets claimedto eel intense pain aferward. Bob Baker, who wasthe target when Lee first demonstrated the One-Inch Punch at the 1964 Long Beach InternationalKarate Championships, reported that he had tostay home rom work the next day due to intensechest pains, and advised Lee not to demonstrate

the technique again.Tis ability presumes a 20 SR character,

resulting in an 8d6 attack. With an average o 8BODY in damage and a 7 on the Knockback dice,the One-Inch Punch should Knock the target Back1 meter or so (which is about right or Bruce Lee’sdemonstrations).

Game Information: HA +4d6, Double Knock-back (+½) (30 Active Points); Extra ime (FullPhase; -½), Hand-o-Hand Attack (-¼), RequiresA Martial Arts ricks Roll (-½). otal cost: 13points.

Options:

1) Master Of The One-Inch Punch: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 17 points.

BRIPOSTE STRIKEEffect: Trigger (following successful

Block) for up to a 10d6 Strike


Duration: Instant

Range: Touch

END Cost: 5


Description: Some martial artists have developedthe ability to strike a target with a rapid punch orkick afer blocking one o his attacks. Te classicexample is blocking an attacker’s overhand swingwith a weapon and then kicking him in the chest,but there are many other ways to execute the tech-nique. Te character must define which MartialManeuver this ability works with when he buysit, and cannot change it thereafer (though he canbuy it multiple times or multiple maneuvers).

See Weapon Riposte, below, or a similar abilityor armed combatants.

Game Information: rigger (afer charactersuccessully Blocks an attack, activating riggertakes no time, rigger immediately automaticallyresets; +1) or one defined Strike-based MartialManeuver o up to 10d6 (50 Active Points);Requires A Martial Arts ricks Roll (-½). otalcost: 33 points.

Options:

1) Master Of The Riposte: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 50points.

BSTANCESEffect: Various

Target: Self

Duration: Varies

Range: Self

END Cost: 0


Description: Stances and ootwork play an impor-

tant role in many martial arts styles. A martialartist who adopts the proper stance can reactmore quickly, strike more accurately, or fight moreeffectively.

Cat Stance is a short stance in which one ootis drawn up on its ball close to the other oot sothe character’s ready to attack quickly. Crab Stance is a high stance in which the martial artist standswith his knees turned inwards and his fists on hiships. Crane Stance is a high stance in which themartial artist draws one knee up (so that he standson one leg) and keeps his hands in ront o his aceand upper chest. Horse Stance is a low, solid stancein which the martial artist spreads his legs andsquats down (so that he appears to be riding animaginary horse). Phoenix Stance is a low stancein which the martial artist bends his rear leg andsquats down on it while extending the other leg inront o him. Snake Stance is a low stance in whichthe martial artist squats sideways with his legsunderneath him. In iger Stance, the martial artistleans orward and keeps his hands up in a clawshape, ready to take advantage o a momentarylapse in an opponent’s deense.

At the GM’s option, characters may not need topay or Stances at all — they may be a basic parto the campaign rules, like Combat Maneuvers.

I the GM preers to take this route, he shouldcome up with an appropriate list o Stances or thecharacters to use. Each Phase during a combat,characters declare what Stance they’re using; theymay change or “shif” Stances in the same manneras Combat Skill Levels.

"Asword b

itself ru

nothing. It on

comes alive in

skilled hands

- Sir Te (Sihun

Lung),

Crouching

Tiger, Hidd

Dragon




Game Information:

Cost Power

3 Stances: Multipower, 3-point reserve

1f 1) Cat Stance: Lightning Reflexes: +2 DEX toact first with all Actions; Costs Endurance (-½)

1f 2) Crab Stance: +1 OCV with Punch and

similar maneuvers (some Killing Strikes, NerveStrikes, and so forth); Costs Endurance (-½)

1f 3) Crane Stance: +1 OCV with Block; CostsEndurance (-½), Requires A DEX Roll (-½)

1f 4) Horse Stance: Knockback Resistance -2m;

Costs Endurance (-½)

1f 5) Phoenix Stance: +1 OCV with Block andLegsweep; Costs Endurance (-½)

1f 6) Snake Stance: +1 OCV with Block and

Dodge; Costs Endurance (-½), Requires A DEXRoll (-½)

1f 7) Tiger Stance: +1 OCV with a Crush or KillingStrike maneuver (depending upon the style);

Costs Endurance (-½)

Total cost: 10 points.

BWAY OF THE WARRIOREffect: Combat Skill Levels

with HTH Combat

Target: Self


Range: Self

END Cost: 0


Description: Many people can learn martial arts,but the mark o a true martial artist is the ability to

fight with skill — to ollow the way o the warrior.With the GM’s permission, a character can buythese Combat Skill Levels as 5-point CSLs with asingle Martial Arts style to save points (or even3-point CSLs with three specific Maneuvers). Anysuch Levels can be “upgraded” to HH CSLs bypaying the additional cost later in the campaign.Alternately or in addition, a character can reducethe cost o this ability by applying the LimitationRequires An Analyze Style Roll (-½).

Game Information: +2 with HH Combat. otalcost: 16 points.

Options:

1) Stronger Way Of The Warrior: Increase to +4with HH Combat. otal cost: 32 points.

2) Weaker Way Of The Warrior: Decrease to +1with HH Combat. otal cost: 8 points.

3) Way Of The Ranged Warrior: Replace HHCombat CSLs with Ranged Combat CSLs.

BWEAPON RIPOSTEEffect: Trigger for up to HKA

4d6 or HA +12d6


Duration: Instant

Range: No Range

END Cost: 4


Description: Te character is so skilled atweapons combat that whenever someone strikeshim, or he Blocks an attack, he can instantly strike

back, inflicting his weapon’s damage (includingbonus damage rom SR).See Riposte Strike, above, or a similar ability

or unarmed combatants.

Game Information:

Cost Power22 Riposte: Multipower, 45 Active Points; all slots

OIF (-½), Requires A Martial Arts Tricks Roll(-½)

2f 1) Edged Weapons: Trigger (when character ishit by or Blocks an enemy’s attack and wants

to strike back, activating Trigger takes no time,resetting Trigger is a Zero Phase Action; +¾)for up to HKA 4d6; OIF (weapon of opportu-nity; -½), Requires A Martial Arts Tricks Roll

(-½)

2f 2) Blunt Weapons: the same ability, but for upto HA +12d6


Options:

1) Master Of The Weapon Riposte: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 36 points.

“This is a truth: when you sacrifice your life, you

must make fullest use of your weaponry. It

is false not to do so, and to die with a weapon yet

undrawn. ”

- Miyamoto Musashi,

Go Rin No Sho (“A Book of Five Rings”)

3




DEFENSIVE ABILITIES

BBATTLEFIELD AGILITY Effect: +4 DCV, Only If Character

Makes A Half Move

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: Te character moves around somuch in combat that it’s hard to draw a beadon him. I he makes at least a Hal Move duringhis Phase, he gains a +4 DCV bonus (thougho course this doesn’t come into effect until heactually moves, so he may be out o luck againstcharacters whose Phases occur in that Segmentbut beore his does).

Game Information: +4 DCV (20 Active Points);

Costs Endurance (-½), Only I Character Makes AHal Move Or Full Move (-1). otal cost: 8 points.

Options:

1) Stronger Battlefield Agility: Increase to +5DCV. 25 Active Points; total cost 10 points.

2) Weaker Battlefield Agility: Decrease to +3DCV. 15 Active Points; total cost 6 points.

BDUCKING AND WEAVINGEffect: +4 DCV, Requires An

Acrobatics Roll

Target: SelfDuration: Constant

Range: Self

END Cost: 2


Description: Te character’s martial arts traininggives him the alertness, agility, and speed to avoidattacks that would otherwise hit him.

Game Information: +4 DCV (20 Active Points);Costs Endurance (-½), Requires An AcrobaticsRoll (-½). otal cost: 10 points.

Options:1) Stronger Ducking And Weaving: Increase to+6 DCV. 30 Active Points; total cost 15 points.

2) Weaker Ducking And Weaving: Decrease to +2DCV. 10 Active Points; total cost 5 points.

BENDURINGEffect: Resistance (3 points)

Target: Self


Range: Self

END Cost: 0


Description: Long hours o practice, whichinclude exposing himsel to blows, agonizingorms o exercise, and back-breaking labor, havegiven the character the ability to withstand tortureand similar orms o severe pain.

Game Information: Resistance (3 points). otalcost: 3 points.

Options:

1) Stronger Enduring: Increase to Resistance (5points). otal cost: 5 points.

2) Weaker Enduring: Decrease to Resistance (2points). otal cost: 2 points.

BONE AGAINST MANY Effect: Defense Maneuver

Target: Self


Range: Self

END Cost: 0


Description: Te character’s training has taughthim how to fight against multiple opponentswithout leaving himsel vulnerable to any o them.

Game Information: Deense Maneuver I. otalcost: 3 points.

Options:

1) Stronger One Against Many: Increase toDeense Maneuver II. otal cost: 5 points.

2) Even Stronger One Against Many: Increase toDeense Maneuver III. otal cost: 8 points.

3) Master Of One Against Many: Increase toDeense Maneuver IV. otal cost: 10 points.

BUNBLINKING DEFENSEEffect: +1 DCV

Target: Self


Range: Self

END Cost: 0


Description: Many practitioners o styles likeArnis and Escrima try to blink as little as possible,since an attacker can land a blow in the space o ablink.

Game Information: +1 DCV. otal cost: 5 points.

“Five

secrets

Japanese Goj

Ryu. Move quic

Sound, calm m

Be light in bod

Have a clever

mind. Master t

basics. ”

- Gogen Yamag




Options:

1) Weaker Unblinking Defense: Te charactertries to anticipate attacks and respond instantlywith a Block. Change to +1 OCV with Block. otalcost: 2 points.

B YADOMEJUTSUEffect: +4 OCV with Block, Only Works

Against Non-GunpowderProjectiles Weapons

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Yadomejutsu is the Japanese samu-rai’s art o arrow-cutting — o chopping arrowsout o the air and deflecting other missiles withthe katana. Other martial artists can use this skillas well, substituting any number o weapons orthe samurai’s sword. ruly skilled martial arts candeflect such attacks with their bare hands.

Game Information: +4 OCV with Block (8 ActivePoints); OIF (weapon or appropriate object oopportunity; -½), Costs Endurance (-½), OnlyWorks Against Non-Gunpowder Projectiles (-½),Requires A Martial Arts ricks Roll (-½). otalcost: 3 points.

Options:

1) Stronger Yadomejutsu: Increase to +6 OCV.12 Active Points; total cost 4 points.

2) Weaker Yadomejutsu: Decrease to +2 OCV. 4Active Points; total cost 1 point.

3) Master Of Yadomejutsu: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 3 points.

4) Barehanded Blocking: Remove OIF (weapono opportunity; -½). otal cost 3 points.

MOVEMENT ABILITIES BBATTLEFIELD MOBILITY

Effect: Running +4m

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Due to his martial training, the char-acter can run aster than most other people.

Game Information: Running +4m. otal cost: 4points.

Options:

1) Stronger Battlefield Mobility: Increase toRunning +6m. otal cost: 6 points.

2) Weaker Battlefield Mobility: Decrease toRunning +2m. otal cost: 2 points.

3




BIMPROVED LEAPINGEffect: Leaping +4m

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Te character’s martial training hasgiven him strong leg muscles allowing him to leapurther than normal.

Game Information: Leaping +4m (2 ActivePoints); Requires An Acrobatics Roll (-½). otalcost: 1 point.

Options:

1) Stronger Leaping: Increase to Leaping +6m. 3Active Points; total cost 2 points.

2) Weaker Leaping: Decrease to Leaping +2m. 1Active Point; total cost 1 point.

MISCELLANEOUS ABILITIES

BIAIJUTSUEffect: Fast Draw (Common Melee

Weapons) (DEX Roll)

Target: Self


Range: Self

END Cost: 0


Description: Te character can get his sword outo its sheath ar quicker than an untrained personcan. See page 199 or more inormation.

Game Information: Fast Draw (Common MeleeWeapons) (DEX Roll). otal cost: 3 points.

Options:

1) Stronger Iaijutsu: Increase to Fast Draw (DEXRoll +1). otal cost: 5 points.

2) Even Stronger Iaijutsu: Increase to Fast Draw

(DEX Roll +2). otal cost: 7 points.3) Novice Iaijutsu: Replace with Fast Draw 8-.otal cost: 1 point.

BKIP-UPEffect: Breakfall (DEX Roll)

Target: Self


Range: Self

END Cost: 0


Description: Te character has superb balanceand skill at getting to his eet in an instant. (Seepage 199 or more inormation.)

Game Information: Breakall (DEX Roll). otalcost: 3 points.

Options:

1) Stronger Kip-up: Increase to Breakall (DEXRoll +1). otal cost: 5 points.

2) Even Stronger Kip-up: Increase to Breakall(DEX Roll +2). otal cost: 7 points.

3) Novice Kip-Up: Replace with Breakall 8-.

otal cost: 1 point.

BWARRIOR’S RENOWNEffect: Positive Reputation (in

the Martial World)

Target: Self


Range: Self

END Cost: 0


Description: Te character has a major reputa-tion in the Martial World or his fighting prowess.

Possible explanations or this include that hetrained with a legendary master or at a specialschool, that he possesses a secret technique that noone else knows, or simply that he’s made his markas an incredibly skilled martial artist.

Game Information: Positive Reputation (skilledfighter [see text], known among the MartialWorld) 14-, +2/+2d6. otal cost: 4 points.

Options:

1) Greater Renown: Increase to +3/+3d6. otalcost: 6 points.

2) Even Greater Renown: Increase to +4/+4d6.otal cost: 8 points.

BWARRIOR’S SPIRITEffect: Power: Martial Arts Tricks

Target: Self


Range: Self

END Cost: 0


Description: Many o a martial artist’s abili-ties depend on skillul execution o a fighting

technique, and Martial Arts ricks is the Skillinvolved.

Ifyou ne

assume

importance

You never los

- Lao Tzu,

Tao Te Chin




Game Information: Power: Martial Arts ricks(DEX Roll). otal cost: 3 points.

Options:

1) Stronger Warrior’s Spirit: Increase to MartialArts ricks (DEX Roll +1). otal cost: 5 points.

2) Even Stronger Warrior’s Spirit: Increase toMartial Arts ricks (DEX Roll +2). otal cost: 7points.

3) Novice Warrior: Replace with Power: MartialArts ricks 8-. otal cost: 1 point.

BWISDOM OF THE WARRIOREffect: Analyze Style

Target: Self


Range: Self

END Cost: 0


Description: Te martial artist who’s aware othe nature o combat, and how to exploit others’approach to fighting, will triumph over one who isnot. Analyze Style is the Skill that represents thatability; see page 198 or inormation on this Skill.

Game Information: Analyze Style (IN Roll).otal cost: 3 points.

Options:

1) Greater Wisdom Of The Warrior: Increase toAnalyze Style (IN Roll +1). otal cost: 7 points.

2) Even Greater Wisdom Of The Warrior: Increase to Analyze Style (IN Roll +2). otalcost: 7 points.

3) Novice Warrior: Replace with Analyze Style 8-.otal cost: 1 point.

BWU SHU TRAININGEffect: Acrobatics (DEX Roll)

Target: Self


Range: Self

END Cost: 0


Description: Te character is a supremely skilledacrobat, able to tumble, flip, jump, and otherwisemove with grace.

Game Information: Acrobatics (DEX Roll). otalcost: 3 points.

Options:

1) Stronger Wu Shu Training: Increase to Acro-batics (DEX Roll +1). otal cost: 5 points.

2) Even Stronger Wu Shu Training: Increase toAcrobatics (DEX Roll +2). otal cost: 7 points.

3) Novice Wu Shu Training: Replace with Acro-batics 8-. otal cost: 1 point.

3




CINEMATIC MARTIAL

ARTS ABILITIES

C inematic martial arts abilities representthe various techniques and powers onesees in Hollywood action films, older(pre-Bruce Lee) Hong Kong cinema, and

most Japanese samurai films. Cinematic characterscan do anything a realistic character can (and canbuy any Realistic martial arts abilities they want),but tend to ignore real-world physics to some

degree in avor o exciting action sequences.

OFFENSIVE ABILITIES

B ARRAY Effect: Aid OCV and DCV 4d6, Must Be

Within 10m Of Designated Partner

Target: Self

Duration: Instant

Range: Self

END Cost: 4


Description: An array is a fighting style wheretwo or more fighters have trained together solong and so well that the whole is greater than thesum o its parts. (Tis other person is the “Desig-nated Partner” reerred to in the Limitation; thecharacter must define who the Designated Partneris when he buys the power, and can’t change himthereafer unless he reduces the Limitation to addmore people.) When they fight together and delib-erately take advantage o their training (i.e., devotean Attack Action to activating this Aid), the part-ners in the Array are much more ormidable than

when fighting alone or fighting alongside someonewho’s not their partner.

I characters in an Array become separated incombat beyond the 10m range, they cannot usetheir Aid bonus at that moment... but it doesn’twear off instantly. I the characters get back withinrange o one another beore the Aid wears off, theAid bonus is instantly restored (though it mayhave partly aded in the interim, o course). Simi-larly, both characters must be fighting in the samecombat (though not necessarily against the same

target). I either o them stops fighting or is unableto fight or any reason (including being Entangledor Grabbed or more than 1 Segment), the Aidbonus doesn’t apply until they’re both able to fightonce more.

Although this power doesn’t necessarilyinvolve either character beginning to glow or thelike (though it could), it’s still as Obvious as any

other Adjustment Power. Opponents fighting thecharacter and his Designated Partner realize thatthey fight better together, and thus may be able tofigure out how to deny them the benefit o theirArray.

I you like the Array concept, you can usethis ability as a guideline or building similarmartial arts powers, such as an Aid DEX. ypi-cally an Array Aid should be restricted to 6d6effect maximum, though characters can applyDelayed Return Rate (to no more than 5 Minutes)i desired.

Game Information: Aid OCV and DCV 4d6,Expanded Effect (two Characteristics simultane-ously; +½) (36 Active Points); Only Aid Sel (-1),Must Be Within 10m O Designated Partner(1 partner only; -1), Both Characters Must BeFighting (see text; -½). otal cost: 10 points.

Options:

1) Strong Array: Increase to Aid OCV and DCV6d6. 54 Active Points; total cost 15 points.

2) Weak Array: Decrease to Aid OCV and DCV2d6. 18 Active Points; total cost 5 points.

3) Larger Group Of Partners: Tis orm o Arrayworks as long as at least one member rom a group

o designated partners o up to eight is present.Change Limitation to -½. otal costs are 12, 18,and 6 points, respectively.

4) All Partners At Once: Tis orm o Array onlyworks i all members o a group o designatedpartners (no more than eight) are present andall within 10m o one another. Increase Limita-tion to -1½. otal costs are 8, 13, and 4 points,respectively.

"One thou

he was

invincible... th

other though

he could fly. T

were both

wrong. "

- John

Hatcher,

Marked fo

Death




BBLADE FLAREEffect: Sight Group Flash 6d6,

Requires Sufficiently Strong Available Light Source


Duration: Instant

Range: 20m

END Cost: 0

Skill Roll Penalty: 4

Description: Te edge o a weapon isn’t theonly part that can be dangerous to a oe. Aclever warrior knows how to reflect light off theshiny blade into an enemy’s eyes to blind himtemporarily.

Game Information: Sight Group Flash 6d6,Reduced Endurance (0 END; +½) (45 ActivePoints); OIF (appropriate bladed weapon oopportunity; -½), Limited Range (20m; -¼),Requires Sufficiently Strong Available Light Source(-¼). otal cost: 22 points.

Options:1) Strong Blade Flare: Increase to Sight GroupFlash 8d6. 80 Active Points; total cost 30 points.

2) Weak Blade Flare: Decrease to Sight GroupFlash 4d6. 30 Active Points; total cost 15 points.

3) Chiburi: Instead o defining this ability asrequiring a light source, a character can changeit to chiburi, the iaijutsu master’s ability to flickblood off his sword into the eyes o an opponent.When blood’s unavailable, he may be able to flickdirt and dust off the ground into his enemy’s eyesinstead. Just change Requires Sufficiently Strong

Available Light Source (-¼) to Requires Blood OnBlade Or Flickable Dirt (-¼); the cost remains thesame.

BBLOCKING STRIKEEffect: Reflection (HTH, 60

Active Points’ worth)


Duration: Instant

Range: No Range

END Cost: 4

Skill Roll Penalty: 4

Description: Te character blocks an attack bystriking his attacker hard enough to disrupt theattack, or somehow redirects the attack so thatit harms the attacker rather than himsel! (Tisability uses the optional rules or HH Reflectionrom 6E1 273, so it requires the GM’s permission.)

Game Information: Reflection (HH, 60 ActivePoints’ worth) (40 Active Points); Requires AMartial Arts ricks Roll (-½). otal cost: 27points.

Options:

1) More Powerful Blocking Strike: Increase toReflection (HH, 90 Active Points’ worth). 60Active Points; total cost 40 points.

2) Weaker Blocking Strike: Decrease to Reflec-tion (HH, 45 Active Points’ worth). 30 ActivePoints; total cost 20 points.

BCHARGING SLASHEffect: HKA 2d6, Area Of Effect (Trail)

Target: Trail

Duration: Instant

Range: No Range

END Cost: 6


Description: Te martial artist knows how tocharge through his enemies, cutting them downall around him with sweeps o his weapon.

Game Information: HKA 2d6 (plus SR), Area O

Effect (rail; +1) (60 Active Points); OIF (weapono opportunity; -½), No SR Bonus (-½), RequiresA Martial Arts ricks Roll (-½). otal cost: 24points.

Options:

1) Master Of The Charging Slash: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 30 points.

BCOUNTERPUNCHEffect: HA +4d6, Damage Shield, Not

When Grabbed/Grabbing


Duration: Constant

Range: Touch

END Cost: 2


Description: Te character is so skilled and swifthat anyone who punches, kicks, or otherwisehits him usually gets hit in return. Tanks to hishighly-trained reflexes he can lash out and hit hisattacker without interrupting whatever else he’sdoing.

Game Information: HA +4d6, Area O Effect

(personal Surace — Damage Shield; +¼),Constant (+½), Reduced Endurance (½ END; +¼)(40 Active Points); Hand-o-Hand Attack (-¼),Not When Grabbed/Grabbing (-¼), Requires AnAttack Roll (-½). otal cost: 20 points.

Options:

1) Strong Counterpunch: Increase to HA +6d6.60 Active Points; total cost 30 points.

2) Weak Counterpunch: Decrease to HA +2d6.20 Active Points; total cost 10 points.

“You shoot

to kill,

ou better hit

he heart. Your

wn words,

amone... Aim

or the heart,

r you'll never

top me. ”

- Joe (Clint

Eastwood)

confronts

Ramon Rojo in

A Fistful of

Dollars

3




BDRUNKEN BOXINGEffect: Aid STR, CON, PD, STUN 3d6

Target: Self

Duration: Instant

Range: Self

END Cost: 0


Description: Afer drinking a sufficient quantityo alcohol, the character exhibits an increasedlevel o strength (due to no longer “holding back”)and an almost superhuman resistance to harmand injury. Te amount the character needs todrink to get the desired effect depends on whathe’s drinking. For example, rice wine may requirean entire jug, while a hard liquor such as whiskeymany only need a single bottle.

Game Information: Aid SR, CON, PD, SUN3d6, Delayed Return Rate (points return at therate o 5 per Minute; +1), Expanded Effect (ourCharacteristics simultaneously; +1½), Reduced

Endurance (0 END; +½) (72 Active Points); OIF(alcohol o opportunity; -½), Extra ime (FullPhase; -½), Gestures (must drink; -¼), Only AidSel (-1). otal cost: 22 points.

Options:

1) Stronger Drunken Boxing: Increase to Aid4d6. 96 Active Points; total cost 29 points.

2) Weaker Drunken Boxing: Decrease to Aid2d6. 48 Active Points; total cost: 15 points.

BFIRE POWDER PACKETSEffect: RKA 1d6


Duration: Instant

Range: 10m

END Cost: 6 Charges


Description: Te character uses his skill withhurled weapons to flick packets o exploding firepowder at his oes. Te technique is ofen used bymartial artists who also practice Chinese alchemyand aoist sorcery.

Game Information: RKA 1d6 (15 Active Points);

OAF (-1), 6 Charges (-¾), Limited Range (10m;-¼). otal cost: 5 points.

Options:

1) Stronger Powder Packets: Increase to RKA1½d6. 25 Active Points; total cost 8 points.

2) Weaker Powder Packets: Decrease to RKA½d6. 10 Active Points; total cost 3 points.

3) Fiery Liquor Breath: Te character actuallyspits fire afer drinking a sufficiently flammablesubstance, such as strong liquor. Replace withRKA 1d6, Area O Effect (1m Radius Accurate;+½) (22 Active Points); OIF (liquor o opportunity

and an appropriate source o flame; -½), LimitedRange (4m; -¼). otal cost: 12 points.

BFISTS OF AGONY Effect: +2 Increased STUN Multiplier

(+½) for up to Killing Strike 4d6


Duration: Instant

Range: Touch

END Cost: 3


Description: Tis strike allows a character to hitwith such deadly orce that the victim eels excru-ciating pain. Te character must define whichMartial Maneuver this ability works with when hebuys it, and cannot change it thereafer (though hecan buy it multiple times or multiple maneuvers).

Game Information: +2 Increased SUN Multi-plier (+½) or up to Killing Strike 4d6 (30 ActivePoints); Requires A Martial Arts ricks Roll (-½).otal cost: 20 points.

Options:

1) Master Of Fists Of Agony: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 30points.

BFIVE WAYS CUTTINGEffect: Area Of Effect (2m Radius) for

up to HKA 4d6 or HA +12d6


Duration: Instant

Range: No Range

END Cost: 2


Description: A character with this ability is earedthroughout the land, or he has the skill to strikemany opponents at once. Enemies who surroundhim do so at their peril!

Game Information:

Cost Power9 Five Ways Cutting: Multipower, 19 Active Points;

all slots OIF (-½), Requires A Martial ArtsTricks Roll (-½)

1f 1) Edged Weapons: Area Of Effect (2m Radius;+¼) for up to HKA 4d6, Personal Immunity(+¼); OIF (weapon of opportunity; -½),

Requires A Martial Arts Tricks Roll (-½)1f 2) Blunt Weapons: the same ability, but for up

to HA +12d6


Options:

1) Master Of Five Ways Cutting: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 15 points.

"Drinking

gives

Herculean

strength!"

- Wong Fei-ho

Legend of

the DrunkMaster




BMASTER OF THE BLADEEffect: Weaponmaster (+3 DCs Killing

Damage with swords and daggers)

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Te character is so skilled withbladed weapons he is able to delivery devastatingcuts and slashes. While the ollowing examplesuse swords, characters can define their versiono Weaponmaster as working with any edgedweapon they so chose. For example o practi-tioner o Fencing or Kenjutsu would select blades,while a practitioner o Naginatajutsu would selectpolearms, and a Kung Fu master might selecthook swords or wind and fire wheels. (Dependingon the type o weapon(s) selected, the cost o thealent may change.) Characters can also definetheir Weaponmaster skill as working with Normal

Damage weapons (such as the bo, nunchaku,tona, and so on).

Game Information: Weaponmaster (+3 DCsKilling Damage with swords and daggers). otalcost: 20 points.

Options:

1) True Weaponmaster: Te character is excep-tionally deadly not only with swords and daggers,but with any edged weapon he can get his handson. Increase to Weaponmaster (+3 DCs KillingDamage with all HH Killing Damage weapons).otal cost: 24 points.

2) Lesser Weaponmaster: Te character isonly skilled with a single type o edged weapon.Decrease to Weaponmaster (+3 DCs KillingDamage with swords). otal cost: 12 points.

3) Ranged Weaponmaster: Te character definesthe alent as working with Ranged Killing Attacks.Examples include thrown daggers (12 points),thrown daggers, javelins, and spears (20 points),or any Ranged Killing Damage Weapon (24points).

BNECKSNAPPEREffect: HKA 2d6, NND, Does BODY, Must

Follow Grab, Must Target The Head


Duration: Instant

Range: Touch

END Cost: 7


Description: Te character’s been trained in howto quickly and cleanly kill a person by breakingthat person’s neck. o do this, he must first Grabthe victim, and in a later Phase target the Headwith this attack, taking the usual -8 OCV penalty

(but getting the standard damage bonuses i he

succeeds). Te attack won’t work on anyone whohas the proper neck protection, who’s in a positionthat won’t allow the character to twist his neckthe right way, and so orth. At the GM’s option,a victim who has 20 or more points o SR thanthe character, or who deeats the character in aSR Roll Versus SR Roll Contest by 4 or more, islikewise immune to the attack (at least or the timebeing... things may turn out differently in a laterencounter).

Game Information: HKA 2d6, NND (deense isrigid rPD on the neck, not having a neck, or anythingelse that prevents the neck/head rom being turnedand twisted the right way; +½), Does BODY (+1) (75Active Points); Activation Roll 13- (-¼), Must FollowGrab (-½), Must arget Te Head (-1), No SRBonus (-½), otal cost: 23 points.

Options:

1) Skilled Necksnapper: Te character’s trainingincludes the accuracy to make sure he can graspthe target’s head and neck properly. Character alsobuys argeting Skill Levels (+8 versus Hit LocationModifiers with Necksnapper). otal cost 8 points;overall cost o ability 31 points.

BNOXIOUS BREATHEffect: Blast 6d6, NND (defense

is Life Support [Self-Contained Breathing])


Duration: Instant

Range: No Range

END Cost: 7


Description: Te owner o this attack lives on aspecial diet. When he wishes to, he may summonup a huge breath o noxious, horrible stench whichoverpowers, sickens, or knocks out enemies. Tisattack comes as a great surprise; it’s very appro-priate or a weird lieutenant or master villain tounleash at a dramatic moment.

Game Information: Blast 6d6, Area O Effect(16m Cone; +½), NND (deense is Lie Support[Sel-Contained Breathing]; +1) (75 ActivePoints); Extra ime (Full Phase; -½), 4 Charges(-1), Costs Endurance (-½), Increased Endurance

Cost (x2 END; -½), No Range (-½). otal cost: 19points.

BOVERDRIVEEffect: +10 STR, Increased

Endurance Cost

Target: Self


Range: Self

END Cost: 5


Description: Te character can tap into his

inner ch’i reserves (or simply get really angry)

“There is

a time

and place

for use of

weapons. ”

- Miyamoto

Musashi,Go Rin

No Sho

(“A Book

of Five

Rings”)

3




and channel the resulting adrenalin rush to givehimsel an increased level o strength. Tis allowshim to hit harder, make his Grabs harder toescape, make it easier to break ree rom a Grab,and so on.

Game Information: +10 SR (10 Active Points);Increased Endurance Cost (x5 END; -2). otalcost: 3 points.

Options:1) Stronger Overdrive: Increase to +15 SR. 15Active Points; total cost 5 points.

2) Weaker Overdrive: Decrease to +5 SR. 5Active Points; total cost 2 points.

BSLEEPER HOLDEffect: last 4d6, NND, Damage

Shield, Only Works On TargetsWhose Heads Are Grabbed


Duration: Constant

Range: TouchEND Cost: 3


Description: Tis ability is an advanced ormo the Choke Hold Maneuver. I the practitionerGrabs a target’s Head, he can quickly render himunconscious. Only characters with rigid ResistantPD on the neck (such as a ull-head helmet or ametal collar) can withstand this attack; powerssuch as Flesh Like Oak and Iron Shirt offer nodeense.

Game Information: Blast 4d6, NND (deense

is rigid Resistant PD on neck; +0), Area OEffect (personal Surace — Damage Shield; +¼),Constant (+½) (35 Active Points); No Range(-½), Only Works On argets Whose Heads AreGrabbed (-½), Requires A Martial Arts ricks Roll(-½). otal cost: 14 points.

Options:

1) Strong Sleeper Hold: Increase to Blast 5d6. 44Active Points; total cost 18 points.

2) Weak Sleeper Hold: Decrease to Blast 3d6. 26Active Points; total cost 10 points.

3) Master Of The Sleeper Hold: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 17points.

BSHARPENED FINGERNAILSEffect: HKA 1d6, No STR Bonus,

Reduced Penetration


Duration: Instant

Range: Touch

END Cost: 0


Description: Te character has grown out hisfingernails and then cut and shaped them until

each is razor-sharp. By striking with his fingersslightly curled, the character can easily shredclothing and rend unprotected flesh.

Game Information: HKA 1d6, Reduced Endur-ance (0 END; +½) (22 Active Points); No SRBonus (-½), Reduced Penetration (-¼). otal cost:12 points.

Options:

1) Stronger Fingernails: Increase to HKA 1½d6.37 Active Points, total cost 21 points.

2) Weaker Fingernails: Decrease to HKA ½d6.15 Active Points, total cost 8 points.

BSPEED OF THESWORDSMAN

Effect: Rapid Attack (HTH)

Target: Self


Range: Self

END Cost: 0Skill Roll Penalty: N/A

Description: Te character can attack multipleopponents, or a single opponent multiple times,with great speed.

Game Information: Rapid Attack (HH) (10Active Points); HH Multiple Attacks Only (-1).otal cost: 5 points.

Options:

1) Speed Of The Archer: Te character’s abilityapplies to Ranged attacks instead. Change HH

Multiple Attacks Only (-1) to Ranged MultipleAttacks Only (-1); the cost remains the same.

2) Speed Of Sword And Arrow: Te character’sability applies with any attack. Remove HHMultiple Attacks Only (-1). otal cost: 10 points.

B THE SPIRIT OF BRUCELEE LIVES ON

Effect: +20 PRE, Only For Fear-/Intimi-dation-Based Presence Attacks

Target: Self

Duration: Instant

Range: SelfEND Cost: 0


Description: Tis technique capitalizes on BruceLee’s reputation as one o the greatest martialartists who ever lived (and the standard by whicheven modern characters are still judged by), aswell as his highly memorable on-screen persona asan actor. Using a sequence o pantomimed BruceLee-style gestures, tightly clenched fists (accompa-nied by the cracking o one’s knuckles), and acialexpressions the character inorms a oe — in nouncertain terms — that he’s no longer welcome inthe area. Brushing the tip o your nose with theedge o your thumb is optional.

“Aquick

temper

will make a f

of you soon

enough. ”

- Bruce Lee




Game Information: +20 PRE (20 Active Points);Costs Endurance (-½), Extra ime (Full Phase;-½), Gestures (-¼), Instant (-½), Only For Fear-/Intimidation-Based Presence Attacks (-1). otalcost: 5 points.

Options:

1) Imperfect Spirit Of Bruce Lee: Add RequiresAn Acting Roll (-½). otal cost: 5 points.

BSTORM OF STEELEffect: Autofire (5 shots) for up to

HKA 4d6 or HA +12d6

Target: One or more characters

Duration: Instant

Range: No Range

END Cost: 3


Description: Some martial artists are so swif anddeadly with a blade that they can hit an opponentmultiple times in the blink o an eye, or strike

several nearby opponents in the time it takes anordinary warrior to hit just one.

Game Information:

Cost Power15 Storm Of Steel: Multipower, 30 Active Points; all

slots OIF (-½), Requires A Martial Arts Tricks

Roll (-½)

1f 1) Edged Weapons: Autofire (5 shots) for up toHKA 4d6; OIF (weapon of opportunity; -½),Requires A Martial Arts Tricks Roll (-½)



Options:

1) Master Of Storm Of Steel: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 24points.

B TASTING THE BLOODEffect: HA +1d6, Time Limit (1 Turn)


Duration: Instant

Range: Touch

END Cost: 1Skill Roll Penalty: N/A

Description: Afer being injured in combat, thecharacter can draw strength rom that setback. Helightly touches the wound, then lightly touches theblood on his fingertips to his lips. Tus remindedo the danger he aces, he’s inspired to fight evenmore powerully! Tis ability is ofen used inconjunction with Te Spirit O Bruce Lee Lives On (see above).

Game Information: HA +1d6, ime Limit (lastsor 1 urn; +½) (7 Active Points); Hand-o-Hand

Attack (-¼), Extra ime (requires a Full Phase

to “activate”; -¼), Only Works Afer CharacterHas Suffered At Least 1 BODY Damage From AWound Tat Bleeds (-¼). otal cost: 4 points.

B THROWING MASTEREffect: Blast 6d6; RKA 2d6; Blast

5d6, Autofire (5 shots); RKA1½d6, Autofire (5 shots)


Duration: Instant

Range: RBS

END Cost: 0


Description: Te character is a highly-skilledthrown weapon expert — he can turn any smallobject into a missile weapon! Blunt objects (vases,figurines, telephones...) do Normal Damage; sharpor pointed objects (nails, piece o broken glass,ballpoint pens...) do Killing Damage. He canthrow multiple objects at a time i he has them tothrow. o use this ability, he needs a orm o the

Power Skill called Trowing Master .Game Information:

Cost Power14 Throwing Master: Multipower, 31-point reserve;

all OIF (appropriate objects of opportunity;-½), Range Based On STR (-¼), Requires A

Throwing Master Roll (-½)

1f 1) Blunt Objects: Blast 6d6; common Limita-tions (-1¼)

1f 2) Sharp Objects: RKA 2d6; common Limita-

tions (-1¼)

1f 3) Many Blunt Objects: Blast 5d6, Autofire (up

to 3 shots; +¼); common Limitations (-1¼)1f 4) Many Sharp Objects: RKA 1½d6, Autofire

(up to 3 shots; +¼); common Limitations(-1¼)


Options:

1) True Throwing Master: Remove Requires ATrowing Master Roll (-½). otal cost: 26 points.

B TOO FAST FOR THE CAMERA

Effect: Invisible Power Effects(Sight Group; +½) for upto Martial Strike 10d6


Duration: Instant

Range: Touch

END Cost: 2


Description: Swifness is one o the hallmarks oa true martial artist, and this ability is a perectexample o that. It allows a character to strike withsuch speed that the blow cannot even be seen! Te

character must define which Martial Maneuver

3




this ability works with when he buys it, and cannotchange it thereafer (though he can buy it multipletimes or multiple maneuvers). (See page 208 ormore inormation.)

Game Information: Invisible Power Effects(imperceivable by Sight Group; +½) or up toMartial Strike 10d6 (25 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 17points.

Options:

1) Master Of Too Fast For The Camera: RemoveRequires A Trowing Master Roll (-½). otal cost:25 points.

B VERSATILE WEAPONSEffect: HA +4d6, OIF (objects

of opportunity)


Duration: Instant

Range: No Range

END Cost: 2


Description: Te power allows a character tograb a commonly ound object, such as a bench,broom, chair, mop, ladder, or sawhorse, and useit as a weapon without hindrance. Te amount o

damage he can do with the object depends on itssize and composition (or example, a porcelain vase might only be +1d6, while a wooden benchwould be +4d6). See page 271 or more discussiono this topic.

Game Information: HA +4d6 (30 Active Points);OIF (objects o opportunity; -½), Hand-o-HandAttack (-¼), Damage Done Depends On ype OObject (see text; -0). otal cost: 11 points.

BWALL SPRINGEffect: +2 HTH, Requires

Vertical Structure

Target: Self

Duration: Instant

Range: Self

END Cost: 2


Description: Tis ability allows a character touse his acrobatic skills and a vertical structurein the location o a fight — a wall, column, tree,archway, or the like — to get the drop on hisopponent. Examples include a quick leap that letshim “bounce” off the structure to land behind hisopponent, or running toward a wall when his oechases him, then running a couple steps up thewall and back-flipping to land behind his pursuer.

“You

should

not have

a favorite

weapon. To

become over

familiar with

one weapon

as much a fa

as not know

it sufficient

well. ”

- Miyamoto

Musashi,

Go Rin No

Sho (“A

Book

of

Five

Rings”)




Game Information: +2 HH (16 Active Points);Costs Endurance (-½), Instant (lasts or just thatSegment; -½), Requires Vertical Structure (seetext; -¼), Requires An Acrobatics Roll (-½). otalcost: 6 points.

BWEAPON FLOURISHEffect: HKA 2d6 or HA +6d6,

Damage Shield

Target: One characterDuration: Constant

Range: No Range

END Cost: 6


Description: Te character knows how toconstantly keep his weapon in motion, flourishingit about himsel so that anyone who gets too closegets hit!

Te damage this Damage Shield can do islimited to what the weapon being used could do— or example, it can’t do more than HKA 1½d6

(plus SR) i the character’s wielding a katana.Tis writeup should cover most weapons, but inot the character should increase the damage (andthus the cost) until it’s sufficient or his preerredweapon(s).

At the GM’s option, a character could changethe Required Skill Roll to Requires A Successul Attack Roll (-½).

Game Information:

Cost Power22 Weapon Flourish: Multipower, 60 Active Points;

all slots OIF (any weapon of opportunity;-½), Cannot Do More Damage Than TheWeapon Being Used Would Normally Do (-¼),Power Stops Working Instantly If Character

Is Stunned Or Knocked Out (-¼), Not WhenGrabbed (-¼), Requires A Martial Arts TricksRoll (-½)

2f 1) Edged Weapons: HKA 2d6 (plus STR), Area

Of Effect (Personal Surface — DamageShield; +¼), Constant (+½), Reduced Endur-ance (½ END; +¼); common Limitations

(-1¾)



Options:

1) Master Of The Weapons Flourish: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 33 points.

DEFENSIVE ABILITIES

B ACTIVE DEFENSEEffect: Blast 6d6, Trigger (by Block)


Duration: Instant

Range: Touch

END Cost: 5


Description: Tis technique allows a characterto block attacks by striking his attacker in thearm or leg (depending on whether the character’sbeing punched, kicked, or what have you). It’s an“offensive block” that uses the power o the striketo simultaneously stop the attack and injure theattacker.

Game Information: Blast 6d6, rigger (whencharacter successully Blocks an attack and wantsto use this power, activating rigger takes no time,rigger requires a Zero Phase Action to reset; +¾)(52 Active Points); No Range (-½), Only VersusPerson Whose Attack Was Blocked (-¼), RequiresA Martial Arts ricks Roll (-½). otal cost: 23points.

Options:

1) Strong Active Defense: Increase to Blast 8d6.70 Active Points; total cost 31 points.

2) Weak Active Defense: Decrease to Blast 4d6.35 Active Points; total cost 16 points.

3) Easier Active Defense: Add Reduced Endur-

ance (½ END; +¼). 60 Active points; total cost 27points.

BCAN TAKE A FALLEffect: +4 to Breakfall, Only To

Avoid Knockback Damage

Target: Self


Range: Self

END Cost: 0


Description: Some martial arts blows are so

powerul that they can knock the target backmany eet and make him all down. A trainedcharacter can sometimes avoid getting hurt thisway, and a character with this ability has beenspecially trained to cope with this situation.

At the GM’s option, characters who buy thisability can use Breakall to avoid Knockbackdamage even i they’re Knocked Back into a wallor other object.

Game Information: +4 to Breakall (8 ActivePoints); Only o Avoid Knockback Damage (-2).otal cost: 3 points.

“Abattle is

governed

y extraordinary

cts. “

- Lao Tzu,

Tao Te Ching

3




BNIGHT’S BLESSINGEffect: Invisibility to Sight Group,

Only In Darkness/Shadow

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: Te character’s so stealthy, andmoves so graceully, that in darkness and shadowshe can effectively become invisible.

Game Information: Invisibility to Sight Group (20Active Points); Only In Darkness/Shadow (-½),Requires A Stealth Roll (-½). otal cost: 10 points.

B TOUGHENED BODY Effect: Damage Negation (-4

DCs Physical)

Target: Self


Range: Self

END Cost: 0


Description: Te martial artist has spent somuch time being punched, kicked, battered, andpounded on that he’s developed a high toleranceor physical pain.

Game Information: Damage Negation (-4 DCsPhysical) (20 Active Points); Character Must BeAware O Attack (-¼), Requires A CON Roll (-½).otal cost: 11 points.

Options:

1) Even Tougher: Increase to Damage Negation(-6 DCs Physical). 30 Active Points; total cost 17

points.2) Not Quite So Tough: Decrease to DamageNegation (-2 DCs Physical). 10 Active Points; totalcost 6 points.

3) Can Take The Heat: Add Damage Negation(-4 DCs Energy). 40 Active Points; total cost 23points.

B TOUGH IN A FIGHTEffect: Physical Damage Reduction, 50%,

Resistant, Requires A CON Roll

Target: Self

Duration: PersistentRange: Self

END Cost: 0


Description: Cinematic action heroes are notedor taking an almost inhuman amount o abuseand still managing to stay on their eet. Te char-acter is no exception.

Game Information: Physical Damage Reduc-tion, 50%, Resistant (30 Active Points); CharacterMust Be Aware O Attack (-¼), SUN Only (-½),Requires A CON Roll (-½). otal cost: 13 points.

Options:

1) Not Quite So Tough: Decrease to PhysicalDamage Reduction, 25%. 15 Active Points; totalcost 7 points.

2) Can Take The Heat: Add Energy DamageReduction, 50%, Resistant. 60 Active Points; totalcost 27 points.

3) A Little Less Heat: Add Energy DamageReduction, 25%, Resistant. 45 Active Points; totalcost 20 points.

3




4) Apparently He’s John McLane: RemoveSUN Only (-½). otal cost: 17, 8, 34. or 26points respectively.

BUNPREDICTABLE TACTICSEffect: Change Environment (-5

to Analyze Style rollsagainst character)

Target: Self


Range: Self

END Cost: 0


Description: Te character is so skilled a martialartist, and/or so generally unpredictable, that it’shard or others to figure out what he’s going to doin battle.

Characters can also “buy” this ability simplyby not taking the Style Distinctive Feature as aComplication.

Game Information: Change Environment (-5 toAnalyze Style rolls against character), ReducedEndurance (0 END; +½) (22 Active Points); NoRange (-½). otal cost: 15 points.

Options:

1) Stronger Unpredictable Tactics: Increase to-8 to Analyze Style roll. 36 Active Points; total cost24 points.

2) Weaker Unpredictable Tactics: Decrease to -3to Analyze Style roll. 13 Active Points; total cost 9points.

MOVEMENT ABILITIES BCOMBAT RUNNING

Effect: Running +18m, Only To MakeHalf Moves In Combat

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: A character with this ability isparticularly swif and skilled at moving in combat

conditions — he stays on the move requently,using his greater speed to tactical advantage.In game terms, this ability doubles a character’sRunning, but only or purposes o making HalMoves in combat. Te net effect is that the char-acter’s Hal Move in combat equals his Full Movein normal conditions, thus making it possible or

him to “run and gun” at a pace others can’t match.Te example is built or a character with Running18m, and the options list other possibilities, buteach character should adjust the power to matchhis own standard Running speed.

Characters may, with the GM’s permission, buythis ability or other Movement Powers, such asLeaping, Swimming, or Swinging.

Game Information: Running +18m (18 Active

Points); Only o Make Hal Moves In Combat(-1). otal cost: 9 points.

Options:

1) Faster Combat Running: Increase to Running+24m. 24 Active Points; total cost 12 points.

2) Slower Combat Running: Decrease toRunning +12m. 12 Active Points; total cost 6points.

BDISAPPEARING ACTEffect: Teleportation 18m, Only To

“Vanish” When No One Is Looking

Target: Self

Duration: Instant

Range: Self

END Cost: 2


Description: Some mysterious characters havethe ability to “vanish” when no one’s lookingat them. As long as no one can see them — orexample, when they’re in the midst o a cloud osmoke or flee around a corner to escape pursuers— they can eleport to any place they couldnormally reach with their standard MovementPowers (typically Running). (Te example powerassumes a character with Running 18m, but eachcharacter should adjust the power to match hisown standard Running speed, or the speed oanother requently-used Movement Power.) Tespecial effect is that the character moves so swifly,skillully, and silently that he can reach places anormal person never could in that short a time.

Disappearing Act requires a Stealth roll, so itmakes no noise. Depending on where the char-acter wants to move to, the GM may require otherSkill Rolls, possibly at a penalty to either or bothrolls (as in the locked door example below).

A character cannot use Disappearing Act toeleport urther than his normal movement rate(the base rate, without Pushing or Noncombatmultiples), nor can he eleport into areas he couldnot normally reach. For example, a character withLockpicking could “eleport” through a lockeddoor (i he made his Stealth and Lockpicking rollsat, say, -3), but a character who didn’t have Lock-picking could not. Characters using DisappearingAct cannot carry extra mass. Most importantly,they must pass through the intervening space

"No growt

without

assistance. No

action withou

reaction. No

desire withou

restraint. No

give yourself

and find your

again. "

- Li Mu Bai,

Crouching

Tiger, Hidd

Dragon




physically — in other words, they don’t literally“disappear” and “re-appear” the way superhumancharacters with eleportation do. Te eleporta-tion simply simulates how swifly and impercep-tibly they move.

Te GM should careully monitor the use othis power. Characters shouldn’t be allowed touse it any time they’re alone and want to bypass alocked door; that’s not what it’s or. DisappearingAct is designed to give characters the ability todisappear mysteriously and then re-appear ina place that no “normal” human being couldhave reached so quickly. It should heighten theroleplaying in the campaign as much as aid thecharacter. I the GM believes there’s absolutely noway a character can move rom Point A to Point Bwithout being seen, he shouldn’t let that characteruse Disappearing Act.

Game Information: eleportation 18m (18 ActivePoints); Can Only eleport o Places CharacterCould Normally Go (-½), Must Cross InterveningSpace (-¼), No Noncombat Multiple (-¼), Onlyo “Vanish” When No One Is Looking (-½),

Requires A Stealth Roll (-½). otal cost: 6 points.

Options:

1) Stronger Disappearing Act: Increase toeleportation 24m. 24 Active Points; total cost 8points.

2) Weaker Disappearing Act: Decrease toeleportation 12m. 12 Active Points; total cost 4points.

3) Master Of The Disappearing Act: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 7 points.

BHING KUNGEffect: Flight 8m, Invisible Power Effects,

Only In Contact With A Surface

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Hing kung is the ability to walkwithout leaving traces. Tis has the additionalbenefit o preventing the martial artist rom

triggering pressure sensors in the floor, makingnightingale floors squeak, and so on.

Game Information: Flight 8m, Invisible PowerEffects (doesn’t leave tracks, trip seismic alarms, orthe like; +¼) (10 Active Points); Only In ContactWith A Surace (-¼). otal cost: 8 points.

Options:

1) Swift Hing Kung: Increase to Flight 10m. 12

Active Points, total cost 10 points.

2) Slow Hing Kung: Decrease to Flight 6m. 7Active Points, total cost 6 points.

BWAY OF THE MONKEY Effect: Clinging (normal STR),

Cannot Resist Knockback

Target: Self

Duration: Instant

Range: Self

END Cost: 1


Description: Te character is so ast that or abrie second — up to one Full Move, in gameterms — he can literally seem to walk on wallsthanks to his agility and acrobatic prowess. Tis isan excellent way to escape pursuers (by runningup a wall to a ledge or roofop they can’t reach),to evade an opponent’s attacks, or to put a oe ata disadvantage in battle. (I appropriate, the GMmay grant the character a Surprise Move bonuswhen he uses Way O Te Monkey, particularlythe first time against an opponent who doesn’tknow he has this ability.) However, the character’sgot to be careul to end his move back on a levelsurace, or he alls at the beginning o the nextSegment (and he can’t use Breakall to land on hiseet in this case).

Game Information: Clinging (normal SR) (10Active Points); Cannot Resist Knockback (-¼),Costs Endurance (-½), Instant (-½), Requires AnAcrobatics Roll (-½). otal cost: 4 points.

“One may

move

so well a

footprint

never shows. ”

- Lao Tzu,

Tao TeChing

3




SENSORY ABILITIES

BBLINDFIGHTINGEffect: Targeting for Normal Hearing

Target: Self


Range: Self

END Cost: 0


Description: Te martial artist’s hearing is soacute he can use it to aim blows as well as he couldwith his sight.

Game Information: argeting or NormalHearing. otal cost: 10 points.

BDAIROKKANEffect: Danger Sense

Target: Self


Range: Self

END Cost: 0


Description: A ew martial artists possess aninnate “sixth sense” or danger in their vicinity —what the Japanese call dairokkan. Some describe

this as a special mystical awareness o theirsurroundings, while others consider it an intense,heightened “intuition.” Whatever the nature o theability, its orewarnings o peril are ofen enoughto save the martial artist’s lie.

Game Information: Danger Sense (out o combat,immediate vicinity, Sense) (PER Roll). otal cost:27 points.

BWARRIOR’S INSTINCTSEffect: Combat Sense

Target: Self


Range: Self

END Cost: 0


Description: Some extremely talented or expe-rienced martial artists have an innate “eel” orwhere an opponent is, even i they can’t see him.Tis makes it possible or them to fight effectivelyeven when blinded.

Game Information: Combat Sense (PER Roll).otal cost: 15 points.




WUXIA MARTIAL

ARTS ABILITIEST

hese powers represent the sort o abilitiespossessed by characters in Chinese wuxiafilms and novels. Many o them are basedon various mythical abilities attributed to

Kung Fu (and other Chinese martial arts) masters.Most Wuxia martial arts powers go ar beyondanything even remotely possible in the real worldand start to enter the realm o what’s called “super-

natural martial arts,” where the martial artist’spowers are almost magical in nature.

OFFENSIVE ABILITIES

B ANTING-ANTINGEffect: Aid STR plus Resis-

tant (+½) for 8 PD

Target: Self/Self

Duration: Instant/Persistent

Range: Self/Self

END Cost: 0/0Skill Roll Penalty: -2/N/A

Description: A orm o internal energy similar toch’i or prana that’s reerred to in Filipino martialarts, anting-anting allows the character both toincrease his strength and make himsel resistant toharm rom weapons.

Game Information: Aid SR 3d6 (18 ActivePoints); Extra ime (Full Phase; -½), Only AidSel (-1), Requires A Martial Arts ricks Roll (-½)(total cost 6 points) plus Resistant (+½) or 8 PD(4 Active Points); Does Not Work Against Fire-

arms (-½), Linked (-½) (total cost 2 points). otalcost: 8 points.

Options:

1) Stronger Anting-Anting: Increase to Aid SR4d6. 24 + 4 = 28 Active Points, total cost 8 + 2 = 10points.

2) Weaker Anting-Anting: Decrease to Aid SR2d6. 12 + 4 = 16 Active Points; total cost 4 + 2 = 6points.

3) Traditional Anting-Anting: Add Does NotWork On Tursdays (-¼) to both abilities. otalcost: 7 points.

B ARMOR-SHREDDINGSTRIKE

Effect: Dispel PD Resistant Protection 4d6


Duration: Instant

Range: No Range

END Cost: 2


Description: A clever — and useul — abilitylearned by skilled swordsmen, the Armor-Shred-ding strike allows a warrior to literally cut thearmor off a target by slicing through its straps,buckles, cords, and other astenings with utmostprecision. More extreme versions o this techniquedispense with cutting through straps and the likeand simply rip right through the armor directly!

Game Information: Dispel PD Resistant Protec-tion 4d6, Cumulative (+½), Increased CumulativePoints (96 points; +½) (24 Active Points); OIF

(bladed weapon o opportunity; -½), Extra ime(Full Phase; -½), No Range (-½), Only Works OnWorn Armor (-¼), Requires A Martial Arts ricksRoll (-½). otal cost: 7 points.

Options:

1) Stronger Armor Shredding Strike: Increase toDispel 6d6 and 144 Cumulative points. 36 ActivePoints; total cost 11 points.

2) Weaker Armor Shredding Strike: Decrease toDispel 2d6 and 48 Cumulative points. 12 ActivePoints; total cost 4 points.

3) Master Of The Armor Shredding Strike:

Remove Requires A Martial Arts ricks Roll (-½).otal cost: 9 points.

4) Armor Shattering Punch: Te character iscapable o hitting so hard he destroys whateverarmor his target’s wearing! Replace with DispelPD Resistant Protection 8d6 (24 Active Points),No Range (-½), Requires A Martial Arts ricksRoll (-½). otal cost: 12 points.

The Beast: What

is the name of

your technique?

Sing: Would you

like to learn?

I’ll teach

you.

- Sing schools

the Beast in

Kung Fu

Hustle

3




BBUDDHA PALMEffect: Blast 15d6

Target: 4m radius

Duration: Instant

Range: 750m

END Cost: 9


Description: A variation o Kongjin (see below),the Buddha Palm (or “Palm Blast”) techniqueallows the character to affect a small crowd ooes or even an entire building. o perorm theBuddha Palm the character makes a deceptivelysimple thrusting motion with his open hand. Teresulting invisible blast o ch’i energy will thencreate a roughly hand-shaped crater where ever itimpacts (be in a building, the ground, or a wall.)Martial artists sometimes call this ability “onefinger” or “well fist” rom the practice methods bywhich students supposedly learn it.

A very powerul ability, the Buddha Palm isreputed to be extremely difficult to master and

known only to a select ew. It has numerous variations. Characters could buy the ollowingpowers (all ound in this section) and renamethem “Buddha Palm” i they so desire: Ch’i Strike,Fa-Ch’ing, Kongjin, Power Fist, ShieldbreakingStrike, iger’s Fang Strike, and UnavoidableBlow. Adding Limitations such as Extra ime(Full Phase; -½) or Increased Endurance Cost isappropriate.

Game Information: Blast 15d6, Area O Effect(4m Radius; +¼) (94 Active Points); Extra ime(Full Phase; -½), Requires A Martial Arts ricksRoll (-½). otal Cost: 47 points.

Options:

1) Stronger Buddha Palm: Increase to Blast20d6. 125 Active points; total cost 62 points.

2) Weaker Buddha Palm: Decrease to Blast 10d6.

62 Active Points; total cost 31 points.3) Master Of The Buddha Palm: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 63 points.

4) Easier Buddha Palm: Change to Requires AMartial Arts ricks Roll (-1 per 20 Active Points;-¼). otal cost: 54 points.

BCATCH THIS!Effect: Blast up to 10d6, Requires

Objects Of Opportunity


Duration: Instant

Range: 20m

END Cost: 5


Description: Martial artists commonly hurl allsorts o objects at each other, including stones,small steel balls, clubs, and clay pots. Tey can alsokick, punch, or bat ordinary household objects(such as plates, bowls, wine jugs, or small buckets),wooden support posts, or bags o rice and flour at




a target, flip paving stones into the air with theireet and then kick them at a oe, and the like. Te“missile” hits with great orce, although sometimesthe object itsel isn’t harmed by the impact.

When a character uses this power, the dice oBlast he rolls cannot exceed the total PD + BODYo the object (but with a minimum o 4d6 regard-less o how ragile the object is, unless the GMrules otherwise). I a character attempts to useall or part o a heavy object (a length o supportpole or stone pillar, or example) as his “missile,”the GM should compare the character’s DamageClasses in Catch Tis! to the total PD + BODY othe object the character wants to hurl. I the diceo damage equal or exceed the PD + BODY, thecharacter can use the object; otherwise he can’t.For example, during a fight a character decides tosend a length o support timber flying through theair at his enemy. Assuming the support pole is PD5, BODY 5, he can use it as his missile, since 12(his DCs with Catch Tis!) is equal to or greater to10. However, he only does 10d6 damage with it.

I the character only uses a piece o an object

or Catch Tis! , the GM determines the size o thepiece. Te character cannot use this aspect o thepower to deliberately cause damage to objects andbuildings as a sort o “ree attack,” but the GMshould, i appropriate, take the consequences othe character’s action into account. For example,using one o a building’s support poles as aweapon may cause the building to collapse; i thecharacter uses a stone lion’s head as a missile, thelion’s irate owner may demand compensation.

Game Information: Blast up to 10d6 (50 ActivePoints); OIF (any appropriate object o oppor-tunity, see text; -½), Limited Range (20m; -¼),

Requires A Martial Arts ricks Roll (-½). otalcost: 22 points.

Options:

1) Stronger Catch This!: Increase to Blast 12d6.60 Active Points; total cost 27 points.

2) Weaker Catch This!: Decrease to Blast 8d6. 40Active Points; total cost 18 points.

3) Master Of Catch This!: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 28points.

4) Spray Of Missiles: Te character is able toquickly kick a series o small objects at his target.

Suggested objects include a small stack o buckets,a rack o wine jugs, or an area o loose pavingstones. Add Autofire (5 shots; +½). 75 ActivePoints; total cost 33 points.

BCH’I STRIKEEffect: Indirect (+½) for up to

Martial Strike 10d6


Duration: Instant

Range: No Range

END Cost: 1


Description: When bought or a HH Combatattack at the +½ level (Source is always thecharacter, but the Path can change with each use),Indirect means the character can punch so defly,so accurately, and with such speed and powerthat his punch (or kick, or use some other sort ostrike) cannot be Blocked. (Tough some char-acters have the Ch’i Block ability that countersCh’i Strike; see below.) Te character must definewhich Martial Maneuver this ability works withwhen he buys it, and cannot change it thereafer(though he can buy it multiple times or multiplemaneuvers).

Game Information: Indirect (see text; +½) or upto Martial Strike 10d6 (25 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 17points.

Options:

1) Stronger Ch’i Strike: Increase to Indirect (x2;+1). 50 Active Points; total cost 33 points.

2) Master Of The Ch’i Strike: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 12 points.

3) Brick-Breaking Strike: When bought or aHH Combat attack at the +¼ level (Source isalways the character, but the Path is through the

struck materials), Indirect allows a martial artist tosimulate the showoff technique o stacking bricks,striking the top one, and leaving it unharmedwhile destroying one o the bricks beneath. It hassome possible combat uses as well (or example,when a villain is on the other side o a wall,our hero could hit the wall and transmit all thedamage o his blow to the target, without the wallitsel acting as armor against the attack). Buy thisas: Indirect (see text; +¼) or up to Martial Strike10d6 (12 Active Points); arget Must Be ouchingBarrier (-1), Attack Must Be Made TroughBarrier (-½), Requires A Martial Arts ricks Roll

(-½). otal cost: 4 points.

BCHIN NA PALMEffect: +20 STR, Only To Grab

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Tis technique gives the character anunbreakable grip. It balances positive (yang) andnegative (yin) ch’i, and a master is said to be able

to simply reach up into the air and pull down birds

"The things

we

ouch have no

ermanence. My

aster woulday: there is

othing we can

old onto in this

orld. Only by

etting go can

e truly possess

hat is real. "

- Li Mu Bai,

CrouchingTiger Hidden

Dragon

3




skips a Phase or any reason, the Dim Mak attackails. (Tis is all represented by the Requires PreciseSequence Limitation; see page 209

A character with the PS: Chinese Healing Skillmight be able to cure a Dim Mak attack. He can’tmake his roll to cure the victim until the onset othe first 1d6 o damage. Te GM should resolvethis as a Skill Versus Skill Contest between thetwo characters, pitting the attacker’s Martial Artsricks roll (or his PS: Chinese Healing, i he hasthat Skill and preers to use it) against the PS:Chinese Healing o the person trying to cure the victim. (Also, i the victim is below 0 BODY, thecharacter trying to heal him suffers a -1 penalty tohis Skill Roll or every ull 2 BODY the victim isbelow 0 BODY.) A character struck by a Dim Makattack who drops below 0 BODY can be treated bya character with PS: Doctor. A successul Skill Rollmeans the character doesn’t perish swifly (i.e., hewon’t lose 1 BODY every Post-Segment 12 rombeing at 0 BODY or below), but cannot stave offeventual death — Skills such as Paramedic andPS: Doctor cannot keep the Dim Mak effects rom

continuing.Game Information: Drain BODY 2d6, DelayedReturn Rate (BODY returns at the rate o 5 Char-acter Points per Week; +2½) (70 Active Points);Activation Roll 14- (-¼), Damage Over ime(six increments, one per day afer being struck,target’s deenses only apply once, can’t be re-usedon same victim until all damage has accrued; -3),Can Be Cured By PS: Chinese Healing (see text;-¼), Increased Endurance Cost (x3 END; -1), NoRange (-½), Requires Precise Sequence (3 blows at-3 OCV each; -2). otal cost: 8 points.

Options:

1) Stronger Dim Mak: Increase to Drain BODY3d6. 105 Active Points; total cost 12 points.

2) Weaker Dim Mak: Decrease o Drain Body1d6. 35 Active Points; otal cost: 4 points.

3) Death Of A Thousand Steps: Tis orm oDim Mak takes effect only afer the victim hastaken a certain number o steps (such as three,five, eight, a hundred, or a thousand), at whichpoint he instantly takes all the damage. Te char-acter must define how many steps are involvedwhen he buys the power, and cannot change thenumber thereafer. Change to: Drain BODY6d6/8d6/10d6, rigger (defined number o steps,activating rigger requires a Zero Phase Action,rigger immediately automatically resets; +¾)(105/140/175 Active Points); Activation Roll 14-(-¼), Can Be Cured By PS: Chinese Healing (seetext; -¼), Cannot Use Attack On Victim AgainUntil He riggers Te Damage (-0), No Range(-½), Requires Precise Sequence (3 blows at -3OCV each; -2). otal cost: 26/35/44 points.

4) Easy Dim Mak: Tis orm o Dim Mak doesn’trequire a precise sequence o hits in game terms — visually the character still executes an extremelycomplex series o strikes during a single Segment,but the rules don’t make this any harder on him

than any ordinary attack. Remove RequiresPrecise Sequence (-2). otal cost: 17 points.

5) Complex Dim Mak: Some types o Dim Makrequire even greater precision to use. Change toRequires Precise Sequence (5 blows at -8 OCVeach; -3). otal cost: 10/15/5 points.

6) Debilitating Dim Mak: Some Dim Mak attacksweaken the target even i they ail to kill him. Adda Drain CON 2d6 with the same Power Modifiers

plus Linked (-½) and give both abilities UnifiedPower (-¼). 70 + 70 = 140 Active Points; total cost8 + 8 = 16 points.

7) Untiring Dim Mak: Remove Increased Endur-ance Cost (-1). otal cost: 10 points.

BDISRUPTIVE FISTEffect: Blast 8d6, Indirect (+½)


Duration: Instant

Range: See text

END Cost: 6


Description: Based on the same disruption ointernal energy principles as the Dim Mak, theDisruptive Fist technique allows a character tostrike a wall, a large pile o objects (such as astack o lumber), a support ramework, or othercontiguous structure (like a pipeline), and causesomething to break away and strike his desiredtarget. Tis technique only works i the char-acter has access to a breakable structure (the GMdecides this) and i the target is standing nearenough to the same structure to get hit.

Game Information: Blast 8d6, Indirect (SourcePoint can vary rom use to use, but alway comesout o a structure near the target; +½) (60 ActivePoints); OIF (appropriate materials o oppor-tunity; -½); Limited Range (limited to size omaterials/structure; -¼), Only Versus Properly-Positioned argets (-½), Requires A Martial Artsricks Roll (-½), Side Effect (may cause consider-able damage to the environment; -0). otal cost:22 points.

Options:

1) Stronger Disruptive Fist: Increase to Blast10d6. 75 Active Points; total cost 27 points.

2) Weaker Disruptive Fist: Decrease to Blast 6d6.45 Active Points; total cost 16 points.

3) Master Of The Disruptive Fist: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 27 points.

i Lung: The Wuxi

nger hold!

o: Oh, you know

is hold?

i Lung: You're

uffing. You'reuffing! Shifu

dn't teach you

at.

o: Nope. I figured

out. Skadoosh!

Kung Fu Panda

3




BESSENCE ABSORBINGSTANCE

Effect: Drain 4d6 (BODY, END, or STUN)plus Aid 4d6 (BODY, END, or STUN)

Target: One character/Self

Duration: Instant/Instant

Range: Touch/Self

END Cost: 12


Description: Tis powerul and potentially lethaltechnique allows a character to drain away atarget’s ch’i and use it to boost his own energylevels. Depending on the character’s desires,Essence Absorbing Stance can be used to drainaway a target’s health (BODY), stamina (END),or consciousness (SUN). Tis “essence” is thenabsorbed by the character, revitalizing internalenergies. Any target struck by the EssenceAbsorbing Stance visibly withers, while thecharacter using the Stance appears significantlyhealthier and more energetic, and may even lookyounger until the affect wear off.

Game Information: Drain BODY, END, or SUN4d6, Variable Effect (+½) (60 Active Points); NoRange (-½), Extra ime (Full Phase; -½), MustFollow Grab (-½), Requires A Martial Arts ricksRoll (-½), Unified Power (-¼) (total cost: 18points) plus Aid BODY, END, or SUN 4d6, Vari-able Effect (+½) (standard effect: same result ondice as on Drain roll), rigger (when using Drain,activating the rigger takes no time, rigger resetsautomatically, immediately afer it activates; +1)(60 Active Points); Only Aid Sel (-1), Must FollowGrab (-½), Extra ime (Full Phase; -½), Linked(-½), Unified Power (-¼) (total cost: 16 points).otal cost: 34 points.

Options:

1) Stronger Essence Absorbing Stance: Increaseto Drain 6d6 and Aid 6d6. 90 + 90 = 180 ActivePoints; total cost 28 + 24 = 52 points.

2) Weaker Essence Absorbing Stance: Decreaseto Drain 2d6 and Aid 2d6. 30 + 30 = 60 ActivePoints; total cost 9 + 8 = 17 points.

3) Master Of The Essence Absorbing Stance: Remove Requires A Martial Arts ricks Roll (-½).otal cost: 22 + 18 = 40 points.

BFA-CH’INGEffect: Penetrating (+½) for up

to Killing Strike 4d6


Duration: Instant

Range: Touch

END Cost: 3


Description: Tis strike allows a martial artistto discharge his internal energy into the target,causing great harm. He must define which Martial

Maneuver this ability works with when he buysit, and cannot change it thereafer (though he canbuy it multiple times or multiple maneuvers).

Game Information: Penetrating (+½) or up toKilling Strike 4d6 (30 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 20points.

Options:

1) Master Of The Fa-Ch’ing: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 30points.

BFIRE CONTROLEffect: Telekinesis (20 STR);

Only Works On Fire

Target: Special

Duration: Constant

Range: 20m

END Cost: 3


Description: Te character can use his ch’i tocontrol up to 4 Damage Classes o open flames. Hecan manipulate them reely, shaping the fire intosimple orms (such as geometric shapes, animalorm, and so on), move the fire around without itgoing out, and even inflict damage on a target by“touching” it with flames (but this will instantlyextinguish the fire).

Game Information: elekinesis (20 SR) (30Active Points); Only Works On Fire (-1), LimitedRange (20m; -¼), Requires A Martial Arts ricksRoll (-½). otal cost: 11 points.

Options:1) Stronger Fire Control: Increase to elekinesis(30 SR). 45 Active Points; total cost 16 points.

2) Weak Power: Decrease to elekinesis (10SR). 15 Active Points; total cost 5 points.

3) Master Of Fire Control: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 13points.

BFIST KUNGEffect: HKA 2d6, +1 Increased

STUN Multiplier (+¼)


Duration: Instant

Range: Touch

END Cost: 4

Skill Roll Penalty: NA

Description: By pounding his fist repeatedlyagainst large stones, the character turns his handinto a virtual battering ram. Shattering rocks,splintering lumber, and breaking bones pose noproblems to a master o this technique.

Game Information: HKA 2d6 (plus SR), +1Increased SUN Multiplier (+¼). otal cost: 37

points.

Fumio Funakos

What fist is this

Chen Zhen: Do

ask. It’s a good

if it wins.

- Fist Of Le




Options:

1) Stronger Fist Kung: Increase to HKA 3d6.otal cost: 56 points.

2) Weaker Fist Kung: Decrease to HKA 1d6.otal cost: 19 points.

3) Improved Fist Kung: Add Penetrating (+½).otal cost: 52 points.

B

FLEXIBLE SLEEVESEffect: Entangle 4d6, 4PD/4 ED; Teleki-nesis (30 STR); Stretching 12m

Target: One character/One character/Self

Duration: Instant/Constant/Constant

Range: 12m/12m/Self

END Cost: 5/4/0


Description: Te character can manipulate thelong flowing sleeves o his clothing, using them tobind a target, pick up distant objects, or strike atrange.

Game Information:

Cost Power13 Entangling Sleeves: Entangle 4d6, 4 PD/4 ED,

Stops A Given Sense (Sight Group) (50 Active

Points); OIF (long sleeves from character’scostume; -½), Can Be Deflected (-¼), LimitedRange (12m; -¼), Lockout (cannot use other

sleeve techniques while target is Entangled;-½), Unified Power (-¼), Vulnerable (fire/heat;-1)

20 Gripping Sleeves: Telekinesis (30 STR) (45

Active Points); OIF (long sleeves from charac-ter’s costume; -½), Affects Whole Object (-¼),Limited Range (12m; -¼), Unified Power (-¼)

8 Extended Sleeves: Stretching 12m, Reduced

Endurance (0 END; +½) (18 Active Points);OIF (long sleeves from character’s costume;-½), Always Direct (-¼), Limited Body Parts(arms/sleeves; -¼), Unified Power (-¼)


Options:

1) Flexible Hair: Instead o sleeves, the characteruses her long hair instead (characters such as thisare almost always emale). Change to:

Cost Power27 Entangling Hair: Entangle 4d6, 4 PD/4 ED,

Stops A Given Sense (Sight Group), Entangle And Character Both Take Damage (+¼) (62

Active Points); Can Be Deflected (-¼), LimitedRange (12m; -¼), Lockout (cannot use otherhair techniques while target is Entangled; -½),

Unified Power (-¼)

15 Gripping Hair: Telekinesis (20 STR) (30 ActivePoints); Affects Whole Object (-¼), LimitedRange (12m; -¼), Physical Manifestation (-¼),

Unified Power (-¼)

10 Extended Hair: Stretching 12m, Reduced Endur-ance (0 END; +½) (18 Active Points); AlwaysDirect (-¼), Limited Body Parts (hair; -¼),

Unified Power (-¼)

15 Slashing Hair: HKA 1d6 (plus STR), ArmorPiercing (+¼) (19 Active Points); UnifiedPower (-¼)

18 Hair Needles: RKA 1d6, Armor Piercing (+¼), Autofire (3 shots; +¼) (22 Active Points);

Unified Power (-¼)Total cost: 85 points.

BFLICK ATTACK Effect: RKA 1d6, Armor Piercing


Duration: Instant

Range: 150m

END Cost: 1


Description: Tis technique allows a character

to flick a small object (such as a pebble or even adrop o water) at his opponent at deadly speed. Hemay use a weapon to do this, or have the ability todo it barehanded.

Game Information: RKA 1d6, Armor Piercing(+¼), Reduced Endurance (½ END; +¼) (22Active Points); OIF (available weapon and/orappropriate object o opportunity; -½), RequiresA Martial Arts ricks Roll (-½). otal cost: 11points.

Options:

1) Stronger Flick: Increase to RKA 2d6. 45Active Points; total cost 22 points.

2) Weaker Flick: Decrease to RKA ½d6. 15Active Points; total cost 7 points.

3) Master Of The Flick Attack: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 15points.

4) Flicking Blunt Objects: Replace ArmorPiercing (+¼) with +1 Increased SUN Multiplier(+¼). All costs remain the same.

BFLYING DAGGERFINDS ANY TARGET

Effect: Indirect (+½) and No Range Modi-fier (+½) for any throwing knifebuilt on up to 45 Active Points


Duration: Instant

Range: RBS

END Cost: 4


Description: Te character is so adept withthrown knives he’s capable o hitting a targetrom any direction he chooses. Front, back, orside, all angles are open to the throwing master...provided, o course, there is something or the

knie to bounce off o along the way. In addition,

“If you

are slain

battle, you

hould be

esolved to have

our corpse facing

he enemy. ”

- Yamamoto

Tsunetomo,

Hagakure

3




the character’s skill with knives is such that he canhit virtually anything he can see, no matter whereit is or how ar away.

By changing the special effect rom throwingknives to arrows (or other Ranged attacks), youcan easily create a master archer (or master oother Ranged weapons).

Game Information: Indirect (Source Point isalways the character, but Path can change rom use

to use, see text; +½) and No Range Modifier (+½)or any throwing knie built on up to 45 ActivePoints (45 Active Points); OIF (throwing kniveso opportunity; -½), Requires A Trowing MasterRoll (-½) otal cost: 22 points.

Options:

1) Stronger Dagger: Increase to or any thrownknie built on up to 60 Active Points. 60 ActivePoints; total cost 30 points.

2) Weaker Dagger: Decrease to or any thrownknie built on up to 30 Active Points. 30 ActivePoints; total cost 15 points.

3) Master Of The Flying Dagger: RemoveRequires A Trowing Master Roll (-½). otal cost:30 points.

BHEAD KUNGEffect: +8 PD, Head Only; HA +4d6,

Armor Piercing (+¼)

Target: Self/One character

Duration: Constant/Instant

Range: Self/Touch

END Cost: NA/0


Description: By concentrating “hard kung” intohis head, a martial artist can turn his skull intoa deadly weapon. o learn this ability, he strikeshis orehead repeatedly against a wall (upwards o250 times a day), while slowly removing multiplelayers o padding. Eventually, his skull is able toresist any injury, and a head butt rom a master oHead Kung can shatter bricks.

Game Information:

Cost Power

3 Head Kung (Protection): +8 PD (8 ActivePoints); Only Protects Hit Locations 3-5 (-2)

28 Head Kung (Head Butt): HA +4d6, ArmorPiercing (+¼), Reduced Endurance (0 END;

+½) (35 Active Points); Hand-To-Hand Attack(-¼)


BINVISIBLE HANDS TECHNIQUE

Effect: Images versus Sightand Touch Group


Duration: Constant

Range: No Range

END Cost: 4


Description: Tis technique allows a martialartist to throw a series o blows at such speed heoverwhelms his target’s senses and makes himthink he’s under attack or longer than he actu-ally is. I the target ails his PER Roll, he wastes aPhase (or more) punching and blocking air, givinghis opponent time to escape or do something else.Tis technique only affects the person fighting thecharacter, everyone else sees the target fightingempty air. It also requires the character to haveought his target or about a urn beore he canuse it.

Game Information: Sight and ouch GroupsImages, -4 to PER Rolls, Uncontrolled (removedi target succeeds with a PER Roll in any Phase,or i target is Entangled/Grabbed; +½) (40 ActivePoints); Extra ime (Full Phase to activate, -¼),Gestures (requires both hands; must throw a rapidseries o strikes to start power; -½), Must Fightarget For At Least One urn Beore Using Power(-1), No Range (-½), Set Effect (only to maketarget think HH combat attack continues; -1).otal cost: 9 points.

Options:

1) Stronger Invisible Hands: Increase to -6 toPER Rolls. 49 Active Points; total cost 11 points.

2) Weaker Invisible Hands: Decrease to -2 toPER Rolls. 31 Active Points; total cost 7 points.

BIRON BROOMEffect: Telekinesis (20 STR), Area Of

Effect (2m Radius; +¼)

Target: 2m Radius

Duration: Instant

Range: No Range

END Cost: 4


Description: By spending several years sweep-kicking poles o various thickness, a master o theIron Broom technique develops an unstoppablelegsweep capable o toppling any oe, or even agroup o oes. Iron Broom is related to the “IronForearm” technique (see below), and a practi-tioner o one ofen knows the other.

Game Information: elekinesis (20 SR), Area OEffect (2m Radius; +¼), Hole In Te Middle (thearea occupied by the character; +¼) (45 ActivePoints); No Range (-½), Only Affects argets On

“Appear wh

they can

go, head for

where they le

expect you. ”

- Sun Tzu,

The Art of




Te Ground (-¼), Only o Trow arget(s) oTe Ground (-2). otal cost: 12 points.

Options:

1) Stronger Iron Broom: Increase to elekinesis(30 SR). 67 Active Points; total cost 18 points.

2) Weaker Iron Broom: Decrease to elekinesis(10 SR). 22 Active Points; total cost 6 points.

3) Alternate Iron Broom: Another way to repre-

sent the Iron Broom is to buy Combat Skill Levelswith Legsweep, which make it easy to hit a singletarget and serve to counteract the penalties orMultiple Attacking several oes at once with theManeuver. Change to: +6 OCV with Legsweep.otal cost: 12 points.

BIRON FINGEREffect: Entangle 4d6, 4 PD/4 ED, Takes

No Damage From Attacks


Duration: Instant

Range: Touch

END Cost: 8


Description: Sometimes known by other colorulnames, the Iron Finger technique allows a char-acter to paralyze an opponent by rapidly strikingseveral pressure points on the target’s body. At themost advanced levels, this ability becomes a Deac-tivation Strike that a martial artist can use withouthaving to touch the victim!

Using this attack requires the character toexecute a series o three strikes, each counting asan Attack Action. Each attack must hit the target

in a precise location on the body (-3 OCV oreach strike) and does no damage in and o itsel.Tese strikes must take place in three successivePhases; i the attacker misses any o them (or oneis Blocked), or skips a Phase or any reason, theParalysis Strike attack ails. (Tis is all representedby the Requires Precise Sequence Limitation; seepage 209.) As the character becomes more skilled,hitting the pressure points becomes much easier.

Another character can minister to the victimwith PS: Chinese Healing and ree him right awaywith a successul roll. Gamemasters can also allowa character who knows this technique to use “inreverse” to undo its effects an someone else.

Game Information: Entangle 4d6, 4 PD/4 ED,akes No Damage From Attacks (+1) (80 ActivePoints); No Range (-½), Requires A Martial Artsricks Roll (-½), Requires Precise Sequence (3blows at -3 OCV each; -2), Susceptible (can becured by a PS: Chinese Healing roll made byanother character; -¼). otal cost: 19 points.

Options:

1) Stronger Iron Finger: Increase to Entangle6d6, 6 PD/6 ED. 120 Active Points; total cost 28points.

2) Weaker Iron Finger: Decrease to Entangle 3d6,

3 PD/3 ED. 60 Active Points; total cost 14 points.

3) True Iron Finger: Te character needs toonly strike a single pressure point, or can strikethe needed pressure points all in a single Phase.Remove Requires Precise Sequence (-2). otalcost: 35 points.

4) Difficult Iron Finger: Change to RequiresPrecise Sequence (5 blows at -6 OCV each; -2¾).otal cost: 16 points.

5) Deactivation Strike: Change No Range (-½)

to Limited Range (20m; -¼). otal cost: 20 points.

BIRON FOREARMEffect: HA +6d6, Penetrating (+½)


Duration: Instant

Range: Touch

END Cost: 0


Description: Also known as “Iron Pole,” this tech-nique is similar to Fist Kung. By battering his ore-

arms against poles, trees, and rocks, the characterhardens his orearms until they’re strong, durable,and able to deliver punishing blows.

Game Information: HA +6d6, Penetrating (+½),Reduced Endurance (0 END; +½) (60 ActivePoints); Hand-o-Hand Attack (-¼). otal cost:48 points.

Options:1) Iron Palm: Te ability, also called the

“crushing hand,” allows a fighter to break objectswith but a casual slap o the hand. Charactersbuy this as a Penetrating Hand-o-Hand KillingAttack with the -½ Limitation Bonuses Are

Calculated From EGO, Not SR — SR bonusesto the HKA derive rom the fighter’s EGO, nothis SR. Characters can also use Iron Palm or anattack with the Indirect Advantage, as describedin Chapter wo. ales speak o masters knockingcharging bulls dead in their tracks with a singleIron Palm blow.

BJADE BELTEffect: +20 STR, Only To Grab And Crush

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: By clasping tree trunks, the characterslowly increases his arm strength until he can lifand hold a five-hundred pound boulder with ease.Tat means he can crush any assailant he can getwithin the circle o his arms.

Game Information: +20 SR, Reduced Endur-ance (0 END; +½) (30 Active Points); Must FollowGrab (-¼), Only o Grab And Crush (-½). otalcost: 17 points.

“Master the

divine

echniques of

he Art of Peace

nd no enemy will

are to challenge

ou. ”

- Aikido founder

Morihei Ueshiba

3




BKIAIJUTSUEffect: +20 PRE for Fear-/Intimidation-

Based Presence Attacks; Blast4d6, NND; RKA 1d6+1, +1 STUN

Target: Self/One character/One character

Duration: Instant

Range: Self/20m/20m

END Cost: 4


Description: Kiai, the art o shouting and utilizingki (ch’i) energy, allows a character to do more thansurprise (Presence Attack) an enemy. A trainedkiaijutsuka can, according to tradition, knock anenemy out cold, or even injure or kill an opponent.Some claim the kiai can even have the oppositeeffect and promote healing.

Game Information:

Cost Power

15 Kiaijutsu: Multipower, 30-point reserve; all slotsIncreased Endurance Cost (x2 END; -½),

Requires A Martial Arts Tricks Roll (-½)

1f 1) Daunting Kiai: +20 PRE; common Limita-

tions (-1), Costs Endurance (-½), Only ForFear-/Intimidation-Based Presence Attacks(-1)

1f 2) Painful Kiai: Blast 4d6, NND (defense is

Hearing Group Flash Defense or heavy earcoverings, such as earmuffs or one’s hands;+0); common Limitations (-1), Limited Range

(20m; -¼)

1f 3) Deadly Kiai: RKA 1d6+1, +1 IncreasedSTUN Multiplier (+¼); common Limitations(-1), Limited Range (20m; -¼)


Options:

1) Stronger Kaijutsu: Increase Multipowerreserve to 60 points, Slot One to +30 PRE, Slotwo to Blast 8d6, and Slot Tree to RKA 2d6.otal cost: 40 points.

2) Master Of Kaijutsu: Remove Requires ARequires A Martial Arts ricks Roll (-½). otalcost: 24 points.

3) Kaijutsu Healing: Simplified Healing 4d6,Invisible Power Effects (Sight Group; +½), Ranged(+½) (80 Active Points); Increased Endurance

Cost (x5 END; -2), Requires A Martial Arts ricksRoll (-½). otal cost: 23 points.

4) Pentjak-Silat Shout: A master o this styleis said to be able destroy objects with a powerulshout. Te character does so by purchasing this variant o slot three: RKA 2d6 (30 Active Points);Extra ime (5 Minutes, -2), Concentration (½DCV throughout; -½), Limited Range (20m; -¼).otal cost: 8 points.

5) Tai Ch’i Ch’uan Breath Blast: Along withthe standard suite o Kiaijutsu abilities, a ai Ch’imaster can also damage his oes simply by orce-ully expelling his breath. Add Blast 8d6, Invis-

ible Power Effects (Sight Group; +½) (60 Active

Points); Increased Endurance Cost (x2 END; -½),Limited Range (20m; -¼), Requires A Martial Artsricks Roll (-½). otal cost: 27 points.

BKONGJINEffect: Blast 10d6, Invisible Power

Effects (Sight Group, specialeffects only; +¼)


Duration: Instant

Range: 20m

END Cost: 6


Description: Kongjin is the legendary “emptyorce” o the Kung Fu masters — the ability tostrike a target without making contact! Alsoknown as the “Well Fist,” this technique simplyrequires the character to make a punching motionto send his target flying. It’s bought as a Blast withequivalent DCs to the character’s most commonly-used punch or kick (usually his Martial Strike or

Offensive Strike); this example uses 10d6.Game Information: Blast 10d6, Invisible PowerEffects (the blast itsel is invisible, although thecharacter’s punching motion isn’t; +¼) (62 ActivePoints); Extra ime (Full Phase; -½), LimitedRange (20m; -¼), Requires A Martial Arts ricksRoll (-½). otal cost: 27 points.

Options:

1) Stronger Kongjin: Increase to Blast 13d6. 81Active Points; total cost 36 points.

2) Weaker Kongjin: Decrease to Blast 7d6. 44Active Points; total cost 19 points.

3) Fast Kongjin: Remove Extra ime (Full Phase;-½). otal cost: 35 points.

4) Master Of The Kongjin: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 35points.

5) Lethal Kongjin: Substitute RKA 3d6+1. 62Active Points; total cost 27 points.

BLEOPARD STRIKEEffect: Area Of Effect (1m Radius

Accurate) for up to HKA4d6 or HA +12d6


Duration: Instant

Range: No Range

END Cost: 3


Description: Te Leopard Strike is one o themost eared blows in the Wuxia Martial Artsrepertoire. It virtually guarantees the attackerwill hit his target. Blocking the Leopard Strike isimpossible, though a skilled martial artist may beable to Dive For Cover away rom it.

“Ryu, what

do you s

past the end

your fist?”

- Ryu’s sense

him to cons

why he fight

in Street

Fighter II

The Anima

Movie




Game Information:

Cost Power15 Leopard Strike: Multipower, 30 Active Points; all

slots OIF (-½), Requires A Martial Arts TricksRoll (-½)

1f 1) Edged Weapons: Area Of Effect (1m

Radius Accurate; +½) for up to HKA 4d6;OIF (weapon of opportunity; -½), Requires AMartial Arts Tricks Roll (-½)

1f 2) Blunt Weapons: the same ability, but for up

to HA +12d6


Options:

1) Master Of The Leopard Strike: RemoveRequires A Requires A Martial Arts ricks Roll l(-½). otal cost: 24 points.

BLION’S ROAREffect: Blast 12d6, Area Of Effect

(32m Cone; +¾)

Target: 32m ConeDuration: Instant

Range: No Range

END Cost: 10


Description: Calling up the energy ound inthe kiai, this technique allows a martial artist torelease a devastatingly powerul scream. Tiscry can flatten oes, shatter glass, and rip apartbuildings. At its most basic level, it allows thecharacter to literally out-yell nearly anyone, whilea ull-blown Lion’s Roar can easily neutralize an

attacker’s kiai and sound-based ch’i techniques.However, the Lion’s Roar more then lives up to itsname and can be heard over vast distances. It alsohas a tendency to crack and/or shatter objects thecharacter may not have wanted to damage.

Game Information: Blast 12d6, Area O Effect(32m Cone; +¾) (105 Active Points); Extraime (Full Phase; -½), No Range (-½), Perceiv-able (+4 to Hearing PER Rolls to detect use; -¼),Requires A Martial Arts ricks Roll (-½), SideEffects(ragile objects in the surrounding area maycrack and shatter; +0) otal cost: 38 points.

Options:

1) Stronger Lion’s Roar: Increase to Blast 16d6.140 Active Points; total cost 51 points.

2) Weaker Lion’s Road: Decrease to Blast 8d6. 70Active Points; total cost 25 points.

3) Master Of The Lion’s Roar: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 47points.

4) Out Yell Anyone: Te character also buys:Hearing Group Images, +4 to PER Rolls, AreaO Effect (16m Cone; +½) (25 Active Points); SetEffect (can only ampliy what the character says;-1). otal cost: 12 points.

5) Power Of The Lion’s Roar: Te character alsobuys: Dispel Sonic Powers 20d6, Variable Effect(any Sonic Power one at a time; +½) (90 ActivePoints); Extra ime (Full Phase; -½), RequiresA Martial Arts ricks Roll (-½). otal cost: 45points.

BMIND READINGEffect: Telepathy 8d6


Duration: Constant

Range: LOS

END Cost: 4


Description: One o the more unusual powersattributed to master martial artists is the ability toread the minds o others.

Game Information: elepathy 8d6 (40 ActivePoints); Concentration (½ DCV throughout; -½),Extra ime (Full Phase to activate; -¼), Requires

An EGO ROll (-½). otal cost: 18 points.Options:

1) Stronger Mind Reading: Increase to elepathy12d6. 60 Active Points; total cost 27 points.

2) Weaker Mind Reading: Decrease to elepathy6d6. 30 Active Points; total cost 13 points.

3) Read Only: Te character can only readthoughts, he can’t “speak” this thoughts to others.Add Receive Only (-½). otal cost: 14 points.

BNO SHADOW KICK Effect: Leaping +12m plus HA +8d6,

Autofire (10 shots), Area ofEffect (12m Line; +¼)

Target: Self/One character

Duration: Constant/Instant

Range: Self/Touch

END Cost: 1/7 per shot

Skill Roll Penalty: -1/-15

Description: Te No Shadow Kick (so namedbecause the kicks are said to be so ast they leaveno shadow) is the amous signature technique oChinese olk hero and master martial artist WongFei Hong. By leaping up rom the ground and then

horizontally through the air, the character deliversa series o punishing kicks to anyone in his path.

Game Information: Leaping +12m, Accurate (11Active Points); Forward Movement Only (-1)(total cost 5 points) plus HA +8d6, Area O Effect(12m Line; +¼), Autofire (10 shots; +2), ReducedEndurance (½ END; +½) (150 Active Points);Hand-o-Hand Attack (-¼), Linked (-¼) (totalcost 100 points). otal cost: 105 points.

Options:

1) Stronger No Shadow Kick: Increase to HA+10d6. 11 + 187 = 198 Active Points; total cost 5 +125 = 130 points.

“If someone

asked me

hat a human

eing ought

o devote the

aximum of his

me to, I would

nswer, “Training.”

rain more than

ou sleep. ”

- Karate master

Masutatsu

Oyama

3




2) Weaker No Shadow Kick: Decrease to HA+6d6. 11 + 112 = 123 Active Points; total cost 5 +75 points.

3) Lesser No Shadow Kick: Reduce to Autofire(5 shots; +1½) 11 + 130 = 141 Active Points; totalcost 5 + 87 = 92 points

BONE FINGER KUNGEffect: Blast 10d6, Indirect (+¼),

Invisible Power Effects (Sight And Hearing Groups)


Duration: Instant

Range: 50m

END Cost: 11


Description: Tis is a yin kung , or negative ch’i,technique. Te character simply points his fingerat a target to strike him with orce. Te targetcan be affected even i he’s on the other side o awall or a door. Legend says this technique never

misses.Tis ability should be bought as a Blast with

equivalent DCs to the character’s most commonly-used punch or kick (usually his Martial Strike orOffensive Strike); this example uses 10d6.

Game Information: Blast 10d6, Indirect (SourcePoint is always 2m in ront o character; +¼),Invisible Power Effects (Sight And HearingGroups; +1) (112 Active Points); Limited Range(50m; -¼), No Knockback (-¼), Requires AMartial Arts ricks Roll (-½). otal cost: 56points.

Options:

1) Strong One Finger Kung: Increase to Blast12d6. 135 Active Points; total cost 67 points.

2) Weak One Finger Kung: Decrease to Blast 8d6.90 Active Points; total cost 45 points.

3) Master Of One Finger Kung: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 75points.

4) One Finger Kung Never Misses: Add AreaO Effect (1m Radius Accurate; +½). 137 ActivePoints; total cost 68 points.

BPAO-YEH-PAO-LO-MI FISTEffect: Blast 6d6, Autofire (5 shots)


Duration: Instant

Range: 20m

END Cost: 4 END per shot


Description: Tis rather unusual attack mixesaoist sorcery and ch’i mastery. Te characterinscribes a mystical symbol on his palm (usuallyusing his own blood), pronounces the incantation(“pao-yeh-pao-lo-mi”), and unleashes a barrage och’i energy bolts.

Game Information: Blast 6d6, Autofire (5 shots;+½) (45 Active Points); Extra ime (Full Phase toactivate; -¼), Gestures (requires both hands, char-acter must “throw” the energy; -½), Incantations(-¼), Requires A Martial Arts ricks Roll (-½).otal cost: 18 points.

Options:

1) Stronger Pao-Yeh-Pao-Lo-Mi Fist: Increase toBlast 8d6. 60 Active Points; total cost 24 points.

2) Weak Pao-Yeh-Pao-Lo-Mi Fist: Decrease toBlast 4d6. 30 Active Points; total cost 12 points.

3) Master’s Pao-Yeh-Pao-Lo-Mi Fist: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 22 points.

BPIERCING MISSILEEffect: RKA 26d, Area Of Effect

(48m Line; +¾)

Target: 48m Line

Duration: Instant

Range: No Range

END Cost: 5


Description: Te character is capable o throwinga weapon with such orce it not only strikes hisinitial target, but anyone else standing behind him.

Game Information: RKA 2d6, Area O Effect(48m Line; +¾) (52 Active Points); OIF (weapono opportunity; -½), Can Be Deflected (-¼), NoRange (-½). otal cost: 23 points.

Options:

1) Stronger Missile: Increase to RKA 3d6. 79

Active Points; total cost 35 points.2) Weaker Missile: Decrease to RKA 1d6. 26Active Points; total cost 11 points.

BPOINT BLOCKAGEEffect: Suppress Characteristics 4d6


Duration: Instant

Range: Touch

END Cost: 6


Description: Tis technique consists o a serieso rapid strikes to the target’s key pressure points,thus greatly reducing the target’s ability to move,fight, or resist urther attacks. By using this powerto Suppress target’s BODY or SUN, characterscan easily simulate some o the more esotericnerve strikes ofen seen in Wuxia films.

Te effects o Point Blockage can be undone byanyone with the same power or a similar ability(such as the Pressure Point Strike, see below).

Game Information: Suppress 4d6, Variable Effect(any one Characteristic at a time; +½) (60 ActivePoints); Can Be Cured By Chinese Healing (-¼),

Costs Endurance (to maintain; -½), No Range

“When

warrio

are in great

danger, then

have no fear.

- Sun Tzu,

The Art of




(-½), arget Must Have Reachable Pressure Points(-1), Requires A Martial Arts ricks Roll (-½).otal cost: 16 points.

Options:

1) Stronger Point Blockage: Increase to Suppress6d6. 90 Active Points; total cost 24 points.

2) Weaker Point Blockage: Decrease to Suppress3d6. 45 Active Points; total cost 12 points.

3) Master Of Point Blockage: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 18points.

4) Fat Panda Defense: Add PD Applies (-1).otal cost: 13 points.

5) Acupuncture Blockage: Instead o strikingpressure points with his fingers, the charactersuses acupuncture needles. Removing the needlesundoes the effects o the Suppress. Add OAF(acupuncture needles; -1), and replace RequiresA Martial Arts ricks Roll with Requires A PS:Acupuncturist Roll (-¼). otal cost: 13 points.

BPOWER FISTEffect: Double Knockback (+½) forup to Martial Strike 10d6


Duration: Instant

Range: Touch

END Cost: 2


Description: By ocusing his ch’i into his fist,the martial artist can strike a blow so powerulthat it catapults his oe backwards! Te charactermust define which Martial Maneuver this ability

works with when he buys it, and cannot change itthereafer (though he can buy it multiple times ormultiple maneuvers).

Game Information: Double Knockback (+½)or up to Martial Strike 10d6 (25 Active Points);Requires A Martial Arts ricks Roll (-½). otalcost: 17 points.

Options:

1) Master Of The Power Fist: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 25points.

BPOWER OF POSITIVE CH’IEffect: Dispel Ch’i Power 16d6


Duration: Instant

Range: No Range

END Cost: 7


Description: Te character can use his ch’i todisrupt other ch’i powers. It’s commonly usedto remove the effects o a Paralysis Strike, PointBlockage, or a Pressure Point Strike.

Game Information: Dispel Ch’i Powers 16d6,Variable Effect (any Ch’i power one at a time; +½)(72 Active Points); Extra ime (Full Phase; -½),No Range (-½), Requires A Martial Arts ricksRoll (-½). otal cost: 29 points.

Options:

1) Stronger Power: Increase to Dispel 20d6. 90Active Points; total cost 36 points.

2) Weaker Power: Decrease to Dispel 12d6. 54Active Points; total cost 22 points.

3) Master Of Positive Ch’i: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 36points.

BPRESSURE POINT STRIKEEffect: Drain DEX 4d6


Duration: Instant

Range: Touch

END Cost: 4


Description: By striking specific nerve clusters,the character can temporarily reduce his target’sagility, strength, or mobility.

Game Information: Drain DEX 4d6 (40 ActivePoints); No Range (-½), arget Must Have Reach-able Pressure Points (-½), Requires A Martial Artsricks Roll (-½). otal cost: 16 points.

Options:

1) Stronger Pressure Point Strike: Increase oDrain DEX 6d6. 60 Active Points; total cost 24points.

2) Weaker Pressure Point Strike: Decrease oDrain DEX 2d6. 20 Active Pointsl total cost 8points.

3) Master Of The Pressure Point Strike: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 20 points.

4) Reducing The Target’s Strength: SubstituteDrain SR 4d6 or Drain DEX.

5) Reducing The Target’s Accuracy: SubstituteDrain OCV 4d6 or Drain DEX.

6) Reducing The Target’s Mobility: SubstituteDrain SPD 4d6 or Drain DEX.

7) Fat Panda Defense: Add PD Applies (-1).otal cost: 11 points.

BRED SAND PALMEffect: RKA 5d6, NND, Does BODY


Duration: Instant

Range: 40m

END Cost: 22


Description: Red Sand Palm is another yin kung technique. A martial artist who knows Red Sand

“Disorder

arises

rom order,

owardice arises

rom courage,

eakness arises

rom strength. ”

- Sun Tzu,

The Art of

War

3




Palm simply has to make a striking or rubbingmotion in the air and the intended target o theattack is wounded. Te victim then sickens anddies in 10-15 days. Due to the energy require-ments o this technique, it can only be perormedonce per day. According to legend, the Red SandPalm is considered to be superior to One FingerKung.

Game Information: RKA 5d6 (standard effect:

15 BODY, 30 SUN), NND (deense is PowerDeense; +1), Does BODY (+1) (225 ActivePoints); Damage Over ime (5 damage incre-ments, damage occurs every 3 Days, deenses onlyapply once, cannot be used again on same targetuntil all increments accrue, can be negated by PS:Chinese Healing techniques; -3), Costs Endurance(-½), Gestures (-¼), Limited Range (40m; -¼),No Knockback (-¼), 1 Charge (-2). otal cost: 31points.

Options:

1) Pentjak-Silat Distance Killing: Pentjak-Silatpandekars are reputed to be able to kill oes rom

a distance with minimal effort. Decrease to RKA4d6 (no Standard Effect) and remove 1 Charge,Costs Endurance, and Damage Over ime. 180Active Points, total cost 103 points.

BSANDBAG KUNG FUEffect: HA +4d6, Area Of Effect Nonselec-

tive (2m Radius; +¼) plus +2 DCV

Target: 2m Radius/Self

Duration: Instant/Constant

Range: Touch/Self

END Cost: 3/0

Skill Roll Penalty: -3/N/A

Description: Te martial artist has the ability tostand in the middle o a circle o oes and strikeeach o them, while usually avoiding being hitby counterattacks. Tis ability’s name comesrom the training method used to teach it: thefighter stands in the middle o a circle o hangingten-pound sandbags and strikes them in rapidsuccession, while trying to avoid being hit by theswinging bags.

Game Information: HA +4d6, Area O Effect(2m Radius Nonselective; +¼), Personal Immu-nity (+¼) (30 Active Points); Extra ime (FullPhase; -½), Hand-o-Hand Attack (-¼), RequiresA Martial Arts ricks Roll (-½) (total cost: 13points) plus +2 DCV (10 Active Points); Linked(-½), Only Versus HH Attacks (-1) (total cost: 4point). otal cost: 17 points.

Options:

1) Stronger Sandbag Kung Fu: Increase o HA+6d6 and +4 DCV. 45 + 20 = 65 Active Points;total cost 20 + 8 = 28 points.

2) Weaker Sandbag Kung Fu: Decrease o HA+2d6 and +1 DCV. 15 + 5 = 20 Active Points; totalcost 7 + 2 = 9 points.

3) Master Of Sandbag Kung Fu: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 17 + 4 = 21 points.

BSHIELDBREAKING STRIKEEffect: Armor Piercing (+¼) for up



Duration: Instant

Range: Touch

END Cost: 1


Description: Tis powerul blow allows a charac-ter’s strike to penetrate armor ar more easily thanan average martial attack. Only the Focused Ch’itechnique (see below) can deeat it. Te charactermust define which Martial Maneuver this abilityworks with when he buys it, and cannot change itthereafer (though he can buy it multiple times ormultiple maneuvers).

Game Information: Armor Piercing (+¼) or upto Martial Strike 10d6 (12 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 8points.

Options:1) Stronger Shieldbreaking Strike: Increase toArmor Piercing (x2; +½). 25 Active Points; totalcost 17 points.2) Even Stronger Shieldbreaking Strike: Increase to Armor Piercing (x3; +¾). 37 ActivePoints; total cost 25 points.3) Master Of The Shieldbreaking Strike: RemoveRequires A Martial Arts ricks Roll (-½). otal

cost: 12 points.

BSHIELD-SHATTERING BLOWEffect: HKA 2d6, Penetrating,

Only Versus Shields

Target: One shield

Duration: Instant

Range: Touch

END Cost: 4


Description: Te character is such an accom-plished swordsman, and puts such power into his

sword strokes, that he’s able to shatter any shieldused to block his blows.

Game Information: HKA 2d6 (plus SR),Penetrating (+½) (45 Active Points), Only VersusShields (-1), Requires A Martial Arts ricks Roll(-½). otal cost: 18 points.

Options:1) Stronger Shield-Shattering Blow: Increase oHKA 3d6. 67 Active Points; total cost 27 points.2) Weaker Shield-Shattering Blow: Decrease oHKA 1d6. 22 Active Points; total cost 9 points.3) Master Of The Shield-Shattering Blow:

Remove Requires A Martial Arts ricks Roll (-½).otal cost: 22 points.

“You’re th

best arc

the best rider

the best fight

all because yo

the Prince of

Liang. You sho

widen your sc

the world is

bigger than yo

think. ”

- Ge Li gives

Prince Liang

Shi a lesson

in humility

Battle Of




4) Swordbreaking Strike: Sometimes the bestway to deeat an opponent is to deprive him o hisweapons. Replace Only Versus Shields (-1) withOnly Versus Weapons (-1).

BSUBLIME SWORD STRIKEEffect: +6 with Swords; Targeting Skill

Levels (+6 OCV) with Swords

Target: Self/Self

Duration: Persistent/Persistent

Range: Self/Self

END Cost: 2/1


Description: Years o long practice have given thecharacter such skill with his sword he can strike virtually any target, no matter how small, at will.O course, such accuracy takes a certain degree oconcentration and effort.

Game Information: +6 with Swords (18 ActivePoints); Costs Endurance (-½), Requires A MartialArts ricks Roll (-½) (total cost: 9 points) plus argeting Skill Levels (+6 versus Hit Locationmodifiers) with Swords (12 Active Points); CostsEndurance (-½), Requires A Martial Arts ricksRoll (-½) (total cost: 6 points). otal cost: 15points.

Options:

1) Stronger Sublime Sword Strike: Increase to+8 OCV and +8 versus Hit Locations. 24 + 16 =40 Active Points; total cost 12 + 8 = 20 points.

2) Weaker Sublime Sword Strike: Decrease to+4 OCV and +4 versus Hit Locations. 12 + 8 = 20Active Points; total cost 6 + 4 = 10 points.

3) Master Of The Sublime Sword Strike: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 12 + 8 = 20 points.

4) Sublime Strike Of The Martial Arts Master: Change to +8 with All HH Combat plus +8 versus Hit Location modifiers with HH Combat.otal cost: 80 points.

5) Sublime Arrow Strike: Instead o Swords,the character uses his Combat Skill Levels withArrows. (Te character can choose to change thePenalty Skills Levels rom Hit Location to theRange Modifier i desired.)

BSWIRLING DUST CLOUDEffect: Darkness to SightGroup, 6m Radius

Target: 6m Radius

Duration: Constant

Range: No Range

END Cost: 4


Description: By spinning about rapidly whilefighting, or by whirling his weapons about hisbody quickly, the martial artist can kick up suffi-

cient quantities o dust and sand to blind his oes.Since he’s used to this effect, he can see just fine.

Game Information: Darkness to Sight Group6m radius, Personal Immunity (+¼) (37 ActivePoints); OIF (sufficient amounts o dust and sando opportunity; -½), No Range (-½), Does NotWork In High Winds Or Rain (-¼). otal cost: 16points.

Options:1) Lesser Swirling Dust Cloud: Tis version othe cloud doesn’t blind oes, but it does make ithard or them to see. Replace with Change Envi-ronment, -3 to Sight Group PER Rolls, Area OEffect (6m Radius; +½), Personal Immunity (+¼)(16 Active Points); OIF (sufficient amounts o dustand sand o opportunity; -½), No Range (-½),Does Not Work In High Winds Or Rain (-¼).otal cost: 7 points.

BSWORD ENERGY Effect: RKA 3d6

Target: 36m LineDuration: Instant

Range: No Range

END Cost: 8


Description: With this technique, the characterdoesn’t even have to hit his opponent; he just cutsthe air and generates a line o destruction betweenhimsel and his target (in some cases producingthe image o a huge ghostly sword). Other namesor this power include Slaying Sword and Whirl-wind Sword .

Game Information: RKA 3d6, Area O Effect(36m Line; +¾) (79 Active Points); OIF (weapono opportunity; -½), No Range (-½). otal cost: 39points.

Options:

1) Stronger Sword Energy: Increase to RKA 4d6.105 Active Points; total cost 52 points.

2) Weaker Sword Energy: Decrease to RKA 2d6.52 Active Points; total cost 26 points.

3) Triple Slash: Instead o the a single lineo destruction, the character’s skill is such heproduces three lines! Te lines orm a cone, with

one line or each side and the third in the exactmiddle. Replace with RKA 3d6, Area O Effect(36m Cone; +1) (90 Active Points); OIF (weapono opportunity; -½), No Range (-½), Only Affectsargets On Te Edge Or Center Line O Te Cone(-½). otal cost: 36 points.

4) Cutting The Air: Te character makes aslashing motion with his sword and sends a lethal vortex o spinning air at his target. Remove AreaO Effect (36m Line; +¾) and No Range (-½). 45Active Points; total cost 30 points.

“S ometimes

the

reatest heroes

re also the

reatest idiots. ”

- Sir Te,

Crouching

Tiger, Hidden

Dragon

3




BSWORD FINGEREffect: Affects Desolidified (+½) for

up to Martial Strike 10d6


Duration: Instant

Range: Touch

END Cost: 2


Description: Tis supremely skillul strikeallows a martial artist to hit a target who usesthe Ultimate Dodging echnique. Te charactermust define which Martial Maneuver this abilityworks with when he buys it, and cannot change itthereafer (though he can buy it multiple times ormultiple maneuvers).

Game Information: Affects Desolidified (martialarts special effects only; +¼) or up to MartialStrike 10d6 (12 Active Points); Requires A MartialArts ricks Roll (-½). otal cost: 8 points.

Options:

1) True Sword Finger: Te true master o theSword Finger can also strike to ghosts and otherintangible beings, should he happen to encounterany. Improve to Affects Desolidified (all specialeffects; +½). 25 Active Points; 17 total points.

2) Master Of The Sword Finger: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 12 points (or 25 or rue Sword Finger).

B TEN WAYS CUTTINGEffect: Area Of Effect (3m Radius) for

up to HKA 4d6 or HA +12d6


Duration: Instant

Range: No Range

END Cost: 1


Description: A character with this ability is evenmore powerul than one who knows Five WaysCutting (see page 125), and can hit even moreopponents at once.

Game Information:

Cost Power

7 Ten Ways Cutting: Multipower, 15 Active Points;all slots OIF (-½), Requires A Martial ArtsTricks Roll (-½)

1f 1) Edged Weapons: Area Of Effect (3m Radius;

+¼) for up to HKA 4d6; OIF (weapon ofopportunity; -½), Requires A Martial ArtsTricks Roll (-½)

1f 2) Blunt Weapons: the same ability, but for up

to HA +12d6


Options:

1) Master Of Ten Ways Cutting: Remove

Requires A Requires A Martial Arts ricks Roll l(-½). otal cost: 12 points.

B TIGER’S FANG STRIKEEffect: Penetrating (+½) for up



Duration: Instant

Range: Touch

END Cost: 2


Description: Tis strike is so powerul, and soskillully delivered, that a target who’s hit with italways suffers some injury. Only the Supreme Ch’itechnique (see below) can deeat it. Te charactermust define which Martial Maneuver this abilityworks with when he buys it, and cannot change itthereafer (though he can buy it multiple times ormultiple maneuvers).

Game Information: Penetrating (+½) or up toMartial Strike 10d6 (25 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 17points.

Options:1) Stronger Tiger’s Fang Strike: Increase toPenetrating (x2; +1). 50 Active Points; total cost33 points.

2) Even Stronger Tiger’s Fang Strike: Increase toPenetrating (x3; +1½). 75 Active Points; total cost50 points.

3) Master Of The Tiger’s Fang Strike: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 25 points.

BUNAVOIDABLE BLOWEffect: Area Of Effect (1m Radius Accurate; +½) for up to

Martial Strike 10d6


Duration: Instant

Range: Touch

END Cost: 2


Description: Some martial artists are so skilledthat it becomes nearly impossible or oes to avoidtheir attacks. Only advanced deensive techniquessuch as Way O Te Serpent (see below) allow a

target to dodge the Unavoidable Blow. Te char-acter must define which Martial Maneuver thisability works with when he buys it, and cannotchange it thereafer (though he can buy it multipletimes or multiple maneuvers).

Game Information: Area O Effect (1m RadiusAccurate; +½) or up to Martial Strike 10d6 (25Active Points); Requires A Martial Arts ricks Roll(-½). otal cost: 17 points.

Options:

1) Master Of The Unavoidable Blow: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 25 points.

“Death is

threat

people

Who are not

afraid to die.

- Lao Tzu,

Tao Te Chin




BWATER DIVIDING TECHNIQUE

Effect: Telekinesis (30 STR), AreaOf Effect (9m Cone; +½)

Target: 9m Cone

Duration: Instant

Range: No Range

END Cost: 7


Description: By training to push apart a wall obamboo poles, the character builds up incrediblearm strength. Upon mastery o this technique, hecan orce apart o mob o people with ease.

Game Information: elekinesis (30 SR), Area OEffect (9m Cone; +½) (67 Active Points); AffectsWhole Object (-¼), No Range (-½), Only o PushAway (-¼), Requires A Martial Arts ricks Roll(-½). otal cost: 27 points.

Options:

1) Stronger Water Dividing Technique: Increaseto elekinesis (40 SR). 90 Active Points; total cost36 points.

2) Weaker Water Dividing Technique: Decreaseto elekinesis (20 SR). 45 Active Points; total cost18 points.

3) Master Of The Water Dividing Technique: Remove Requires A Martial Arts ricks Roll (-½).otal cost: 33 points.

BWHIRLWIND STRIKEEffect: Area Of Effect (2m Radius; +¼)

for up to Martial Strike 10d6


Duration: Instant

Range: Touch

END Cost: 2


Description: One thing that sets the martial artistapart rom the common fighter is his ability totake on multiple opponents at once and triumph.Tis ability is one way he does that. It allowshim to lash out so swifly, and with such precisecoordination, that he can hit several targetssurrounding him simultaneously. As he becomes

more skillul, he can affect more targets. (TeGM may limit how many targets he can strike,i appropriate.) Te character must define whichMartial Maneuver this ability works with when hebuys it, and cannot change it thereafer (though hecan buy it multiple times or multiple maneuvers).

Game Information: Area O Effect (2m Radius;+¼) or up to Martial Strike 10d6, PersonalImmunity (+¼) (25 Active Points); RequiresA Martial Arts ricks Roll (-½). otal cost: 17points.

Options:

1) Larger Whirlwind Strike: Increase to Area OEffect (4m Radius; +¼). No cost change.

2) Master Of The Whirlwind Strike: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 25 points.

3) Whirling Spear Strike: Instead o striking hisoes with his hands and eet, the character whirlshis spear (or a similar weapon) around his head,slashing at anyone in range. Change to: Area OEffect Nonselective (4m Radius; +¼) and HoleIn Te Middle (fixed size; roughly 1m radius out

rom the spearman’s body; +¼) or up to HKA3d6+1 (25 Active Points); OIF (spear or otherpolearm o opportunity; -½), Extra ime (FullPhase; -½), Requires A Martial Arts ricks Roll(-½). otal cost: 10 points.

4) Pole Dance: Combing elements o the Whirl-wind Strike and the Whirling Spear Strike, toperorm this technique the character jams his staffinto the ground, leaps up to about shoulder height,grips the staff in his hands, and then “runs” in atight circle around the staff, kicking out as he goes.Replace with Area O Effect (2m Radius; +¼) orup to Martial Strike 10d6, Hole In Te Middle(fixed size; roughly 1m radius out rom the centerpole; +¼) (25 Active Points); OIF (staff/pole oopportunity; -½), Requires A Martial Arts ricksRoll (-½). otal cost: 12 points.

DEFENSIVE ABILITIES

BBAG KUNGEffect: +8 PD, Only Protects Hit Loca-

tion 12 (Stomach) plus Blast 6d6,Damage Shield, Double Knockback

Target: Self/Special

Duration: Persistent/ConstantRange: Self/Touch

END Cost: N/A/3

Skill Roll Penalty: N/A/-7

Description: By nurturing the “sof kung” o thestomach, the martial artist develops his abdominalmuscles to be strong, yet flexible, and able to resistpowerul blows. In addition, by suddenly releasinghis internal ch’i, he can send anyone who strikeshis stomach flying!

Game Information: +8 PD (8 Active Points); OnlyProtects Hit Location 12 (-2) (total cost: 3 points)plus Blast 6d6, Area O Effect (personal Surace— Damage Shield; +¼), Constant (+½), DoubleKnockback (+½), Reduced Endurance (½ END;+¼) (75 Active Points); Must Be Aware O Attack(-¼), No Range (-½), Only Affects Attackers WhoHit Te Stomach (Hit Location 12; -2), RequiresA Martial Arts ricks Roll (-½) (total cost: 18points). otal cost: 21 points.

Options:

1) Stronger Bag Kung: Increase to Blast 8d6. 8+ 100 = 108 Active Points; total cost 3 + 23 = 26points.

2) Weaker Bag Kung: Decrease to Blast 4d6. 8 +50 = 58 Active Points; total cost 3 + 12 = 15 points.

“Aman with

outward

ourage dares to

e,

man with inward

ourage dares to

ve. ”

- Lao Tzu,

Tao Te Ching

3




3) Master Of Bag Kung: Remove RequiresA Martial Arts ricks Roll (-½). otal cost oDamage Shield 20 points; total cost o overallpower 23 points.

4) Bag Kung Variant: Instead o hurling anattacker away, the character traps his opponent’sfist, holding him ast and unable to move. ChangeBlast part o power to: Entangle 3d6, 3 PD/3ED, Area O Effect (personal Surace — Damage

Shield; +¼), Constant (+½), akes No DamageFrom Attacks (+½), Reduced Endurance (½ END;+¼) (75 Active Points); Feedback (character takesall damage done to try to break victim ree o theEntangle; -1), Must Be Aware O Attack (-¼),No Range (-½), Nonresistant Deense (-¼), OnlyAffects Attackers Who Hit Te Stomach (HitLocation 12; -2), Requires A Martial Arts ricksRoll (-½), Set Effect (affects only the hands; -1).otal cost o Entangle power 11 points; total costo overall power 14 points.

BCATCHING THE BULLETEffect: +6 OCV with Block, Only

To Block Bullets

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: Some martial artists tell o practi-tioners so skilled at protecting themselves thatthey can literally pluck bullets out o the air! Insome versions o the tale this is done with thehands; others claim the bullet is actually caughtwith the teeth.

In HERO System terms, this ability uses therules or Blocking Ranged attacks (6E2 59). Acharacter who buys it can Block gunfire withoutrisking harm to himsel, something lesser martialartists cannot do (though they can o course tryto Dodge bullets). Te +6 OCV bonus is typi-cally enough to counteract any OCV penalty orBlocking bullets, though even it might not sufficeagainst Autofire (10 shots) or the like.

Game Information: +6 OCV with Blocks (18Active Points); Costs Endurance (-½), Only oBlock Bullets (see text; -1), Requires A MartialArts ricks Roll (-½). otal cost: 6 points.

BCH’I BLOCK Effect: Counteracts Indirect (+¼) for one

Block-based Martial Maneuver

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Te character knows how to harnessthe power o his ch’i to block the Ch’i Strike thatordinarily bypasses Blocks (see above).

Game Information: Counteracts Indirect (+¼) orone Block-based Martial Maneuver built on up to“20 Active Points” (5 Active Points); Requires AMartial Arts ricks Roll (-½). otal cost: 3 points.

Options:

1) Stronger Ch’i Block: Increase to CounteractsIndirect (x2; +½). 10 Active Points; total cost 7points.

2) Even Stronger Ch’i Block: Increase to Coun-teracts Indirect (x3; +¾). 15 Active Points; totalcost 10 points.

3) Master Of The Ch’i Block: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 5 points.

BFIRE OF THE MINDEffect: Mental Defense (10 points),

Only To Resist Martial Arts Mental Powers

Target: Self


Range: Self

END Cost: 0


Description: Te mental discipline and tranquilityinstilled in him through his martial arts traininggive the character a particularly strong mind. Hecan resist Saiminjutsu (see page 182) and othermartial arts-based mental attacks more easily thannormal. (At the GM’s option, one-third o hisMental Deense applies against any orm o mentalattack.)

Game Information: Mental Deense (10 points)(10 Active Points), Only o Resist Martial Arts

Mental Powers (-2). otal cost: 3 points.

Options:

1) Stronger Fires Of The Mind: Increase toMental Deense (15 points). 15 Active Points; totalcost 5 points.

2) Weaker Fires Of The Mind: Decrease toMental Deense (5 points). 5 Active Points; totalcost 2 points.

Ifyou f

troub

sanely,

It cannot

trouble you

- Lao Tzu,

Tao Te

Ching




BFIRE OF THE SOULEffect: Power Defense (10 points); Only

To Resist Martial Arts Powers

Target: Self


Range: Self

END Cost: 0


Description: Te discipline and tranquilityinstilled in him through his martial arts traininggive the character a particularly strong ch’i thatmakes it easier or him to resist Dim Mak andsimilar Martial Arts powers. (At the GM’s option,one-third o his Power Deense applies against anyorm o attack that applies against Power Deense.)

In campaigns where Dim Mak is supposed tobe especially scary, the GM may require charactersto apply the -0 Limitation Does Not Protect AgainstDim Mak to this ability (or any other PowerDeense).

Game Information: Power Deense (10 points) (10Active Points), Only o Resist Martial Arts Powers

(-2). otal cost: 3 points.

Options:

1) Stronger Fires Of The Soul: Increase to PowerDeense (15 points). 15 Active Points; total cost 5points.

2) Weaker Fires Of The Soul: Decrease to PowerDeense (5 points). 5 Active Points; total cost 2points.

BFLESH LIKE OAK Effect: Physical Damage Reduction, 50%,

Resistant, Requires A CON Roll

Target: Self


Range: Self

END Cost: 0


Description: Te character’s physical body andspiritual sel are so strong that he can take thestrongest blows but suffer little, i any, harm.

Game Information: Physical Damage Reduction,50%, Resistant (30 Active Points); Does Not Work

Against Dim Mak (-¼), Requires A CON Roll(-¾). otal cost: 15 points.

Options:

1) Stronger Flesh: Increase to Physical DamageReduction, 75%, Resistant. 75 Active Points; totalcost 37 points.

2) Weaker Flesh: Decrease to Physical DamageReduction, 25%, Resistant. 15 Active Points; totalcost 7 points.

3) Can Take The Heat: Add Energy DamageReduction, 50%, Resistant. 60 Active Points; totalcost 30 points.

4) Flesh Like Ironwood: Remove Requires ACON Roll (-¾). otal cost: 24 points.

BFOCUSED CH’IEffect: Hardened (+¼) for one Block-

based Martial Maneuver, tocounter Armor Piercing attacks

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Te character knows how to harnessthe power o his ch’i to block the ShieldbreakingStrike that more easily penetrates most fighters’deenses (see above).

Game Information: Hardened (+¼) or oneBlock-based Martial Maneuver (5 Active Points);Requires A Martial Arts ricks Roll (-½). otalcost: 3 points.

Options:1) Stronger Focused Ch’i: Increase to Hardened(x2; +½). 10 Active Points; total cost 7 points.

2) Even Stronger Focused Ch’i: Increase toHardened (x3; +¾). 15 Active Points; total cost 10points.

3) Master Of Focused Ch’i: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 5 points.

BIMPENETRABLE ARROW DEFENSE

Effect: Barrier 12PD, 12m long, 3m tall

Target: SpecialDuration: Constant

Range: No Range

END Cost: 5


Description: Armed with a sword, long sleeves, astaff, a spear, or a similar object, a trained martialartist can knock arrows out o the sky by the score.He must be able to move reely in the area he’strying to deend and must have sufficient room inwhich to wield his weapon as well. Te charactercan only deend an area equal to his Combat

Movement (i.e. 12m or most characters, char-acters with additional Running should purchasea longer Barrier). o maintain the Barrier, hemust make a Hal Move each Phase (defined asphysically moving along the length o the Barrierand deflecting arrows.) Since he’s only deflectingincoming arrows, his riends and allies are reeto launch their own attacks in return. Althoughtiring, this technique is ofen capable o preventingthe passage o even a single arrow in a flight odozens.

Game Information: Barrier 12 PD/0 ED, 0 BODY(up to 12m long, 3m tall, and ½m thick), Non-

Anchored, Hardened (+¼), One-Way ransparent(see text; +1), Reduced Endurance (½ END;

en Yu: It must

citing to be

fighter, to be

tally free.

u Shu Lien:

ghters have rules,

o. Friendship,ust, integrity.

ways keep your

omise. Without

les we wouldn't

rvive long.

- Crouching

Tiger, Hidden

Dragon

3




+¼) (110 Active Points); OIF (weapon or otherobject o opportunity; -½), Cannot Englobe (-¼),Costs Endurance (to maintain; -½), Gestures(throughout, must physically deflect incomingarrows; -½), No Range (-½), Only Works AgainstNon-Gunpowder Projectiles (-½), Requires A HalMove Each Phase o Maintain (-¼). otal cost: 27points.

Options:

1) Improved Impenetrable Arrow Defense: Increase to Barrier 18 PD. 132 Active Points; totalcost 33 points.

2) Mostly Impenetrable Arrow Defense: Decrease to Barrier 6 PD. 87 Active Points; totalcost 22 points.

BIRON SHIRTEffect: Resistant (+½), Not Versus Fire-

arms, One Location Undefended

Target: Self


Range: SelfEND Cost: 0


Description: Also known as Breath Control orIron Skin, this ability harnesses both a character’sinnate toughness (honed rom countless hours obeing beaten on and cut at during practice) andhis ch’i to shield him rom deadly martial artsattacks and weapons. However, it doesn’t workagainst firearms, and the character must leaveone Hit Location, known as a Gate, “open” (i.e.,undeended, with no Resistant PD at all). (I theLocation is actually two parts o the body, such asLocation 6 which covers both hands, the characterdefines which o the parts the Gate is. In combat,when someone attacks him and hits the properLocation, unless the attacker specifically aimedor the proper one, he must roll 1d6; a 1-3 meanshe hit the lef limb, a 4-6 means he hit the right.)He must define this Gate when he buys the power,and cannot change it thereafer. Te location othe open Gate can’t be discerned by ordinarymeans, but i a character’s enemies learn where itis they’ll certainly use that inormation against thecharacter when next they fight!

I the campaign uses the Hit Location table or

all attacks, and the character chooses as his openGate a Hit Location that reduces the damage o anattack (Locations 6-8, 15-18), then he must takethe Complication Vulnerability: 2 x BODY o Attacks o Gate (Uncommon) or no Complica-tion Points.

GM’s Note: Iron Shirt is an inexpensive, useulability. I you allow it in your campaign, just aboutevery character will want it. It makes small bladedweapons next to useless; only martial arts, largeweapons, and guns remain effective. I you preerto keep your PCs respectul o lower-poweredKilling Damage weapons, do not allow this powerin your campaign.

Game Information: Resistant (+½) or 8 PD (4Active Points); Does Not Work Against Firearms(-½), [one Hit Location] Undeended (-¼). otalcost: 2 points.

Options:

1) Stronger Iron Shirt: Increase to Resistant (+½)or 12 PD. 6 Active Points; total cost 3 points.

2) Weaker Iron Shirt: Decrease to Resistant (+½)

or 4 PD. 2 Active Points; total cost 1 point.

BSUPREME CH’IEffect: Impenetrable (+¼) for one

Block-based Martial Maneuver

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Te character knows how to harnessthe power o his ch’i to block the iger’s Fang

Strike that inflicts wounds so easily (see above).Game Information: Impenetrable (+¼) or oneBlock-based Martial Maneuver (5 Active Points);Requires A Martial Arts ricks Roll (-½). otalcost: 3 points.

Options:

1) Stronger Supreme Ch’i: Increase to Impen-etrable (x2; +½). 10 Active Points; total cost 7points.

2) Even Stronger Supreme Ch’i: Increase toImpenetrable (x3; +¾). 15 Active Points; total cost10 points.

3) Master Of Supreme Ch’i: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 5 points.

B THOUSAND POUND STANCEEffect: Density Increase (800 kg mass)

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: Also called the Tousand Pound

Stumble, this is a ch’i-channeling technique thatroots a martial artist to the ground so he canbetter end off attackers. While using this power,the character cannot move rom where he stands,or use his legs to kick, but can move his arms toblock or punch. Te power stops working i thecharacter moves, or i someone manages to movehim or Knock him Back.

Game Information: Density Increase (800 kgmass, +0 SR, +3 PD/+3 ED, -6m KB) (12 ActivePoints); Character Must Remained Stationary (-1),Extra ime (Full Phase to activate; -¼), IncreasedEndurance Cost (x2 END; -½), Lockout (can’t use

leg-based maneuvers or abilities; -¼), No SR

“The grea

victor w

without a bat

He who overco

men understa

them. ”

- Lao Tzu,

Tao Te Chin




Increase (-1), Requires A Martial Arts ricks Roll(-½). otal cost: 3 points.

Options:

1) Two Thousand Pound Stance: Increase toDensity Increase (1,600 kg mass). 16 ActivePoints; total cost 3 points.

2) Five Hundred Pound Stance: Decrease toDensity Increase (400 kg mass). 8 Active Points;

total cost 2 points.3) Master Of The Thousand Pound Stance: Remove Requires A Martial Arts ricks Roll (-½).otal cost: 4 points.

4) Rooted: Te character centers his ch’i andbecomes effectively unmovable. Replace withKnockback Resistance -16m (16 Active Points);Costs Endurance (-½), Requires A Martial Artsricks Roll (-½). otal cost: 8 points.

B TSIEN YIN TECHNIQUEEffect: +8 PD, Vitals Only

Target: Self

Duration: Nonpersistant

Range: Self

END Cost: NA

Skill Roll Penalty: -NA

Description: Tis ch’i-ocusing technique allowsa martial artist to withdraw his testicles into hisbody, making them sae rom harm.

Game Information: +8 PD (8 Active Points); OnlyProtects Hit Location 13 (-2), Nonpersistent (-¼).otal cost: 3 points.

BULTIMATE BLOCKING TECHNIQUEEffect: Barrier 12 PD, 2m long, 2m tall

Target: Self

Duration: Constant

Range: No Range

END Cost: 3


Description: When perormed properly, this tech-nique allows the character to deflect virtually anyorm o hand-to-hand attack used against him. Atthe same time, he can launch his own attacks (andonly his own attacks) in return!

Game Information: Barrier 12 PD/0 ED, 0 BODY(up to 2m long, 2m tall, and ½m thick), Non-Anchored, Hardened (+¼), One-Way ransparent(see text; +½), Reduced Endurance (½ END; +¼)(66 Active Points); Costs Endurance (to maintain;-½), No Range (-½), Nonresistant Deenses (-¼),Only Works Against Hand-o-Hand Attacks(-¼), Sel Only (-½), Restrainable (-½), RequiresA Martial Arts ricks Roll (-½). otal cost: 16points.

Options:

1) Strong Ultimate Blocking Technique: Increaseto Barrier 18 PD/0 ED. 84 Active Points; total cost21 points.

2) Weak Ultimate Blocking Technique: Decreaseto Barrier 6 PD/0 ED. 48 Active Points; total cost12 points.

3) Master Of The Ultimate Block: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 24 points.

BULTIMATE DODGING TECHNIQUE

Effect: Desolidification

Target: Self

Duration: Constant

Range: Self

END Cost: 8


Description: Te Ultimate Dodging echnique

represents the ultimate orm o deense — a skillat avoiding attacks so proound that no ordinaryblow can affect the user. Only the Sword Fingertechnique (see above) can affect a martial artistusing this ability. However, while using this ability,a character cannot attack, he can only deendhimsel.

In game terms, this ability is defined as Deso-lidification that Only Protects Against Limitedype O Attack. Te “Limited ype O Attack”is any sort o non-HH Combat attack that acharacter could not reasonably expect to dodgeor block, such as most Area O Effect attacks (or

example, a grenade). Te GM determines whethera specific type o attack can affect the character.Since the character is “Desolidified,” he cannotmake any attacks while using Ultimate Dodgingechnique. I a character wants to be able to attackwhile intangible, he must purchase the AffectsPhysical World (+2) Advantage or any MartialManeuvers or other abilities he wishes to use.However, that sort o power quickly goes rom therealm o Wuxia to Video Game- or Anime-stylemartial arts.

Game Information: Desolidification (40 ActivePoints); Increased Endurance Cost (x2 END; -½),Only Protects Against Limited ype O Attack(-1), Requires A Martial Arts ricks Roll (-½).otal cost: 13 points.

Options:

1) Easier Ultimate Dodging Technique: RemoveIncreased Endurance Cost (-½). otal cost: 16points.

2) Master Of The Ultimate Dodge: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 16 points (or 20 points i Increased Endur-ance Cost is also removed).

Hewho feels

unarmed

ust have carried

rms.

- Lao Tzu,

Tao Te Ching

3




MOVEMENT ABILITIES

BEIGHT STEPS OF THEHEAVENLY DRAGON

Effect: Running +28m

Target: Self

Duration: ConstantRange: Self

END Cost: 2


Description: Also known as Speed Running orian Long Ba Bu, this technique allows the char-acter to run at great speeds. Mastery o this abilityenables a martial artist to outrun horses and evenautomobiles, although he must take care not totrip.

Te training regimen or certain variationso this technique grant the character increasedreflexes, as well as the ability to see in the dark like

a cat.

Game Information: Running +28m, x4Noncombat, Combat Acceleration/Deceleration(+¼), Reduced Endurance (½ END; +¼) (49Active Points); Requires A Martial Arts ricks Roll(-½). otal cost: 33 points.

Options:

1) Faster Steps: Increase to Running +38m. 64Active Points; total cost 43 points.

2) Slower Steps: Decrease to Running +14m. 28Active Points; total cost 19 points.

3) Master Of The Eight Steps: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 49points.

4) Tiring Steps: Remove Reduced Endurance (½END; +¼). otal cost: 27 points.

5) Catlike Agility: Add +3 DEX (or more). otalcost: 9 points (or more).

6) Eyes Of The Cat: Add Nightvision. otal cost:5 points.

BFLAGSTONE CURRENTSEffect: Flight 18m, Only In

Contact With Water

Target: Self

Duration: Instant

Range: Self

END Cost: 2


Description: Te martial artist can run so astand with such grace that he can literally walk onwater! He can only do this or a brie period otime, and only on relatively calm water. I he stayson the water or more than one Full Move, he allsin at the beginning o the Segment afer he usesthe ability (unless the GM rules otherwise, which

would be appropriate or some Video Game- orAnime-style campaigns).

Characters buying this ability should buyinches o Flight equal to their ordinary Runningwhen used at Combat Movement speeds. Tisexample assumes Running 18m.

Game Information: Flight 18m (18 Active Points);Only In Contact With Water (see text; -½),Requires A Martial Arts ricks Roll (-½). otal

cost: 9 points.Options:

1) Stronger Flagstone Currents: Increase Flight24m. 24 Active Points; total cost 12 points.

2) Weaker Flagstone Currents: Decrease Flight12m. 12 Active Points; total cost 6 points.

3) Master Of The Flagstone Currents: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 12 points.

BGECKO CRAWLINGEffect: Clinging (normal STR)

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Te character can climb virtually any vertical surace with ease.

Game Information: Clinging (normal SR) (10Active Points); Cannot Resist Knockback OrTrows (-¼), No Ceiling Movement Or AnglesO Less Tan 80o (-¼), Sideways Movement Is At

Hal Running Speed (-¼), Requires A Martial Artsricks Roll (-½). otal cost: 4 points.

Options:

1) Master Of Gecko Crawling: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 6points.

2) Wall Walking: With this technique the char-acter can walk on walls and the ceiling as easilyas i they were walking on the floor. Change to:Clinging (normal SR) (10 Active Points); CannotResist KB Or Trows (-¼). otal cost: 8 points.

BGRASS RUNNING STANCEEffect: Flight 18m, Only Along Reason-

ably Horizontal Surfaces

Target: Self

Duration: Constant

Range: Self

END Cost: 3


Description: An advanced orm o SupremeBalance (see page 163) and ofen used in conjunc-tion with that power, the Grass Running Stanceallows a martial artist to run along ence rails,

the ridges o narrow peaked roos, across a fieldo grass without leaving any tracks, along treebranches, and so on. Grass Running Stance is

Donot st

an arm

its way home.

- Sun Tzu,

The Art of




also known as Grass Gliding , Mist Running, WallRunning Stance, and Walking On Air .

Characters buying this ability should buymeters o Flight equal to their ordinary Runningwhen used at Combat Movement speeds. Tisexample assumes Running 18m. However, there’snothing wrong with the character combiningelements o this power with similar powers, suchas Eight Steps O Te Heavenly Dragon or Flag-stone Steps.

Game Information: Flight 18m, Position Shif,No urn Mode (+¼) (29 Active Points); NoNoncombat Movement (-¼), Only Along Reason-ably Horizontal Suraces (-½). otal cost: 16points.

Options:

1) Faster Grass Running Stance: Increase toFlight 24m. 36 Active Points; total cost 20 points.

2) Slower Grass Running Stance: Decrease toFlight 12m. 21 Active Points; total cost 12 points.

3) Ultimate Grass Running Stance: Te char-acter’s sense o balance is such that he can run upwalls, across bodies o water, and even over theheads o a packed crowd! Remove No NoncombatMovement (-¼) and replace Only Along Reason-ably Horizontal Suraces (-½) with Only InContact With A Surace (-¼). otal cost: 23points.

4) Grass Perching Stance: Te character isn’table to run using this technique, but can standon the very tops o trees, small twigs floatingin streams, or the tip o a bamboo pole and notall off. Replace with Flight 1m, Position Shif (6Active Points); Only o “Hover” On Small Objects(see text; -1). otal cost: 3 points.

BLEAPING TO THE HORIZONEffect: Leaping +30m (Accurate).

Target: Self

Duration: Instant

Range: Self

END Cost: 2


Description: Te character is able to leapimmense distances with a minimum o effort.

Game Information: Leaping +30m, Accurate.

otal cost: 20 points.Options:1) Stronger Leaping: Increase to Leaping +60m.otal cost: 35 points.

2) Weaker Leaping: Decrease to Leaping +15m.otal cost: 13 points.

3) Superior Leaping: Add No Gravity Penalty(+½). otal cost: 30 points.

4) Leaping To The Horizon Variant: Te char-acter can leap his ull distance rom a standingstart. In addition, he can leap rom otherwiseimpossible suraces, such as pools o water, thin

stalks o bamboo, and so on (a very useul abilityin combination with Grass Running/Perching

Stance). Even though he can’t hover, the GMshould allow him to land on similar suraces,provided he immediately leaps again on his nextPhase. Gamemasters wishing to push the limitso Wuxia Martial Arts can allow a character toleap up into the air and then push off rom suchthings as a nearby bird or even the character’s ownsword so they can leap even higher. Replace withFlight 30m, No Gravity Penalty (+½) (45 ActivePoints); Cannot Hover (must make at least a HalMove per Phase; -½), No Noncombat Movement(-¼), Only In A Straight Line (-½). otal cost: 20points.

5) Springing Sword: By landing sword-point firstafer leaping a great distance, a character can thenuse the springiness common to Chinese swordsto propel himsel urther into the air. Change to(or buy in addition): Leaping +12m, Accurate,No Gravity Penalty (+½), Reduced Endurance(0 END; +½) (22 Active Points); OAF (Chinesesword; -1), Can Only Be Used On Te PhaseFollowing A Pervious Leap (-1). otal cost: 7points.

6) Supreme Equestrian: Te character’s prowessis such he can perorm incredible leaps even whileriding a horse! Character also buys: Usable Simul-taneously (+½) (10 Active Points); Only Usable ByA Horse Te Character Is Riding (-1). otal cost:5 points.

BPUSH HANDSEffect: Clinging, Only To Stick

To An Opponent

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Push hands (toy sao) is an abilityderived rom a ai Ch’i Ch’uan exercise that usespushing-yielding contact to help the studentdevelop flexibility and understand how to react toorce. Over time, the student gradually becomesmore sensitive to orce and to the movements ohis opponent. Skilled practitioners become sogood at this they can effectively “stick” to an oppo-nent and maintain contact with him no matterwhat he does to shake them off! Even running,

leaping, and acrobatics do not help to escape.Game Information: Clinging (normal SR) (10Active Points); Only o Stick o An Opponent(-1), Cannot Resist Knockback (-¼). otal cost: 4points.

Options:1) Stronger Push Hands: Increase to Clinging(normal SR +15). 15 Active Points; total cost 7points.

2) Even Stronger Push Hands: Increase toClinging (normal SR +30). 20 Active Points; totalcost 9 points.

“Without the

correct

rinciple the

ght cannot be

on. ”

- Miyamoto

Musashi, Go

Rin No Sho (“A

Book of Five

Rings”)

3




3) Unescapable Push Hands: Increase toClinging (normal SR +45). 25 Active Points; totalcost 11 points.

BSELF-PROPELLED

ARROW TECHNIQUEEffect: Flight 40m, Straight Line Only

Target: Self

Duration: Constant

Range: Self

END Cost: 7, 1 Recoverable Charge


Description: Te Sel-Propelled Arrow echniquelets the character to shoot himsel out o his ownbow! Afer jamming one end o the bow in theground, the character places his eet on the stringand one hand on the bow stave (he usually has a

weapon in his other hand). By releasing his holdon the stave, the character shoots himsel ree and“flies” or a considerable distance. o recover theCharge, the character has to retrieve his bow.

Game Information: Flight 60m, Combat Accelera-tion (+¼) (75 Active Points); OAF (-1), CannotHover (-0), Costs Endurance (Only Costs END toActivate; -¼), Extra ime (Full Phase to activate;-¼), Gestures (must shoot sel out o bow; -¼),Instant (-½), No Noncombat Movement (-¼),Only In A Straight Line (-½), 1 RecoverableCharge (-1¼). otal cost: 14 points.

Options:

1) Stronger Self-Propelled Arrow: Increase toFlight 80m. 100 Active Points; total cost 19 points.

2) Weaker Self-Propelled Arrow: Decrease toFlight 40m. 50 Active Points; total cost 9 points.

B TOAD STANCEEffect: Flight 50m, Only In Straight

Lines plus Physical Damage

Reduction, 75%; Only Works Against Damage Taken WhenPerforming Move Bys/Throughs

Target: Self

Duration: Constant

Range: Self

END Cost: 6


Description: Tis powerul and somewhatunnerving technique allows a martial artist tomove at great speeds. Te oad Stance may looksomewhat odd, but its sheer power cannot be

denied.Starting rom a low, ground-hugging posi-

tion, the character suddenly propels himsel at thetarget at great speed, becoming a virtual humanbattering ram capable o smashing through doors,walls, and people.

Game Information: Flight 50m, Combat Accel-eration/Deceleration (+¼) (62 Active Points);Must Land At Te End O Each Phase (-½),Only In Straight Lines (-½), Requires A MartialArts ricks Roll (-½) (total cost: 25 points) plus Physical Damage Reduction, 75%, Normal (40Active Points); Only Works Against Damage

aken When Perorming Move Bys/Troughs (-1),




Linked (-½) (total cost: 16 points). otal cost: 41points.

Options:

1) Strong Toad Stance: Increase to Flight 70m.87 + 40 = 127 Active Points; total cost 35 + 16 =51 points.

2) Weak Toad Stance: Decrease to Flight 30mand reduce Linked to -¼. 37 + 40 = 77 Active

points; total cost 15 + 18 = 33 points.3) Master Of The Toad Stance: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 31 +16 = 47 points.

SENSORY ABILITIES

BCH’I EYEEffect: Detect Martial Artist/

Potential Martial Artist

Target: Self


END Cost: 0


Description: Nearly all practitioners o the martialarts learn how to spot “the talent” in others,whether it’s a trained and developed skill, or justthe potential to become a great warrior i properlytrained.

Game Information: Detect Martial Artist/Poten-tial Martial Artist (IN Roll +2) (Sight Group).otal cost: 5 points.

Options:

1) Stronger Ch’i Eye: Increase to IN Roll +4.otal cost: 7 points.

2) Even Stronger Ch’i Eye: Increase to IN Roll+6. otal cost: 9 points.

BMIND LIKE THE MOONEffect: Spatial Awareness

Target: Self


Range: Self

END Cost: 0


Description: Te character’s awareness o hissurroundings is so proound that he can perceivephysical objects around him even i he’s blind anddea.

Game Information: Spatial Awareness (no SenseGroup). otal cost: 32 points.

Options:

1) Mind Like The Full Moon: Add 360-DegreePerception. otal cost: 37 points.

BSENSE CH’IEffect: Sense Ch’i (INT Roll)

Target: Self


Range: Self

END Cost: 0


Description: Some martial artists can sense theflow o ch’i within others — an ability they canofen use to their benefit.

In HERO System terms, this is a orm o theEnhanced Sense Detect (ch’i counts as a 5-pointDetect category, since it can have a significanteffect on combat). A successul Sense Ch’i roll hastwo effects. First, it allows a character to knowwhat ch’i abilities his opponent is currently using(and, i the roll succeeds by 3 or more, to knowother abilities that he possesses, even i they’renot currently in use). Second, it lets the characterdiscern the location o his enemy’s open Gates (seeIron Shirt , above); and so orth.

At the GM’s option, i a character succeedswith a Sense Ch’i roll on himsel in a particularlycrucial situation (such as right beore a major testo his martial abilities or an all-or-nothing attackon which great stakes depend), he may receive abonus to whatever he attempts — an additionalpoint o OCV, an extra DC or two, or the like.(Alternately, the GM could require characters tobuy those benefits with the Limitation Requires ASense Ch’i Roll .)

I the situation allows, a character usually takesextra time to gain bonuses to his Sense Ch’i roll. Atthe GM’s option, he may gain other bonuses rommeditating, making an EGO Roll as a Comple-mentary Skill Roll, and so orth. I he’s disturbed,emotionally upset, Enraged/Berserk, sufferingrom a Dependence, or subject to similar ormso stress (“My mind and my spirit are going northand south!”), he suffers a penalty to his Sense Ch’irolls, or maybe cannot make them at al l.

Game Information: Detect Ch’i (no Sense Group)(IN Roll), Range, Sense. otal cost: 12 points.

Options:

1) Stronger Sense Ch’i: Increase to IN Roll +2.otal cost: 14 points.

2) Even Stronger Sense Ch’i: Increase to INRoll +4. otal cost: 16 points.

3) In Tune With The World: Add Increased Arc OPerception (360 Degrees). otal cost: 17 points.

4) Ch’i Targeting: Add argeting. otal cost: 22points.

“From one

thing,

now ten

housand

hings. ”

- Miyamoto

Musashi, GoRin No Sho

(“A Book of

Five Rings”)

3




BSHIN GONG VISIONSEffect: Clairsentience

Target: Self

Duration: Constant

Range: 3,200m

END Cost: 4


Description: By utilizing his shin gong (mental)energy, a martial artist can see distant happen-ings... or even images o uture events!

Game Information: Clairsentience (Sight Group),x16 Range (3,200m) (40 Active Points); Concen-tration (½ DCV throughout; -½), Extra ime(minimum o 1 urn, and sometimes longer; -1¼),Requires An EGO Roll (-½). otal cost: 12 points.

Options:

1) Shin Gong Visions And Sounds: Te charactercan both see and hear distant events. Add HearingGroup. 50 Active Points; total cost 15 points.

2) Enhanced Shin Gong Visions: Te character’scontrol over his ability to see distant events allowshim to move his perception point. Add MobilePerception Point. 45 Active Points; total cost 14points.

3) Shin Gong Future Visions: Te characterdoesn’t perceive distant events, he perceives eventsthat haven’t happened yet! Add Precognition,remove Increased Range, and add PrecognitionOnly (-1) and Vague And Unclear (-½). 40 ActivePoints; total cost 8 points.


BCH’I TOUCHEffect: Healing BODY 2d6


Duration: Instant

Range: Touch

END Cost: 10


Description: Also known as Jusul , this is theability to use ch’i energy to heal instead o harm.o do this the martial artist must briefly meditatewhile touching the injured person. With a wash owhite-gold light, his ch’i flows out o him and intothe subject, healing him.

Game Information: Healing BODY 2d6 (20 ActivePoints); Concentration (0 DCV throughout; -1),Extra ime (1 urn; -1¼), Increased EnduranceCost (x5 END; -2), Requires A Martial Arts ricksRoll (-1 per 5 Active Points; -1). otal cost: 3points.

Options:

1) Stronger Ch’i Touch: Increase to HealingBODY 3d6. 30 Active Points; total cost 5 points.

2) Weaker Ch’i Touch: Decrease to HealingBODY 1d6. 10 Active Points; total cost 2 points.

3) Near Master Of The Ch’i Touch: SubstituteRequires A Martial Arts ricks Roll (-1 per 10Active Points; -½). 3 points.

4) Master Of The Ch’i Touch: Remove RequiresA Martial Arts ricks Roll (-1 per 5 Active Points;-1). otal cost: 4 points.

5) Chinese Ch’i Touch: Replace Requires AMartial Arts ricks Roll with PS: Chinese Healing(-¼) and add OAF (acupuncture needles; -1).otal cost: 3 points.

6) Jusul: Add Incantations (constant chanting;-½). otal cost: 3 points.

7) Jusul Variant: Tis orm o Jusul doesn’theal the target, in act it does the exact opposite— it makes him ill! Change to: RKA 4d6, NND(deense is Lie Support [appropriate Immu-

nity]; +1), Does BODY (+1) (180 Active Points);Concentration (½ DCV throughout; -½), DamageOver ime (4 damage increments, damage occursevery 1 Hour, can be negated by through varioushealing methods, deenses only apply once,cannot use power on victim again until all damageincrements accrue; -1½), Extra ime (1 urn[Post-Segment 12]; -1¼), Incantations (constantchanting; -½), Limited Range (20m; -¼). otalcost: 36 points.

8) Master Of Kalaripayit: Replace Requires AMartial Arts ricks Roll with PS: Indian Healing (-¼). otal cost: 4 points.

BCREATE FOODEffect: Life Support (Diminished Eating:

no need to eat or drink)

Target: Special

Duration: Special

Range: No Range

END Cost: 1 Continuing Fuel Charge


Description: By manipulating the energy o hisinner ch’i, the character can cause ood to spon-taneously appear. Te ood is enough to eed 16

people or a day, although with the GM’s permis-sion this can be divided up differently, as long asthe total man-days o ood doesn’t exceed 16 (e.g., eed 32 people or hal a day, eed our people orour days, and so on).

Game Information: Lie Support (DiminishedEating: no need to eat or drink), Usable Simul-taneously (up to 16 people at once; +1) (6 ActivePoints); Extra ime (Full Phase to activate; -¼),Gestures (-¼), Requires A Martial Arts ricks Roll(-½), 1 Continuing Fuel Charge lasting 1 Day (-0).otal cost: 3 points.

Tigress: It is

that the Drago

Warrior can go

months withou

eating, survivin

the dew of a si

ginko leaf and

the energy of t

universe.

Po: Then I gues

body doesn't k

I'm the Dragon

Warrior yet. It

gonna take a lo

more than dew

uh, universe ju

- Kung Fu P




Options:

1) Stronger Food Creation: Increase to UsableSimultaneously (up to 32 people at once; +1¼). 7Active Points; total cost 3 points.

2) Weaker Food Creation: Decrease to UsableSimultaneously (up to 8 people at once; +¾). 5Active Points; total cost 2 points.

3) Master Of Food Creation: Remove Requires AMartial Arts ricks Roll (-½). otal cost: 5 points.

BDRAGON WALKINGEffect: Invisibility to Danger Sense

Target: Self

Duration: Constant

Range: Self

END Cost: 2


Description: Some characters have an innatemystic “eel” or when something threatens them(see Dairokkan, page 135). Others have developed

the ability to avoid this sense, and thus to be ableto surprise even the most alert fighter.

Game Information: Invisibility to Danger Sense.otal cost: 20 points.

BFLOW RESTORATIONEffect: Healing END or STUN 4d6,

Can Only Be Used OncePer Person Per Day


Duration: Instant

Range: Touch


Description: By striking specific pressure pointsand nerve centers, the character can restore aperson’s flow o ch’i. Te recipient eels revitalizedand invigorated by the rush o energy.

Game Information: Healing END or SUN4d6, Variable Effect (END or SUN; +½) (60Active Points); Extra ime (Full Phase; -½),Gestures (must strike specific pressure points;-¼), Can Only Be Used Once Per Person Per Day(-½),Others Only (-½), Requires A Martial Arts

ricks Roll (-½), arget Must Have ReachablePressure Points (-½). otal cost: 16 points.

Options:

1) Stronger Flow Restoration: Increase toHealing 6d6. 90 Active Points; total cost 24 points.

2) Weaker Flow Restoration: Decrease toHealing 2d6. 30 Active Points; total cost 8 points.

3) Master Of Flow Restoration: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 18 points.

BHIGH-SPEED CARVINGEffect: Cosmetic Transform 4d6

(object to object with writing[or carved object])


Duration: Instant

Range: No Range

END Cost: 2


Description: Tis technique allows the characteruse his sword to carve letters, numbers, and ideo-grams into lengths o wood and similar objects.

Game Information: Cosmetic ransorm 4d6(object into object with writing [or carved object],heals back though use o wood working, there-growth o carved tree, or the passage o time),Improved Results Group (any set o charactersdesired; +¼), Partial ransorm (+½) (21 ActivePoints); OIF (sword o opportunity; -½), Extraime (Full Phase; -½), Gestures (must writecharacters with sword on object to be carved; -½),Limited arget (wood, stone, some metal; -¼), NoRange (-½), Requires A Martial Arts ricks Roll(-½) . otal cost: 6 points.

Options:

1) Master Of High-Speed Carving: RemoveRequires A Martial Arts ricks Roll (-½). otalcost: 6 points.

BPEACH BLESSINGEffect: Life Support (Longevity:

double standard lifespan)

Target: Self


Range: Self

END Cost: 0


Description: Tanks to the combination o theirexcellent physical health and their awareness (andcontrol over) their own ch’i, many martial artistslive much longer than ordinary humans do.

Game Information: Lie Support (Longevity:double standard liespan). otal cost: 1 point.

Options:

1) Eating The Peaches Of Heaven: It’s notunheard o or master martial artists, aoistsorcerers, and pious Buddhist monks to live ar longer than any normal human. I the campaignsetting allows or it, characters can purchase anylevel o Longevity they wish, up to and includingImmortality.

ameless: Great

lligraphy.

oken

word: Great

ordsmanship.

ameless: Youdn't see my

ordsmanship.

oken Sword:

thout it, I

uldn't have

itten this

lligraphy.

- Hero

3




BPEACH TRANCEEffect: Simulate Death

Target: Self


Range: Self

END Cost: 0


Description: Some martial artists have such greatcontrol over their own bodies that they can entera Peach rance — a type o meditation so deepthat it’s very difficult to determine that they’restill alive. Tis is a good way to survive oxygendeprivation, stop drugs or poisons rom urtheraffecting the body, and so orth.

Game Information: Simulate Death. otal cost: 3points.

Options:

1) Stronger Peach Trance: Add +2 to the EGORoll. otal cost: 5 points.

2) Even Stronger Peach Trance: Add +4 to theEGO Roll. otal cost: 7 points.

BSUMMON ANCESTRALSPIRITS

Effect: Summon one 475-point ghost


Duration: Instant

Range: No Range

END Cost: 9


Description: A orm o aoist sorcery, this abilityallows the character to summon (and hopeullycontrol) a ghost. Te spell calls or a table oapparatus, including a wooden straight-bladedsword, incense, candles, a bowl, and paper charms(which are set alight and tossed into the bowlto burn). Other objects may be present as well,including jars o wine, bowls o ink, a brush, andblank sheets o paper, sharp knives, resh blood,and so on. Te ritual takes some time and willtotally occupy the character during that period, ashe must manipulate many o the objects in specificsequences (which is why many aoist sorcerershave apprentices).

More powerul versions o this ability allowthe sorcerer to summon groups o ghosts, or evenmore dangerous creatures, such as chiang-shih (vampires) or k’uei (walking corpses).

Game Information: Summon one 475-pointghost (95 Active Points); OAF Expendable(various aoist objects and supplies, someobjects are burned during ritual and must bereplaced, Easy to Obtain; -1), Concentration (½DCV throughout; -½), Extra ime (1 Hour, -3),Gestures (requires use o both hands throughout;-1), Incantations (throughout; -½), Requires Aaoist Sorcery Roll (-½). otal cost: 13 points.

Options:

1) More Ghosts: Increase to our 475-pointghosts. 105 Active Points; total cost 14 points.

2) Many More Ghosts: Increase to 16 475-pointghosts. 115 Active Points; total cost 15 points.

3) Master Of Ancestral Spirit Summoning: Remove Requires A aoist Sorcery Roll (-½). otalcost: 13 points.

4) Controlled Ghosts: Add Slavishly Loyal. 190Active Points; total cost 25 points.

5) Summon Honored Ancestor: Tis version callsorth a specific individual to serve the sorcerer.Add Specific Being (+1). 190 Active Points; totalcost 25 points.

6) Lord Of The Dead: Add Expanded Class OBeings (Chinese undead; +¼). 119 Active Points;total cost 16 points.

BSUPREME BALANCEEffect: Environmental Movement:

Supreme Balance (no penal-

ties on narrow surfaces) Target: Self


Range: Self

END Cost: 0


Description: So great is the character’s dexteritythat he can stand, walk, or fight along narrowledges, tree branches, and similar structureswithout suffering any combat penalties.

Game Information: Environmental Move-ment: Supreme Balance (no penalties on narrowsuraces). otal cost: 4 points.

Ifthey have no choice, they

will fight.





V IDEO GAME

MARTIAL ARTSV

ideo Game martial artists are mainlyconcerned with combat effectiveness,and their powers reflect this. Most otheir abilities deal with increasing the

amount o damage they do to a oe, avoiding thesame damage, or being able to move more effi-ciently around the battlefield.

o ully capture the eel o Video Game martial

arts, GMs may want to require any offensive powerto take the Incantations Limitation (with theincantation being the name o the power).

OFFENSIVE ABILITIES

BCH’I FIREBALLEffect: Blast 8d6


Duration: Instant

Range: 400m


Description: By summoning his internal ch’i, thecharacter can then project it outward as a blazingball o energy. Although the energy making up thefireball dissipates quickly, it can be quite devas-tating at close range.

Game Information: Blast 8d6 (40 Active Points);Gestures (must project fireball rom both hands;-½), Reduced By Range (-¼). otal cost: 23points.

Options:

1) Stronger Ch’i Fireball: Increase to Blast 12d6.60 Active Points; total cost 34 points.

2) Weaker Ch’i Fireball: Decrease to Blast 6d6. 30Active Points; total cost 17 points.

3) Ch’i Breath Weapon: Remove Gestures (-½)and Add No Range (-½). Costs stay the same.

4) Ch’i Blast: Remove Reduced By Range (-¼).otal cost: 27 points.

5) Exploding Ch’i Fireball: Add Area O Effect(16m Radius Explosion; +¼). 50 Active Points;total cost 28 points.

6) Ch’i Fireball Barrage: Add Autofire (3 shots;

+¼). 50 Active Points; total cost 28 points.

BCH’I FIRESEffect: Aid STR, EGO, REC, PD, or ED 3d6

Target: Self

Duration: Instant

Range: Self

END Cost: 3


Description: Some characters have the power tocall upon their ch’i, or internal energy, to augmenttheir physical or mental capabilities. Tis takestime and is tiring, but it can significantly improvea martial artist’s fighting ability.

“Calling upon my ch’i” is an appropriate specialeffect or various other Aids and related powersyou can construct using this ability as a guideline.ypically such Aids are limited to no more than4d6 maximum (they can have Delayed ReturnRate or up to 5 Minutes i desired, though this israre). Te GM can restrict what Characteristicsthey can apply to; besides the our listed here,

other possibilities include DEX, PRE, the CVs,SPD, END, and SUN. Concentration, Extraime, Gestures, Incantation, Increased Endur-ance Cost, and Requires A Roll are all appropriateLimitations.

Game Information: Aid SR, EGO, REC, PD, orED 3d6, Variable Effect (any one o these Charac-teristics at a time; +½) (27 Active Points); Aid SelOnly (-1), Extra ime (Full Phase; -½), Can OnlyHave One ype O Aid Active At A ime (-¼).otal cost: 10 points.

Options:

1) Stronger Ch’i Fires: Increase to Aid 4d6. 36Active Points; total cost 13 points.

2) Weaker Ch’i Fires: Decrease to Aid 2d6. 18Active Points; total cost 6 points.

3) Long Lasting Ch’i Fires: Add DelayedRecovery Rate (points ade at the rate o 5 perMinute; +1). 45 Active Points; total cost 16 points.

elena: Don't you

hink the guy in the

econd row is cute?

hristie: Is there

a guy in the

world thatyou don't

have a crush

on?

asumi: You can

ave him. But what

out the other

hree hundred?

na: Why don't we

ust split ‘em up

venly?

- The DOA

fighters face

off against

an army in

DOA: Dead or

Alive

3




BCH’I WEAPONEffect: HKA 2d6, Armor Piercing


Duration: Instant

Range: Touch

END Cost: 4


Description: Te character can orm a weaponout o pure ch’i energy, or surround his fists withsearing flames o ch’i.

Game Information: HKA 2d6 (plus SR), ArmorPiercing (+¼). otal cost: 37 points.

Options:1) Stronger Ch’i Weapon: Increase to HKA 3d6.otal cost: 56 points.

2) Weaker Ch’i Weapon: Decrease to HKA 1d6.otal cost: 19 points.

3) Tiring Ch’i Weapon: Add Increased EnduranceCost (x2 END; -½). 37 Active Points; total cost 25points.

4) Longer Weapon: Te character can orm anextremely long blade o ch’i energy. While theexample here is only a ew meters long, charac-ters who want a more Anime martial arts eelcould have ch’i weapons dozens o meters long (ormore). Add Reach +4m. otal cost: 4 points.

BEARTHQUAKE STRIKEEffect: Blast 10d6, Explosion,

Hole In The Middle

Target: Radius 24m, Explosion

Duration: Instant

Range: No RangeEND Cost: 9


Description: Te character slams his fists (or eet,or even a weapon) into the ground, releasing asurge o ch’i that results in a small, but powerul,seismic shockwave around him that injuriespeople and knocks them off o their eet.

Game Information: Blast 10d6, Area O Effect(22m Radius Explosion; +½), Hole In TeMiddle (1m radius around the character’s eet;+¼) (87 Active Points); Extra ime (Full Phase;-½), No Range (-½), Only Affects argets AlongTe Ground (-¼), Only Does Knockdown, NotKnockback (-0), Restrainable (-½), Side Effects(may cause considerable damage to the environ-ment; -0). otal cost: 32 points.

Options:1) Stronger Earthquake: Increase to Blast 12d6and 26m Radius Explosion. 105 Active Points;total cost 38 points.

2) Weaker Earthquake: Decrease to Blast 8d6and 16m Radius Explosion (+¼). 60 Active Points;total cost 22 points.

3) Fault Line: Te shockwave travels in a narrow

line instead o exploding outwards. Replace withArea O Effect (22m Line Explosion; +¼). 75Active Points; total cost 27 points.

BFLAMING DRAGON DANCEEffect: Blast 8d6, Area Of

Effect (8m Radius)

Target: 8m Radius

Duration: Instant

Range: No RangeEND Cost: 7


Description: Spinning in a tight circle, the char-acter sends a burst o ch’i fire racing out rom hisbody. While the character himsel is unharmed bythis technique, the same cannot be said about anynearby oes!

Game Information: Blast 8d6, Area O Effect (8mRadius; +½), Personal Immunity (+¼) (70 ActivePoints); Extra ime (Full Phase; -½), No Knock-back (-¼), No Range (-½). otal cost: 31 points.

Options:

1) Stronger Flaming Dragon Dance: Increase toBlast 10d6. 87 Active Points; total cost 39 points.

2) Weaker Flaming Dragon Dance: Decrease toBlast 6d6. 52 Active Points; total cost 23 points.

3) Exploding Flaming Dragon: Replace Area OEffect (8m Radius; +½) with Area O Effect (8mRadius Explosion; +¼). 60 Active Points; total cost27 points.

4) Flaming Dragon Wall: Instead o radiating hisch’i energy outwards, the character projects it intoa narrow wall o fire. Change to Blast 8d6, Area O

Effect (16m Line; +¼). 50 Active Points); total cost22 points.




BFLAMING KICKS AND PUNCHES

Effect: HA +6d6 (affects ED not PD)

Target: character

Duration: Instant

Range: No Range

END Cost: 6


Description: Te character maniests his internalch’i energies as visible flames wreathing his limbs,which deal extra damage in hand-to-hand combat.While a devastating technique, it’s also quitetiring.

Game Information: HA +6d6 (affects ED not PD)(30 Active Points); Hand-o-Hand Attack (-¼),

Increased Endurance Cost (x2 END; -½). otalcost: 17 points.

Options:

1) Stronger Kicks And Punches: Increase to HA+8d6. 40 Active Points; total cost 23 points.

2) Weak Kicks And Punches: Decrease to HA+4d6. 20 Active Points; total cost 11 points.

3) Easier Kicks And Punches: Remove IncreasedEndurance Cost (x2 END; -½). otal cost: 24points.

BFROST FISTEffect: HA +4d6 plus Drain END 4d6.

Target: One character/One character

Duration: Instant/Instant

Range: Touch/No RangeEND Cost: 6


Description: Te character surrounds his fist witha nimbus o reezing cold ice crystals. Anyonestruck not only eels the impact o the blow butalso has some o his endurance drained away dueto the searing cold.

Characters who buy this power must decidewhen they buy it i the Drain works against thetarget’s personal END or an Endurance Reserve,such as the Rage Meter Energy Pool (see below).

Game Information: HA +4d6 (20 Active Points);Hand-o-Hand Attack (-¼) (total cost: 16 points)plus Drain END 4d6 (40 Active Points); Linked(-¼), No Range (-½), (total cost: 23 points). otalcost: 39 points.

Options:

1) Stronger Frost Fist: Increase to Drain END5d6. 20 + 50 = 70 Active Points; total cost 16 + 28= 44 points.

2) Weaker Frost Fist: Decrease to Drain END3d6. 20 + 30 = 50 Active Points; total cost 16 + 17= 33 points.

3




3) Expanded Frost Fist: Add Variable Effect (canaffect either personal END or Endurance ReserveEND; +½) to Drain. 60 Active Points; total cost 34points; overall total cost 50 points.

BKAMIHIKARIEffect: Sight Group Flash 4d6,

Damage Shield

Target: Special

Duration: Constant

Range: Touch

END Cost: 3


Description: Te kamihikari, or “spirit light,” is a visible maniestation o a powerul, enlightenedwarrior’s ch’i. At his command his body literallyglows so brightly that it’s difficult to fight himwithout being blinded.

Game Information: Sight Group Flash 4d6, AreaO Effect (personal Surace — Damage Shield;+¼), Constant (+½) (35 Active Points); No Range(-½). otal cost: 23 points.

Options:

1) Stronger Kamihikari: Increase to Flash 5d6. 44Active Points; total cost 29 points.

2) Weaker Kamihikari: Decrease to Flash 3d6. 26Active Points; total cost 17 points.

BONE HUNDRED FISTSEffect: HA +6d6, Autofire (10 shots)


Duration: Instant

Range: No RangeEND Cost: 3 per punch


Description: Te martial artist can deliver analmost blinding flurry o blows that hit his targetmultiple times in a matter o mere seconds. Tespecial effects o this technique varies slightlyrom style to style — a sumotori might deliveropen-handed slaps, a master o Shotokan Karateuses punches, and a Kung Fu master may rely onkicks instead.

Game Information: HA +6d6, Autofire (10 shots;

+1), Reduced Endurance (½ END; +½) (75 ActivePoints); All Shots Versus Same arget (-¼), Extraime (Full Phase; -½), Hand-o-Hand Attack(-¼). otal cost: 37 points.

Options:

1) Stronger Fists: Increase to HA +8d6. 100Active Points; total cost 50 points.

2) Weaker Fists: Decrease to HA +4d6. 50 ActivePoints; total cost 25 points.

3) Fifty Fists: Decrease to Autofire (5 shots; +½).60 Active Points; total cost 30 points.

4) One Hundred Pressure Point Strikes: Techaracter knows where to place each punch todo the most damage. Add Penetrating (+½). 90Active Points; total cost 45 points.

5) One Hundred Knuckle Strikes: Te character’spunches are so powerul that they easily penetratehis target’s deenses. Add Armor Piercing (+¼). 82Active Points; total cost 41 points.

BSHOCKING GRASPEffect: Blast 8d6, Constant


Duration: Constant

Range: No Range

END Cost: 6


Description: Te character first grabs his target,then unleashes an outpouring o ch’i energy romhis hands, burning his victim.

Game Information: Blast 8d6, Constant (+½) (60Active Points); Must Follow Grab (-½), No Knock-back (-¼), No Range (-½). otal cost: 27 points.

Options:

1) Stronger Shocking Grasp: Increase to Blast10d6. 75 Active Points; total cost 33 points.

2) Weaker Shocking Grasp: Decrease to Blast6d6. 45 Active Points; total cost 20 points.

3) Shocking Grasp Variant: Te character super-charges his body with ch’i energy, causing harmto anyone who strikes him. Replace with Blast8d6, Area O Effect (personal surace — DamageShield; +¼), Constant (+½) (70 Active Points); NoRange (-½), No Knockback (-¼). otal cost: 40points.

BSPRINGING STRIKE

Effect: Leaping +18m plus HA +6d6 Target: One character

Duration: Instant

Range: No Range

END Cost: 6


Description: Te character leaps into the air anduses the momentum rom his arcing flight todeliver a crushing blow to his target upon landing.

Game Information: Leaping +18m, Accurate (14Active Points); Forward Movement Only (-1), NoNoncombat Movement (-¼) (total cost: 6 points)

plus HA +6d6, rigger (when character lands nextto target with Leaping, activating rigger takesno time, resetting rigger requires a Zero PhaseAction; +¾) (52 Active Points); Hand-o-HandAttack (-¼), Linked (-¼) (total cost: 35 points).otal cost: 41 points.

Options:

1) Stronger Springing Strike: Increase to HA+8d6. 14 + 70 = 84 Active Points; total cost 6 + 47= 53 points.

2) Weaker Springing Strike: Decrease to HA+4d6. 14 + 35 = 49 Active Points; total cost 6 + 23

= 29 points.

"You want

know wh

am? I am... I a

the Invincible

Sword Goddes

armed with th

Green Destiny

that knows n

equal! Be you

Southern Cran

bow your head

ask for mercy

I am the drag

from the dese

Who comes fro

nowhere and

leavesno trace!

Today I fly

over Eu-Mei.

Tomorrow... I

topple Mount

Wudan!"

- Jen Yu,

Crouching

Tiger, Hidd

Dragon




which, i any, o the attacks can be Blocked. Techaracter must define which Martial Maneuverthis ability works with when he buys it, and cannotchange it thereafer (though he can buy it multipletimes or multiple maneuvers). Replace with Auto-fire (10 shots; +1) and Indirect (see text; +½) orup to Martial Strike 10d6 (75 Active Points); Extraime (Full Phase; -½). otal cost: 50 points.

DEFENSIVE ABILITIES

BCH’I BLOCKINGEffect: Deflection

Target: Target’s OCV

Duration: Instant

Range: 200m

END Cost: 2


Description: With this ability, a martial artist

character can block an opponent’s ch’i-basedRanged techniques with his own ch’i energy.

Game Information: Deflection (20 Active Points);Only Works Against Ch’i-Based Powers (-½). otalcost: 13 points.

MOVEMENT ABILITIES

BWIND RUNNINGEffect: Teleportation 30m, Must Pass

Through Intervening Space

Target: Self

Duration: Instant

Range: Self

END Cost: 15


Description: Te character is so swif that he cancross great distances in the blink o an eye. Onesecond he’s standing still, the next he’s up to 100eet away. He doesn’t literally “vanish” and “reap-pear,” o course, but it will look that way to mostobservers.

Game Information: eleportation 30m (30 ActivePoints); Increased Endurance Cost (x5 END; -2),Must Pass Trough Intervening Space (-¼), No

Noncombat Multiple (-¼), Requires A MartialArts ricks Roll (-½). otal cost: 7 points.

Options:

1) Stronger Wind Running: Increase to elepor-tation 40m. 40 Active Points; total cost 10 points.

2) Weaker Wind Running: Decrease to eleporta-tion 20m. 20 Active Points; total cost 5 points.

3) Easier Wind Running: Remove IncreasedEndurance Cost (x5 END; -2). otal cost: 15points.

4) Master Of Wind Running: Remove RequiresA Martial Arts ricks Roll (-½). otal cost: 15

points.5) Master Of Wind Running Makes It Look Easy: Remove both Increased Endurance Cost (x5 END;-2) and Requires A Martial Arts ricks Roll (-½).otal cost: 20 points.

6) Escape Plan: Te character saves his burstso speed or those moments when he’s underdirect attack. Add rigger (character Dodges orDives For Cover, activating rigger takes no time,requires a Zero Phase Action to reset; +¾). 52Active Points; total cost 13 points.

7) You’re Not Getting Away!: Te character useshis burst o speed to ensure he’s always next to thisoe. He’ll ofen his this technique to be standingright next to where an opponent who’s sufferedKnockback will land. Add rigger (character doesKnockback to an opponent, activating rigger thattakes no time, requires a Zero Phase Action toreset; +¾). 52 Active Points; total cost 13 points.

“It’s not just self

defense, it’s about... self control, body discipline, and

mind discipline... and breath

techniques. It involves yoga. It

involves meditation. It’s an art,

not a sport. ”

- Elvis Presley on the martial arts




8) Escape Plan/You’re Not Getting Away! Variant: Characters can easily substitute meterso Leaping or the meters o eleportation orthese two powers. For example: Leaping +30m,Accurate, rigger (character Dodges or Dives ForCover, activating rigger takes no time, requiresa Zero Phase Action to reset; +¾) (35 ActivePoints); Increased Endurance Cost (x5 END;-2), No Noncombat Movement (-¼), Requires AMartial Arts ricks Roll (-½). otal cost: 9 points.


BEXTENDABLE LIMBSEffect: Stretching 8m; Arms Only

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Te character can extend his limbs(usually his arms) and hit his target without histarget being able to hit him in return. Te exactspecial effect o this powers varies — some char-acters may use secret yoga techniques to extendtheir arms, while others may have mechanicaltelescoping arms.

Game Information: Stretching 8m (8 ActivePoints); Limited Body Parts (arms; -¼). otal cost:6 points.

Options:1) Longer Extendable Limbs: Increase toStretching 12m. 12 Active Points; total cost 10points.

2) Shorter Extendable Limbs: Decrease toStretching 4m. 4 Active Points; total cost 3 points.

3) Mechanical Telescoping Arms: Add AlwaysDirect (-¼). otal cost: 5 points.

BPOWER UPEffect: Aid Endurance Reserve 2d6

Target: Self

Duration: Instant

Range: Self

END Cost: 1


Description: Tis power allows the character tofill up a pool o Endurance (see Rage Meter EnergyPool , below) which is then used to uel some ormo “desperation move” or “ultimate technique.”

Game Information: Aid Endurance Reserve 2d6(12 Active Points); Aid Sel Only (-1), Extra ime(Full Phase; -½), Only Restores o Starting Values(-½). otal cost: 4 points.

Options:

1) Stronger Power Up: Increase to Aid 3d6. 18Active Points; total cost 6 points.

2) Weaker Power Up: Decrease to Aid 1d6. 6

Active Points; total cost 2 points.

BRAGE METEREffect: Absorption 10 BODY (Physical,

to Endurance Reserve) plus Absorption 10 BODY (Energy,to Endurance Reserve)

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Te more punishment the martialartist endures, the aster his Energy Pool o Endur-ance fills (see below), which he can then use topower his special techniques.

Game Information: Absorption 10 BODY (Phys-ical, to Endurance Reserve) (10 Active Points);Only Versus HH Combat Attacks (-¼), UnifiedPower (-¼) (total cost: 7 points) plus Absorption10 BODY (Energy, to Endurance Reserve) (10Active Points); Only Versus Ch’i Energy CombatAttacks (-¼), Unified Power (-¼) (total cost: 7points). otal cost: 14 points.

Options:

1) Strong Rage Meter: Increase to Absorption 15BODY. 30 Active Points; total cost 20 points.

2) Weak Rage Meter: Decrease to Absorption 5BODY. 10 Active Points; total cost 6 points.

“Weapons

often turn

n the wielder,

n army’s harvest

a waste of

horns. ”

- Lao Tzu,

Tao Te Ching

3




BRAGE METER ENERGY POOLEffect: Endurance Reserve (80 END)

Target: Self


Range: Self

END Cost: 0


Description: A Rage Meter Energy Pool is a poolo END that a Video Game martial artist uses to“uel” his amazing powers. It starts out empty atthe beginning o a combat — he has to fill it viaabilities like Power Up and Rage Meter (see above).

Powers eeding off o the Energy Pool shouldexhaust much, i not all, o the Endurance inReserve each time they’re used, orcing thecharacter to take time to Power Up or engage incombat so his Rage Meter can fill the Reserveagain. Te GM should allow (and even encourage)the use o the Increased Endurance Cost Limitationon powers that draw rom an Endurance Reserve.

Game Information: Endurance Reserve (80 END,0 REC) (20 Active Points); Dissipates At 1 ENDPer urn When Not In Combat (-¼). otal cost:16 points.

Options:

1) Larger Rage Meter EnergyPool: Increase to EnduranceReserve (120 END, 0 REC). 30Active Points; total cost 24 points.

2) Smaller Rage Meter EnergyPool: Decrease to EnduranceReserve (40 END, 0 REC). 10Active Points; total cost 8 points.

B TWO PLACES AT ONCE

Effect: Create one400-pointDuplicate

Target: Self


Range: Self

END Cost: 9


Description: Te martial artisteither can create an identicalduplicate or a short period otime, or moves so ast he caneffectively be in two places atonce. (You may need to adjust the value o the power based on howmany Character Points charactersin the campaign are built on.)

Tis power is an excellentexample o an “ultimate tech-nique” and should draw its END

rom the character’s Rage Meter Energy Pool (seeabove). One the character stops paying END (orhis END Reserve runs out) his Duplicate auto-matically rejoins.

Game Information: Duplication (one Duplicatebuilt on 400 otal Points), Easy Recombina-tion (Zero Phase Action at ull DCV) (90 ActivePoints); Feedback (all Duplicates take damagewhen either o them is struck; -1), Costs Endur-

ance (each Phase; -½) (total cost: 36 points)plus Ranged Recombination (+½) or Duplica-tion, rigger (when character stops paying ENDor runs out o END, activating rigger takes notime, rigger resets automatically; +1) or RangedRecombination (total cost: 90 points). otal cost:126 points.




BSHADOW IMAGESEffect: Sight Group Images

Target: 24m Radius

Duration: Constant

Range: No Range

END Cost: 4


Description: Either by moving at incrediblyhigh speed, or by using some sort special “ch’i technique,” a martial artist can create multiplecopies o himsel. Tese copies look just like himand can either copy his actions or act indepen-dently. Striking a copy does no harm to the maincharacter, but causes that “phantom character” to

vanish.Game Information: Sight Group Images, -4 toPER Rolls, Area O Effect (24m Radius; +1) (44Active Points); No Range (-½), Character MustPerorm At Least A Hal Move Each Phase PowerRemains In Effect (-½). otal cost: 22 points.

Options:

1) Stronger Shadows: Increase to -6 to PERRolls. 56 Active Points; total cost 28 points.

2) Weaker Shadows: Decrease to -2 to PERRolls. 32 Active Points; total cost 16 points.

BSUPREME WARRIOR’S AURA

Effect: Aid STR, DEX, CON, OCV, DCV,SPD, PD, ED, END, STUN 4d6

Target: Self

Duration: Instant

Range: Self

END Cost: 15


Description: By tapping into his inner ch’i, thecharacter “powers up,” dramatically increasing hisoverall fighting ability. As a side effect, the char-acter displays a visible output o excess ch’i energy(either as a flaming aura, or a blue or red glow), aswell as maniesting an easily detectable (+4 to PERRolls) ch’i “signature” detectable by anyone withSense Ch’i.

Game Information: Aid 4d6, Expanded Effect(affects SR, DEX, CON, OCV, DCV, SPD,PD, ED, END, and SUN simultaneously; +4),Delayed Return Rate (points ade at the rate o 5per Minute; +1) (144 Active Points); Extra ime(Full Phase; -½), Only Aid Sel (-1). otal cost: 58points.

Options:

1) Stronger Supreme Warrior’s Aura: Increase to

Aid 6d6. 216 Active Points; total cost 86 points.

“Those

who w

every battle

are not real

skillful. Tho

who render

others’ armi

helpless

without

fighting are

the best of

all. ”

- Sun Tzu,

The Art o

War




2) Weaker Supreme Warrior’s Aura: Decrease toAid 2d6. 72 Active Points; total cost 29 points.

3) Easier Supreme Warrior’s Aura: Add ReducedEndurance (0 END; +½). 156 Active Points; totalcost 62 points.

4) Total Power Up: As written, the Aid onlyaffects the character’s Characteristics. However,since the Aid is bought to the +4 level, GMs canallow the Supreme Warrior’s Aura to affect all o

the character’s abilities that have “ch’i manipula-tion or use” as a special effect.

B THOUSAND SWORD CLOUDEffect: HKA 2d6, Area Of Effect (100m

Radius), Autofire (10 shots)

Target: 100m Radius

Duration: Instant

Range: No Range

END Cost: 7 per shot


Description: By channeling his ch’i through his

sword, the character can summon hundreds osimilar blades, all ormed rom ch’i energy. Teblades then slice anything in the vicinity to shreds.

Game Information: HKA 2d6, Area O Effect(100m Radius Accurate; +1¾), Autofire (10 shots;+2), Hole In Te Middle (4m wide circle at thecenter o the cloud; +¼), Reduced Endurance (½END; +½) (165 Active Points); OAF (sword; -1),Extra ime (Full Phase; -½), No Knockback (-¼),No SR Bonus (-½). otal cost: 51 points.

Options:1) Ten Thousand Sword Cloud: Increase to HKA

3d6. 247 Active Points; total cost 76 points.2) Five Hundred Sword Cloud: Decrease to HKA1d6. 82 Active Points; total cost 25 points.

3) Armor-Cutting Cloud: Add Armor Piercing(+¼). 172 Active Points; total cost 53 points.

4) Thousand Sword Storm: Add Constant (+½).180 Active Points; total cost 55 points.

5) Thousand Sword Strike: Te character chan-nels his ch’i through his sword and unleashes asteam o chi’i energy sword blades at this oe.Change to: HKA 2d6, Autofire (10 shots; +1),Reduced Endurance (½ END; +½) (75 ActivePoints); OAF (sword; -1), Extra ime (Full Phase;

-½), No SR Bonus (-½). otal cost: 25 points.

B TORNADO SPINEffect: Blast 8d6, Area Of

Effect (8m Radius)

Target: 8m Radius

Duration: Instant

Range: No Range

END Cost: 7


Description: Te character spins his body in atight circle, creating a localized whirlwind overan 8m radius area. Anyone (or anything) in the

area takes damage rom the orceul winds and gettossed away rom the character in a random direc-tion i they take Knockback.

Game Information: Blast 8d6, Area O Effect (8mRadius; +½), Personal Immunity (+¼) (70 ActivePoints); Extra ime (Full Phase; -½), No Range(-½), Random Knockback (-0). otal cost: 35points.

Options:1) Stronger Tornado Spin: Increase to Blast 10d6and Area O Effect (10m Radius; +¾). 100 ActivePoints; total cost 50 points.

2) Weaker Tornado Spin: Decrease to Blast 6d6and Area O Effect (6m Radius; +½). 52 ActivePoints; total cost 26 points.

3) Explosive Tornado Spin: Tis version o theornado Spin covers a large area, but starts to loseeffect quickly, meaning the urther a target is romthe character, the less damage they take. ReplaceArea O Effect (Radius) with Area O Effect (48mRadius Explosion [-1d6/6m]; +¾). 80 ActivePoints; total cost 40 points.

4) Forceful Tornado Spin: Tis version o theornado Spin is more likely to hurl targets out othe affected area. Add Double Knockback (+½).90 Active Points; total cost 45 points.

5) Variable Tornado Spin: Te character canperorm his ornado Spin in multiple environ-ments. Tis allows him to batter his oes withpowerul winds, masses o dust and dirt, fire (ithere is open flame nearby), or quantities o water(i there’s sufficient water on hand). Add VariableSpecial Effects (air, dust/dirt, fire, water; +¼). 80Active Points; total cost 40 points.

6) Ride The Cyclone!: Te character can keep hisornado Spin going as long as he can pay the ENDcosts. Change to: Blast 8d6, Area O Effect (8mRadius; +½), Constant (+½) Personal Immunity(+¼) (90 Active Points); Extra ime (Full Phase toactivate; -¼), Lockout (character cannot use anyother powers while Ride Te Cyclone! is active;-½), No Range (-½), Random Knockback (-0).otal cost 40 points.

7) Tornado Strike: Te character doesn’t orm thelocalized whirlwind around himsel, but insteadsends it out away rom him. Replace with Blast8d6, Area O Effect (32m Long, 2m all, 6m WideLine; +1) (80 Active Points); Extra ime (Full

Phase; -½), No Range (-½), Random Knockback(-0). otal cost: 40 points.

BWAVE MOTION BLASTEffect: Blast 20d6


Duration: Instant

Range: 1000m

END Cost: 10


Description: An extreme version o the Ch’iFireball (see above), the Wave Motion Blast is adevastating outpouring o ch’i energy. Ofen used

“The Way of

the warrior

to master the

rtue of his

eapons. ”

- Miyamoto

Musashi,

Go Rin No Sho

(“A Book of

Five Rings”)

3




as a “final attack,” the Wave Motion Blast requiresthe character to summon up the needed ch’i energy and “shape” it with a stylistic series o handmovements. He then projects it at his target.

Game Information: Blast 20d6 (100 ActivePoints); Cannot Be Bounced Or Spread (-¼),Extra ime (Extra Segment, -½), Gestures (bothhands; -½). otal cost: 44 points.

Options:1) Stronger Wave Motion Blast: Increase to Blast30d6. 150 Active Points; total cost 67 points.

2) Weaker Wave Motion Blast: Decrease to Blast15d6. 75 Active Points; total cost 33 points.

3) Variable Origin Wave Motion Blast: Techaracter can project his ch’i rom various parts ohis body, such as his eyes, mouth, or even his eet.Add Alterable Origin Point and Remove Gestures(both hands; -½). 105 Active Points; total cost 60points.

4) Wave Motion Barrage: Te character replacesone big ch’i blast with a swarm o smaller energy

bolts. Change to: Blast 10d6, Autofire (5 shots;+½), Reduced Endurance (½ END; +½) (100Active Points); Cannot Be Bounced Or Spread(-¼), Extra ime (Full Phase; -½), Gestures(requires both hands to ‘throw’ energy at target;-½). otal cost: 44 points.

5) Wave Motion Slash: Instead o projecting abeam o energy, the character instead makes aslashing motion with one hand and creates a lineo ch’i energy. Change to: Blast 12d6, Area OEffect (40m Line; +¾) (105 Active Points); Extraime (Full Phase; -½), Gestures (-¼). otal cost:60 points.

6) Tiring Wave Motion Blast: Add IncreasedEndurance Cost (x2 END; -½). otal cost: 36points.

7) Novice’s Wave Motion Blast: Add RequiresA Martial Arts ricks Roll (-½). otal cost: 36points.

8) Lethal Wave Motion Blast: Replace Blast withRKA 6½d6. All costs remain the same.

9) Energy Drill: Reduce the Lethal Wave MotionBlast to RKA 5d6 and Add Armor Piercing (+¼).94 Active Points; total cost 42 points.

BWIND SPIRAL DRILL

Effect: Entangle 4d6, 6 PD/6ED Target: One character

Duration: Instant

Range: No Range

END Cost: 5


Description: Afer leaping up onto an opponent’sshoulders (defined as a Grab or purposes o thispower), the character then spins in a tight circle,producing a powerul tornado that “drills” the

target into the ground, burying him up to hisneck.

Game Information: Entangle 4d6, 6 PD/6 ED (50Active Points); Extra ime (Full Phase; -½), MustFollow Grab (-½), No Range (-½). otal cost: 20points.

Options:1) Stronger Wind Spiral Drill: Increase toEntangle 6d6, 9 PD/9 ED. 75 Active Points; totalcost 30 points.2) Weaker Wind Spiral Drill: Decrease toEntangle 3d6, 5 PD/5 ED. 40 Active Points; totalcost 16 points.

BWHIRLWIND SWORDEffect: HKA 2d6, Area Of Effect

(2m Radius), Autofire (5shots) plus Flight 24m

Target: 2m Radius/Self

Duration: Constant/Constant

Range: Touch/Self

END Cost: 5 per shot/3Skill Roll Penalty: -12

Description: Tis technique requires the char-acter to use a matched set o swords (or anysimilar edged weapons). By spinning around whileholding the blades out rom his body, he not onlycreates a lethal zone o cutting edges, but can alsopropel himsel through the air!

Game Information: HKA 2d6, Area O Effect (2mRadius; +¼), Autofire (5 shots; +1½), Constant(+½), Personal Immunity (+¼), Reduced Endur-ance (½ END; +½) (120 Active Points); OAF(paired swords, requires multiple Foci or unctionsat reduced effectiveness; -¾), Extra ime (FullPhase to activate; -¼), No SR Bonus (-½) (totalcost: 48 points) plus Flight 24m, No urn Mode(+¼) (30 Active Points); OAF (paired swords,requires multiple Foci or unctions at reducedeffectiveness; -¾), Extra ime (Full Phase toactivate; -¼), Linked (-½) (total cost: 12 points).otal cost: 60 points.

Options:

1) Stronger Whirlwind: Increase to HKA 3d6and Flight 36m. 180 + 45 = 225 Active Points; totalcost 72 + 18 = 90 points.

2) Weaker Whirlwind: Decrease to HKA 1d6 andFlight 12m. 60 + 15 = 75 Active Points; total cost24 + 6 = 30 points.

3) Faster Whirlwind: Increase to Autofire (10shots; +2). 135 + 30 = 165 Active Points; total cost54 + 12 = 90 points.

“The true

value

of sword-

fencing canno

be seen within

the confines

sword-fencin

technique. ”

- Miyamoto

Musashi,

Go Rin No S

(“A Book o

Five Rings




DEFENSIVE ABILITIES

BBODY OF IRONEffect: Resistant Protection

(13 PD/13 ED/13 PowerDefense) plus +10 PRE

Target: Self


END Cost: 0


Description: Te martial artist can manipulatehis body so his skin becomes as hard and rigid asiron. Sword blows simply bounce off o his body;any technique based on striking pressure pointsis virtually useless against him. However, he isn’ttotally invulnerable, as certain parts o his body(such as his eyes or the inside o his mouth) arestill unprotected.

Game Information: Resistant Protection (14PD/13 ED/13 Power Deense), Hardened (+¼) (75Active Points); Extra ime (Full Phase to activate;-¼), Perceivable (skin becomes angular and rock-like in appearance; -¼) (total cost: 50 points) plus+10 PRE; Linked (-½) (total cost: 7 points). otalcost: 57 points.

Options:

1) Stronger Body: Increase to Resistant Protec-tion (16 PD/16 ED/16 Power Deense). 90 + 10Active Points; total cost 60 + 7 = 67 points.

2) Weaker Body: Decrease to Resistant Protec-tion (10 PD/10 ED/10 Power Deense). 56 + 10Active Points; total cost 37 + 7 = 44 points.

3) Tiring Body Of Iron: Add Costs Endurance (toactivate; -¼) to Resistant Protection. otal cost: 43+ 7 = 50 points.

BFLESH LIKE IRONEffect: Damage Negation (-10 DCs), Only

Versus Martial Arts Attacks Target: Self


Range: Self

END Cost: 0


Description: Te character’s physical body andspiritual sel are so strong that he can resist martialarts attacks ar better than even other martialartists. (Tis applies not just to Martial Maneu- vers, but any attack described in this book that has“martial arts,” “hand-to-hand combat prowess,”

“ch’i manipulation,” or the like as its special effect.At the GM’s option it might even apply to suchpowers when they do Energy damage.)

Game Information: Damage Negation (-10 DCsPhysical) (50 Active Points); Only Versus MartialArts Attacks (-½), Does Not Work Against DimMak (-¼), Requires A CON Roll (-½). otal cost:22 points.

Options:

1) Stronger Flesh: Increase to Damage Negation(-12 DCs). 60 Active Points; total cost 27 points.

2) Weaker Flesh: Decrease to DamageNegation (-8 DCs). 40 Active Points; totalcost 18 points.

3) Master Of Flesh Like Iron: RemoveRequires A CON Roll (-½). otal cost: 28points.

B PURGE POISONEffect: Major Transform 3d6

Target: Self

Duration: Instant

Range: No Range

END Cost: 3


Description: Te character is able tomanipulate his inner ch’i flow in such away as to allow him to vomit up a recentlyinjected poison.

In game terms, this is a Major ransorm,“poisoned individual into non-poisonedindividual,” that stops the course o thepoison — once the character uses this tech-nique, the poison inflicts no urther damage(loss o CON or example). However, thistechnique doesn’t automatically heal andBODY, CON, SUN, or other Characteris-tics lost due to the poison prior to its use. o

accomplish that, the character must add up

3




the cost o any lost abilities he wants to restore andtreat them as “powers” being granted by the rans-orm (see 6E1 306-307 or more inormation).(Note that characters aren’t ordinarily allowed toransorm themselves; in the case o this partic-ular power it’s assumed the GM allows it due tothe relatively limited nature o the effect.)

Game Information: Major ransorm 3d6(poisoned individual into non-poisoned indi-

vidual, heals back through any normal means thatwould cause the character to be poisoned again)(30 Active Points); Concentration (½ DCV; -¼),Extra ime (Full Phase; -½), Limited arget (sel;-0), No Range (-½). otal cost: 13 points.

Options:

1) Stronger Purge: Increase to Major ransorm4d6. 40 Active Points; total cost 17 points.

2) Weaker Purge: Decrease to Major ransorm2d6. 20 Active Points; total cost 9 points.

MOVEMENT ABILITIES

BDANCING ON AIREffect: Flight 60m, x4 Noncombat

Movement

Target: Self

Duration: Constant

Range: Self

END Cost: 6


Description: Te character’s mastery o his ch’i isso great that he can fly.

Game Information: Flight 60m, x4 Noncombat.

otal cost: 65 points.Options:

1) Faster Dancing: Increase to Flight 80m. otalcost: 85 points.

2) Slower Dancing: Decrease to Flight 40m.otal cost: 45 points.

3) Easier Dancing: Add Reduced Endurance (0END; +½). otal cost: 97 points.

BINSTANTANEOUSMOVEMENT

Effect: Teleportation 80m

Target: Self

Duration: Instant

Range: Self

END Cost: 11


Description: By tapping into the flow o theworld’s ch’i, the character can instantly transporthimsel long distances.

Game Information: eleportation 80m, No Rela-tive Velocity, Sae Blind eleport (+¼). otal cost:112 points.

Options:

1) Longer Instantaneous Movement: Increase toeleportation 120m. otal cost: 162 points.

2) Shorter Instantaneous Movement: Decreaseto eleportation 60m. otal cost: 87 points.

3) Go Anywhere In The World: Te charactercan teleport to just anywhere he desires. Changeto: eleportation 10m, No Relative Velocity, SaeBlind eleport (+¼), MegaScale (1m = 1 km; +1)(45 Active Points); Extra ime (1 urn, charactermay take no other actions; -1½), Concentration(½ DCV throughout; -½). otal cost: 15 points.


BCH’I SUPPRESSIONEffect: Invisibility to Mental Group and

Detect Ch’i Related Senses


Range: Self

END Cost: 0


Description: Te character can suppress hisch’i to the point where others are unable to sense him.However, he can’t use any o his ch’i powers whiledoing so, or even fight, because that unleashes his ch’i.

Game Information: Invisibility to Sense Ch’i AndRelated Senses, No Fringe, Reduced Endurance(0 END; +½) (30 Active Points); Lockout (unable

to use any other ch’i powers while this power is inuse; -½), Only When Not Attacking (-½). otalcost: 15 points.

BHIDDEN CH’IEffect: Invisibility to Analyze Style

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Similar to Ch’i Suppression (see

above), this technique requires the character tohide his ch’i deep within himsel. o an outsideobserver this means the character’s fighting intentis or all practical purposes unreadable. You canalso use this power or characters and creatureswho lack a soul and/or any emotional intent (suchas anger or sadness), and who thus aren’t suscep-tible to being “read” with Analyze Style.

Game Information: Invisibility to Analyze Style,No Fringe, Reduced Endurance (0 END; +½).otal cost: 30 points.

Yin Chu: Golde

Arm is as good

they say. With j

his bare arms,

beat all of us.

if he had weapo

Yang Hu Yun: Golden Arm ne

uses weapons.

claims he does

need them, tha

using his bare a

is best. And, he

probably right

- Jin Bei Ton

(“The

Kid

With

the

Golden Ar




NINJA ABILITIESA

s masters o assassination, deception,spying, and subteruge, ninja are tradi-tionally ascribed powers o disguiseand stealth that are almost mystical in

nature. Tis section covers some o those powers.While ninja can purchase any powers they wishappropriate to the campaign they’re in, the NinjaAbilties are airly specific to to the ninja them-

selves (and similar character types, such as thelin kuei) and shouldn’t be available to “regular”martial artist characters without the GM’spermission.

OFFENSIVE ABILITIES

B ASSASSIN’S STRIKEEffect: Deadly Blow (+3 Damage

Classes; only works withblows struck from behind oragainst Surprised targets)


Range: Self

END Cost: 0


Description: rained to strike at the most vulner-able parts o the body, ninja are usually able to killa otherwise unsuspecting target with a single blow.

Game Information: Deadly Blow (+3 DamageClasses; only works with blows struck rom behindor against Surprised targets). otal cost: 16 points.

B THE BLESSING OFHO-MASUBI

Effect: HLA 1½d6; Sight Group Images

Target: One character/Self

Duration: Instant/Constant

Range: Touch/No Range

END Cost: 4/2


Description: By ocusing his ch’i the ninja cancause his hands to burst into flame (allowing himto create light or cause damage in combat).

Game Information:

Cost Power44 The Blessing Of Ho-Masubi: Multipower,

44-point reserve

2f 1) Burning Hand: HKA 1½d6, Area Of Effect(Damage Shield; covers the hands only anddoesn’t affect characters who Grab otherparts of the character’s body; +¼), Constant

(+½); No Knockback (-¼), No STR Bonus (-½)

1f 2) Create Light: Sight Group Images, Area OfEffect (16m Radius; +¾); No Range (-½), OnlyTo Create Light (-1)

Options:

1) Stronger Blessing: Increase reserve to 52points, slot one to HKA 2d6 and slot two to AreaO Effect (32m Radius; +1). otal cost: 56 points.

2) Weaker Blessing: Decrease reserve to 26points, slot one to HKA 1d6 and slot two to AreaO Effect (8m Radius; +½). otal cost: 28 points.

3) Stronger Create Light: Add +2 PER to SightGroup Images. Costs stay the same.

4) Even Stronger Create Light: Add +4 PER toSight Group Images. Costs stay the same.

B THE DANCE OF THE SIX STARS

Effect: HKA 1d6, Autofire (9 shots)


Duration: Instant

Range: Range Based On STR

END Cost: 9 charges


Description: Tis is a rapid-fire shuriken-throwing ability used not only by true ninja, butby some practitioners o Shurikenjutsu as well. Teninja hides a number o shuriken on his person,anywhere rom his eet to his head. (Te usualnumber is nine, which has special significance orninja.) In an emergency he can pull them out andbegin throwing them extremely quickly. o avoidpresenting a stationary target and to build upmomentum or his throws, the ninja spins, moves,and ducks as he draws and throws the shuriken.A highly-trained practitioner’s moves are so fluid

“The breath I

take after

kill you will be

he first breath

f my life. ”

Raizo,

Ninja

Assassin3




they ofen seem like a sort o “dance,” hence thisability’s name.

Game Information: HKA 1d6 (plus SR), Autofire(10 shots; +1), 9 Recoverable Charges (+¼), RangeBased On SR (+¼) (37 Active Points); IAF(concealed shuriken; -½), Requires A Ninjutsuricks Roll (-½). otal cost: 18 points.

Options:

1) Stronger Dance: Increase to HKA 1½d6. 62Active Points; total cost 31 points.

2) Weaker Dance: Decrease to HKA ½d6. 25Active Points; total cost 12 points.

3) Defensive Dance: I t’s hard to hit the ninjawhile he’s moving. Character also buys: +2 DCV(10 Active Points); Linked (-½), Costs Endurance(-½). otal cost: 5 points.

4) Master Of The Dance Of The Six Stars: Remove Requires A Ninjutsu ricks Roll (-½).otal cost: 25 points.

5) Triggered Dance Of The Six Stars: With theGM’s permission, characters could add the rigger

Advantage, with the rigger defined as a “reflexaction” or something similar. A character with theriggered version o this ability should be limitedto throwing no more than three shuriken in aPhase. Change to: HKA 1d6 (plus SR), Autofire(3 shots; +¼), 9 Recoverable Charges (+¼), RangeBased On SR (+¼), rigger (when character issurprised by an enemy and needs a quick distrac-tion, activating rigger takes no time, resettingrigger is a Zero Phase Action; +¾) (37 ActivePoints); IAF (concealed shuriken; -½), Requires ANinjutsu ricks Roll (-½). otal cost: 18 points.

B THE DRAGON’S CLAWEffect: Martial Crush


Duration: Constant

Range: Touch

END Cost: 0


Description: Te Dragon’s Claw (Ryu no sume)allows a ninja to inflict rending and tearingdamage upon an enemy. raining or it consistso strengthening the hands and wrists. In gameterms, a ninja with this ability can buy the iger/

Dragon Claw maneuver rom Kung Fu or hisNinjutsu package.

Game Information: +0 OCV, +0 DCV, SR +4d6Crush, Must Follow Grab. otal cost: 4 points.

B THE FOLDED BLADEEffect: HKA ½d6; HKA ½d6,

Range Based On STR


Duration: Instant

Range: Touch/Range Based On STR

END Cost: 1


Description: Tis “origami magic” allows aninja to spend about a minute olding a piece ospecially-prepared paper into a unctional daggeror other small weapon. Origami weapons are as vulnerable to most physical orces as their metal orwooden counterparts, but disintegrate completelyi they contact water (but not blood).

Whispered tales speak o more advanced ormso origami magic, in which the older createspaper creatures which actually come to lie!However, i such magics exist, they are beyond thepurview o ninja mysticism, and normally oundonly among Japanese mahotsukai (wizards) and

aoist sorcerers.

Game Information:Cost Powers

3 Folded Dagger: HKA ½d6 (1d6+1 with STR)(10 Active Points); Extra Time (1 Turn (Post-Segment 12), Only to Activate, time needed tofold paper into shape before it can be used;

-¾), OIF (sheet of origami paper; -½), NoKnockback (-¼), Real Weapon (-¼), Requires A PS: Origami Roll (-¼), Susceptible To WaterDamage (-¼)

4 Folded Shuriken: HKA ½d6 (1d6+1 with STR),Range Based On STR (+¼) (12 Active Points);

Extra Time (1 Turn (Post-Segment 12), Only to Activate, time needed to fold paper into shapebefore it can be used; -¾), OIF (sheet oforigami paper; -½), No Knockback (-¼), RealWeapon (-¼), Requires A PS: Origami Roll

(-¼), Susceptible To Water Damage (-¼)

Options:

1) Master Of The Folded Blade: RemoveRequires A PS: Origami Roll (-¼). Costs remainthe same.

BGENJUTSUEffect: Sight and Hearing Groups

Images, -4 to PER Rolls, AreaOf Effect (2m Radius)

Target: 2m Radius

Duration: Constant

Range: No Range

END Cost: 3


Description: Genjutsu (the art o illusion) is theninja’s skill at creating images and illusions usingprops and other devices. For example, a ninjamight set up a lot o dummies and light some ake

campfires to make a besieging army look larger

“Ijoined

the cla

because I wan

to learn a spe

kung-fu, be a

real expert, b

in actual fact

I've just beco

a killer. Killin

That’s all I k

Damn. Every d

another!”

- Qi Dong the

Snake (Pai W

The Five

DeadlyVenoms




than it really is. Tese illusions are relatively crudeand take a long time to set up or change... but incertain situations they’re invaluable.

Modern-day ninja could take advantage ocurrent technology (and maybe even holography)to make their illusions more versatile and easyto work with. Additionally, in some campaignsGenjutsu could represent a mystical abilityallowing a ninja to create true Images or MentalIllusions to conuse his enemies.

Game Information: Sight and Hearing GroupsImages, -4 to PER Rolls, Area O Effect (2mRadius; +¼), Costs Endurance Only o Activate(+¼) (40 Active Points); IIF (assorted props; -¼),Extra ime (1 urn or more to se up or change animage, depending on complexity; -1¼), LimitedEffect (Normal Sight and Normal Hearing only;-¼), No Range (-½). otal cost: 12 points.

Options:

1) Stronger Genjutsu: Increase to -6 to PERRolls. 49 Active Points; total cost 15 points.

2) Weaker Genjutsu: Decrease to -2 to PER Rolls.31 Active Points; total cost 9 points.

3) Larger Genjutsu: Increase to Area O Effect(6m Radius; +½). 47 Active Points; total cost 14points.

4) Even Larger Genjutsu: Increase to Area OEffect (12m Radius; +¾). 54 Active Points; totalcost 17 points.

BKUJI KIRIEffect: Varies

Target: Varies

Duration: Varies

Range: Varies

END Cost: Varies

Skill Roll Penalty: Varies

Description: Kuji kiri (“nine ways cutting”) is aorm o mystical meditation. A ninja learns ninedifferent ways to interlace his fingers, each withits own symbolic significance. By meditating onthis gesture, the ninja evokes special abilities,strengths, and powers.

Te kuji kiri powers listed below are but one setPCs could develop. Characters could also buy offthe Extra ime and Charges Limitations once they

became proficient with this power.Game Information:Cost Powers

12 Kuji Kiri: Multipower, 40-point reserve, all slotsExtra Time (1 Turn; -1¼), Gestures (Requiresboth hands; -½), Requires A Ninjutsu Tricks

Roll (-½)

1f 1) Rin (“strength”): Aid STR 4d6; Only Aid Self(-1), common Limitations (-2¼)

1f 2) Toh (“harmony”): Aid EGO 4d6; Only Aid

Self (-1), common Limitations (-2¼)

1f 3) Zai (“control”): Aid PRE 4d6; Only Aid Self(-1), common Limitations (-2¼)

1f 4) Zen (“enlightenment”): Aid INT 4d6; Only

Aid Self (-1), common Limitations (-2¼)

1f 5) Kyo (“direction of energy”): Telekinesis (20STR); common Limitations (-2¼)

1f 6) Jin (“knowing the thoughts of others”):Telepathy 6d6; common Limitations (-2¼)

1f 7) Kai (“premonition”): +6 to Danger Senseroll; 1 Continuing Charge lasting 1 Turn (-1¼),Costs Endurance (-½), common Limitations(-2¼)

1f 8) Retsu (“mastery of time and space”):

Teleportation 30m; common Limitations (-2¼)1f 9) Sha (“healiing”): Healing Simplified Healiing

4d6; common Limitations (-2¼)


B THE MIRACULOUSSUNBURST

Effect: Sight Group Flash 6d6; OIF


Duration: Instant

Range: 20m

END Cost: 3


Description: Tis skill teaches the ninja to use thereflective surace o an object to temporarily blindan opponent. Although it’s usually done so theninja can make an escape, characters can also useit in combat. A ninja who knows this skill usuallycarries several reflective objects on his person (asilver war an, highly polished pieces o jewelry orshuriken, and so orth).

Game Information: Sight Group Flash 6d6,Reduced Endurance (0 END; +½) (45 ActivePoints); OIF (reflective object o opportunity; -½),Limited Range (20m; -¼), Requires A Ninjutsuricks Roll (-½), Requires Sufficiently StrongAvailable Light Source (-¼). otal cost: 18 points.

Options:

1) Stronger Sunburst: Increase to Sight GroupFlash 8d6. 60 Active Points; total cost 24 points.

2) Weaker Sunburst: Decrease to Sight GroupFlash 4d6. 30 Active Points; total cost 12 points.

3) Master Of The Miraculous Sunburst: RemoveRequires A Ninjutsu ricks Roll (-½). otal cost:22 points.

BONIBI NO JUTSUEffect: RKA 2d6, Area Of Effect (24m Line)

Target: 24 Line

Duration: Instant

Range: No Range

END Cost: 4


Description: “Te art o the demon’s fire” involvesthe use o an enchanted demon mask. By puttingon the mask, a ninja gains the demonic powerto breath flame. Te masks, products o blackest

ninja magic, are extremely rare; some people say

“You asked

me "When

ill it end?"

ell let me tell

ou: Once an evil

eed is done,

hen it never

nds... it goes on

nd it goes on

orever. ”

- Ma Chow the

Scorpion (Chien

Sun), The

Five Deadly

Venoms

3




anyone who touches or wears one who does notbelong to the owner’s clan becomes cursed.

Game Information: RKA 2d6, Area O Effect(24m Line; +½) (45 Active Points); OIF (demonmask; -½), No Range (-½). otal cost: 22 points.

Options:

1) Stronger Demon’s Fire: Increase to RKA 3D6.67 Active Points; total cost 33 points.

2) Weaker Demon’s Fire: Decrease to RKA 1D6.22 Active Points; total cost 11 points.

BPOSION-SOAKED BODY Effect: Drain BODY 2d6, Damage

Shield, NND

Target: Special

Duration: Uncontrolled

Range: No Range

END Cost: 0


Description: By ingesting small amounts odifferent poisons over an extended period (usuallymonths, i not years), a ninja imbues his body withtoxins. Any extensive skin-to-skin contact withthe character invariably transers the poison tothe contractee, resulting in a painul death within

hours. Tis technique is ofen practiced by kuno-ichi (emale ninja) as a method o assassination.

Te Constant and Uncontrolled effect o thepoison, combined with the Reduced Endurance

Advantage mean the affected target keeps takingdamage indefinitely. However, in the interestso game balance the poison should only affectthe target until it does twice the total BODYpossible on the dice. In other words, since thebasic Poison-Soaked Body power is a Drain 2d6,it keeps working until it inflicts a total o (2 x6 = 12 x 2 =) 24 BODY (usually enough to killthe average individual). Characters can stop theUncontrolled aspect o the poison attack in severalways: having the character ingest an antidote,acupuncture, the manipulation o pressure pointsor the victim’s ch’i, and so on. Te exact methods

are up to the GM and the nature o the setting.Game Information: Drain BODY 2d6, AreaO Effect (personal Surace — Damage Shield;+¼), NND (deense is: Lie Support [appropriateImmunity]; +1), Does BODY (+1), Constant(+½), Delayed Return Rate (points return at therate o 5 per Day; +2¼), Invisible Power Effects(Fully Invisible; +1), Persistent (+¼), rigger (onehour delay; activating rigger takes no time, resetimmediately, character doesn’t control activa-tion o rigger; +¾), Uncontrolled (see text; +½),Reduced Endurance (0 END; +½) (175 ActivePoints); Always On (-½), No Range (-½), RequiresReasonably Close/Intimate Contact (-1). otalcost: 58 points.

“t

his ninj

girl isvery useful.

You see, she h

the technique

of poisoning

the man she

sleeps with...

In fact, the m

you thought

you killed wa

poisoned by

her. Anyone w

makes love to

her dies. So y

see, she's per

in this amoral

world. “

- Dakuan,

Ninja Scro




BSAIMINJUTSUEffect: Mind Control 8d6; Suppress

Mind Control 8d6; Invis-ibility to Sight Group

Target: One character/One character/Self

Duration: Instant/Constant/Constant

Range: LOS/40m/Self

END Cost: 4/4/2

Skill Roll Penalty: -4/-4/-2

Description: Saiminjutsu (“the way o the mindgate,” also spelled Hsimenjutsu) is the mysticninja art o mind control. A character can use thispower to control the minds o others, both in andout o combat; to reverse the same sort o controlthat’s been imposed by another; and to cloudmen’s minds, making him invisible to them.

Game Information:

Cost Power

23 Saiminjutsu: Multipower, 40-point reserve, allslots Gestures (-¼) and Requires An EGO Roll

(-½)

2f 1) Control The Mind: Mind Control 8d6; No

Range (-½), common Limitations (-¾)

2f 2) Free The Mind: Suppress Mind Control 4d6;common Limitations (-¾), Costs Endurance (tomaintain; -½), Limited Range (40m; -¼)

1f 3) Cloud Men’s Minds: Invisibility to SightGroup; common Limitations (-¾), Each PointOf Mental Defense Adds +1 To PER Rolls ToPerceive Fringe (-¼)


Options:

1) Stronger Saiminjutsu: Increase the Multi-power reserve to 60 points, slot one to MindControl 12d6, slot two to Suppress 8d6. otal cost:40 points.

2) Ch’oemyônsul (Hypnosis): Many martialarts styles attribute this power to masters o theirrespective arts. Replace the Saiminjutsu Multip-ower with the Master Hypnosis power ound on6E1 257.

3) Un Shin Bop: Tis power, attributed to masterso Hwarang-Do, is a variant o Cloud Men’s Minds.Replace the Saiminjutsu Multipower with Invis-ibility to Sight Group, No Fringe, Costs Endurance

Only o Activate (+¼) (37 Active Points); OnlyWhen Not Attacking (-½). otal cost: 25 points.

BSOUL LEECHINGEffect: Drain BODY 3d6


Duration: Instant

Range: No Range

END Cost: 8


Description: Tis is the darkest and most earedo the ninja’s abilities — the power to steal thelie orce o another. In its lesser orm, the ninjasimply drains the victim’s lie orce, injuring orkilling him; in its greater orm, the ninja actuallysteals the victim’s lie orce and uses it to makehimsel stronger!

Game Information: Drain BODY 3d6, DelayedReturn Rate (points return at the rate o 5 perHour; +1¾) (82 Active Points); Concentration (½DCV; -¼), Requires A Ninjutsu ricks Roll (-½).otal cost: 47 points.

Options:

1) Stronger Soul Leeching: Increase to DrainBODY 4d6. 110 Active Points; total cost 63 points.

2) Weaker Soul Leeching: Decrease to DrainBODY 2d6. 55 Active Points; total cost 31 points.

3) Master Of Soul Leeching: Remove Requires ANinjutsu ricks Roll (-½). otal cost: 66 points.

4) Greater Soul Leeching: Change to: DrainBODY 4d6, Delayed Return Rate (points return atthe rate o 5 per Hour; +1¾) (110 Active Points);Concentration (½ DCV; -¼), Requires A Ninjutsuricks Roll (-½), Unified Power (-¼) (totalcost: 55 points) plus Aid BODY and SUN 2d6,

Expanded Effect (BODY and SUN simultane-ously; +½), rigger (when using Drain, activatingthe rigger takes no time, rigger immediatelyautomatically resets; +1) (30 Active Points); OnlyAid Sel (-1), Linked (-½), Unified Power (-¼)(total cost: 11 points.) otal cost: 66 points.

5) Master Of Greater Soul Leaching: RemoveRequires A Ninjutsu ricks Roll (-½). otal cost:73 + 11 = 84 points.

“Ihave just

come to a

ealization! This

croll by Broken

word contains

o secrets of his

wordsmanship.

hat this

eveals is his

ghest ideal. In

he first state,

an and sword

ecome one and

ach other. Here,

ven a blade of

grass can be

used asa lethal

weapon.

In the next

tage, the sword

esides not in

he hand but

the heart.

ven without

weapon, thearrior can slay

s enemy from

hundred paces.

ut the ultimate

eal is when the

word disappears

ltogether. The

arrior embraces

ll around him.

he desire to

ll no longer

xists. Only

eace remains. ”

- The King of Qin,

Hero

3




BDONTONJUTSUEffect: Tunneling 2m, Fill In,

Only Through Soil

Target: Self

Duration: Instant

Range: Self

END Cost: 1


Description: Ninja ofen escape capture bydigging into sof terrain and then coveringthemselves with a thick coating o the earth. (Teyusually do this when concealed by smoke rom asmoke grenade, by darkness, or the like.) A ninjacan dig his way into the earth to conceal his entirebody, but can’t keep digging a tunnel through theearth. Characters cannot increase the PD they candig through, the “earth concealment technique”only works with sof, 0-1 PD material such assand, resh-turned soil, mud, a bog, or the like. Acharacter using Dontonjutsu must always use theFill In unction o the power.

o make the area he has dug into look natural(i.e., undisturbed), a character should useConcealment; the GM can assign severe minuseson terrain where it’s hard to conceal signs odigging (such as a neat grass lawn, where sodwould be torn up and flung in all directions).Dusty and sandy terrain is much better or thispurpose.

Game Information: unneling 2m through 1PD materials, Fill In (14 Active Points); LimitedMedium (soil; -½), Maximum Distance 2m (-1),Requires A Ninjutsu ricks Roll (-½). otal cost:5 points.

Options:

1) Master Of Dontonjutsu: Remove Requires ANinjutsu ricks Roll (-½). otal cost: 6 points.

BHANDS OF THE SPIDEREffect: Clinging, Cannot Resist Knockback

Target: Self

Duration: Constant

Range: Self

END Cost: 1


Description: Ninja climbing abilities sometimesexceed the scope o the Climbing Skill. In act,some ninja can actually stick to walls, ceilings, andsimilar suraces.

Game Information: Clinging (normal SR) (10Active Points); Cannot Resist Knockback (-¼).otal cost: 8 points.

Options:

1) Stronger Hands: Increase to +6 SR. 12Active Points; total cost 10 points.

2) Even Stronger Hands: Increase to +12 SR. 14Active Points; total cost 11 points.

BPASS WITHOUT TRACEEffect: Teleportation 40m

Target: Self

Duration: Instant

Range: Self

END Cost: 12


Description: Some o the most skilled ninjapossess the power to travel rom one point to anearby point without passing through the intervening space. Tey most ofen use this ability toescape pursuers or captors, but can also use it tosecretly enter a secured area.

Game Information: eleportation 40m (40 ActivePoints); Increased Endurance Cost (x3 END; -1),Extra ime (Full Phase; -½), Requires A Ninjutsuricks Roll (-½). otal cost: 13 points.

Options:

1) Further Passing: Increase to eleportation60m. 60 Active Points; total cost 20 points.

2) Shorter Passing: Decrease to eleportation30m. 30 Active Points; total cost 10 points.

3) Master Of Pass Without Trace: RemoveRequires A Ninjutsu ricks Roll (-½). otal cost:16 points.

4) Shadow Walking: Capitalizing on the ninja’snatural affinity or darkness and show, this versiono Pass Without race allows the ninja to transporthimsel rom shadow to shadow. Change to: ele-portation 40m, Position Shif, x16 Noncombat (60Active Points); Only o Or From Shadows (-½).otal cost: 40 points.

BSILENT STEPSEffect: Invisible Power Effects (Hearing

Group; +½) for up to

Target: Self

Duration: Constant

Range: Self

END Cost: 0


Description: Tis power is the counterpart tothe ninja’s invisibility powers: he uses his ch’i tomake his movement absolutely silent. Te power

presented here is or the ninja’s normal groundmovement; characters can buy similar powers orswimming and other orms o movement.

Game Information: Invisible to Hearing Group(+½) or up to Running 20m, Reduced Endurance(0 END; +½). otal cost: 15 points.

Options:

1) Imperfect Silent Steps: Add Requires ANinjutsu ricks Roll (-½). otal cost: 10 points.

2) Master Of Silence: Change to: Invisibility toHearing Group, No Fringe, Reduced Endurance(½ END; +¼). otal cost: 25 points.

Itis said

that a

haolin monk can

alk through

alls, look for

m, he can not be

een, listen for

m, he can not be

eard, touched he

an not be felt.

his rice paper

the test, walk

's length and

eave no trace

nd you will have

learned.

- Grand-

master

Khan,

Kung Fu

3





BCASTLE WITHOUT WALLSEffect: Desolidification (affected

by any type of attack)

Target: Self

Duration: Constant

Range: Self

END Cost: 6


Description: With this mystic technique theninja has the ability to walk through walls andother barriers, thereby gaining access to otherwiseimpenetrable ortresses and strongholds. Whenusing this power the character looks perectlynormal and lacks the hazy appearance normallyassociated with uses o Desolidification.

Game Information: Desolidification (affectedby any attack), Invisible to Sight Group (+½) (60Active Points); Does Not Protect Against Damage(-1), Only o Walk Trough Walls And SimilarBarriers (-1), Requires A Ninjutsu ricks Roll(-½). otal cost: 17 points.

Options:

1) Master Of Castle Without Walls: RemoveRequires A Ninjutsu ricks Roll (-½). otal cost:20 points.

BHENSOJUTSUEffect: Shape Shift (Sight, Hearing,

Touch and Smell/TasteGroups, any human shape)

Target: Self

Duration: Constant

Range: Self

END Cost: 4


Description: Te ultimate orm o disguise, hensojutsu allows the ninja to assume the appearanceo another person, imitating them so perectly thedeception is almost impossible to notice.

Game Information: Shape Shif (Sight, Hearing,ouch and Smell/aste Groups, any human

shape), Imitation, Makeover (40 Active Points);Extra ime (Full Phase to activate; -¼), RequiresA Ninjutsu ricks Roll (-½). otal cost: 23 points.




Options:1) Lesser Hensojutsu: Remove Smell/aste

Group rom Shape Shif. 38 Active Points; totalcost 22 points.

2) Master O Hensojutsu: Remove Requires ANinjutsu ricks Roll (-½). otal cost: 32 points.

3) Perect Hensojutsu: Add Persistent (+¼)and Reduced Endurance (0 END; +½), removeRequires A Ninjutsu ricks Roll (-½). 70 ActivePoints; total cost 56 points.

BHOJOJUTSU/ TORINAWAJUTSU

Effect: PS: Knot-Tying (DEX Roll)

Target: Self


Range: Self

END Cost: 0


Description: Tis is the ninja’s knot-tying ability,with which they restrain prisoners. Knowledgeo knot-tying also helps a ninja escape whensomeone ties him up. For every point a charactermakes his PS: Knot-ying by, a character trying toescape rom or undo the knots using another Skill(such as Contortionist) suffers a -1 penalty to hisroll. Similarly, i a character with PS: Knot-ying istied up, his PS: Knot-ying acts as a Complemen-tary Skill to his Contortionist roll when he tries tountie himsel.

Game Information: PS: Knot-ying (DEX Roll).otal cost: 3 points.

Options:

1) Stronger Knot-Tying: Increase to PS: Knot-ying (DEX Roll +1). otal cost: 5 points.

2) Even Stronger Knot-Tying: Increase to PS:Knot-ying (DEX Roll +2). otal cost: 7 points.

3) Novice Knot-Tying: Change to: PS: Knot-ying 8-. otal cost: 1 point.

BNOROSHIJUTSUEffect: PS: Noroshijutsu (INT Roll)

Target: Self


Range: Self

END Cost: 0


Description: In ancient times, noroshijutsu wasthe ninja’s skill o using signal-fires to commu-nicate with his allies. Modern-day ninja mightexpand noroshijutsu to include all orms ocommunication and signalling (i.e., SystemsOperation).

Game Information: PS: Noroshijutsu (IN Roll).otal cost: 3 points.

Options:

1) Improved Noroshijutsu: Increase to PS:Noroshijutsu (DEX Roll +1). otal cost: 5 points.

2) Even More Improved Noroshijutsu: Increase

to PS: oroshijutsu (DEX Roll +2). otal cost: 7points.

3) Novice Noroshijutsu: Change to: PS: Noroshi- jutsu 8-. otal cost: 1 point.

“No matter what it is, thereis nothing that cannot be

done. ”

- Yamamoto Tsunetomo,

Hagakure

3



CHAPTER FOU

TRAINING FOR PERFECTION

CHARACTER CREATION



188 n Training For Perfection Hero System 6th Edition

MARTIAL ARTIST

CHARACTER ARCHETYPES

Martial artists in movies, comics, andpopular literature ofen all into one ormore o several character “archetypes.”Working rom an archetype helps

many players get a handle on a character (particu-larly a beginning character) and establish a basicpersonality rom which to urther develop a PC.Some o these archetypes are described below.

Note that not all archetypes are necessarily appro-priate or all genres — a realistic modern-dayaction campaign probably won’t eature any AlienMartial Artists, and a Samurai who has the right tocut down any peasants who offend him definitelywon’t work in campaigns not set in eudal Japan.

THE ALIEN MARTIAL ARTIST

Tis martial artist is rom another planet. Hepractices an orm o martial arts rom his ownworld, one he typically considers superior tonative Earth fighting styles. He usually has specialabilities deriving rom his alien physiognomy orhigh technology. Ofentimes, he’s come to Earth

to test his martial prowess against humanity’s bestfighters.

THE AMERICAN FROM THE ORIENT

Tis archetype is a Westerner who’s spentextensive time in the Orient — so much time thathe’s an expert on Oriental culture and customs,including martial arts.

Usually the American From Te Orient actuallygrew up in an Oriental country — his parents werediplomats, international businessmen, militarypersonnel, or something similar. While they weretoo busy to pay much attention to him, he learnedmartial arts rom a servant, wandered into a new

section o the city and was beriended by a martialarts master who taught him to fight, was seducedby an evil cult that taught him to be an assassinand rom whose clutches he later escaped, or thelike. Alternately, he might have traveled to Asia asa young adult, been taken in by the wonders o theOrient, and stayed there or years beore returningto the West.

In either event, the character’s liestyle andphilosophies are typically Eastern rather thanWestern: he urnishes his home in an Asian style;he collects Oriental art and weapons; he livesby the tenets o Zen Buddhism, Conucianism,aoism, or some other Eastern religion — and, o

course, he practices Oriental fighting techniques.

He may mix in a ew distinctive Americanisms,but it’s clear where most o his sympathies lie.

An interesting variant on this archetype isthe American From Chinatown, who’s spent agreat deal o time learning about Asian (usuallyChinese) culture in his home city’s Chinatown.He’s ofen an expert on Oriental organized crime,and acts as a sort o “guardian o Chinatown.”

THE AVENGERTis character has been wronged in the

past and now his lie is a continuing quest or vengeance. Ofen the campaign centers aroundclashes between this hero (and his riends) andthe group or clan who wronged him in the past,though this isn’t a good approach to take i theother characters don’t want always to fight this onehero’s Hunted.

Any other character archetype can become TeAvenger or a single storyline. All it takes is a nastyor treacherous attacked aimed at someone the PCloves....

Te Avenger character tends to have martialarts skills including brutal, devastating maneuvers.He may have many weapons-related abilities. Hemay have a Psychological Complication such asCode o Vengeance (see the Complications sectionlater in this chapter).

A variation on the Avenger is the Maimed Avenger , who has a Physical Complication (usuallya missing limb or eye) or which he wishes toexact vengeance.

THE BRICK MARTIAL ARTIST

Tis character is a martial artist with comicbook-level Strength. He may have gained his

super-strength afer learning a martial arts style,or a teammate may have taught him martial artsafer he gained his powers so he could vary hisusual “I smash puny enemy!” fighting style. Temost common styles or Brick Martial Artists touse are Boxing and Wrestling, but other are notunheard o (such as Brick ricks on page 79).

4




Te GM can easily place the Chinese Knight-Errant in a torturous predicament i he brings#3 into conflict with #4. For example, supposea Chinese Knight-Errant PC meets a seeminglyhonorable man who complains o persecutionat the hands o a wicked lord. Te PC promisesto kill the lord. But the lord, when the PC finallyconronts him, proves to be an honorable man —the first person the hero met lied to him. Te char-acter’s now caught between two o his mandates:he must perorm the service he promised, andyet he must honor and beriend this good personhe has just met. In such a situation, the Knight-Errant has to think ast and work hard to get outo the dilemma. One difficult and grim solution isor the character to injure or maim himsel so he’sphysically incapable o accomplishing his originalmission.

THE CHINESE MASTER

Tis character is an aged martial arts master,a teacher o many students — including, perhaps,the PCs. He (this character is generally male)can be a master o one or many martial arts, anddoesn’t have to be Chinese — you could alsouse this emplate to create an aged master oAikido, Jujutsu, or Karate. He’s ofen built withmost or all maneuvers rom his style, and perhaps

maneuvers rom other styles, making him a very versatile fighter. Ofen he has somewhat lowerphysical Characteristics than the younger heroeshe teaches, but lots o Combat Skill Levels to makeup or the deficit. He may have the PsychologicalComplication Inscrutible; this makes him reluctantto explain why he’s ordering his students to do thethings they’re doing, which continually rustratesthem.

Chinese Masters live by a special code: theycannot reuse challenges rom other fighters(which is why they ofen have a Negative Reputa-tion Complication — people seek them out to testtheir prowess). I the Master thinks a fighter is

beneath him in skill, the code allows him to sendhis students to meet the challenger first. Tat waythe Master only fights the best challengers (thosewho deeat his students) himsel.

MIXING AND

MATCHING

ARCHETYPESNot every character

represents a “pure”

archetype. In many

games, few if any

characters fit into anarchetype perfectly;

most mix and match

elements of two or more

archetypes to create a

unique PC. A character

could be a martial artist

and gadgeteer, or a Kid

who’s also a Modern-

Day Samurai. How you

create a character like

this depends on what

you consider his primary

focus.

If the character’s martial

arts abilities are his main

“sctick,” then you

should design him

first and foremost

as a martial artist.

Build his identity

around the style

you choose for him, and

spend a generous portion

of his Character Points on

Martial Maneuvers and

martial arts-related Skills

and abilities. Then addon the things you need

to round out the rest

of his personality and

abilities, such as a bunch

of Science Skills and a

small Variable Power

Pool for your martial

artist-gadgeteer.

On the other hand, if

your character is only

secondarily a martial

artist — and many such

characters exist — thende-emphasize his martial

arts abilities. Buy his

other Skills and Powers

first, and then use the

remaining points (or a

smaller percentage of his

points) to buy his Martial

Maneuvers and other

fighting skills. Unlike the

primary martial artist,

who probably has several

Combat Skill Levels, the

secondary martial artist

may have none at all.

CHINESE KNIGHT-ERRANT

TEMPLATECost Abilities10 Martial Art: Kung Fu Maneuvers (10 points’

worth; player’s choice)

8 Combat Skill Levels (8 points’ worth; player’schoice)

2 KS: Kung Fu 11-

2 Professional Skill 11- (player’s choice)

9 9 points’ worth of Skills from the followinglist: Acrobatics, Breakfall, Concealment,Contortionist, Gambling, High Society,

Persuasion, Sleight of Hand, StreetwiseTotal Cost Of Template Abilities: 31

Cost Optional Ability 6 WF: Common Melee Weapons, Common

Martial Arts Melee Weapons, Common

Missile Weapons

Value Complications25 Psychological Complication: Code Of The

Chinese Knight-Errant (Very Common,Total)

Total Value Of Template Complications: 25

Value Optional Complications10 Distinctive Features: Style

CHINESEMASTER

TEMPLATE

Cost Abilities10 Martial Arts Maneuvers (10 points’ worth;

choose from Hsing-I, Kung Fu, Pakua, TaiCh’i Ch’uan if Chinese, Aikido, Jujutsu, or

Karate if Japanese)

3 KS: Chinese Healing (INT)

4 KS: Specific Martial Art (INT +1)

3 Paramedics

2 PS: Sifu/Sensei 11-

4 WF: Common Melee Weapons, CommonMartial Arts Melee Weapons

Total Cost Of Template Abilities: 26

Cost Optional Ability 4 KS: Ch’i-Centering Techniques (INT +1)

4 PS: Calligraphy (INT +1)

4 PS: Cooking (INT +1)

4 PS: Lion Dancing (INT +1)

Value Complications15 Psychological Complication: Code Of The

Chinese Master (Common, Strong)


Value Optional Complications

10 Distinctive Features: Style

10 Psychological Complication: Inscrutable(Common, Moderate)

4




THE KID

A brash youngster with an astounding affinityor the martial arts, the Kid is usually in hisearly to mid-teens when he enters the story. Hequickly becomes known or his fighting skill, ofenannoying personality, snide comebacks and ruderemarks, and ability to combine Eastern disci-plines and philosophies with Western materialismand get the best o both worlds. Te Kid is ofen a

Fulfiller O Prophecy as well. THE MODERN-DAY SAMURAI/NINJA

A modern-day version o the eudal JapaneseSamurai or Ninja (see below), this character livesby his role models’ codes o conduct, practicestheir fighting arts, and tries to conduct himselas they would. Some versions o this archetypecombine ancient training with modern technologyand equipment, but just as ofen the characterlimits himsel to low-tech weapons and gear.

THE NAIVE HERO/HEROINE

Tis character is a prime physical specimen

with a fine command o his martial art; hisgreatest problem is his naivete. He may have beensheltered all his lie; he’s certainly never spent timeon the streets. He’s gullible and susceptible to thewiles o swindlers, con men, and spies.

Te Naive Hero/Heroine ofen has goodmartial arts abilities (numerous Maneuvers andCombat Skill Levels) and some proession-relatedskill. Tis character should take the PsychologicalComplication Naive (Common, Moderate; 10points) and roleplay it to the hilt.

NINJA

In eudal Japan, the ninja were reconnais-

sance experts, spies, and assassins. Te principleso Ninjutsu began development as early as theseventh century AD and reached their heightduring the okugawa era (seventeenth to nine-teenth centuries AD). Te earliest name or theninja was shinobi, or “stealer-in,” i.e., a person whosneaks in. Ninjutsu (including both the martial artand the other skills associated with the ninja) wasoriginally called shinobi-jutsu.

Ninja belonged to extended ninja clans, mosto which were located in the Iga and Koga moun-tain areas o Japan. A clan ofen associated with aspecific noble amily who employed its memberson an exclusive or near-exclusive basis; these ties

sometimes lasted or many generations.Ninja ell into one o three ranks within their

amilies. In the lowest rank were the genin, theminion-level ninja who perormed the dangerousmissions. During the okugawa era, known genin were the lowest orm o lie in the Japanese socialstrata. Te mid-ranking ninja were the chunin, thesub-leaders and planners who helped run the clan.Te highest rank was the jonin, the clan or amilyleader who accepted or reused contracts. Terewere emale ninja, called kunoichi, who learnedtraditional ninja abilities but were especially goodat espionage through seduction and infiltration.

Afer the end o the okugawa period, inthe late nineteenth century, the ninja amiliesdeclined; no one needed their skills in a peaceulJapan. According to some modern historians, thelast true ninja used their skills in World War II,and no one alive today practices genuine Ninjutsu.According to other modern sources, some ninjaamilies retained and handed down their skillsuntil the modern era, and still teach their Ninjutsuarts; even some Americans have supposedlylearned rom them.

Other names that were sometimes givento the ninja include kuro hagi (“black calves”),nozaru (“mountain monkeys”), rappa (“disheveledwaves”), and suppa (“crystal waves”).

NINJA FROM OTHER LANDS

Japan isn’t the only land in which stealth, espio-nage, and assassination missions were conductedby corps o elite warrior-spies. Several “alternateninja” are described below. In most cases, thesewarriors used tactics and fighting styles which are,or game purposes, the same as those used by theninja.

Lin Kuei: Te lin kuei (“orest demons”) are theninja o ancient China. Some scholars believe theninja learned most o their techniques rom the linkuei, described by legends as aoists who turnedtheir religious martial training to the secular endso deception, assassination, and profit.

Te lin kuei used a style o martial arts knownas An Ch’i (see Chapter One). Tis style empha-sizes the use o hidden weapons and gadgets, ando small throwing weapons (similar to shuriken).Te lin kuei were masters o the thrown weapon(many o them have the Trowing Master abilityrom Chapter Tree, or example).

Sulsa: Te sulsa are the ninja o Korea. Tey roseto prominence during the Tree Kingdoms periodo Korean history, in the first millenia AD. Teypracticed the art o concealment (also known assulsa), and in many ways could be considered theopposite o the hwarang (young noble knights) just like the ninja are the counterparts o the noblesamurai.

Trulkor: Te trulkor is the ibetan equivalento the ninja. His fighting and espionage artsdepended heavily on the principles o deceptionand illusion — the idea that i a fighter could mask

his intent rom the enemy, the enemy was helpless.Modern American Ninja: Te term “modernAmerican ninja” reers to present-day Americans(and persons rom other western nations) whohave received Ninjutsu training. Modern ninjarom Japan are ofen depicted as using ancientdevices and weapons, perhaps because o the“flavor” this gives them. American ninja, on theother hand, usually have no reluctance to use thetechnology o modern warare and espionage.Modern American ninja are more likely thanany other type o ninja to use firearms, electronicdevices, and similar high-tech gadgetry.

4



Hero System Martial Arts n Chapter Four 19

THE HONORABLE NINJA

One orm o the general Ninja archetype that’sparticularly appropriate or PCs is the HonorableNinja. Tis character might have been born into aJapanese ninja clan, or adopted into one. He couldbe an a gaijin (an outsider or oreigner) whomthe clan agreed to train; or he could be a practi-tioner o a type o modern Ninjutsu which claimsno ties to historical Ninjutsu, but which worksto redevelop the art. Either way, the character isa ninja... but one with an honorable soul, who’smore than a ruthless assassin and spy. Adventuresinvolving him should deal as much with espionageand stealthy assaults as with all-out martial artscombat, and should occasionally bring his honor-able nature and loyalty to his clan into conflict.

THE PHILOSOPHER

Tis archetype, relatively uncommon amongPCs, is a thinker rather than a doer. He preersnonviolent solutions to problems, even thoughhis skill with martial arts makes even seasonedfighters wary o him. His approach to lie is gener-

ally dictated by some school o religious or philo-sophical thought, such as aoism or Buddhism,which he interprets as calling or passive accep-tance o most ates, nonviolent responses to violence, or what have you.

But the Philosopher’s not an ineffective milque-toast. When push comes to shove, as it usuallydoes in these stories, the Philosopher sheds hiscloak o nonviolence and uses his fighting skillsto their utmost. Although ofen trained in one othe internal Chinese fighting styles, he can learnany style that is not overtly aggressive (i.e., heshouldn’t take Muay Tai or some other brutalfighting styles, but most orms o martial arts are

acceptable). THE SAMURAI

Te samurai were part o the military caste inhistorical Japan. Tey were retainers in service toJapanese nobles, trained in the use o the sword,spear, naginata, and bow. Tey tended to be inexcellent physical condition and were expected tolay down their lives or their lord at any time.

Because samurai ranged rom simple retainersto military commanders, a Samurai characterisn’t required to purchase any Martial Maneuversas part o his emplate. Basic Samurai just haveWeapon Familiarities and Combat Skill Levels;

more skilled Samurai generally buy maneuversrom specific martial arts styles, such as Jujutsu,Kenjutsu, Kyujutsu, Naginatajutsu, or Sojutsu.Tough it’s not required by the emplate, mostSamurai learn a martial arts style.

Women could become Samurai, and werebound by the same rules and duties that governedthe men. Historically, women didn’t fight inbattles, but there are plenty o warrior women inJapanese cinema and anime. raditionally, emaleSamurai tend to preer the naginata to the katana.

At the end o the nineteenth century, duringthe Meiji Restoration, the samurai class wasdisbanded. However, most o the fighting arts

NINJATEMPLATE

Cost Abilities10 Martial Art: Ninjutsu or Karate maneuvers (10

points’ worth; character’s choice)

3 Acrobatics

3 Breakfall

3 Climbing

3 Concealment

2 KS: Ninjutsu or Karate (character’s choice)11-

3 Language: Ninja Clan Codes and Symbols(fluent conversation; literate)

3 Stealth

9 WF: Common Melee Weapons, CommonMartial Arts Melee Weapons, CommonMissile Weapons, Garrote, Blowgun,

Fukimi-bari

6 6 points’ worth of Skills from the followinglist: Contortionist, Conversation, Demoli-tions, Disguise, Fast Draw, High Society,

Lockpicking, Paramedics, PS: Cartog-raphy, PS: Dancing (INT Roll), PS: Healer(Doctor), PS: Singing, Riding, Seduction,SS: Meteorology (INT Roll), Security

Systems, Sleight Of Hand, Survival,Tracking, Weaponsmith

Total Cost Of Template Abilities: 45

Cost Optional Ability

3 Bugging

3 Electronics

3 Mechanics

2 WF: Small Arms

Value ComplicationsNone


Value Optional Complications10 Distinctive Features: Style

5 Distinctive Features: Ninja Night-Suit(Easily Concealed; Noticed and Recogniz-

able)For feudal-era ninja, increase the Reac-

tion to “Causes Extreme Reaction (fearand loathing),” and the value to -15)

10 Hunted: own ninja clan (or organizedcrime group) (Frequently, Mo Pow, NCI,Watching) (this Hunted is appropriate

for a ninja who’s loyal to his clan [or formodern ninja, his organized crime group];you can change its value by changing thefrequency)

15 Social Complication: Ninja (Occasion-ally, Severe) (this Complication is onlyappropriate for martial arts campaigns setin Japan’s feudal period)

"Finding a

master o

the dark art

of ninjutsu

in modern

westernized

Japan seems

as unlikely as

finding an act

practitioner

of the magic

of Merlin in

contemporary

industrialize

England. “

- Stephen K.Hayes




o the samurai have survived into the twentiethcentury, and there are modern Japanese whoconsider themselves to be samurai in the oldtradition.

Both eudal-era and modern day Samurai andronin (see below) may, but do not have to, takeany o the optional Complications. A modern-daySamurai doesn’t have to learn Riding. Adventureseaturing a Samurai generally involve him tryingto achieve his personal goals (such as revenge)while meeting his obligations to and achieving thegoals o his lord (which may directly or indirectlyconflict with his own goals).

In campaigns that limit a character to 25 pointso Complications rom any one Complicationcategory, the character who takes both Codes onlyreceives 25 points or them instead o 40.

THE RONIN

One orm o the Samurai archetype is theronin, an unemployed samurai. A ronin is ofenorced to wander and undertake short-termassignments (many o them nasty, or which puthim in moral dilemmas) to make his living. Temost amous masterless samurai o Japanesehistory are the 47 Ronin (see page 288).

A ronin character should only take the CodeO Te Bushi i he intends to find a master, ordrifs rom master to master and behaves as a truesamurai when employed by those masters.

THE SERIOUS STUDENT

Tis character, like the Irritable Student,appears in campaigns eaturing a teacher asan important PC or NPC. Unlike this Irritablecolleague, this character is sober and studious(and, usually, more boring than the IrritableStudent). Te Serious Student is built much likethe Irritable Student, but without AggressivelyImpatient .

THE SIDEKICK

Tis character is a buddy o one o the othercharacters; i the campaign centers around aschool, he’s another student at the school. A varia-tion o the Sidekick is the Comic Sidekick, who’s abit gooy, oolish or stupid.

Tis is a demanding role to play, because (bydefinition) the Sidekick isn’t as good a martialartist as the character who’s his riend. He shouldhave a minimum number o Martial Maneuvers

and ewer Combat Skill Levels than his riendshave. I no player wants to have distinctly lessfighting versatility than the group’s standard, theSidekick should not be a PC — i he appears atall, he should be an NPC (ofen either a DNPC ora Follower). On the other hand, he could have a variety o abilities that make him just as useul tothe group as the top-line fighter. He could haveStreetwise and dozens o street Contacts, scientificand technical skills the group needs, or the like.

THE SUPER-SOLDIER

Tis character became the ultimate soldierafer treatments he received rom the government(or some private beneactor) made him quicker,stronger, or tougher than the average human. Hemay also have cybernetic implants, similar tech-nology, or even magic to aid him.

In addition to the abilities he gains rom histreatments, the Super-Soldier is trained to fight,and fight well. He usually adopts a straightorward(and Western) fighting style, like Commandoraining, Boxing, or Fisticuffs/CinematicBrawling, but he can learn any style the player can justiy to the GM. Te Super-Soldier’s combina-tion o enhanced reflexes, superior senses, andsuperb combat training make him a match oreven highly-trained martial arts masters.

SAMURAITEMPLATE

Cost Abilities

8 Combat Skill Levels (8 points’ worth; player’schoice)

2 KS: Specific Martial Art 11-

3 Riding4 WF: Common Melee Weapons, Common

Missile Weapons

9 9 points’ worth of Skills from the followinglist: Acting, Breakfall, Fast Draw, HighSociety, a Knowledge Skill or Professional

Skill (Calligraphy, Classical JapaneseLiterature, Dancing, Divination, Gardening,Go, Hawking, Mon, Healing, Music,

Painting, Poetry, Siege Warfare, TeaCeremony, Teacher, Woodcut Art), Tactics,Weaponsmith

10 Fringe Benefit: Kirisutogomen (License to Kill

Lower Classes)Total Cost Of Template Abilit ies: 36

Cost Optional Ability

10 Martial Art: Kenjutsu, Jujutsu, Kyujutsu,Naginatajutsu, or Sojutsu maneuvers (10points’ worth; character’s choice)

Value Complications20 Psychological Complication: Code Of

Vengeance: Must Avenge All Insults To

Self And Lord (Common, Total)


Value Optional Complications

10 Distinctive Features: Samurai Bearing(Concealable With Major Effort, Is Noticed

and Recognizable)

10 Distinctive Features: Style

20 Psychological Complication: Code Of TheBushi (Common, Total)

FEUDAL

JAPANESE

MILITARY TITLES

The military caste of

Japan was known as

the buke . Men of the

buke were bushi , which

means “warrior.” Specific

bushi were the ashi-

garu (“fast legs”), who

served as spearmen

and foot soldiers; the

doshin and yoriki , who

were policemen; and the

samurai (the word comes

from the root saburau ,

meaning “to serve”).

There were masterless

samurai known as ronin

(“wave man”). These

were usually men whohad been banished from

service, or had been on

the losing side of

a battle and no

longer had a lord

to serve. Ronin

typically turned

mercenary, selling

their swords to whoever

would pay them, or

became bandits.

4




THE UNWILLING FIGHTER

Tis character, though he is a master o themartial arts, doesn’t want to fight. He has othergoals, such as the pursuit o philosophy or thedesire to be a humble gardener.

For some plot-driven reason, he becomes thetarget o the vil lains (perhaps he doesn’t let the villains maim or kill his employers, which angersthem). Finally, the villains’ actions against him

and those he protects drive him over the edge, andor a brie and bloody period o time he becomesTe Avenger (see above).

Te Unwilling Fighter is usually an excellentmartial artist, having many Combat Skill Levelsand at least our or five Maneuvers. But the martialarts are not his proession; he must have Skillspertaining to whatever he does to make his living.

THE VIGILANTE MARTIAL ARTIST

Te Vigilante Martial Artist uses his fightingskills to fight crime and clean up the streets. Onhis own he ofen acts as the protector o a partic-ular area or neighborhood (such as Chinatown);

as a member o a team he usually unctions asthe group’s expert on gangs and Asian organizedcrime. In either case his fists and eet have madehim a orce to be reckoned with on the streets othe city.

THE CAREER PATH OF THE MARTIAL ARTIST

Te creation and development o martial artscharacters ofen ollows a definite series o steps orstages. You can think o this process as the “careerpath” o the martial artist character.

Te first step on this path is one all players

have to take: the creation o the character and theselection o an interesting martial arts style or thecharacter to use. Ofen the selection o the styledictates other things about the character, suchas his appearance, philosophy o lie, and goals.Unortunately, this is as ar as many characterdesigners get — even though there are severalmore stages o development.

Te second step along the path can happenwhen the character is first created, or it may takeplace sometime later, such as when the playerrewrites or redefines the character afer playinghim a while. Tis is the establishment o a Huntedwhich involves the character’s martial art in some

significant way. For example, the Hunted mightbe opposed to the character’s order or school, apractitioner o a corrupted or evil version o thePC’s style, or dedicated to some principle the PCopposes because o his style.




At this point, the character starts to developstrong ties to his martial art. It’s no longer a just ameans to an end (beating up bad guys). Instead, itbecomes a Way o Lie, something defining whohe is outside o the combat arena.

Te third step along the path takes placewhen the player (sometimes with the GM’s help)develops a very detailed view o the principles andaims o his martial art. He now begins to expandits base o maneuvers, maniest special powersassociated with it, and so orth. Te GM nowbecomes more involved with the character’s devel-opment as he thinks about the character’s role inthe Martial World and begins to introduce moreplotlines centered around the character, his style,his ellow practitioners, and his enemies.

Furthermore, the PC is now proficient enoughto begin teaching students in earnest — NPCsseek him out or instruction, perhaps at the behesto the PC’s own siu or sensei, perhaps on theirown initiative (depending upon the character’same and reputation). Tese students may include

ormer enemies whom the PC deeated, who nowrecognize his wisdom and seek to learn rom him.At step our, the character gradually develops

into the main deender o his martial art — thechampion his master sends or when the styleor order is threatened, the main enemy o hismaster’s enemies, the renowned leader o the artrecognized anywhere in the Martial World, andso orth. He may even be the last living practi-tioner o his art. Tis aspect o the character mayeventually crystallize into a major, large-scaleplotline where something threatens his style’s veryexistence, and only he can save it by relying on its virtues and strengths.

Te fifh and final step along the martialartist’s career path is when the PC becomes themaster o his art. Obviously, this won’t happen toall characters or in all campaigns. It may happenwhen the PC’s master dies, disappears, becomesOne With Te Universe, or otherwise becomesunavailable. Depending upon the eelings o theplayer and/or the GM, reaching the fifh step maysignal that it’s time to retire the character and havehim devote himsel to preserving and promotinghis art ull-time.

Te career path o the martial artist usuallyisn’t nearly as pronounced in other genres as it isin the comic book Superhero and Martial Artsgenres. Other genres generally lack the opportuni-ties to ocus on the martial artist and his worldin the way Superhero and pure Martial Artscampaigns can. However, this is not to say thecareer path is totally absent — it simply detoursa little, based on the strictures o the genre inquestion. For example, in a Fantasy game the GMmight have created a race or tribe with its own

martial art. As a result o long-standing oathsand customs, the best and brightest practitionerso this art go to the king o a nearby powerulnation to serve as his guards and protectors. Inthis situation, the martial artist PC’s career pathmight consist o going out into the world to gainenough experience with his tribe’s fighting styleso he can return to the tribe, prove his worth, andbecome a member o the King’s Guard. Whetherthis requires him to be removed rom play woulddepend on the GM and the player.

4




SKILLST

his section reviews some special applica-tions o Skills or martial arts characters.Many additional Skills, such as DeenseManeuver and Penalty Skill Levels, aren’t

mentioned here because they unction normallyor martial artists, but that doesn’t make themany less appropriate or this type o character orcampaign.

For expanded rules or all Skills and relatedsubjects, see Te Ultimate Skill .

EVERYMAN SKILLS

Te Everyman Skill list or a Ninja Herocampaign (see Chapter Seven) usually depends onthe game’s setting and time period. A game takingplace in medieval China would use a Fantasy list,whereas one set in the modern day would usethe Dark Champions list. (See Te Ultimate Skill or these lists.) In some Martial Arts campaigns,where it seems that literally everyone has fightingskills, the Everyman Skill list might even include aew points’ worth o Martial Maneuvers (i so, this

constitutes an exception to the normal rule thata character has to buy a minimum o 10 points’worth o Martial Arts).

ACROBATICS

Acrobatics is a very appropriate skill or martialartist characters. It has several uses.

First, martial artists ofen use Acrobatics as theRequired Skill Roll or various abilities (particu-larly some extra meters o Leaping or a ew extrapoints o DCV).

BEING THROWN

Second, as noted on 6E2 83, a character can useAcrobatics to resist being thrown by any Combat

Maneuver that’s supposed to throw him to theground. With a successul Acrobatics roll at a -3penalty, the character keeps his eet and is notthrown down. Tis means he doesn’t suffer theDCV or “initiative” penalties or being thrown.

However, this doesn’t keep him rom takingdamage rom the Trow maneuver. Some Trowsare fist-strikes hard enough to take a characteroff his eet; others are leg-sweeps where someo the damage comes rom the attacker’s blowto the backs o the character’s legs; the standardGrab and Trow slams a character hard onto theground, even i he makes his Acrobatics roll and

keeps his eet. Tereore, even i the character

succeeds with his Acrobatics roll at -3 and keepshis eet, the character takes ull damage rom theTrow maneuver.

Characters can also use Breakall to avoidsome effects o Trows (see 6E2 83 and APG 171).However, a character cannot perorm a Breakallroll and an Acrobatics roll in the same Phase bothto resist being thrown and to reduce the damagerom being thrown — he can only use one o themagainst a given throw attack. However, the char-acter could make one Acrobatics or Breakall rollto avoid some o the effects o the Trow, and thenmake a separate Breakall roll to regain his eetinstantly (without taking a Hal Phase). Te char-acter could make an additional Breakall roll byhal in the same Phase to overcome the effect thatthe attacker (the person who threw the character)automatically gets to act first (regardless o relativeDEX) i he and the attacker have their next Phasesin the same Segment.

BEING PRONE

Tird, a character who’s thrown or knocked

down, one who isn’t able to keep his eet, can useAcrobatics another way. I he makes a hal roll(e.g., i his roll is a 13, he must roll a 7 or under),he immediately gets his ull DCV, even though he’sprone. I he ails his hal roll, he suffers ordinaryDCV modifier or being prone. But on his nextPhase, he can try again.

Te character doesn’t have to get to his eetto have his ull DCV when using Acrobatics thisway. He may preer to remain prone. For example,perhaps he’s been injured so that one leg isn’tworking right, thus keeping him rom standing up— he’ll have to stay down and use his Acrobatics

to keep his DCV up. (O course, he may suffera penalty or trying to use Acrobatics with aninjured leg; this depends on the GM.)

RUNNING UP WALLS

Fourth, characters can use Acrobatics toexecute the common martial arts movie stunt orunning a short distance up a wall and then back-flipping off to land behind a pursuing oe. o dothis a character has to make a Hal Move up to awall (i.e., he has to Run at least 2m up to the wall)and make an Acrobatics roll. I the roll succeeds,he “runs” up the wall no more than 4m and thenmakes the flip, landing up to 4m away rom thewall (his choice o where to land) and acing it.




I the roll ails, he runs into the wall (but doesn’thurt himsel), ails to land properly afer the flip,slips and alls while “running” up the wall, or thelike. I it ails badly (by 4 or more), he could hurthimsel (causing a DEX and OCV reduction or aew days due to a sprain, or suffering some dice oNormal Damage).

Alternately, a character doesn’t need to backflipoff the wall at all — he can simply use Acrobaticsto “run” up to 4m up a wall. (At the GM’s option,you can increase this by +1m or every 1 pointby which the Acrobatics roll succeeds.) Tisallows him to get to low roofops, high windows,overhangs, and the like. (Te GM may requirethe character to make a DEX Roll to grab hold othese objects or “hit” his “target.”) However, i thecharacter hasn’t reached a sae surace or some-thing he can grab hold o by the end o the “run,”he alls to the ground.

ACTING

A character can use Acting to simulate agreater injury than he’s actually received. Tis may

make his opponent overconfident and allow thecharacter to make a Surprise Move attack. Tisrequires a Skill Versus Skill Contest pitting thecharacter’s Acting against the target’s PER Roll.Te GM decides, based on how clever he eels theploy is and how likely the target is to believe it(the Overconfidence Psychological Complicationusually comes into play here), what modifiers (iany) apply to the character’s Acting roll. I the ployisn’t really clever, the target knows the characterakes injuries requently, or the target makes hisPER Roll by more than the character makes hisActing roll, the character gets no OCV bonus. (Inact, the GM may give the target an OCV bonus,

since the Acting character probably has to reducehis mobility [and hence his DCV] to make a akeinjury look convincing.)

I the character wins the Contest, the GM hasto decide how much o a Surprise Move bonus toaward him. Tis depends on how much he wonthe Contest by (usually a +1 bonus or every twoull points by which he wins, with a minimum o+1 and a maximum o +3), how clever the GM judges the ploy to be, and so orth.

Characters can also use Acting to imitatesome other character’s personal fighting style.Tis ability doesn’t necessarily have much use incombat, but may crop up in other situations. For

example, suppose a villain with Acting wants torame a PC or a crime. He could disguise himselas the PC, then perorm some heinous crimebeore witnesses who swear it was the hero — theydidn’t just recognize his ace, they recognized hismoves. Tis requires a Skill Versus Skill Contestpitting the villain’s Acting Skil l against the PERRolls o onlookers amiliar with the real person.o do this, the actor must know at least twoMartial Maneuvers in the same style as the personhe’s mimicking. I the actor is a karateka and he’strying to imitate a jujutsuka, and doesn’t have anyJujutsu maneuvers, he’s out o luck. A Knowledge

Skill o the imitated character’s style can act as aComplementary Skill Roll.

ANALYZE

For martial artists, this Skill is most ofenbought as Analyze Style — the ability to assess anenemy’s fighting skills (i.e., his Martial Arts andrelated abilities). He may only use it afer watchingthe enemy fight — he must observe his targetfighting or at least one ull urn beore he canmake a Skill Roll. Te inormation the charactergains rom an Analyze Style roll depends on how

well he succeeds, as indicated in the accompa-nying table. A character with Analyze Style getsa +2 to his Skill Roll i his target possesses a Style Distinctive Feature.

Analyze Style also allows a martial artist totake advantage o an opponent’s consistency. Somecharacters tend to avor one or two attack maneuvers, usually because they offer high damage capa-bilities or some advantageous combination o CVbonuses. In this situation, a character can makean Analyze Style roll to prepare himsel or thisavored attack. I he succeeds with the roll, he gets+2 DCV against that maneuver in this particularfight. (With the GM’s permission, characters can

also use KS: [Specific Martial Art] this way.) ANALYZE STYLE

Makes Roll By Information Gained

0 (exactly) The character knows whether thetarget is a poor, medium, good, ormaster-level fighter.

1 or 2 The character knows how the targetcompares to the character in termsof fighting prowess (“I’m far superior

to him,” “It would be a close thingbut I think I’d win,” “It’s anybody’sguess who would win,” “He has the

edge over me,” or “I don’t stand achance.”)

3 or 4 The character knows certain

Physical Limitations and Vulnerabili-ties possessed by the target (the GMdecides which Limitations the Skill

can detect; Lame would be, while 2xBODY from Poisons would not be, forexample).

Half or better The character knows the locationof the target’s open Gate (if targethas the Iron Shirt ability on pages154-55)

“You can

win by

aking best use

f the enemy’s

rightened

hythm. ”

- Miyamoto

Musashi, Go

Rin No Sho (“A

Book of Five

Rings”)

4




BREAKFALL

A character can use Breakall to reduce thedamage he takes rom any maneuver that throwshim to the ground; see 6E2 83 and APG 171.

A character cannot perorm a Breakall rolland an Acrobatics roll in the same Phase bothto resist being thrown and to reduce the damagerom being thrown: he can only use one o themagainst a given Trow attack. However, a character

could make one Acrobatics or Breakall roll toavoid some o the effects o the Trow, and thenmake a separate Breakall roll to regain his eetinstantly (without taking a Hal Phase). He couldmake an additional Breakall roll in the samePhase to overcome the “first movement next Phasegoes to the Trower” effect.

Breakall is known as ukemi in Japanese andnhao lan in Vietnamese.

BUREAUCRATICS

Most Martial Arts action heroes have no useor bureaucrats, and with good reason: they preerto resolve problems the direct way, with their fists.

In some campaigns, however, a little knowledgeo how to handle bureaucracy can be a great help.For example, in a campaign taking place in periodChina, Bureaucratics is almost a requirement,especially i the characters have to interact withthe Imperial government in any manner. Tesame is true or games set in eudal Japan. On theother hand, modern-day characters, such as policeofficers in Cinematic Martial Arts campaigns, tendto ignore local laws and associated bureaucraticentanglements with impunity.

COMBAT SKILL LEVELS

Combat Skill Levels are very popular with

martial artists, or obvious reason. A 2-point CSLimproves OCV with a specific Maneuver, perhapscancelling out its OCV penalty. A 3-point CSLimproves OCV or DCV with up to three MartialManeuvers. A 5-point CSL improves OCV orDCV with all o a character’s Martial Maneuvers.(However, i a character rarely, i ever, uses non-Martial Maneuvers to fight in melee combat, theGM might require him to buy 8-point All HHCombat CSLs rather than 5-point Levels.) An8-point CSL improves a character’s OCV or DCVwith All HH Combat.

Martial artists ofen buy Combat Skill Levelsas Powers. Combat Skill Levels with Limitationssuch as Costs Endurance (-½) or Requires A SkillRoll (typically Acrobatics; -½) are a good way torepresent how the character’s ability to move incombat helps him fight, or example. Tis can alsorepresent a character who discovers his opponent’stougher than he thought and has to “fight abovehimsel” (i.e., use CSLs that Cost Endurance) tofight better at the expense o tiring more quickly.See 6E1 71 or rules about applying Limitations toCSLs.

MARTIAL ARTS CSLS AND WEAPONS

I a character has bought 3-point or moreexpensive CSLs or three Martial Maneuvers or5-point CSLs or a single Martial Arts style (say,Karate), and has purchased a Weapons Elementor that art (or example, to use Karate Weaponswith the Karate maneuvers), the character canuse his CSLs with weapons used with his MartialManeuvers. However, i he buys maneuvers romoutside his art (say, a Kenjutsu sword maneuver),he cannot use the 3- or 5-point CSLs with hisoriginal art with the “outside” maneuvers (hecould, o course, use an 8-point CSL).

In general, characters are better off buying8-point CSLs with All HH Combat, since theseLevels apply to all Martial Maneuvers rom thecharacter’s main style, Maneuvers bought romother styles, ordinary HERO System CombatManeuvers, and weapons not used within thecharacter’s style.

HAND-TO-HAND CSLS VERSUS A SPECIFIC STYLE

A character could buy CSLs that apply Only Against [Specific Martial Arts Style] (-1). Tissimulates a character who’s studied a particularstyle extensively and learned its weaknesses.Characters may also take the Limitation Requires A KS: [Specific Style] Roll or these Levels. Tissort o CSL is especially appropriate or a martialarts villain. He can use his Levels to easily deeatthe PCs in an early encounter; later, afer the PCshave gotten additional training or learned waysto mask the weaknesses the villain exploited, theycan return and deeat him.

CONTORTIONIST

It’s common or characters to use Contortionistto try to escape rom Grabs, as discussed on 6E171. Fighters who use Grab-oriented styles (such asWrestling) sometimes oil their bodies to make iteasier to slip rom someone’s grasp; this adds +1 toContortionist roll to “break ree” rom Grabs.

FAST DRAW

In Japan, this Skill is called iaijutsu; it’s thesamurai’s ability to unsheathe his sword instantlyand attack without hesitation. radition attri-butes the creation o Iaijutsu to one Hōjō Jinsuke,who developed it as part o a quest to avenge hisather’s murder.

Warriors ofen regard Iaijutsu as a martial art

in itsel, but it’s sufficient or game purposes todescribe it as a “companion art” to Kenjutsu. Ithas our basic techniques: nukitsuke (the suddendrawing o the blade); kiritsuke (the cut(s) used toinjure or kill the opponent); chiburi (the shakingo blood rom the sword-blade; this maneuver issometimes used to blind an opponent by flickingblood into his eyes, see the option under BladeFlare on page 124); and noto (resheathing thesword). Other techniques dealt with counteringsurprise attacks, attacks by multiple opponents,fighting in the dark, and so orth. (Tus, to trulysimulate Iaijutsu, a character should purchase notonly Fast Draw but Combat Sense and Deense

Maneuver as well; Lighting Reflexes is also

“When y

take

sword, you m

feel intent

on cutting t

enemy. “

- Miyamoto

Musashi, G

Rin No Sh

(“A Book

Five Ring




recommended.) Knowledgeable characters canidentiy different substyles o Iaijutsu by the gripsthey teach, the fighter’s emphasis on certain tech-niques, and so orth.

SNATCHING AND SWITCHING HELD OBJECTS

Fast Draw has another unction outside ocombat: a character can use it to snatch thingsout o someone’s hand beore he can close it — atrick ofen perormed to impress someone. Te

character has the other person hold something inhis open palm, and tells the ellow he can snatchthe object out o his hand beore the ellow canclose his hand. With a successul Fast Draw rollin a Skill Versus Skill Contest against the target’sFast Draw or DEX Roll, the character succeeds. Ithe character succeeds and immediately makes anappropriate Presence Attack, grant him +1d6 orevery two points by which he beat the target’s FastDraw or DEX Roll.

A character can also use Sleight O Hand, ihe possesses it, with Fast Draw to make a switch.I he succeeds at a roll with both Skills (the targetcan make a PER Roll in a Skill Versus Skill Contestwith the Sleight O Hand), our hero can take anobject off the other ellow’s palm and drop anotherin its place... without the target realizing what’shappened. Te target eels the object in his handand thinks he won the contest.

CONTORTIONIST

In Japan, the art o contorting the body isknown as tonjutsu. When used by ninja or thosetrained by them, the ability to tie knots ormaximum strength and so as to prevent escape,which can also be bought as PS: Knot ying, iscalled terinawajutsu or hojojutsu.

FEINTTis optional new Agility Skill allows a char-

acter to trick or outmaneuver an opponent inHH Combat, thereby obtaining a short-termadvantage in the fight. It’s most commonly used inarmed HH Combat, such as swordfights, but alsoapplies to unarmed HH Combat.

Using Feint requires a Hal Phase Action. Ia character’s Skill Roll succeeds, his opponentautomatically gets to make a PER Roll or Feint roll(opponent’s choice) in a Skill Versus Skill Contest.(Te GM can allow the use o other appropriateSkills, such as a Knowledge Skill o the fighting

style the character’s using or a relevant Analyze.)I the opponent wins the Contest, the charactergains no benefit rom Feint. I the character winsthe Contest, he obtains a +1 OCV bonus or hisnext attack. (Tis might increase to a +2 i thecharacter’s roll succeeded by hal or was a CriticalSuccess.) He must use that bonus or his very nextattack (either in the same Phase or his next Phase)and must make that attack against the opponenthe engaged in the Skill Versus Skill Contest with.I he attacks anyone else or doesn’t make an attackas his next Action, he loses the bonus. (However,at the GM’s option the character could perorma Zero Phase Action or Action that takes no time

beore making the attack that gets the bonus.)

I a character ails his Feint roll, and his oppo-nent succeeds with a PER Roll at -2, the attackersuffer a -2 OCV penalty on his attack, since histarget has seen through the “eint” and knowswhat to expect. I a character ails his Feint rollbadly (by 4 or more), he’s put himsel in a worseposition as the result o his ailure — i his oppo-nent’s next Action is an attack against him, thatattack receives a +1 OCV bonus. I the opponentdoes anything other than attack the character inHH Combat on his next Action, as describedabove, he loses this bonus.

Using Feint becomes progressively moredifficult against the same opponent as he learns tosee through the character’s tricks. Each time aferthe first a character uses Feint against a particularopponent in a combat, he suffers a cumulative-2 penalty to his roll. At the GM’s option, theopponent may receive a +1 bonus to his PER Rollin later combats because he remembers someo the character’s moves. Tus, sooner or later arecurring enemy learns how to avoid the charac-ter’s tricks. Other characters who have watched

the character fight, or who make the character’sReputation roll, may also know o his tricks, thusearning the same bonus even i this is the firsttime he’s ever ought them.

At the GM’s option, the character can use Feintin a different way: as a Complementary Skill tohis HH Combat Attack Roll. I so, any bonusobtained is subject to the rules above. Since thiscan provide a significantly higher bonus than thestandard use, the GM may rule that it takes a FullPhase Action instead o just a Hal Phase. Also atthe GM’s option, a character using the standardrules or Feint may receive Complementary Skill-like bonuses to his OCV i he makes the Skill Roll

by a greater degree (i.e., a +1 OCV bonus i hemakes the roll exactly, with an additional +1 OCVor every 2 points he makes the roll by.

Ordinarily Feint only applies in HH Combat.At the GM’s option, characters can also use it inRanged Combat. Tis might simulate firing anextra shot to lure or orce the target into positionor the killing shot, particularly careul aiming, orthe like.

I the GM doesn’t want to allow Feint as a Skill,characters can achieve much the same result bybuying appropriate Combat Skill Levels with Limi-tations like Requires A DEX Roll and Extra ime (always requires a Hal Phase Action to use; -¼).

I the GM thinks that allowing characters toFeint with any HH Combat attack is too broadand unbalancing, he should require charactersto buy Feint the same way they have to buy FastDraw: by Weapon Familiarity categories (with“Barehanded” counting as a single category orunarmed attacks). Tus, a character with Feint(Blades) can’t trick opponents when he’s in a fist-fight or wielding a spear.

4




GAMBLING

Martial artists looking or a greater under-standing o strategy and tactics usually learn anyone o several tabletop games. Skill with any oneo these games usually means the character is aman o some intelligence and learning, and ofen

helps him make a good impression on a host. Tegames (all Board Games) are:

n Go-Moku (also known as Renju), a game wherethe objective is to place five colored stones ina row

n Hasami Shogi, similar to Go-Moku, with thesame victory conditions

n Mahjongg (or Ma-Jong ), a tile game roughly3,000 years old with a complex scoring system;popular among gamblers

n Wei-Ch’i (“way chee”), or Go

n Xiangqi (or Siang K’i) — Chinese chess, similarto European chess, but with a game boarddivided by a river and eaturing units such ascannon and chariots

O these games, Wei-Ch’i is the most impor-tant. Better known by its Japanese name, Go, it’s anabstract game o territorial conquest which was acommon pastime or samurai. In Japan a mastero Go (in HERO System terms, “mastery” means atleast Gambling (Wei-Ch’i) 14-) can find plenty oemployment as an instructor (even today), and it’spossible to live as a proessional Go player.

KNOWLEDGE SKILLS

Te ollowing Knowledge Skills are especiallyappropriate or martial artist characters.

KNOWLEDGE SKILL: THE MARTIAL WORLD

In modern-day campaigns, the Martial World

is a worldwide martial arts subculture; you find itin any nation or city where there are martial artsschools or traditions. KS: Te Martial World issimilar to the Streetwise Skill, but deals only withthe world o the martial arts. Streetwise doesn’t domuch good among martial artists, because thosewho belong to the Martial World are rather insularand closed-mouthed about it when talking tooutsiders.

A successul KS: Martial World roll allows ahero to use the Martial World grapevine to hearabout unusual events and happenings in theMartial World, and to send messages to otherpeople in the Martial World. For example, i a hero

hears that an assassination was perormed usingan interesting but little-known aijutsu technique,a successul KS: Martial World roll might let himfigure out who can reveal the culprit’s identity tohim (or, simply, who the culprit is). Tis Skill alsokeeps the character up to date about who’s on topin the sporting competition orms o the martialarts and other current affairs in the significantmartial arts schools around the world.




KNOWLEDGE SKILL: MON

Mon are symbols and designs used to representJapanese amilies; every major Japanese amily,especially the more traditional ones, has a distinc-tive mon design. Knowledge Skill o mon gives acharacter a good grounding in the recognition othese designs. He can recognize amous designsautomatically, and identiy others with a successulSkill Roll. Tis can be important in martial artscampaigns centered around Japan, where recog-nizing a character’s amily by his mon can makeall the difference in determining who’s riend andwho’s oe.

KNOWLEDGE SKILL: [SPECIFIC MARTIAL ART]

Every style in Chapter One recommendspurchase o a Knowledge Skill. Tis KS has severalunctions in the campaign:

History: Te character has a grounding in thehistory o his style. He knows the actors thatled to its development, the influences whichaffected the art, and the names o the persons whocontributed significantly to its development. With

a successul Skill Roll, he can answer more difficultquestions about the style’s history.

Philosophy: Te character has an understandingo the philosophical side o his style. Most Easternmartial arts have a very important philosophicalside to them, ofen grounded in Buddhism oraoism. Tis is seldom important in an action-adventure game, though wise practitioners o theart are ofen inclined to baffle young adventurerswith cryptic riddles and metaphors, which asuccessul Knowledge Skill roll can help unravel.

Personalities: Te character knows major prac-titioners o the art, at least by name and reputa-

tion. I the art is practiced as a sport (or example,Karate has a ull-contact sport as a sideline), heknows who the current champions and contendersare with a successul Skill Roll. In modern-daycampaigns, he also knows what they look like dueto appearances in magazines covering the style.

Schools: Te character can, with a successul roll,recognize the precise style o another practitionero the same art. One karateka (Karate practitioner)observing another in combat can make his SkillRoll; with a successul roll, he will know (or atleast have a good idea) o which branch o thestyle the other character learned, and may (i he

makes his roll by 3 or better) know exactly whotrained this character.

Symbols: With a successul roll, the charactercan recognize the distinctive symbols used bymany schools or branches o his style. Whereappropriate, he can recognize variations in theweapons used by different branches o his style.For example, different ninja clans were supposedto have different-looking shuriken; a characterwith KS: Ninjutsu could, with a successul roll,determine a shuriken’s school or clan o origin (iany).

Other Styles: With a successul roll at -2, thecharacter can recognize a style not his own. Hemight see a fighter in combat, make his roll, andrecognize that the other ellow was perormingSavate maneuvers. Te GM can apply additionalpenalties based on how unamiliar he believesthe character to be with the style he’s observing.Tis use o the Skill doesn’t allow the character torecognize specific schools or styles o the other art.

Analyze Style: I a character has the Analyze StyleSkill, and has a KS o the same style being used bythe character he’s analyzing, he can use his KS as a

Complementary Skill to Analyze Style.LANGUAGE: NINJA CLAN CODES AND SYMBOLS

Only ninja who belong to ninja clans maylearn this Skill. It’s a series o special code-words,hand-signs, and commands that allow a ninja tocommunicate secretly and silently with one ohis own clan. Characters must buy it this way: 2points in a language (Ninja Clan Codes); and inecessary or the campaign, 1 point or Literacy(Ninja Clan Symbols). Buying more points in thelanguage doesn’t do any good.

Each ninja clan has its own set o codes andsymbols. Consider each clan’s language linguisti-

cally unrelated to all other clan languages (or anyother language, or that matter) or purposes olearning more than one.

wo ninja o the same clan, sitting together,could hold an ordinary conversation withnormal speech and exchange secret inormationthrough use o code-words and hand-signs casualobservers could not detect (or would not knowthe meaning o). A ninja in the field can givetactical commands to his subordinates throughspoken words and hand-signs. A ninja can buryan important object at a particular site and leavea “meaningless scratch” on a wall or tree nearby;a ninja o his own clan can interpret the scratchesand find the buried goods.

Consider this a complete language which maybe perormed at any time either with voice, orwith hand-signs, or both. But it’s not a sophisti-cated language, so the GM can assign IN Rollsand IN Roll penalties to ninja trying to commu-nicate complicated thoughts or stories when usingit.

“If water

derives

ucidity from

tillness, how

uch more the

aculties of the

ind! The mind of

he sage, being in

epose, becomes

he mirror of

he universe, the

peculum of all

reation.”

- Chuang Tzu

4




PROFESSIONAL SKILLS

Some PSs appropriate to martial artists include:

PS: CHINESE HEALING

PS: Chinese Healing reflects a character’sknowledge o and ability to use ancient Chinesehealing techniques. It corresponds, in gamemechanics, to SS: Medicine and PS: Doctor.

Chinese Healing uses a combination o herbalmedicine and acupuncture. It works to put thebody’s internal systems back in balance to combatdisease or cope with traumatic injury. In gameterms, it works just like PS: Doctor (a characterwith it must buy a 1-point License o Practice Medicine Fringe Benefit separately i he wishes topractice medicine legally).

Characters can use Chinese Healing to undothe effects o Dim Mak attacks (see page 139).A character with PS: Chinese Healing can makea normal Skill Roll to detect that his patient issuffering rom Dim Mak techniques. o cure hispatient, he must succeed in a Skill Versus SkillContest against the Chinese Healing Skill o the

character who perormed that Dim Mak attack.I he wins the contest, he “turns off” the effects othe Dim Mak attack. Tis cure doesn’t instantlyheal the victim back to health; it just stops theprogressive effects o the Dim Mak and allows thepatient to begin healing normally. I he ails theroll, he can do nothing to orestall the continua-tion o the Dim Mak effects.

Regional variations on this Skill include PS:Indian Healing and PS: Korean Healing , whichare appropriate or some martial arts rom thoseregions.

PS: INSTRUCTOR

Characters who want to teach their martial artto others should buy this Skill. Anyone can teach,o course, but someone with PS: Instructor is moreskilled at doing so, and better able to evaluate thebest methods or instructing a particular studentor class, the progress o a student, and so orth.Tis Skill includes knowledge o some very basicsports medicine techniques to help with commondojo injuries.

SCIENCE SKILL: SPECIFIC MARTIAL ART

A Science Skill in a particular style gives acharacter knowledge o the mechanical aspects ohis fighting maneuvers, including their kinesi-ology and the scientific principles which makethem work. At the GM’s option, this may includesome appropriate “sports medicine” techniquesor common dojo injuries and/or some very basicknowledge o human anatomy. In appropriate

circumstances, this SS and PS: Instructor areComplementary to one another, since ofentimesthe more one knows about an art, the better onecan teach that art to others.

SLEIGHT OF HAND

I the GM doesn’t want to use the optionalFeint Skill described above, at the GM’s option,characters can use Sleight O Hand as a HalPhase Action to perorm “eints” or “oists” inHH Combat. Tis means the character’s tryingto “ake out” his opponent, creating an opening hecan exploit. Depending on the GM’s preerence,either Sleight O Hand works exactly like Feint, or

or every 2 points the character makes his SleightO Hand roll by, he gains +1 to his OCV, up to amaximum o +3. However, each time afer the firsthe tries this against a particular opponent, he takesa cumulative -2 penalty to his Sleight O Handroll. Tus, sooner or later a recurring enemy learnsthe character’s tricks and how to avoid them.Other characters who have watched the characterfight, or who make the character’s Reputation roll,may also know o his tricks, thus subjecting himto the same penalty even i this is the first time he’sever ought them.

I the GM uses the latter option, i a characterails his Sleight O Hand roll, and his opponent

makes a PER Roll at -2, the attacker suffer a -2OCV penalty on his attack, since his target hasseen through the “eint” and knows what toexpect.

“A

ll kinds of knowledge

eventually become self

knowledge. ”

- Bruce Lee




PERKS AND

TALENTSM

ost Perks, and many alents, are appro-priate or martial artists, assumingthey’re appropriate or the campaignbased on its period or setting. Any not

mentioned here unction normally or martialartists or don’t require additional discussion.

PERKSPerquisites which are useul in martial artscampaigns include:

CONTACT

Several types o Contacts ofen appear inmartial arts stories:

The Ex-Master: Te martial arts expert whotrained the character. I bought as a Contact, hewon’t normally come along with the hero on hisadventures, but can ofen answer questions aboutthe hero’s newest opponent or give the hero addi-tional between-adventures training.

The Old Buddy: Tis character was in the armedorced with the hero, was a co-student with himback in the old days, or something o the sort.He’s ofen a lower-grade martial artist himsel;requently, he’s also wealthy, a weaponsmith, orotherwise positioned to help the character outrom time to time. For example, he might protecta rescued NPC when the hero doesn’t need to beburdened with the presence o a non-fighter.

FOLLOWER

Te most common type o Follower or amartial artist to have is a student. Many martial

artists attract non-fighters or beginning fighterswho wish to learn rom them. Te character canguide the student’s development by deciding howmuch to spend on his Follower Perk; when theFollower reaches an ample level o ability and it’stime or the characters to part, the PC can “turnin” his Follower and get his points back. He has touse those points to buy off Complications relatedto the Follower, or to buy other Followers, Bases,Vehicles, and such things — he cannot spend themon Characteristics, Skills, or Powers.

FRINGE BENEFITS

Some important or useul Fringe Benefits ormartial artists include:

Accredited Instructor (1 point): Tis FringeBenefit indicates the character’s been accreditedas an expert and instructor in a specific martialarts style by a recognized body which regulatesthat style (or example, the “World Kung FuMasters Federation” or a Kung Fu practitioner).Tis increases his profile in the Martial Worldand helps him attract students (should he wish toteach).

Since this Perk indicates someone who’s anexpert and a qualified instructor, the GM shouldordinarily require a character to be a black belt(see page 14 or qualifications), or possess asimilar level o skill and learning, beore he canbuy Accredited Instructor.

“Black Belt” (1 point): Tis optional FringeBenefit means the character’s recognized as a“black belt,” or expert fighter, by a governing body

o his style (or some similar organization) and hasthe right to reer to himsel as such. A characterwith this Perk can sometimes rely on members othe Martial World or work (i.e., teaching martialarts), shelter, and the like.

Tis Perk is strictly an optional one; its avail-ability depends on the GM’s ruling regarding howa character qualifies to be a black belt. Reer toBlack Belt Status In Te HERO System, page 13, ordetails.

Kirisutogomen (10 points): Only charactersin eudal-era Japanese campaigns can take thisFringe Benefit. It represents a samurai’s right

to kill anyone o a lower social class. In someperiods, samurai all had this right, but differentsamurai implemented it in different ways. Morecalm and philosophical samurai exercised it onlywhen deliberately offended; touchier samuraikilled anyone who accidentally stepped acrosstheir blades, didn’t bow down quite ar enough,or otherwise inadvertently bothered them or anyreason. However, characters should rememberthat daimyo (lords) tend to rown upon theindiscriminate killing o their subjects, peasants orotherwise.

4




Right To Marry (1 point): Tis is a necessaryFringe Benefit or Buddhist monk characters.

Right Of Shelter (1 point): Tis is a necessaryFringe Benefit or Buddhist monk characters. Itdoesn’t mean the character has the right to bargeinto peoples’ homes and demand ood and shelter,but rather that in predominantly Buddhist coun-tries or regions, someone (usually a peasant or amonk rom the local monastery) will always offer

him shelter (i he’s known to be a monk).

MONEY

Martial arts campaigns are not about money,and so a martial artist character should only takethe Money Perk as part o his background concep-tion. I he’s a multi-millionaire who’s also a martialartist, he should take Wealthy; i he has chosen aliestyle where he’s continually impoverished, heshould take Destitute.

POSITIVE REPUTATION

Many martial artists have a Reputationreflecting their fighting skill. Tey should buy

this as a Perk, since it causes others to backdown rather than fight them, makes it easier tointimidate punks, earns the character a measureo respect in appropriate circles, and so orth. TeMartial World counts as a medium-sized groupor purposes o buying Reputation.

VEHICLES AND BASES

Te most common sort o Base ound in amartial arts campaign is the school. Only mastersand master villains have schools, so a characterwith a Base should also teach his “agents,” orstudents.

Point-purchased special Vehicles are very

uncommon in martial arts campaigns. Vehiclesaren’t allowed to buy Martial Arts themselves.However, in some campaigns, characters can buya Weapon Element (such as Use Art With Mecha)that allows them to use their Martial Arts with ahumanoid Vehicle.

Te GM may decide that martial arts charac-ters in his campaigns do not get to buy Bases orVehicles with their own points — they’re limitedto the sorts o Bases and Vehicles bought withmoney.

TALENTSMany o the alents rom the HERO System are

very useul when building martial arts characters.Te most important ones include:

COMBAT SENSE

Many martial artists train to fight when blind-olded or blinded; you can represent that ability

with Combat Sense. It can be a lie-saver or amartial artist when the lights go out, his opponentblows some dust into his eyes, he’s been success-ully Flashed, and so on. Blind martial artists alsohave this alent.

Combat Sense also proves useul i the char-acter has to fight an invisible oe. A martial artistwho makes a Combat Sense roll will not have hisOCV reduced by hal (the typical effect o invis-ibility on hand-to-hand and ranged combat) — hecan fight the invisible character with his ull OCV.Te character can get bonuses to his roll i hefigures out clever ways to reduce the effects o the

invisibility (making his opponent fight in an areawith a lot o dust in the air or water on the floor,or example).

DANGER SENSE

Like Combat Sense, Danger Sense can alertthe martial artist to an attack even when there’sno obvious sign o that attack coming. Tis is aalent o skilled masters, intuitive martial artists,and characters with animal-like senses. However,as with all stop-sign alents, it requires specialpermission rom the GM.

LIGHTNING REFLEXES

In a martial arts battle, he who strikes firstofen triumphs. Tus, many martial artists buythis alent to reflect the almost supernaturalquickness they develop through their training.It’s particularly appropriate when bought ora single Martial Maneuver that represents thecharacter’s “ultimate technique.” (Given the lowcost o Lightning Reflexes, you can almost think oLightning Reflexes bought or a single Maneuveras an “Element” built into that Maneuver.) Insome cases, characters can apply the LimitationRequires A Skill Roll (-½) to Lightning Reflexes;possible Skills include Sense Ch’i (see below),Analyze Style, KS: opponent’s martial arts style, or

a DEX Roll.SIMULATE DEATH

Tis is an unusual, but not unheard o, abilityamong martial artists. It’s most ofen learned bymasters who have total control over their bodies.

"It's all in the reflexes. "

- Jack Burton, Big Trouble in

Little China




POWERSC

haracters can use many HERO System Powers to create interesting abilities,powers, and “super-skills” or martial artscharacters. In Superheroic games, they

can even use Powers to create abilities derivingrom ancient Chinese sorcery or many otherstrange sources.

AID

Tere are many uses or Aid or martial artscharacters; you can see examples such as Array,Ch’i Fires, Drunken Boxing, I’ve aken Your Measure, and Supreme Warrior’s Aura in ChapterTree. Aid is best used or abilities whose effectsaren’t predictable due to the nature o the power,the uncertainty o battle, or the like. I you wantgreater consistency, use the Characteristics Poweror apply the Standard Effect Rule to your Aid-based ability.

DAMAGE NEGATION; DAMAGE REDUCTION

Martial arts characters absorb an incredibleamount o abuse in the movies and fiction, thencome back or more. You can simulate this withDamage Negation or Damage Reduction, usuallywith appropriate Limitations. ypically charactersshould be restricted to 50% Damage Reduction or-6 DCs Damage Negation maximum, and particu-larly in more realistic campaigns should only buythese abilities or Physical damage. See ChapterTree or such examples as oughened Body, oughIn A Fight, Flesh Like Iron, and Flesh Like Oak,which include a variety o appropriate Limitations.

DRAIN

Characters can use Drain to create a wide variety o martial arts attacks which weaken,numb, or otherwise debilitate a target. Many suchattacks buy down the recovery time so the targetdoesn’t recover quickly, but that’s not required. SeeEssence Absorbing Stance, Feint , and Pressure PointStrike in Chapter Tree or examples. Anotherexample is the inamous dim mak “death touch”(see page 139).

ENHANCED SENSES

Martial artists tend to be smart, observant,and ofen acutely aware o their surroundings(even i only on a subconcious level). Tus, manyEnhanced Senses are appropriate or them. SeeChapter Tree or some examples; other possibili-ties might include Nightvision (the character’seyes adjust to darkness very quickly due to his

training), Active Sonar (the character is a “blindmaster,” and can “see” his surroundings by whis-tling and then analyzing the echoes), EnhancedPerception (the character is especially observant),and argeting or Hearing Group (appropriate orblind fighters).

EXTRA LIMBS

Characters with Extra Limbs ofen have anadvantage in martial arts combat — afer all,it’s difficult to deend against a large number oattacks rom a single source, particularly i thecharacter has Stretching and can launch someo them rom behind the target! o simulate this

advantage, characters with Extra Limbs can buy8-point Combat Skill Levels with HH Combat.(See Multi-Limbed Combatant in Champions Powers or many other abilities appropriate tocharacters with multiple limbs.)

LEAPING

In many martial arts films, masters o martialarts can leap prodigious distances, though thisseems to require acrobatic training. o simulatethis, buy Leaping with the Limitation Requires An Acrobatics Roll (-½). Heroic-level martial artistscan only buy enough Leaping to double their basicleap. Superheroic-level martial artists have no

restriction on the amount o Leaping they can buy,other than whatever limit the GM sets. In somemovies and comic books martial artists can leap tothe horizon; PCs should be allowed to have similarabilities i it suits the campaign.

LUCK

Luck is a good Power or simulating charac-ters who are “blessed by the gods” or who haveachieved such a state o enlightenment that are “atone with the universe” and thereore things alwaysseem to go their way.

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MENTAL DEFENSE

Mental Deense is appropriate or martialartists, who ofen have extraordinary willpowerand keen senses which help them resist mostMental Powers. Heroic-level martial artists aretypically restricted to 5-10 points o MentalDeense; Superheroic ones can buy as many pointsas they wish, up the the maximum allowed by theGM.

REFLECTIONWith the GM’s permission, i a character has

Reflection defined as catching a thrown weaponand immediately throwing it back, he can instead just catch the weapon. He may then use it himselor throw it on a later Phase. Trowing it on alater Phase constitutes an Attack Action, not as acontinuation o his Reflection.

RESISTANT PROTECTION

Ordinary Resistant Protection is inappropriateor most martial arts characters or campaigns. Icharacters want Resistant Deenses, they should

consider buying abilities like some o the deensiveones in Chapter Tree, such as ough In A Fight or Flesh Like Iron, or wearing armor (see ChapterSix).

TELEKINESIS

6E1 295 has rules or using Martial Maneu- vers with elekinesis (though they require theGM’s permission and approval). Te GM canadjust those rules as he sees fit (or example, byincreasing or decreasing the cost or “buying” aManeuver or elekinesis, or requiring that a char-acter “buy” all Maneuvers, even Martial Maneu- vers he’s paid Character Points or).

I a character wants to design Martial Maneu- vers specifically or use with his elekinesis, heshould use the Ranged Martial Maneuver designrules rom Chapter wo. In that case, “elekinesis”becomes the deault method o using the Maneu- vers; they can’t be used any other way.

Te rule orbidding characters to perormMove Bys/Troughs with elekinesis also appliesto Martial Maneuvers with the v/6 or v/10Elements where the velocity bonus to damagedepends on the character’s own movement.Tey can, however, use elekinesis to perorma “velocity Maneuver” where the damage bonusderives rom the target’s movement (such as most

Martial Trows).Unless the GM preers otherwise, Combat

Skill Levels with regular Martial Arts or withelekinesis can’t be used with Martial Maneuversperormed via elekinesis. CSLs bought specifi-cally or those attacks, or at the GM’s option withRanged Martial Arts, could be.

AZen master and one of his students were out walking one

autumn day. They saw a fox chasing a rabbit.

“According to the ancient tales, the rabbit shall escape from the

fox, ” said the master.

“Master, ” said the student respectfully, “surely the fox is faster,

and shall catch the rabbit in the end. ”

“No, student, ” corrected the master gently. “The rabbit shall

escape the fox. ”

“What is it that makes you so certain?” asked the student.

Replied the master, “The fox is running for his dinner. but the rabbit is

running for his life. ”

- A Zen Koan




POWER ADVANTAGESIn addition to the rules here, see page 106 or

inormation on placing Advantages on MartialManeuvers, and 6E2 99-102 or rules aboutAdding Damage to Advantaged attacks.

AREA OF EFFECT

Tis Advantage, typically in the Radius orm,

has lots o applications or creating martial artsabilities. Examples include applying 1m RadiusAccurate to an attack to make an “unblockableattack” (see Leopard Strike and Unaviodable Blow in Chapter Tree), buying a Selective Radius oran attack so the martial artist can strike all the oesaround him without hitting his riends, an RKACone or a “thrown group o shuriken” attack, anda Surace (Damage Shield) representing a weaponflourish or automatic counterattack (see Counter- punch and Weapon Flourish in Chapter Tree).

DAMAGE SHIELD FOR MARTIAL MANEUVERS

Placing a Damage Shield on a Martial

Maneuver can lead to all sorts o interesting andpotentially game-unbalancing consequences.Imagine, or example, the effects o a MartialTrow Damage Shield — every time someoneattacks the character, the attacker gets thrownto the ground! Not only will he be hurt, he’ll beplaced in a highly disadvantageous position, andthe character with the Damage Shield may stillhave an Action lef in the Phase. Tereore, GMsshould be very wary about allowing characters totake this Advantage or a Martial Maneuver. At the very least, all restrictions and guidelines outlinedabove or counterstrikes should apply.

INDIRECTCharacters can use this Advantage

to create HH Combat attacks that cannot beBlocked (except with certain special abilities),or that allow them to punch “through” solidobjects without damaging those objects. See Ch’i Strike in Chapter Tree or an example and moreinormation.

INVISIBLE POWER EFFECTS

Characters use Invisible Power Effects tocreate martial arts attacks so swif an opponentcannot see them. (Don’t orget the rules aboutapplying SR to Advantaged attacks on 6E2 102.)

Te GM should allow characters to buy InvisiblePower Effects or one Sense Group only. I they’reallowed to buy a Fully Invisible attack (other thanin the examples provided elsewhere in this book),they’ll be able to get away with murder (literallyand figuratively) in the campaign.

Making a Martial Maneuver Invisible to SightGroup ofen makes it impossible, or at least verydifficult, to Block or Dodge the attack. At the GM’soption, the target’s CVs are reduced by -3 or moreor these purposes unless the target has someother way to perceive the attack (such as CombatSense or Danger Sense).

RESISTANT

Characters in martial arts campaigns can buyResistant (+½) with the Limitation Only VersusUnarmed Martial Arts Killing Attacks (-1). (Incampaigns where unarmed Killing Attacks areless common, increase this Limitation’s value to-2.) Tis allows the character to resist the worsteffects o martial arts Killing Attacks, but provideshim with no extra deenses versus the knie o a

mugger, the claws o a bear, the gun o an assassin,or any other type o Killing Attack. Resistant (+½)is also used to create the Iron Shirt ability (seeChapter Tree).

TRIGGER

Tis is another Advantage that canhave potentially devastating effects i added to aMartial Maneuver or similar ability. Imagine aencer whose Martial Disarm is riggered by hisopponent’s attempt to Block his Martial Strike,a character whose Killing Strike is riggeredwhenever he’s Grabbed, or a wrestler with a Grabmaneuver riggered whenever a character escapes

rom a Grab the wrestler already had him in! TeGM should examine all riggered martial artsabilities careully to make sure they’re balanced,air, and un.

VARIABLE ADVANTAGE

Adding this Advantage to a Martial Maneuveror HA at the +½ Advantage level is quick and easyway o giving a character access to a large selec-tion o “special attacks” and powers, particularlyin campaigns that don’t allow the use o PowerFrameworks. For the same reason, though, thisAdvantage makes an attack unpredictable andpossibly unbalancing, so the GM should ensure it’s

not abused.

“Do not deny the classical

approach, simply as a

reaction, or you will have

created another pattern and

trapped yourself there. ”

- Bruce Lee

4




POWER LIMITATIONSHere are some suggestions and additional

inormation about Limitations as they might applyto martial arts abilities.

GESTURES

Martial arts strikes, blows, and attack abilitiesalready require motion rom the hands and/or

arms, so characters typically can’t take Gesturesor them — that would be abusive, so the GMshould almost always disallow it. However,Gestures might be a valid Limitation or abili-ties that don’t ordinarily require hand motions,particularly i maintaining the ability over timerequires continuing hand motions. An “ultimateblock” based on the Barrier Power could probablytake Gestures, or example.

REQUIRES PRECISE SEQUENCE

Some martial arts attack abilities require thecharacter to execute a precise series o attacks to“activate” the technique. Tis is represented by theRequires Precise Sequence Limitation, the value owhich depends on just how difficult it is or thecharacter to succeed with the sequence.

Te base value o Requires Precise Sequenceis -1, but it’s modified by two actors. First, it’sincreased depending on how many HH Combatattacks the character must succeed with to activatethe technique: one blow is an additional -0 Limi-tation; two blows is an additional -¼ Limitation;three blows is an additional -½ Limitation; ourblows is an additional -¾ Limitation; and five ormore blows is an additional -1 Limitation. Notethat these attacks do not do any damage or have

any other effect themselves; they’re simply part ousing the overall technique. I any o these attacksmiss, the overall technique ails and the character’swasted one or more Phases setting it up.

Te value o the Limitation is modified by howprecise the “set-up” attacks must be — in gameterms, the OCV penalty they suffer. I they’re at-2 OCV, it’s an additional -¼ Limitation; i they’reat -3 to -5 OCV, it’s an additional -½ Limitation;i they’re at -6 to -7 OCV, it’s an additional -¾Limitation; i they’re at -8 OCV or worse, it’s anadditional -1 Limitation.

See Dim Mak and Iron Finger in Chapter Treeor examples o this Limitation in use.

REQUIRES A ROLLIn its “Activation Roll” orm, this Limitation is

a good way to simulate attacks which require suchprecise targeting or timing that they don’t alwayswork. Te Attack Roll indicates the character hithis target, the Activation Roll indicates that hehit the target in the right way. Other Limitationswhich characters can apply to this sort o attackare Concentration and Extra ime. In its “RequiresA Skill Roll” orm, this Limitation is requentlytaken or martial arts abilities; Acrobatics andPower: Martial Arts ricks are the Skills mostcommonly used.

COMPLICATIONSMany o the HERO System Complications are

especially appropriate to martial artist char-acters, or have special unctions in a martialarts campaign. On the other hand, some o theComplications are quite inappropriate. Tissection discusses which are which.

DEPENDENT NPCDependent NPCs in martial arts adventures are

more at risk than in many other genres. Martialarts adventures are ofen revenge melodramas,so DNPCs are abused and killed a lot morerequently than in other genres. Characters takingDNPCs should bear this in mind, and perhapsconsider buying this as a Floating Complica-tion (see 6E1 417). Afer all, in most martial artsstories, even i a PC’s enemy kills a DNPC, thePC has quite a ew other cousins, naive youngersiblings, and lovers to act as the DNPC in the nextadventure. And don’t orget that the relatives o aDNPC may get the idea that the PC’s endangeringtheir kin and come seeking revenge themselves....

DISTINCTIVE FEATURES

Tere are several orms o Distinctive Featuresappropriate to the Martial Arts genre, and tomartial artist characters in nearly any genre.

STYLE

Te Style Distinctive Feature is one characterscan buy (and may be required to buy) when theypractice a known style (see Chapter One or indi-cations o which styles can’t take it because they’renot ormal or systematized enough). It’s worth 10Matching Complication points (Not Concealable,

Always Noticed And Recognizable, DetectableOnly By Large Group [i.e., other martial artists]).It has three unctions.

First, any martial arts practitioner observingthe character with the Style Distinctive Featurewill, with a simple PER Roll, recognize the style(unless it is some strange, secret art, in whichcase he recognizes that act). I the characterdoesn’t have a Style Distinctive Feature, it takesa successul KS roll o the art being practiced, orwith the GM’s permission an IN Roll at a -2, torecognize the style.

Second, since (in martial arts adventures)many martial arts styles and schools are enemiesor competitors, the Style Distinctive Feature actsas a “Major Prejudice” actor to practitioners othe enemy style. (On the other hand, other prac-titioners o the same style may decide to help thecharacter against their mutual enemies.)

Tird, a character using the Analyze Style skillon a target with a Style Distinctive Feature receivesa +2 bonus to his Skill Roll.




OTHER MARTIAL ARTS DISTINCTIVE FEATURES

Other Distinctive Features that requentlyappear in martial arts adventures include:

Bearing: Te character has a distinctive attitudewhich makes him easier to recognize. Te eudalsamurai has this Complication. It becomes astrong habit o the character, a habit which is veryhard to break, so it is bought this way: Conceal-able With Effort, Noticed And Recognizable: 10

points.Ninja Night-Suit: Te ninja night-suit (also calledthe igabakama) is a common Distinctive Featurein many Martial Arts campaigns. I the char-acter usually wears traditional ninja garb whenperorming his martial arts heroics, he should takethis Complication. (Note that a ninja characterdoesn’t have to wear a distinctive ninja outfit.Most players preer or their characters to do so,however.)

Igabakama Distinctive Feature (Modern): NinjaNight-Suit (Easily Concealable, Noticed AndRecognizable): 5 points.

Igabakama Distinctive Feature (Feudal Japan): Ninja Night-Suit (Easily Concealable, CausesExtreme Reaction [ear and loathing]): 15 points.

Scars: Te character has acial scars, usually roma previous martial arts fight with an opponentwho will appear in some later adventure. Boughtas Concealable With Effort (requires Disguise orthe like), Noticed And Recognizable: 10 points.

Tattoo: Te character wears tattoos, eitherpurely decorative ones or ones which identiyhis clan, business, or martial arts school. Boughtas Easily Concealed (under clothes), NoticedAnd Recognizable: 5 points. I the tattoo is o aamous, hated order, it might instead be: EasilyConcealed (under clothes), Causes ExtremeReaction (hatred). I only martial artists recognizethe tattoo, subtract 5 points because only a LargeGroup sees the eature as distinctive.

Yakuza Mutilation: Some members o the Japa-nese yakuza (organized crime amilies) apologizeor grievous mistakes by cutting off parts o theirfingers and offering them to their lords (a practiceknown as yubitsume); i this token o apologyis accepted, he doesn’t have to kill himsel orhis mistake. Characters can buy this as Easily

Concealed (wear gloves), Causes Major Prejudice.

HUNTED

In Martial Arts adventures, characters areHunted all the time... but it’s not usually the sameHunter, so characters should buy this as a FloatingComplication (see 6E1 417). At the end o oneadventure, the characters obliterate their enemy; atthe beginning o the next, they make a new enemywho won’t rest until the heroes are dead. Some-times the new enemy has some connection to thelast one (or example, he’s the ormer Hunted’sbrother); other times he’s brand new.

PSYCHOLOGICAL COMPLICATION

Several Psychological Complications, mostlycodes o behavior, are appropriate or martialartists. Tey include:

Code Of The Buddhist Monk (Common, Strong: 15 points): Tis is the code o most Buddhistmonks. It mandates that the character cannotinitiate violence (though he can deend himsel);he must remain celibate; he cannot eat red meat.Historically, many monks did not take this limita-tion; it’s not required o the Buddhist monk,merely recommended.

Code Of The Bushi (Common, Total: 20 points): Tis is the code o the Japanese warrior/retainer.Samurai had it; so did many ninja. Te BushidoCode demands absolute obedience to one’s lord,even i he orders the character to kill himsel ordestroy everything he loves. Tis means a samuraicharacter ofen finds himsel in situations wherehis own goals conflict with his lord’s, and hisPsychological Complication demands he ollowhis lord’s dictates above his own desires.

A cruel thing to do to a samurai character is toinsult or dishonor him, then have his lord orderhim to leave the person who insulted him alone.Tis places the character in a position where heeither has to kill himsel or wait, suffering romthe insult and resulting loss o ace, until his lordrescinds the order.

Code Of The Chinese Knight (Very Common, Total: 25 points): Te Chinese knight’s code o behaviordemands he right any wrongs he sees, correctany social injustices, keep any oaths o loyaltyhe takes, and meet all obligations he accepts. Hemust always honor good people and spend all his

money on good deeds and good times.

Code Of The Chinese Master (Common, Strong: 15 points): Te Chinese master’s code o behaviordemands he never reuse a challenge rom anotherfighter. He can, i he chooses, answer a challengeby directing one o his students to meet the chal-lenger; he usually does this to “screen” challengersso he only has to fight the best opponents.

Code Of Vengeance: A character with thisComplication is driven to acts o vengeance. Howofen he eels the need to take revenge determineshow much the Complication is worth.

Must Avenge All Insults to Friends, Family,Protected Parties or Self (Very Common, Total: 25 points): Te character must exact revenge onanyone who insults his riends or relatives, anyoneunder his protection (or whom he suddenlydecides to protect), or himsel. Most insultsrequire only the vengeance o a good beating.Maiming, an attempted assassination, or any other vicious insult requires him to kill the insulter.

4




Must Avenge All Insults To Self (Common, Total: 20 points): Tis is like the one above, but onlyapplies to insults directed at the PC. Tis Compli-cation can also be defined as Must Avenge AllInsults o Sel And Lord or the same point value (asamurai would buy the Complication that way).

Must Avenge Murder Of Any Friend, FamilyMember, Or Protected Party (Uncommon, Total: 15 points): Te character must kill the murderer

and anyone who collaborated with him or orderedthe murder. Tis really becomes a hindrance whenthe relative was killed “properly” — he was a crookand was killed by a cop or a hero, or instance.

Gunslinger Mentality (Common, Strong: 15points): A character with this PsychologicalComplication must challenge any martial artistwhom he hears reerred to admiringly or whodemonstrates great skill in his presence. He mustfind out who’s the better fighter, and won’t restuntil the other ellow fights him. (A particularlyunscrupulous gunfighter-mentality villain willcapture or kill a hero’s DNPCs and riends to orce

him to fight.)NEGATIVE REPUTATION

Some Negative Reputations or martial artistsinclude:

“Hands Registered as Lethal Weapons,” 8-,Extreme Reputation (10 points): Actually, thecharacter’s extremities aren’t registered as weapons— that’s a braggart’s conceit — but this NegativeReputation means the character’s known to thepolice, who consider him a fighter and a trouble-maker. Police officers who check his name in their

records tend to be hostile to him and consider hima suspect in any martial arts-related attacks wherethe identity o the perpetrator isn’t known.

Vicious Fighter, 11-, Extreme Reputation (15points): Characters who are known or need-lessly killing or maiming opponents should takethis Negative Reputation; they usually also haveseveral villainous Psychological Complications.Tis isn’t a “Gosh, He’s a ough Dude” Complica-

tion or PCs (they should buy a Positive Reputation Perk i they want to be known or their toughnessand skill); it’s a Complication or thugs, brutes,and villains in need o a quick trip to the cemetery.In any scenario that puts the PCs in a tournament,at least one o their major competitors is certain tohave this Negative Reputation... and to deserve it.

RIVALRY

Besides the typical range o Rivalries, martialartists can take “Rivalry with another school” asa Proessional Rivalry. Tis means all characterswho learned their art rom this specific schoolhave a (usually not-too-fierce) ongoing competi-

tive relationship with another specific school.Rivals rom the other school should show up innumerous adventures, always challenging or inter-ering with the PC. Tey’re not the villains o theadventures — they’re nuisances, sometimes verycapable ones, who delay the hero, intrude on himwhen he’s doing something much more important,and so orth. I a Rivalry between schools is abloody eud, characters should usually buy it as aHunted.




SOCIAL COMPLICATION

Plenty o Social Complications work well ormartial artists. Martial arts are ofen developedby oppressed or enslaved peoples who can’t carryweapons, and Social Complications reflect thatstatus. A well-known martial arts movie starmight have Famous or Public Identity. One whofights crime in a Superhero campaign may have aSecret Identity. A martial artist who belongs to a

strict school run by a domineering master mightbe Subject o Orders.

VULNERABILITY

Here are several orms o Vulnerability ormartial artists:

ATTACKS TO ONE LOCATION

Some martial artists take extra damagerom blows to one specific body location (anUncommon attack). Buy this Vulnerability asollows:

1½ x STUN (or BODY), Attacks to One Location(Uncommon): 5 points.

2 x STUN (or BODY), Attacks to One Location(Uncommon): 10 points.

A character can have one o these Vulnerabili-ties, or several. Some examples include:

Glass Jaw (2 x STUN, Location 5 — chin): 10points.

Old Internal Injuries (2 x STUN, 10 points, and 1½ xBODY, 5 points, Location 12 — stomach): 15 points.

For each Vulnerability, the character defines aspecific body location which, i hit, activates the

Vulnerability. Each location should correspondto one number rom 3-18 on the Hit Locationstable, like in the two examples above. When a HitLocation result actually indicates two body parts(or example, there are two Locations 6 — i.e., twohands), the character only has to define one othem as receiving the Vulnerability (or example,Lef Hand).

I the campaign uses Hit Locations, thenany blow which rolls that location activates theVulnerability. Tis can be rom a random roll onthe Hit Location chart, or can be a Placed Shotagainst that precise body part. I the characterchooses a body part which normally modifies

damage, use the rules on APG 173 to determinehow the Vulnerability and Hit Location damagemodifiers interact.

I the campaign doesn’t use the Hit Locationschart, then the GM has a choice. Either he canuse the Hit Locations chart, not using their usualdamage modifiers, or he can treat each Vulner-ability has having an 8- Activation Roll.

Many characters will wish to take this Limi-tation on arms and legs, because in campaignsutilizing Hit Locations they start out with a x½multiplier (or location) on damage. Tat’s fine, iyou’re using the optional Hit Location rules or the

styles described in Chapter One; those Locations

are hit more ofen by 2d6+1 and 2d6+7 Hit Loca-tion rolls than by 3d6 Hit Location Rolls, and sothey’ll be hit ofen enough to keep this Complica-tion balanced.

TO SPECIFIC STYLES

Likewise, a character could take a Vulnerabilityto a specific martial arts style. Te commonnesso that style in the campaign would determinehow much the Complication was worth. Obvi-

ously, major styles would be more common thanrarer ones: Karate (all types) is going to be morecommon than White Crane Kung Fu. Tis is agood Complication or aged masters who teachPCs. It explains why they can’t go out and attackthe bad guys themselves — they’re Vulnerable tothe bad guys’ style.

STYLE TO STYLE

You can take the concept o Vulnerability to astyle one step urther: some styles may be inher-ently Vulnerable to other styles. For example,i Style A is Vulnerable to Style B, this wouldsigniy that all users o Style A are at a significant

disadvantage when attacking or deending againstStyle B.

Vulnerability o Style A to Style B’s attacksmeans all o Style A’s deensive maneuvers areperormed at a minimum o -2 (to DCV or OCV,as appropriate) when used against Style B’s attacks.Additionally, Style B’s attacks may do 1-3 extraDCs o damage when they hit. Te value o theComplication depends upon how common StyleB is.

Vulnerability o Style A to Style B’s deensesindicates that all o Style A’s offensive maneuversare perormed at a minimum o -2 OCV whenused against Style B’s deenses. Additionally, Style

A’s attacks may do 1-3 ewer DCs o damage whenthey hit. Te value o the Complication dependsupon how common Style B is.

At the GM’s option, Style Vulnerabilities mayalways cover both offensive and deensive maneuvers, or characters can buy the offensive anddeensive aspects o the Vulnerability separately(the same way characters can purchase SUN andBODY Vulnerabilities separately).

Te GM should normally declare Style Vulner-abilities at the beginning o the game so all playersknow about them when designing characters.Players cannot declare that their style is Vulner-

able to some other style without GM permission.Some suggestions or possible Style Vulner-abilities: external styles may be Vulnerable tointernal styles (or vice-versa); linear styles may beVulnerable to circular styles (or vice-versa); stylesrom one nation or region may be Vulnerable tostyles rom another nation or region.

4



214 n Martial Arts Hero System 6th Edition

CHAMPIONSM

artial arts are nearly as common inSuperhero settings as they are inFantasy games. Super-samurai, mystic-powered ninja, Chinese sorcerers, and

Westerners who’ve trained at ancient temples inhidden Oriental valleys parade through the pageso thousands o comic books. Superhero charac-ters can learn any style described in this book, or

make up their own — just about anything flies inthis genre. Many simply learn the Generic MartialArts package (see Chapter One) to simulate theirknowledge o basic fighting maneuvers. wosample superheroic martial artists — Yaozhu (a

Hong Kong superhero) and Yi Lung (a superpow-ered agent o the Cult o the Red Banner) — arepresented below.

O course, the prevalence o martial arts ina Champions campaign may depend on thesubgenre depicted. In Golden Age Championscampaigns, martial arts (other than Boxing) arerare, since they weren’t well-known in the West

at that time; just being able to perorm an Asianmartial art could qualiy as a character’s “super-power.” Martial arts are also rare in GalacticChampions, since characters in those campaignsare too powerul to need them. On the other hand,Silver, Bronze, and Iron Age Champions gamesofen eature a wide variety o martial arts supers.

ELASTICOMBAT

It’s also possible or superpowered characters tobuy Martial Arts styles based on special applica-tions o their powers. Brick ricks and Hyper-combat rom the Fictional Martial Arts sectiono Chapter One are two examples o this. Here’s

another one, Elasticombat , designed or characterswith stretching powers and malleable bodies.

Hit Locations: Te Big Fist Punch uses a HitLocation roll o 2d6+1. Multi-Limb Pummelinguses a Hit Location roll o 3d6. Te other Maneu- vers do not involve Hit Location rolls.

Special Abilities: Characters with stretchingpowers can have all sorts o unusual abilities witha “malleable body” special effect. See Champions or Champions Powers or numerous examples.

ELASTICOMBAT Maneuver Points OCV DCV Damage/Effect

Attacks Bounce Off 4 +2 +2 Block, Abort

Big Fist Punch 4 +0 +2 STR +2d6 Strike

Big Squeeze 4 +0 +0 STR +4d6 Crush, Must FollowGrab

Multi-Limb Pummeling 5 +1 -2 STR +4d6 Strike

Squeeze Out 4 +0 +0 +15 STR vs. Grabs

Stretch Dodging 4 — +5 Dodge, Affects All Attacks,

Abort

Stretch Sweep 3 +2 -1 STR +1d6 Strike; Target Falls

Wraparound 5 -1 -1 Grab Four Limbs, +10 STR for

holding on

Wraparound Choke 4 -2 +0 Grab One Limb; 2d6 NND(2)

Wraparound Disarm 4 -1 +1 Disarm, +10 STR to Disarm

roll

Skills Acrobatics

Breakfall

Elements None

5



Hero System Martial Arts n Chapter Five 21

YAOZHU

Background/History: Baio Chen, better known byhis anglicized first name “Bruce,” was born into awealthy amily whose ties to the Hong Kong finan-cial industry date back centuries. As a young manhe wanted or nothing... except height. Alwaysshorter and scrawnier than his classmates, he grewup constantly being picked on, beat up, and made

the butt o jokes.Finally he got so tired o the constant abuse

that he decided to find a way to fight back. HisUncle eng, sort o the black sheep o the amilybecause he’d chosen to become an artist ratherthan a banker, taught him a little rudimentaryKung Fu. But that wasn’t enough to satisy Chen’sdesire or skill and power, so Uncle eng reerredhim to an old riend, a reclusive scholar namedse Sheng. At first se was reluctant to take on astudent, but Chen stood patiently outside se’shouse or nearly a week until he convinced se hewas serious about learning the martial arts.

Chen’s training began immediately, and itwasn’t long beore se could see that he had a realknack or it. Within a month, Chen’s classmateshad stopped picking on him afer several o themreceived sound thumpings at the hands o theshort (but no longer truly scrawny) kid that one othem nicknamed yao zhu — a “little goblin.” Buteven though his immediate problem was solved,Chen went on training, soaking up every tech-nique and bit o wisdom Master se had to impart.By the time he finished high school he was one othe best martial artists in China... though no oneknew about it, because Master se disapproved ocompetition and display.

His early experiences, and Master se’s teach-ings on responsibility and duty, eventually awokewithin Chen a desire to help others. Much to hisamily’s distress he decided to become a socialworker rather than join the amily business. Oneday he discovered that some o his “clients” werebeing harassed by gangsters, who wanted themto move out o their building so the gang bossescould tear it down and build an expensive high-rise condominium complex in its place. Wantingto help, but not wanting to expose himsel or hisamily to the triad’s vengeance, he adapted one ohis Kung Fu outfits into a “costume” and crafeda mask inspired by his childhood nickname. As

Yaozhu he beat up the gangsters and saved thebuilding... and so began a career o crimefightingand helping the downtrodden and oppressed that’slasted to this day.

Personality/Motivation: Yaozhu is a kind andriendly person who genuinely wants to helpothers and to make the world a better place. Hiscareer as a martial arts superhero is an exten-sion o that — by day he uses his people skillsand ability to work the bureaucracy to help HongKong’s poor, by night he helps them in a differentwith with his fists o ury.

Despite the act that he takes his crimefighting

crusade seriously deep down inside, Yaozhu is a

happy-go-lucky guy who thoroughly enjoys lieand all it has to offer. He’s always got a cheeruloutlook or his “clients,” and when fighting streetcrime in Hong Kong ofen resorts to wisecracks,taunts, and tomoolery to keep his opponentsoff-balance. o a certain extent this is his way oshowing off his martial arts skills, and it’s comeback to bite him a ew times when he oundhimsel acing someone who was a better fighterthan he’d initially thought.

Quote: <<“Come on, now, a big guy like you canbeat a little guy like me easily, can’t you? Whoops,you missed! Better try to hit me again — oh,another miss. I think your boss is getting prettyupset with you.”>>

Powers/Tactics: Yaozhu is a highly-trainedmartial artist who’s studied several Kung Fusubstyles and integrated the best o each o theminto his own personal martial arts repertoire. Overthe years he’s developed a distinctive fighting stylethat involves a lot o acrobatics, moving around,eints, misdirection, and tactics designed to

conuse his enemies. He usually makes at least aHal Move each Phase, and when fighting multipleopponents tends to move rom one to the otherrather than ocusing on a single oe until that oe’sunconscious. Whenever possible he makes use othe Sucker Attack rules (6E2 128).

o give himsel some more tactical flexibility,Yaozhu’s created a collection o small but effectiveweapons. Tese include shuriken, flash powder, ananaesthetic dust, and smoke grenades. When he’ssurrounded by more oes than he can comort-ably handle, he drops a smoke grenade and useshis Disappearing Act ability to turn the tables onthem.

Campaign Use: Yaozhu makes a good ally orheroes visiting Hong Kong — he knows the cityand its underworld well, but he’s not so powerulthat he’s likely to overshadow them. He’s spentsome time in San Francisco as well, so he couldshow up there to help them in return or kick-startan adventure.

o make Yaozhu more powerul, give him morespecial abilities rom Chapter Tree — ocus onones involving trickery, misdirection, and the likerather than brute orce. o weaken him, reduce hisSPD to 5 and his CVs to 7.

Yaozhu doesn’t Hunt heroes.

Appearance: Yaozhu is a short (5’0”) Chineseman with a taut body that sometimes seems tobe made o leather and wire rather than fleshand bone. When he fights crime on the streetso Chinatown he wears a garish Chinese goblinmask in red, gold, and black, a hooded tunic inred and black that’s patterned afer the traditionallong-sleeved, wide-sleeved tunic worn by KungFu practitioners, black dang lung u (loose-fittingtrousers), red slipper-like ootwear, and a goldsash. He doesn’t wear gloves.

“The fool

thinks h

has won a bat

when he bullie

with harsh sp

but knowing h

to be forbear

alone makes o

victorious. ”

- Samyutta

Nikaya I, 1




YAOZHU Val Char Cost Roll Notes15 STR 5 12- Lift 200 kg; 3d6 HTH damage [1]20 DEX 20 13-18 CON 8 13-13 INT 3 12- PER Roll 12-

13 EGO 3 12-

15 PRE 5 12- PRE Attack: 3d68 OCV 258 DCV 253 OMCV 03 DMCV 0

6 SPD 40 Phases: 2, 4, 6, 8, 10, 12

8 PD 6 Total: 17 PD (9 rPD)

6 ED 4 Total: 15 ED (9 rED)8 REC 445 END 510 BODY 0

40 STUN 10 Total Characteristics Cost: 163

Movement: Running: 20m Leaping: 16m

Cost Powers END Martial Arts: Kung Fu

Maneuver OCV DCV Notes

4 Block +2 +2 Block, Abort

4 Disarm -1 +1 Disarm, 50 STR

4 Dodge +0 +5 Dodge all attacks, Abort4 Escape +0 +0 55 STR vs. Grabs

5 Flying Kick +1 -2 12d6 Strike

3 Joint Lock/Grab -1 -1 Grab, 50 STR

5 Kick -2 +1 12d6 Strike

4 Knife Hand -2 +0 HKA 2d6+1 (3d6+1 with

STR)

3 Legsweep +2 -1 9d6 Strike, Target Falls

4 Punch +0 +2 10d6 Strike

3 Throw +0 +1 8d6 +v/10, Target Falls

4 Tien-hsueh Strike -1 +1 4½d6 NND (1)

20 +5 Damage Classes (already added in)

3 Use Art with Blades, Clubs, Staff

20 Tricks And Surprises: Multipower, 40-point reserve

all OAF (-1)

1f 1) Flash Powder: Sight Group Flash 8d6 [8]

OAF (-1), Limited Range (5m; -¼), 8 Charges (-½)

1f 2) Mini-Smoke Grenades: Darkness to Sight Group 3mradius [8]

OAF (-1), Range Based On STR (-¼), 8 Charges (-½)

1f 3) Shuriken: RKA ½d6 [12]

Armor Piercing (x2; +½), Autofire (3 shots; +¼); OAF

(-1), Range Based On STR (-¼), 12 Charges (-¼)

1f 4) Sleep Dust: Blast 4d6 [8]

NND (defense is Life Support [Diminished Sleep, Self-

Containted Breathing, or appropriate Immunity]; +1);


1f 5) Ribbon Grenades: Entangle 4d6, 4 PD/4ED [8]


12 Armored Costume: Resistant Protection (6 PD/6 ED) 0

OIF (-½)

8 Swift-Footed: Running +8m (20m total) 1

4 Acrobatic Leaping: Leaping +12m (16m forward, 8mupward) 1

Requires An Acrobatics Roll (-½)

7 Disappearing Act: Teleportation 20m 2

Can Only Teleport To Places Character Could Normally

Go (-½), Must Cross Intervening Space (-¼), No

Noncombat Multiple (-¼), Only To “Vanish” When No

One Is Looking (-½), Requires A Stealth Roll (-½)

Talents6 Combat Luck (3 PD/3 ED)

20 Danger Sense (immediate vicinity, in combat) 12-

5




Skills16 +2 HTH

8 Feints And Misdirection: +2 HTH

Costs Endurance (-½), Requires A Sleight Of Hand

Roll (-½)

6 +2 with Acrobatics, Breakfall, and Sleight Of Hand

3 Acrobatics 13-

3 Breakfall 13-3 Bureaucratics 12-

3 Climbing 13-

3 Contortionist 13-

10 Defense Maneuver IV

2 CK: Hong Kong 11-

1 CK: San Francisco 8-

2 KS: Hong Kong Organized Crime 11-

2 KS: Kung Fu 11-

2 KS: The Martial World 11-

2 Language: English (fluent conversation; Cantonese is

Native)

2 Language: Mandarin (fluent conversation)

3 Sleight Of Hand 13-

3 Stealth 13-

3 Streetwise 12-

8 WF: Common Melee Weapons, Common Martial ArtsWeapons, Common Missile Weapons, Small Arms

Total Powers & Skills Cost: 237

Total Cost: 400

400 Matching Complications (75)10 Distinctive Features: Style (Not Concealable, Noticed

And Recognizable, Detectable By Large Group)

20 Hunted: a Hong Kong triad (Infrequently, Mo Pow, NCI,Kill)

15 Hunted: Cult Of The Red Banner (Infrequently, Mo Pow,Capture/Kill)

15 Psychological Complication: Code Of The Hero

(Common, Strong)15 Social Limitation: Secret Identity (Baio “Bruce” Chen)

(Frequently, Major)

Total Complications Points: 75

Experience Points: 0




YI LUNG Val Char Cost Roll Notes25 STR 15 14- Lift 800 kg; 5d6 HTH damage [2]22 DEX 24 13-

23 CON 13 14-15 INT 5 12- PER Roll 12-15 EGO 5 12-

25 PRE 15 14- PRE Attack: 5d6

8 OCV 25

8 DCV 255 OMCV 65 DMCV 66 SPD 40 Phases: 2, 4, 6, 8, 10, 12

20 PD 18 Total: 20 PD (12 rPD)20 ED 18 Total: 20 ED (12 rED)

12 REC 860 END 815 BODY 550 STUN 15 Total Characteristics Cost: 251

Movement: Running: 15m

Leaping: 10m Teleportation: 20m

Cost Powers END60 Fist Of The Death Dragon: Multipower, 60-point reserve

4f 1) Dragon-Fist I: HA +9d6 4

Hand-To-Hand Attack (-¼)

5f 2) Dragon-Fist II: HA +8d6 6

Penetrating (+½); Hand-To-Hand Attack (-¼)

5f 3) Dragon-Fist III: HA +8d6 6Double Knockback (+½); Hand-To-Hand Attack (-¼)

3f 4) Dragon-Fist IV: HKA 2d6+1 (4d6 with STR) 3

2f 5) Dragon-Infused Body: +35 STR 6

Increased Endurance Cost (x2 END; -½)

40 Death Dragon Ch’i Blasts: Multipower, 80-point reserve

All Increased Endurance Cost (x3 END; -1)

4f 1) Ch’i Strike: Blast 16d6 24

Increased Endurance Cost (x3 END; -1)

3f 2) Ch’i Thunderclap: Blast 10d6 21

Area Of Effect (4m Radius; +¼), Personal Immunity

(+¼); Increased Endurance Cost (x3 END; -1), No

Range (-½)

12 Dragon-Infused Body: Resistant (+½) for 12 PD/12 ED 0

25 The Dragon’s Path: Teleportation 20m, Position Shift 2

3 Fast: Running +3m (15m total) 1

3 Strong Leaper: Leaping +6m (10m forward, 5m upward) 1

Perks5 Membership: Cult Of The Red Banner

Talents4 Environmental Movement: Supreme Balance

3 Simulate Death

Skills32 +4 HTH

3 Acrobatics 13-

3 Breakfall 13-

3 Climbing 13-

3 Contortionist 13-

3 Interrogation 14-

3 Lockpicking 13-

3 Security Systems 12-

3 Stealth 13-

3 Streetwise 14-

2 WF: Small ArmsTotal Powers & Skills Cost: 242

Total Cost: 493

400 Matching Complications (75)10 Distinctive Features: Style (Not Concealable, Noticed

And Recognizable, Detectable By Large Group)

20 Hunted: Tiger Squad (Infrequently, Mo Pow, NCI, Capture)

20 Psychological Limitation: Casual Killer (Very Frequently,Strong)

20 Social Limitation: Subject To Orders (Very Frequently,

Major)

10 Vulnerability: 2 x STUN from Holy attacks (Uncommon)

Total Complications Points: 80Experience Points: 93

5




Yi Lung

Background/History: Lurking in the shadows oChinese society is an ancient sect o dark, mali-cious power — the Cult o the Red Banner. TeCult worships an evil entity it knows only as LungWang , the Dragon King, and seeks to work hiswill in the world. One o the ways it does this isby creating a being called Yi Lung , the “Son o the

Dragon” — a sort o “avatar” o the Dragon King,a human being who’s been inused with a spark othe King’s power during an elaborate ceremony.

In 2006, Yi Lung was slain in battle with theiger Squad and the Chinese army. In accordancewith tradition, the Cult’s sorcerers perormed adivination to determine who next should takeup the mantle and power o Lung Wang’s cham-pion. Teir spells pointed to a lowly street thug,someone loosely associated with some o theCult’s criminal activities but not actually a cultisthimsel. Surprised at this, but never questioningthe will o the Dragon King, the sorcerers arrangedor the Cult to kidnap this man and bring him tothem. Ten, in a dark and unholy ceremony, theycalled upon Lung Wang to touch the man, and hedid. Te man’s body and mind were inused with atiny portion o the Dragon King’s energy, grantinghim great power and totally erasing his memoryo who he once was or what he once did. Te pettystreet criminal was no more... and in his placestood Yi Lung!

Personality/Motivation: As one o Lung Wang’schie earthly servants, Yi Lung is callous, heartless,and cruel — and those are his good points. He’salso a merciless murderer and works with the Cultto advance its plans to, in essence, destroy/remake

the world. I he gets his way, in time he’ll hear thedeath-screams o millions echoing through hisbrain, and eel the blood o his victims runninghot over his hands.

Quote: None. Yi Lung rarely speaks in battle.

Powers/Tactics: Yi Lung’s body has been inused(or perhaps “inected”) with some o the energyo Lung Wang, the Dragon King — which is just the Cult’s name or the being known as theDeath Dragon, an aspect o the Dragon itsel,the embodiment o human evil (see Te MysticWorld ). Tis has made him ar aster, stronger, and

tougher than an ordinary human, and given himthe ability to teleport or short distances (which heofen uses to avoid opponents, or get behind themsuddenly to make a sneak attack). He can callupon the Death Dragon’s energy to surround hisfists, allowing him to punch much more power-ully than even a highly-trained mundane martialartist. He can also project his Death Dragon-tainted ch’i in various Ranged “blasts.”

Campaign Use: Tere are two major questionssurrounding Yi Lung that the GM can use togenerate plots. Te first is who he was prior tohis “transormation.” Was he actually someoneimportant? Did he have some connection to the

PCs, or to one o their riends? Te other is whatthe Dragon King intends or him to do... i indeedLung Wang has any plan at all.

You can easily make Yi Lung tougher, whichis certainly appropriate given that he’s one o theembodiments o the Dragon King’s power onEarth — he could easily become powerul enoughto take on an entire team o PCs singlehandedlyi you like. Just increase his SPD, deenses, andattacks to appropriate levels, and give him moreabilities romChapter Tree.You could alsomake him strong,converting himinto a sort obrick-martialartist. o weakenhim, reduce hisSPD to 5 and hisDEX to 20, andremove the HKAslot rom his

Multipower.Yi Lung onlyHunts heroeswhen the Cultorders him to,in which case heollows orders.ypically hismethods arebrutal: he tracksdown his target,ambushes him,and beats him towhatever extent

required.

Appearance: Yi Lung is atall, muscularChinese fighterwhose body’sbeen inused withthe “negativeenergy” o LungWang. His skinhas the shim-mering black hueo ebony silk,

and his pupi-less eyes glowwith blue-blackenergy. He’s baldand clean-shaven.He wears an openscarlet vest andpants similar tothose worn byhis brethren inthe Cult o theRed Banner, butwith no gloves orootwear.




CYBER HEROMost Cyberpunk or near uture settings

include the increased influence o the Japanese,Chinese, and other Asian cultures as an elemento the setting. Wherever Asian influence becomesstrong, the martial arts prosper. Te act thatCyberpunk worlds tend to be extremely violentplaces where people need to learn how to fightwell doesn’t hurt, either. However, it’s not unusualor common Martial Arts elements to be altered toaccount or the high technology o the Cyberpunksetting. For example, “cyber-ninja” (ordinary ninjaaugmented with cyberware) may exist in somesettings; and computer security programs maycreate cyberspace “guards” that look and fight likesamurai.

One way to “customize” martial arts orCyberpunk games is to give some o the stylesnew names in the Cyberpunk patois. For example,characters might reer to “Street Smarts” insteado Dirty Infighting; Kenjutsu becomes “Samurai

Diplomacy.” Tis helps to blend martial arts intothe campaign so they seem like an actual part othe world around the characters, not just a tool orthe PCs to use.

Here’s an examples o a Cyberpunk martial artsstyle.

RAZOR DANCING

Developed by cyberware-augmented street

warriors to improve their odds o surviving inhand-to-hand combat, Razor Dancing ocuseson the use o various types o built-in bladesor spurs these fighters ofen possess (includingsmall blades, or “hand razors,” that project rombeneath their fingernails, hence the style’s name).Fast, deadly, and graceul, Razor Dancing givesa trained fighter an edge normal street brawlerslack.

Hit Locations: Te Claw, Jab, and Slash all use HitLocation rolls o 3d6.


NAKANICHI TOKISADA

Background/History: Orphaned at the age o 10,Nakanichi okisada ran away rom the juvenileauthorities and grew up on the streets o okyo.He learned how to fight and he learned how toprotect what was his regardless o the cost — aperson regarded as a weakling or a coward soonended up dead on the sidewalk. As a teenager he

became a member o a gang associated with theneighborhood yakuza clan.

He did well enough with the gang that he waseventually asked to join the clan. Te oyabun othe amily was a student o Japanese culture andfighting arts, and he inspired a similar interest inNakanichi. Te up-and-coming street thug wassoon studying Karate, and in time Kenjutsu aswell.

Nakanichi’s upward path into the yakuza wascut short when another clan, perceiving his as vulnerable, was given permission to “remove” itand take its territory. Only a ew amily memberssurvived, including Nakanichi. Now consideringhimsel something o a “ronin,” he decided it washis duty to avenge the oyabun who’d treated himso well. Over the course o the next two years,he stalked and eliminated over a dozen differentmembers o the clan who’d destroyed his clan, twoo them very high-ranking ones. Tis attracted theattention o one o that clan’s rivals, who decidedhe’d be a perect weapon to keep “on call.” Sinceokyo was becoming dangerously hot or him,the clan arranged to send him to America. Tatdoesn’t put him entirely out o his enemies’ reach,but it puts them ar enough way that he’s got afighting chance on his own.

Since then Nakanichi’s worked as an assassin,enorcer or hire, and general troubleshooter. Overhal o his work is or the clan that saved him, butthe rest is “reelance” work or anyone who canafford to hire him.

Personality/Motivation: Nakanichi is a merce-nary, through and through. He’s or hire to do any job he’s good at, and it happens that he’s particu-larly good at fighting and killing. Ordinarilysomeone with his greed and amorality wouldmake a dangerous and treacherous employee atbest. But he has enough o an appreciation bothor history and or the practical consequences ohis actions to remain loyal to employers who treathim well.

When he’s not working, Nakanichi ofenspends his time studying Japanese history orworking on his Japanese art collection (whichincludes a number o valuable netsuke figurines,among other treasures). He likes to think ohimsel as a connoisseur and an aesthete, thoughin truth that’s only a scholarly veneer over hiskiller’s soul.

RAZOR DANCINGUsed with Hand Razors; Hand Razors Weapon Element is Free



Claw 5 -2 +1 Weapon +4 DC Strike


Abort

Jab 5 +1 +3 Weapon Strike


Skills WF: Common Melee Weapons

WF: Hand Razors*

5




o make Nakanichi more powerul,give him more cyberware. He generallydisdains such things, preerring “tradi-tional” methods and resources, but that’seasy to change i you need to bee him up abit to make him a deadlier oe. o weakenhim get rid o his existing cyberware, and/or tone down his SR, DEX, and CON abit.

As a Hunter, Nakanichi is a slow,cautious predator. He preers to size up his victim rom a distance to learn personalhabits and routines. When he thinks he’sready, he attacks rom ambush. One ohis avorite methods is to sneak into the victim’s house, hide under the bed, andstab up through the bed with his sword tokill the victim when he lays down to sleep.

Appearance: Nakanichi okisada isa handsome, black-haired Japanese oaverage height and athletic build. He has very little noticeable cyberware, though

one eye has obviously been replaced withan artificial substitute. Unless a job callsor some other garb, he usually wearsfinely-tailored men’s suits in dark colors;he hides his pistols in shoulder holstersbut wears his katana in a quick-draw backsheath or all the world to see.

SUGGESTED EQUIPMENT

Weapon OCV RMod Dam STUN Shots STR Min

Katana +1 — 1½d6 +0 — 12

Wakizashi +0 — 1d6 +0 — 12

.41 Pistols +1 +1 1½d6 +0 12 10Carries 2, has a silencer or each one

Armor

Armorcloth Clothes (PD 3/ED 3, Activation Roll 14-)

GearFlashlight (normal and infrared settings); silver cigarette lighter;personal 3D-O viewset

2 PS: Brew Poison 11-

3 Security Systems 12-

3 Stealth 12-

3 Streetwise 13-

10 Two-Weapon Fighting

9 WF: Common Melee Weapons, Common Missile Weapons,Common Martial Arts Weapons, Smal l Arms, Shoulder-

Fired WeaponsTotal Powers & Skills Cost: 167

Total Cost: 273

175 Matching Complications (50)10 Distinctive Features: Style (Not Concealable, Noticed And

Recognizable, Detectable By Large Group)

20 Hunted: enemy yakuza clan (Infrequently, Mo Pow, NCI,Kill)

20 Psychological Complication: Amoral; Will Do Anything ForMoney Or Gain (Very Common, Strong)

5 Rivalry: Professional, with another assassinTotal Complications Points: 55


5




DARK CHAMPIONSMartial arts are just as common in the

modern-day action-adventure genre as they are inSuperheroes or Fantasy. Characters with militarybackgrounds ofen learn Boxing or Commandoraining; characters rom the streets know DirtyInfighting; spies and vigilantes could be trainedin nearly any fighting style (though they tend togo more or the linear, external styles than thephilosophically-oriented ones). In many respectsa Martial Arts campaign set in the modern day isgoing to be a mix o Dark Champions and NinjaHero, since guns, twenty-first century technology,and organized crime are almost certain to play arole in the game.

A GM can use many Martial Arts genreelements in a Dark Champions campaign,provided he doesn’t get too “unrealistic” withthem. For example, any game including Asianorganized crime (such as the yakuza) will certainlyinclude characters who have expertise in the

martial arts. Te GM can add a great deal o colorand depth to such groups with a judicious applica-tion o certain genre elements.

One Dark Champions subgenre — espionage— meshes with Martial Arts particularly well.Realistic and Cinematic martial arts campaignsofen have heavy espionage ties, and dashingspies usually receive some hand-to-hand combattraining. On a team o PC spies, one may serve asthe “martial arts expert,” using both his fightingskills and knowledge o Asian cultures to help thegroup complete missions

Bobby Rourke

Background/History: Bobby Rourke was bornand raised in south Louisiana. He wasn’t muchgood at schoolwork, but he was big and strongand could play ootball pretty well, so he got byon that. He also got into trouble more than a ewtimes or fighting, joyriding, and similar pettycrimes, but most people who knew him put that

off on the grounds that “boys will be boys” — hedidn’t really mean any harm.

Unortunately Rourke wasn’t good enough toget a ootball scholarship to Louisiana or any otherschool. He thought about joining the Army, but hedidn’t really like that idea, so he just sort o drifedaround or awhile. Ten he heard about some guysin New Orleans who were putting on under-ground “boxing” matches — brawls, really — witha winner-take-all pot. He knew he was good atfighting, so he got his name on the next card. Andsure enough, he won.

It wasn’t exactly what he’d ever envisioned orhimsel, but it was a living. He spent some timedoing the illegal fight circuit around the South,building up a rep or himsel as a first-class bare-knuckle brawler. Eventually the opportunity he’dbeen waiting or came: an invitation to the “bigtime” fights up north in Hudson City.

Tings were different in the big city. He won agood many fights, but he wasn’t such a big fish insuch a small pond anymore. And the cost o living— damn! Soon he was having a hard time makingends meet with the prize money he earned. Tenthe rent came due, and he didn’t have it... but hislandlord knew about this guy who needed somehelp dealing with this other guy who was causing

trouble....oday Bobby Rourke leads a sort o double lie.His “real job,” as he thinks o it, is as a moderately-talented bare-knuckle “boxer” who’s striving toget better and win bigger cash prizes with his fists.But to keep the wol rom the door he’s become awell-known enorcer, legbreaker, and bodyguardin the Hudson City underworld. Even the hardesto hardcases tends to become a little easier to dealwith when Rourke’s massive rame darkens theirdoorways.

Personality/Motivation: Unortunately BobbyRourke is not in a good place right now. He enjoysfighting or money, though he’s beginning towonder i he’s ever going to make enough at itso that it’s worth all the blood and pain. At thispoint he makes most o his money working or theunderworld, and he doesn’t really like that job atall. Hurting people in the ring is one thing — noone made them step in there and take him on. Butbreaking legs to collect gambling debts or sendmessage isn’t how he wants to spend his evenings.Bodyguard work he’s OK with (in act, he’d love iti he could get into a decent ull-time gig guardingor a rock star or something), but jobs like thatdon’t come his way as ofen as he’d like. o cope

“You guys think you're

above the law. Well, you

ain't above mine. ”

- Nico Tuscani,

Above the Law




BOBBY ROURKE Val Char Cost Roll Notes25 STR 15 14- Lift 800 kg; 5d6 HTH damage [2]13 DEX 6 12-

22 CON 12 13-10 INT 0 11- PER Roll 11-10 EGO 0 11-20 PRE 10 13- PRE Attack: 4d6

6 OCV 155 DCV 10

3 OMCV 03 DMCV 04 SPD 20 Phases: 3, 6, 9, 12

8 PD 6 Total: 11 PD (3 rPD)8 ED 6 Total: 11 ED (3 rED)10 REC 6

40 END 420 BODY 1046 STUN 13 Total Characteristics Cost: 133


Cost Powers END Martial Arts: Brawling

Maneuver OCV DCV Damage/Effect


4 Disarm -1 +1 Disarm, 40 STR

4 Eye Gouge -1 -1 Sight Group Flash 4d65 Hoist ’n’ Heave -2 -2 Grab Two Limbs, 50 STR to

Throw

4 Kidney Blow -2 +0 HKA 1d6 (2d6 with STR)

4 Low Blow -1 +1 2½d6 NND(3)

4 Punch +0 +2 8d6 Strike

5 Roundhouse -2 +1 10d6 Strike

3 Tackle +0 -1 6d6 +v/10 Strike; You Fall,

Target Falls

4 +1 Damage Class (already added in)

5 Big Brute Of A Man: +10 PRE 0

Only To Make Fear-/Intimidation-Based Presence

Attacks (-1)30 That Don’t Hurt Much: Physical and Energy Damage

Reduction, Resistant, 25% 0

10 That Don’t Hurt Much: Physical and Energy DamageReduction, Normal, +25% (50% total) 0


5 Resistance (5 points)

Skills16 +2 HTH

10 +2 with Brawling

3 Combat Driving 12-

2 AK: Southern Louisiana 11-

2 CK: New Orleans 11-

2 PS: Play Football 11-

3 Stealth 12-

2 Streetwise 10-

3 TF: Rowed Boats, Small Motorized Boats, Two-WheeledMotorized Ground Vehicles


Total Cost: 276

175 Matching Complications (50)

20 Hunted: Hudson City Police Department (Infrequently, MoPow, NCI, Capture)

15 Psychological Complication: Will Hurt People ForMoney, But Doesn’t Really Want To (Common, Strong)

10 Psychological Complication: Alcoholic (Common,Moderate)

5 Rivalry: Professional, with other high-STR underworldtypes (like Brahma, Caber, and Stonehenge)



5




with the guilt over what he does to make a buck,he’s developed a pretty serious drinking problem— one that may impact his fighting skills i it getsmuch worse.

Quote: “Let’s have a little discussion about howyou’ve been bothering Mr. orrini.”

Powers/Tactics: Bobby Rourke isn’t a martialartist in the sense o having been ormally trained

in hand-to-hand combat — he picked up hisfighting skills, such as they are, as he went along.Mostly he just knows how to use his strength,speed, and experience to good effect both in andout o the ring. He usually relies on Roundhouses,Punches, and Kidney Blows, but depending onwhat kind o fight it is he might resort to LowBlows, Eye Gouges, or even biting. Tere’s nohonor to the way he fights — he comes rom atradition o “winning is winning” — but he nevergoes out o his way to be brutal or inflict unneces-sary pain unless his opponent tries that first.

Campaign Use: Besides his obvious use as alegbreaker who has to lean on someone thePCs want to protect, Bobby Rourke can be thecenterpiece o a story o redemption or succeedingagainst the odds. He’s not a bad person, or even anoverly violent one in most circumstances; he’s justgetting by the only way he knows how. I he weregiven a chance at a better lie that wasn’t utterlyboring, he’d jump at it.

o make Rourke tougher, give him more ExtraDCs or a ew more deensive abilities that allowhim to withstand injury even better (such assome Damage Negation that only applies againstNormal Damage). o weaken him, reduce hisSR to 20 and remove his extra +25% Damage

Reduction.Rourke only Hunts people when hired to do so,in which case he does the job according to instruc-tions and with a minimum o effort on his part.

Appearance: Bobby Rourke is a huge, musculartwentysomething good ol’ boy rom southLouisiana. He’s got short, sandy blonde hair, amatching short beard, and hard, dark eyes. Hisnose has been broken so many times he can’tremember them all. He’s got scars here and there— relics o the countless fights he’s been in —and his hands are large and hard, able to punchthrough a wooden door without suffering harm.

He usually wears t-shirts, jeans, and cowboyboots, sometimes with a leather vest.

SUGGESTED EQUIPMENT

Weapon OCV RMod Dam STUN Shots STR Min

.45 Handgun +0 +0 2d6-1 +1 7 10

ArmorNone

Gear

Pocketknife; hip flask of whiskey




FANTASY Martial arts are both common and popular

in Fantasy games. In act, having a Martial Artspackage o some sort is ofen one o the thingswhich sets a PC apart rom his less talentedbrethren (i.e., most NPCs). However, the pres-ence o the martial arts in a Fantasy setting greatlydepends on the nature o the setting itsel. Wuxiafilms are already Fantasy films, and a Wuxiacampaign, i done correctly, contains all the classicelements common to the Martial Arts genre aswell as many Fantasy tropes. A more traditional“Western antasy” setting, with elves, dwarves,orcs, and dragons, is a different matter. Readersmay have a hard time visualizing Kung Fu-fightingelves, but the concept isn’t entirely without merit.Many European cultures developed armed andunarmed fighting styles, and when you throwmagic and antastic races into the mix, a thrivingmartial arts culture could develop.

For example, Irish legends and myths contain

numerous examples o heroes leaping greatdistances, sprinting nimbly along the ridge poleso houses, running over fields o grass withoutdisturbing the leaves, riding upon hurled spears,snatching spears out o the air, or throwing a spearwith enough power to strike several men in a line.Such actions (or “eats” as they’re called in theIrish legends) are perectly at home in Fantasy-styled Wuxia or Anime Martial Arts game. otake another approach, a GM could easily convertthe special martial arts abilities in Chapter Treeo this book into “spells.” Warrior-wizards wouldnot only buy Martial Arts, but they’d learn manybody-affecting spells that could render them

immune to sword-blows, enable them to hit fivepeople in the blink o an eye, or even let themstrike ghosts with their bare hands!

Martial Arts usually come into a Fantasycampaign or one o three reasons. Te first, andmost important, is the use o weapons. Muscle-powered weapons are a major element in any

Fantasy campaign, and this provides plenty oopportunities or the creation o fighting styles.Some styles ocus on a single weapon; examplesrom the “real-world” martial arts descrip-tion include Bojutsu (Staff-fighting), Fencing,Kenjutsu, Kniefighting, Kyujutsu, Naginatajutsu,Saijutsu, Shurikenjutsu, Stickfighting, Sword-fighting, and Whipfighting. Te broad WeaponsCombat style adapts to many types o weapons,and is perect or many Fantasy campaigns andcharacters. Fantasy characters can create similarfighting styles or their own weapons (or example,the Dwarven War Art described below). Somemight even develop a Martial Arts style or usewith a single weapon, such as a unique enchantedsword. For instance, i a character owned a soul-eating sword that drains the lie rom someonewith the merest scratch, he wouldn’t find it effi-cient to use standard swordfighting maneuvers —he could develop a style o swordplay intended notto wound the enemy, but simply to nick him.

Second, you can use Martial Arts in a Fantasygame to represent the distinctive fighting maneu-

vers o non-human races. Intelligent creaturessuch as centaurs, gargoyles, mermen, andlizardmen would develop fighting arts suited totheir body structures. Many o these martial artswould seem odd to humans, and in many casesthey couldn’t even learn them. Kentauroi andPoluraathkaa (see below) are examples o this typeo fighting style.

Tird, you can introduce a Martial Arts styleinto your Fantasy game as an aspect o a particularculture, society, or group. Obviously, i yourcampaign takes place in an Oriental setting, oreven near psuedo-Oriental lands, ormal fightingarts will be relatively common. But even without

such kingdoms, certain societies or groups mightdevelop Martial Arts styles. In some cases the styleconstitutes a particular society’s definitive ability,the way skill with horses is the trademark o thehorse-riding nomad clans who populate manyFantasy novels. Perhaps the best example o this isthe Bloodguard, rom Stephen Donaldson’s novelsabout Te Land, but there are plenty o others. TeVothara style described below is an example othis concept.

Here are some examples o Fantasy martial artsstyles.

DWARVEN WAR ART

Te Dwarven War Art, developed by dwarvesor use with their avored weapons (axes,hammers, picks, and the like), was once keptsecret by them, but has long since passed out otheir strongholds to be learned by gnomes, a ewhalflings, and even some “tall olk” warriors whoavor the axe as a weapon. A airly simple style, itconcentrates on powerul chops and slashes rom various angles — overhand, the side, and even“uppercuts” rom below (a particularly effectivestrike against oes taller than the warrior).

Hit Locations: Te Side Slash takes a 3d6 locationroll. Te Chop/Smash takes a 2d6+1 location roll.

Te Ogre-Slaying Stroke takes a 2d6+7 hit locationroll.

DWARVEN WAR ART Used with Axes/Maces/Hammers/Picks Weapons Group; Axes/Maces/

Hammers/Picks Weapon Element is Free


Avoidance 4 +0 +5 Dodge All Attacks, AbortBlock 4 +2 +2 Block, Abort

Chop/Smash 5 -2 +1 Weapon +4 DC Strike

Ogre-Slaying Stroke 5 +1 +3 Weapon

Side Slash 4 +0 +2 Weapon +2 DC Strike

Skills

KS: Dwarven War Art

WF: Axes/Maces/Hammers/Picks*

Elements

Weapons +1 Use Art with Clubs



HORROR

MARTIAL ARTS

Martial arts are gener-

ally not a common

element in the Horror

genre. After all, many

horrors are things

characters can’t fightwith fists or blades, so

martial arts training isn’t

of much use. However,

there are some oppor-

tunities to integrate

the two without much

strain. The most natural

way is a horror story

that takes place in

Chinatown or the Orient.

Weird Oriental monsters

may make an interesting

counterpoint to the

usual run of Westernhaunts and nightmares.

The characters’ unfa-

miliarity with Oriental

monsters and magic

adds an element of

ignorance and helpless-

ness which serves

to increase the

fear and despera-

tion they feel.

See page 283 for

more information on

Horror as a meta-genrein Martial Arts stories.

5




KENTAUROI

Although regarded by some two-legged olkas unruly barbarians, the centaurs o the SunsetPlains have a rich, vibrant culture. However, itis true that one aspect o that culture is requentwarare among various centaur tribes. o improvetheir fighting power, the centaurs long ago devel-oped a special martial art, Kentauroi. Tis styleis designed to take advantage o a centaur’s size,

body shape, physical abilities, and running speed,and thus cannot be learned by two-legged species.However, some mounted warriors claim to haveound ways to adapt certain Kentauroi techniques,such as the Rearing Strike, to their own weaponstyles.

Kentauroi is a weapon-based style, not aorm o barehanded fighting. Te weapons mostcommonly avored by centaurs are the battle axe,sword, and spear or lance.

Hit Locations: Te Chop/Slash/Smash uses a3d6 Hit Location roll against other centaurs ormounted opponents, but a 2d6+1 Hit Location roll

against humanoid targets on oot. Te GallopingStrike uses a 2d6+1 Hit Location roll. Te RearingStrike uses a 2d6+1 Hit Location roll.


POLURAATHKAA

Poluraathkaa (pole-oo-rahth-kah), a fightingstyle developed many years ago by the WingedFolk, has been adapted by many other wingedraces since, such as the gargoyles o the StonyWastes and the eared vulture-men. Designedby flyers or use against flying oes, it cannot beused by fighters on the ground. In addition to itsunarmed maneuvers, the style teaches how to fightwith several weapons, including chain and ropeweapons, which warriors use to entangle a targetin flight and thus remove him rom the battle.

Te Snare maneuver consists o grasping mosto the target’s limbs, including his wings, so hecannot fly. Te attacker then dives straight or theground to release the target so close to the earththat he can’t avoid hitting it (but o course mustnot get so close that he himsel can’t pull out ohis dive in time to avoid crashing). o execute thismaneuver successully, the character must succeedwith a DEX Roll at -1 per 10m o velocity. Failuremay indicate that both fighters didn’t crash, that

the target did not crash but the attacker did, orthat both o them hit the ground.

Hit Locations: Te Strike and Flying Strike bothuse 3d6 Hit Location rolls.


KENTAUROI Used with one Weapon type (see text): that Weapon Element is Free



Chop/Slash/Smash 4 +0 +2 STR +2d6 Strike

Galloping Blow 5 +1 +0 STR +v/10; FMove

Galloping Disarm 5 -1 -1 Disarm, +10 STR to Disarm roll;

FMove

Galloping Smash 5 +0 +0 STR +v/10; Target Falls; FMove

Rearing Strike 5 -2 +1 STR +4d6 Strike

Skills KS: Kentauroi


WF: Lance

Elements



+1 Use Art with Clubs +1 Use Art with Polearms

POLURAATHKAAManeuver Points OCV DCV Notes

Escape 4 +0 +0 +15 STR vs. Grabs

Evasive Strike 5 +1 +3 STR Strike

Flying Strike 5 +1 +0 STR +v/10; FMove

Snare 5 -1 -1 Grab Four Limbs, +10 STR for

holding on


Skills KS: Poluraathkaa



WF: Nets


+1 Use Art with Chain and Rope Weapons

+1 Use Art with Nets




STEELSTORM

Te alturai people (o the archipelago o thesame name) long ago developed a way o fightingwith swords that’s very different rom mainlanderswordfighting. Rather than mostly standing inplace and bashing on their oes while protectingthemselves with a shield and heavy armor, theymove around graceully and athletically, parryingand striking. Tey spin in place to add momentum

to their blows, flip and juggle their swordsbetween two hands to conuse their oes, andmake liberal use o eints and misdirection tactics.Some mainlander warriors have begun studyingthis style, which the alturai call Delaraksa (liter-ally “style o sword-fighting”), but which otherpeople preer to call Steelstorm.

Hit Locations: Te Slash, Spinning Strike, andTrust use 3d6 Hit Location rolls.

VOTHARA

During the Second Age o the world, the king-doms o the land o Sirrenica were ruled by theDark Prince, Xoldarr, the hal-breed son o demonand a human woman. He ruled with an iron grip,orbidding his people to practice magic, ownweapons, or do anything else that might threatenhis power and his rule.

Most peoples o Sirrenica accepted their ate,having neither the will nor the means to resist.But not so the olk o Marica, a mountainousland to the west. Stubborn and proud, the Maricsreused to give in to the Dark Prince without afight. Lacking weapons or the means to orgemore thanks to his armies, they began developinga fighting art based on unarmed combat (and,later, on incorporating everyday implements as

weapons). Tey called their secret fighting tech-niques Vethara, a name deriving rom the Maricanwords or “proud resistance.”

oday, though Xoldarr the Dark Prince haslong since been overthrown and the Maricsrestored to the reedoms they so cherish, Votharais still practiced among them. Knowledge o it ispassed rom ather to son, ather to son, and eachamily has a ew special tricks and tactics that itkeeps to itsel.

Hit Locations: Te Punch/Snap Kick, Bone-breaking Strike use Hit Location rolls o 2d6+1.Te Front Kick uses a 3d6 Hit Location roll. Te

Block, Disarm, Dodge, and Sweep do not takelocation rolls.

Special Abilities: Battlefield Punch; Blade Flare(Chiburi option); Charging Slash; Genshin; IronShirt; Weapon Flourish.

STEELSTORMUsed with Blades Weapons Group; Blades Weapon Element is Free


Counterstrike 4 +2 +2 Weapon +2 DC Strike, Must Follow

Block



Slash 4 +2 +0 Weapon +2d6 Strike

Spinning Strike 5 -2 +1 Weapon +4 DC Strike

Thrust 5 +1 +3 Weapon Strike

Skills Acrobatics

Breakfall

KS: Swordfighting

Sleight Of Hand

WF: Blades*



VOTHARAManeuver Points OCV DCV Damage/Effect


Bonebreaking Strike 4 -2 +0 HKA ½d6


Dodge 4 — +5 Dodge, Affects All Attacks, AbortFront Kick 5 -2 +1 STR +4d6 Strike

Punch/Snap Kick 4 +0 +2 STR +2d6 Strike


Skills KS: Vothara



Elements Weapons +1 Use Art with Axes/Maces/

Hammers



+1 Use Art with Poleamrs


5




COUNTESSALSANDRA T’SAIRON

Val Char Cost Roll Notes10 STR 0 11- Lift 100 kg; 2d6 HTH damage [1]16 DEX 12 12-13 CON 3 12-15 INT 5 12- PER Roll 12-

14 EGO 4 12-15 PRE 5 12- PRE Attack: 3d6

6 OCV 156 DCV 153 OMCV 0

3 DMCV 04 SPD 20 Phases: 3, 6, 9, 12


4 ED 2 Total: 4 ED (0 rED)6 REC 235 END 3

10 BODY 0



Cost Powers END Martial Arts: Tarthainian Fencing


4 Avoid — +5 Dodge, Affects All Attacks,

Abort

5 Disarm +0 +0 Grab Weapon, 30 STR toTake Weapon Away

4 Disentangle +0 +0 35 STR to escape Bind

4 Entangle +1 +0 Bind, 30 STR

5 Lunge +1 -2 Weapon +6 DC

4 Parry +2 +2 Block, Abort

4 Riposte +2 +2 Weapon +4 DC, Must

Follow Block

5 Slash -2 +1 Weapon +6 DC

5 Thrust +1 +3 Weapon +2 DC


Perks6 Fringe Benefit: Lordship (Countess)

5 Money: Well-Off

Talents2 Off-Hand Defense

6 Striking Appearance: +2/+2d6

Skills

15 +3 with Tarthainian Fencing

9 +3 with Acrobatics, Breakfall, and Sleight Of Hand

3 Acrobatics 12-

3 Breakfall 12-

3 Climbing 12-

3 High Society 12-

2 KS: The Latest Tarthainian Gossip 11-

2 KS: Tarthainian History 11-

2 KS: Tarthainian Literature And Art 11-

1 Literate

3 Persuasion 12-

3 Riding 12-

3 Sleight Of Hand 12-

3 Stealth 12-

3 WF: Blades, Crossbows, Thrown Knives/Axes/Darts

Total Powers & Skills Cost: 125Total Cost: 219


20 Hunted: Duke t’Allyrius (Infrequently, Mo Pow, NCI, TrickInto Marrying/Humiliate)

15 Psychological Complication: Enjoys Defying People’sExpectations (Common, Strong)

10 Negative Reputation: hoyden countess who engages inscandalous conduct, 11-

5 Rivalry: Professional, with the Count t’Orsino, for what-ever’s at stake at the moment



COUNTESS ALSANDRA T’SAIRON

Background/History: Alsandra, countess o theHouse o Sairon, one o the oldest in arthainia,is the daughter o the late count, Odrigo, a mano both intelligence and stubbornness. Disap-

pointed that his only child was a daughter (thoughhe unquestionably loved her), he taught her as ishe were a boy. She studied many subjects thatmost arthainian noblewomen are ignorant o(including how to read), and her ather neverdenied her access to any topic she wished to learnabout. Beyond that, he instructed her in manyskills that are supposedly the exclusive provinceo arthainian men: how to fight with rapier anddagger; how to climb trees and walls; how to ridehorses at a pace exceeding a slow gallop. Tismade her (and him) something o a scandal inarthainian society — but he couldn’t have caredless, and as her ather’s daughter neither could she.

Upon the death o her ather several years ago,Alsandra became countess, which only led to moregossip about her wayward liestyle and unladylikeproclivities. She’s the requent subject o gossipamong the nobility, and more than once has beenthe subject o a cutting remark at a ball or courtgathering... only or her antagonist to discover, tohis or her chagrin, that the Countess t’Sairon is asskilled with clever speech as she is with a rapier.Her good looks and independent manner haveattracted the attention o a number o unmarriednoblemen, the most persistent o which is thepowerul Duke t’Allyrius. Determined to have herdespite the way she’s publicly embarrassed himon several occasions, the Duke intends to trick or




trap her into marriage whatever it takes — or atthe very least to pay her back in spades or all thehumiliations she’s inflicted upon him.

Personality/Motivation: Although she puts amoderate effort into acting like a proper arthai-nian noblewoman on most occasions, CountessAlsandra enjoys being unconventional andree-spirited. At times she goes out o her way todey arthainian tradition in playul ways, or to

do things that set tongues wagging. She won’t doanything truly stupid or boorish (like riding herhorse into the middle o someone’s ball), but she’smore than happy to deflate the pretentions o theunjustifiably proud, point out the oolishness ounquestioned customs, or give the court gossips alittle extra odder or their whispered tales.

Alsandra has ound something o a rival inthe Count t’Orsino, like hersel a relatively youngmember o the arthainian nobility. He’s not quiteso bent on living an unconventional lie as she,but he’s definitely not one o the hidebound oldernoblemen either. Te two o them have devel-oped a more or less riendly rivalry over whateverhappens to be at stake at the moment — a horserace, possession o an unclaimed piece o land,a bet over who can first knock an apple out o atree with a thrown dagger. Although they publiclyproess to a mutual dislike (and each privatelyseethes over every loss to the other), in truththey’re more than a little attracted to one another.

Quote: “I my lord thinks he can give insult reelybecause I am as yet unmarried, my lord is sadlymistaken. Will my lord apologize at once, or mustI insist that he meet me outside at once to settlethis matter with steel?”

Powers/Tactics: Alsandra is a highly-skilledswordswoman versed in the arthainian art oswordfighting, which involves the rapier anddagger and little or no worn armor. As such sherelies on dodging and parrying to keep rom beingcut, and tends to fight deensively until she eelsshe’s ully evaluated her opponent’s skill and canbest go on the offensive. She’s rarely without herblades, though she has to settle or keeping themsomewhere nearby during court occasions whenshe has to wear dresses.

Campaign Use: As a person who enjoys new (andeven unconventional) experiences, the Countess

Alsandra could be the PCs’ entry into arthainiannobility... or at least the only noble willing to talkreely with outsiders (assuming she judges themto be honest, upstanding people). For a campaignthat takes place in or near arthainia, you couldeven substitute a PC or the Count t’Orsino as herRival/love interest.

o make Countess Alsandra more powerul,give her some encing-related special abilitiesrom Chapter Tree, or increase her SPD to 5. oweaken her, remove her Extra DCs.

Countess Alsandra doesn’t Hunt people; that’ssimply not her style.

SUGGESTED EQUIPMENT

Weapon OCV RMod Dam STUN Shots STR Min Notes

Rapier +1 — 1d6 +0 — 10

Dagger +0 +0 1d6-1 +0 — 8 Can Be Thrown;carries two

Armor

Typically none; on rare occasions Fighting Leathers (2 PD/2 ED, Activation Roll 12-)

GearDuelling gloves; small bottle of perfume; whetstone

5




Appearance: One o the most beautiul memberso the youngest generation o arthainian nobility,the Countess Alsandra has long, raven-black hair,green eyes, and a figure that even her most bitterrivals can’t help but mutter about appreciatively.When she expects trouble or adventure to comeher way — which is most o the time — she typi-cally wears a white long-sleeved blouse that’s looseenough to not inhibit her movements but cut todisplay her charms to perection, black pants (asomewhat scandalous choice in arthainia), blackriding boots, and a sturdy brown leather belt tohold her duelling rapier and dagger.

PULP HEROMartial arts in the common perception o the

word — advanced, ofen mysterious, fightingstyles rom the Orient — aren’t common in thePulp era. Outside o a ew schools in Chinatownsin major cities, there’s nothing resembling martialarts instruction in the US or other civilized

nations; most people have never heard o Karateor Kung Fu, much less more esoteric arts. Whileit’s possible or characters to buy Martial Arts thatrepresent well-known Western fighting styles —Boxing, Dirty Infighting, Fencing, even Savate —the GM should orbid them to buy more unusualarts unless they have a really good explanation.Usually that exception applies to the one char-acter in the group who was raised in China (or anOriental ethnic sidekick). For such a character, hisshtick is that he knows exotic Martial Arts. TeGadgeteer has his Weird Science, the Aviator hashis plane, the Masked Crimefighter has his eerielaugh; the Character Raised In Te Orient has

Martial Arts.




THE GOLDEN TIGER

Background/History: Richard Collinsis the son o Arthur and Emily Collins,the amous archaeologists. He grewup traveling the world with them, andas he grew older began helping themwith their work. It was assumed he’deventually ollow in their ootsteps

and continue their legacy o ground-breaking discoveries.

When Richard was almost 20,he accompanied his parents on anexpedition to the interior o China.Tey believed there was an ancientcity there, lost or centuries afer beingburied by a tremendous sandstorm,and were determined to find it.Richard, on the other hand, thoughtthey were translating certain recordswrong, and that what had been buriedwas a ortress, tomb, or temple o

some sort — it was difficult to telldue to the age and condition o thewritings.

Getting to the dig site was adangerous, grueling task due toits remoteness and the presence obandits in the area, but the expeditionmade it. Tey soon discovered thatRichard was right — it wasn’t a city,it was a temple or ortress complex osome kind. As the work progressed,the Collinses ound many highly valu-able artiacts in porcelain, jade, gold,and other substances.

THE GOLDEN TIGER Val Char Cost Roll Notes20 STR 10 13- Lift 400 kg; 4d6 HTH damage [2]20 DEX 20 13-18 CON 8 13-

13 INT 3 12- PER Roll 12-13 EGO 3 12-20 PRE 10 13- PRE Attack: 4d6


4 DMCV 34 SPD 20 Phases: 3, 6, 9, 12

6 PD 4 Total: 9 PD (3 rPD)6 ED 4 Total: 9 ED (3 rED)8 REC 440 END 4

10 BODY 040 STUN 10 Total Characteristics Cost: 133

Movement: Running: 15m Leaping: 6m

Cost Powers END Martial Arts: Golden Tiger Kung Fu



4 Claw-Smash +0 +2 8d6 Strike

4 Disarm -1 +1 Disarm, 40 STR4 Dodge +0 +5 Dodge all attacks, Abort

4 Escape +0 +0 45 STR vs. Grabs

3 Grab -1 -1 Grab, 40 STR

5 Kick -2 +1 10d6 Strike

4 Knife Hand -2 +0 HKA 1d6+1 (2½d6 with

STR)

3 Throw +0 +1 6d6 +v/10, Target Falls

4 Tien-hsueh Strike -1 +1 3d6 NND (1)

4 Tiger Claw +0 +0 10d6 Crush, Must Follow

Grab


3 Demonstration Of Skill: 10 PRE 1Costs Endurance (-½), Extra Time (Full Phase; -½),

Instant (-½), Only For Appropriate Presence Attacks

(see text; -½), Requires A DEX Roll (-½)

3 Fast: Running +3m (15m total) 1

1 Strong Leaper: Leaping +2m (6m forward, 3m upward)1

Perks

5 Money: Well Off


10 Golden Tiger Mask: Combat Sense 12-

OIF (-½)17 Golden Tiger Mask: Danger Sense (out of combat,

general area) 12-

OIF (-½)

Skills

24 +2 Overall

3 Acrobatics 13-

3 Breakfall 13-

3 Climbing 13-

2 Combat Driving 10-

2 Contortionist 10-

3 CK: campaign city 13-

2 KS: Golden Tiger Kung Fu 11-

2 KS: History 11-

2 KS: Chinese History And Culture 11-

2 Language: Mandarin Chinese (fluent conversation;

English is Native)

1 Language: Cantonese Chinese (basic conversation)

2 SS: Anthropology 11-

2 SS: Archaeology 11-

3 Stealth 13-

3 Streetwise 13-

5




Ten disaster struck in the orm o bandits.Led by an evil one-eyed warlord, the ruthless mendescended on the camp, slaughtering everyonethey could find in their mad lust to steal theartiacts. Richard watched in horror as his parentswere gunned down, then fled into the dig site totry to escape. With the bandits in hot pursuit, hestumbled into some rooms they’d just opened...and then ell through the weakened floor into achamber below.

Te chamber was lit by an eerie light whosesource he couldn’t determine, but it revealed tohim the room’s main eature: a pristine golden

mask in the shape o a tiger’s head, placed on abeautiully-carved pedestal. Something aboutthe mask spoke to him, practically compellinghim to pick it up and put it on. When he did,power flooded his body and knowledge his brain.Suddenly he knew all the secrets o the long-losttemple — all its lore and wisdom concerning thelong-orgotten fighting style o Golden iger KungFu.

Now equipped to handle the bandits, Collinssnuck back out o the chamber and and deeatedmost o them... but the warlord and his guardsescaped. Collins remained in the area or nearly ayear until he tracked down and killed the warlord,reeing the local peasants rom his oppressionand cruelty. When he returned to the States, hedecided to keep using his newound skills andabilities to do good (and the mask seemed to want him to as well, almost as i it were intelligent). Hecreated the identity o the Golden iger, and hasbeen fighting crime ever since.

Personality/Motivation: Te Golden iger is aclassic Pulp hero in most respects. He’s brave,honorable, valorous, and despises evil, cruelty, andinjustice. He goes out o his way to fight evildoers,even at the risk o his own lie. However, aferseeing what happened to his parents, he works

hard to maintain his Secret Identity so that hisloved ones (including his long-time girlriend,Monica Ramone) don’t suffer because o hiscrusade.

Quote: “Your guns can’t hurt a man who can moveaster than you can aim!”

Powers/Tactics: Tanks to putting on the maskhe ound in the long-lost Golden iger emple,the Golden iger has been granted great physicalpower and the knowledge o Golden iger KungFu. (He doesn’t need to wear the mask to usethese abilities, though.) His DEX and SPD give

him a real edge over most opponents, so he avors

a strong offense over deensive fighting. In casehis enemies somehow keep him rom gettinginto HH Combat distance, he carries two .45automatics.

Te Golden iger preers to disable most ohis oes and then call the police to come arrestthem. But he’s no stranger to killing; some men aresimply too evil to be allowed to live.

Campaign Use: I your group o Pulp PCsdoesn’t have an “American rom the Orient” orChinatown contact, the Golden iger makes anexcellent ally. He knows all about that sort o

thing and can guide them through the myste-rious maze that is the Chinese underworld. I heuncovers an Oriental plot too big to handle onhis own (like some o Dr. Fang Shen’s schemes oworld conquest), he could come to the PCs orassistance.

o make the Golden iger tougher, give himsome mystical martial arts abilities representingthe arcane lore o the Golden iger emple.For example, maybe he can call upon his ch’i tosurround him with a sort o “orce-field” thatprotects him against low-caliber gunfire. oweaken him, reduce his SR and DEX to 15-18.

Te Golden iger doesn’t really Hunt anyone;

that’s not his style. He just fights crime whenhe encounters it, and investigates mysterious ordangerous goings-on when something bringsthem to his attention.

Appearance: Te Golden iger is a 5’11” tallwhite man with the muscular, athletic body osomeone who engages in intensive regular exer-cise. In the Pulp tradition he wears a dark men’ssuit and short gloves, but instead o a dominomask and a edora he conceals his identity with agolden mask shaped like a tiger’s head.

6 WF: Common Melee Weapons, Common Martial Arts

Weapons, Small Arms


Total Cost: 296

175 Matching Complications (50)10 Distinctive Features: Style (Not Concealable, Noticed And

Recognizable, Detectable By Large Group)

20 Hunted: Dr. Fang Shen (Infrequently, Mo Pow, NCI, Kill)

15 Psychological Complication: Must Uphold Truth, Justice,

And The American Way (Common, Strong)

15 Social Limitation: Secret Identity (Richard Collins)(Frequently, Major)



SUGGESTED EQUIPMENT


.45 Semiauto +1 +1 2d6-1 +1 8 10 Carries two

Armor Armored suit (1 PD/1 ED)

GearCigarette lighter




STAR HEROAs humanity expands out into the galaxy and

begins to encounter other intelligent species, theopportunity to learn new and intriguing martialarts styles increases dramatically. Afer all, apotential student now has not just dozens o stylesto choose rom, but dozens o worlds’ worth ostyles, with all the variation that implies.

O course, some types o aliens are so non-Human that mankind can’t learn their fightingstyles. But in Most Science Fiction universesa substantial portion o the alien species arehumanoid, so Humans can probably studytheir martial arts without much problem. Atthe GM’s discretion, some maneuvers (such asNerve Strikes) may only apply to a single species(typically, the character’s own species) whenlearned; characters have to buy a Science Skill inthe anatomy o an alien species beore they canuse such attacks successully on members o thatspecies.

One option or Science Fiction martial arts isto limit or abolish the Style Distinctive Feature. In

a galaxy possibly eaturing thousands o martialarts orms, it’s extremely unlikely a particularfighter has in-depth knowledge o more thana tiny raction o them. Te odds are againstthe Style Distinctive Feature actually being ahindrance most o the time, particularly i thecharacter travels extensively. Tereore the GMshould think about giving ewer points or theComplication, or even disallowing its use entirely.

Alternately, a character’s Analyze Style Skillmight only apply to martial arts developed by hisown species; he would have to purchase the Skillor each species or region whose fighting styles hestudies (or example, Analyze Bandarian Styles,Analyze Fomalhauti Cluster Styles, and so orth).

Here are three examples o Science Fictionmartial arts:

DA’PARU

Te Mon’dabi, a reptilian species who control asector o space anti-spinward rom Human space,have developed many unarmed combat skills overthe millennia. Perhaps the best-known is Da’pura,

sometimes reerred to as “Mon’dabi Kung Fu” byHumans. Like that style, Da’pura eatures an enor-mous variety o substyles built around variationso the core techniques. It’s also got a mystical side;Mon’dabi practitioners believe that their bodiescontain ta, loosely translated as “fighting orce,”which is similar to the ch’i, ki, or prana o variouserran martial arts.

A number o Humans have learned Da’paru,but their ability to advance as practitioners othe style is limited or one simple reason: lack oa tail. Da’paru maneuvers ofen incorporate ortake advantage o the Mon’dabi “fifh limb” (andsome substyles also eature attacks that employ

a Mon’dabi’s large, sharp teeth as well). Humans,lacking these natural weapons, can only learnsome o the style’s attacks, leaving them poorDa’paru practitioners at best.

Hit Locations: Te Punch/ail Strike and Kick/Spinningail Strike use 2d6+1 Hit Location rolls.Te Squeeze uses a Hit Location roll o 2d6+1(this defines the primary location affected by theGrab). Te ailsweep takes a 2d6+7 location roll.Te other maneuvers take no location rolls.

Special Abilities: Although no Human scholarhas definitively catalogued them, Da’parupractitioners claim to have mastered a vastarray o special abilities. Tese include (to givetheir Human names): Breaking Strike; Ch’i Strike; Dancing Weapon echnique; Dim Mak;Fa-Ch’ing; Fist Kung; Hing Kung; InstantaneousMovement; Iron Forearm; Iron Shirt; Kongjin;Red Sand Palm.

MAASHIRA

Te Dukarça, a quasi-insectoid species nativeto the planet Khomura, have achieved an enviablereputation throughout the galaxy or their fightingskills. Dukarça mercenaries routinely commandgreater rates o pay than mercs rom other species,

DA’PARUManeuver Points OCV DCV Damage/Effect


Break 4 +0 +0 +15 STR vs. Grabs



Kick/SpinningTail Strike 5 -2 +1 STR +4d6 Strike

Limb Lock 3 -1 -1 Grab Two Limbs, +10 to STR for

holding on

Punch/Tail Strike 4 +0 +2 STR +2d6 Strike

Squeeze 4 +0 +0 STR +4d6 Crush, Must Follow Grab

Tailsweep 3 +2 -1 STR +1d6 Strike; Target Falls


Skills Acrobatics

Breakfall

Contortionist

Defense Maneuver

KS: Kung Fu

Sleight Of Hand



Off-Hand Defense

Two-Weapon Fighting

Elements






+1 Use Art with Teeth

5




and Dukarça assassins are likewise considered thebest o the best.

Much o the Dukarça reputation rests on theirspecies’s long tradition o hand-to-hand combat.Te most widely known o the hundreds ofighting styles they have developed is Maashira,a weapons-based art whose name comes rom apoetic term meaning “shining high, yellow hot”(Dukarça blood is yellowish). Maashira practi-tioners begin by learning the yinali, a weaponalmost identical to a sword, but eaturing twodistinctive sharpened prongs about one handspanlong projecting pointward rom the hilt. Somenever go beyond the yinali, preerring it to allother weapons because o its versatility and simplebeauty. Others broaden their skills, learning howto apply Maashira to spears, other polearms, various flexible weapons, and the staff.

Hit Locations: Te Furious Charge, Jab/Trust,Lunge, and Slash/Chop all use Hit Location rollso 3d6. Te other maneuvers do not use Hit Loca-tion rolls.

Special Abilities: Battlefield Punch; Severing(argeting Skill Levels to counteract Hit Locationpenalties or attacking, and hopeully lopping off,limbs).

ZERO GRAVITY COMBAT

Space Marines, space pirates, and othercombative olk who are likely to find themselvesfighting in a zero-G environment rom time totime learn this martial art. Because o the action/reaction effect o launching attacks in zero-G,Zero Gravity Combat concentrates on grapples,holds, and other attacks which require relativelylittle linear motion.

Te Breakaway maneuver is a orm o pusha fighter uses to “bleed off” the momentum hebuilds up when escaping rom certain kinds oholds. It moves the target away rom the attacker,and also disorients him sufficiently that theattacker can ollow up with another attack whilethe target regains his “balance” (this is simulatedwith the “arget Falls” element, since o courseone cannot all in zero-G).

A character can use Zero Gravity Combatmaneuvers in situations where gravity exists, butwill suffer -1 to his OCV and DCV unless he’sbought the Element “Use Art in Gravity.”

For more inormation on fighting in zero-Genvironments, see 6E2 48.

Hit Locations: Te Nerve Pinch uses a 3d6 HitLocation roll. None o the other maneuversrequire Hit Location rolls.

Special Abilities: Many people who deal withzero-G environments on a requent basis buy theirlegs as Extra Limbs (5 points) so they can perormtasks with them, like manipulating ship controls,typing, or what have you. Such people can also usetheir legs in Zero Gravity Combat, or exampleby perorming a Choke maneuver with them. Tetwo extra limbs are a big advantage in a zero-G

combat situation.

MAASHIRAUsed with Blades Weapons Group; Blades Weapon Element is Free


Avoidance 4 — +5 Dodge, Affects All Attacks, Abort

Deprival 4 -1 +1 Disarm, +10 STR to Disarm roll

Furious Charge 4 +2 -2 Weapon +v/10; FMove

Jab/Thrust 5 +1 +3 Weapon

Lunge 5 +1 -2 Weapon +4 DC


Reprisal 4 +2 +2 Weapon +2 DC Strike, Must

Follow Block

Slash/Chop 5 -2 +1 Weapon +4 DC Strike

Skills KS: Maashira

Two-Weapon Fighting

WF: Blades*

WF: Chain and Rope Weapons


WF: Staff


Elements Weapons +1 Use Art with Chain & Rope Weapons



ZERO GRAVITY COMBAT Maneuver Points OCV DCV Notes

Breakaway 4 +1 +2 +10 STR to Shove target;Target Falls;

Must Follow Escape


Escape 4 +0 +0 +15 STR vs. Grabs

Grab 4 -1 -1 GrabThree Limbs, +10 STR for holding

on

Joint Break 5 -1 -2 Grab One Limb; ½d6 HKA, Disable

Nerve Pinch 4 +1 +1 2d6 NND(1); Must Follow Grab

Reversal 4 -1 -2 +15 STR to Escape; Grab

Skills

KS: Zero Gravity Combat PS: Zero Gravity Operations*

Talent: Environmental Movement (Zero-G Training)

Elements Armor +1 Use Art in Armor

Gravity +1 Use Art in Gravity




SORREC

Background/History: Te planetCataval, inhabited by the our-armedCatavalans, is home to many nativemartial arts. One o the most brutal isK’rova, a style sometimes comparedto the Muay Tai o Earth or itsemphasis on close-in combat, theuse o elbows and knees as natural

weapons, and the speed with which itspractitioners fight. It also happens tobe one o the most popular sports onthe planet, with skilled fighters havinglarge “an clubs” and earning millionso credits in endorsement deals.

One o the most popular fighterson the circuit today is Sorrec, a hand-some, muscular athlete whose atherwas a well-known K’rovist severaldecades ago. Although he hasn’t yetwon the World Championship inhis weight class, he’s taken nearlyall the other titles (including twowith record-time knockouts). Mostcommentators think it’s only a mattero time beore he’s on the top o theheap.

When not in the ring, Sorreccontinues to attract attention by datingmodels and actresses, appearing atall the best parties and clubs, andgenerally being a “celebrity.” He’s evenbegun trying his hand at acting a bit,aiming or a career in holo-movieswhen he decides to retire rom thering.

SORREC Val Char Cost Roll Notes15 STR 5 12- Lift 200 kg; 3d6 HTH damage [1]16 DEX 12 12-18 CON 8 13-10 INT 0 11- PER Roll 11-

10 EGO 0 11-



3 DMCV 04 SPD 20 Phases: 3, 6, 9, 12


6 ED 4 Total: 6 ED (0 rED)6 REC 240 END 4

16 BODY 640 STUN 10 Total Characteristics Cost: 117


Cost Powers END Martial Arts: K’rova



4 Elbow Smash -2 +0 HKA 1½d6 (2½d6 with

STR)5 Grapple -1 -1 Grab Four Limbs, 30 to

STR for holding on

4 Jab-Kick/Punch/

Elbow Strike +2 +0 8d6 Strike

5 Multi-Fist Punch/Roundhouse Kick/

Knee Strike +1 -2 10d6 Strike


13 Tough: Physical Damage Reduction, 50%, Resistant 0

Character Must Be Aware Of Attack (-¼), STUN Only

(-½), Requires A CON Roll (-½)

6 Catavalan Arms: Extra Limbs (2 — two more arms) 0

Inherent (+¼)1 Catavalan Longevity: Life Support (Longevity: 200-year

lifespan) 0

Perks10 Money: Wealthy

4 Positive Reputation: famous fighter/personality 11-(among Catavalans); +2/+2d6

Talents3 Striking Appearance: +1/+1d6

Skills

16 Too Many Fists To Avoid: +2 HTH

1 Acting 8-

3 Breakfall 12-

2 KS: K’rova 11-

2 KS: The Martial World 11-

2 PS: K’rova Fighter 11-

3 Stealth 12-

1 Streetwise 8-


Total Cost: 218


10 Distinctive Features: Style (Not Concealable, Noticed And Recognizable, Detectable By Large Group)

5 Hunted: International Fighting Arts Federation (Infre-quently, Mo Pow, Watching)

15 Psychological Complication: Has To Be The Best

(Common, Strong)

10 Psychological Complication: Braggart (Common,Moderate)

10 Social Complication: Famous (Frequently, Minor)

5 Rivalry: Professional, with another K’rovist



5




Personality/Motivation: Sorrec is as good atfighting as he is or two reasons. Te first is thathe’s naturally physically talented; athletic pursuitscome to him easily. But second, and more impor-tant, is his drive to win. He doesn’t ever want tocome in second to anyone. He’ll push himsel ashard as he has to, and do anything he can (shorto cheating, which he abhors), to ensure that hecomes out on top. He’s not going to rest until he’sthe planetary champion and everyone knows it.Ten, afer he’s held onto the title long enough toprove himsel, he can retire while he’s still NumberOne and go on to conquer some other field. Andhe’s not particularly shy about letting people knowhow good he is, which makes some Catavalansdislike him.

Quote: <<“Who’s the best? I’m the best! I’m theastest, I’m the toughest, I’m the strongest, I’m thebest! ”>>

Powers/Tactics: Sorrec is a master practitioner oK’rova, a ast, hammering style o hand-to-handcombat. Although it has blocking maneuvers,

K’rova mostly ocuses on all-out offense — andSorrec agrees with that philosophy. He startsmost matches with a rapid flurry o attacks.Te particular substyle o K’rova that he studiesemphasizes blocking with the lower pair o armswhile attacking with the upper pair and the legs,but sometimes he abandons even that tactic to puteverything he’s got into smashing his opponentdown as ast as possible.

Campaign Use: Sorrec’s most likely to appear inadventures in which the PCs compete in a fightingtournament on Cataval, or otherwise get involvedin wrongdoings related to Catavalan proessional

fighting. But he might also meet the PCs socially,or come to them or help afer something happensin his personal lie that he needs to take care owithout arousing media scrutiny.

o make Sorrec a tougher fighter, give himsome Physical Damage Negation or increase hisSPD to 5 or 6 (the special effect o the latter beingthat he’s particular skilled at using his our arms toattack repeatedly). o weaken him, reduce his CVsand his Extra DCs.

Sorrec doesn’t Hunt people.

Appearance: Sorrec is a Catavalan, a member o aour-armed humanoid species rom the side o the

Milky Way Galaxy opposite Earth. When readyor a fight, he wears the typical garb o a K’rovapractitioner: a tunic-like garment ormed o stripso colored cloth wrapped around the upper body;a broad leather belt with a buckle emblem whoseshape denotes rank (in his case, it’s shaped sort olike an irregular pentagon), tight-fitting pants, andsof leather boots that come to mid-cal.




OTHER GENRESHere are a ew notes on how martial arts

eature in other genres.

POST-APOCALYPTIC HERO

Martial arts aren’t particularly common inPost-Apocalyptic novels and movies, exceptperhaps when they depict what parts o Asia are

like afer the apocalypse occurs. However, in agaming context, they may appear requently. Forexample, in Post-Apocalyptic settings that havereverted to Fantasy-level technology, weapons-based fighting styles may emerge.

BROTHER MORÁK

Background/History: Since the ime o Firesand the all o the Civ, a ew dedicated men andwomen have devoted their lives to trying topreserve the knowledge and relics o the past, inthe hope that Civ may one day return. One such

group o people is the Brotherhood o St. arsis,a religious order. Te brothers and sisters o theorder go orth to explore the world and seek outpre-Fire artiacts — particularly books, which theBrotherhood treasures and makes handwrittencopies o.

One o the Brotherhood’s most successul“seekers” is Brother Morák, a devout man in hisearly 30s. Like so many o the brothers he’s aoundling, a baby lef on the door o the monas-tery by some unortunate woman. Raised by theorder, he was indoctrinated with its belies roman early age and embraced them wholeheartedly.

When the time came to choose how he wouldserve the Brotherhood, he had no hesitation —he wanted to be a seeker. rained in the order’sspecial style o staff-fighting, he’s wandered thewastes ever since, bringing back many treasures tothe monastery vaults.

Personality/Motivation: Brother Morák isconvinced — convinced — that Civ can one dayrise again, that men have learned rom theirmistakes and won’t repeat them. As such it’s theduty o all responsible men to do what they canto help Civ return. In his case that means usinghis strength, determination, and skill to find and“rescue” pre-apocalypse books and other valuableartiacts. He’s put himsel in harm’s way again andagain just or the hope o acquiring a long-lostbook, and he’ll continue with his chosen task aslong as God gives him the health and ability to doso.

Quote: “Look at this! One o the compendia o theabled anica — and it’s nearly intact! We have toget this back to the monastery at all costs!”

SUGGESTED EQUIPMENT


Staff +0 — 4d6 N — — 10

Dagger +0 +0 1d6-1 +0 — 8 Can Be

Thrown ArmorTarsian leathers (2 PD/2 ED, Activation Roll 11-)

GearTwo large satchels; two protective cases for carrying fragile books and artifacts; flintand tinder; travel rations; two waterskins

5




BROTHER MORAK Val Char Cost Roll Notes15 STR 5 12- Lift 200 kg; 3d6 HTH damage [1]

12 DEX 4 11-16 CON 6 12-16 INT 6 12- PER Roll 12-13 EGO 3 12-


6 OCV 15

6 DCV 153 OMCV 03 DMCV 0

4 SPD 20 Phases: 3, 6, 9, 12

6 PD 4 Total: 6 PD (0 rPD)5 ED 3 Total: 5 ED (0 rED)

8 REC 435 END 315 BODY 5



Cost Powers END Martial Arts: Tarsian Staff-fighting



4 Disarm -1 +1 Disarm, 25 STR to Disarm

roll3 Legsweep +2 -1 Weapon +1 DC Strike,

Target Falls

4 Shove +0 +0 +15 STR to Shove

4 Strike +0 +2 Weapon +2 DC Strike

5 Smash -2 +1 Weapon +4 DC Strike

1 Use Art Barehanded

Perks2 Membership: monk of the Brotherhood of St. Tarsis

Talents4 Lightning Reflexes: +8 DEX to act first with All HTH

Attacks

Skills16 +2 HTH

3 Breakfall 11-

7 Concealment 14-

1 Electronics 8-

6 AKs: 6 points’ worth, chosen by the GM

2 KS: History 11-

2 KS: Theology Of St. Tarsis 11-

2 Languages: 2 pre-apocalypse languages (basic conversa-

tion each)

1 Literate

1 Lockpicking 8-

1 Security Systems 8

3 Stealth 11-

6 Survival (Deserts, Ruins, Temperate/Subtropical) 12-

3 WF: Common Melee Weapons, Staffs


Total Cost: 193

175 Matching Complications (50)10 Hunted: gang of radiation-twisted mutants (Infrequently,

Mo Pow, Limited Geographical Area)

15 Psychological Complication: Devoted To Collecting And

Preserving Books And Artifacts Of The Past (Common,Strong)

5 Psychological Complication: Devout Christian(Uncommon, Moderate)

20 Social Complication: Subject To Orders (Very Frequently,Major)



Powers/Tactics: Te Brotherhood o St. arsislong ago developed a style o staff-fighting to teachits members who had to go out in the world, anda set o unarmed techniques as well (it chose thestaff as a weapon because it looks like an innoc-uous walking-stick most o the time, and is easyto replace i broken). Brother Morák is a master oarsian Staff-fighting, able to strike with blindingspeed and great accuracy. He’s usually calm andsof-spoken, but when it becomes apparent that violence is inevitable, he immediately launches anattack in the hope o catching his opponents off-guard with his aggressiveness. I he realizes he haslittle or no chance o winning, he’ll withdraw andflee; he considers his pride ar, ar less importantthan accomplishing his mission.

Campaign Use: Brother Morák could spark allsorts o plots based on finds that he makes, placeshe wants to explore, or even rescues that he needswhen one o his quests goes bad. He’s too much oa anatic to be deterred by sensible warnings, andthat’s always a signpost to adventure.

o make Brother Morák more powerul, givehim some Extra DCs or even +1 SPD. o weaken

him, reduce his Lightning Reflexes to +4.Brother Morák doesn’t Hunt people — he

hunts books and artiacts.

Appearance: Years o wandering the radioac-tive wastelands in search o precious books andartiacts have lef Brother Morák a whipcord-thin,rawboned man whose skin’s been burned brownby the sun. He wears a white hooded monk’s robetied at the waist with a simple cord, and carries apack on his back and his staff in his right hand.His hair and beard are shaggy and unkempt, butnot extremely long (he hacks them both off with aknie when necessary).




VICTORIAN HERO

Te Victorian approach to martial arts is likethe Pulp approach, only moreso. Oriental fightingskills are extremely rare, though it’s certainlypossible that a PC might choose “I was trained inthe Far East” as his character shtick. Alternately,a late Victorian period character might have thechance to learn Baritsu (see Chapter One) or somesimilar European style developed by someone

who’s been exposed to Asian martial arts.WESTERN HERO

Anyone who’s ever watched the television showKung Fu knows it’s possible or characters to useAsian martial arts in a Wild West setting — aferall, thousands o Chinese were allowed into theUnited States to build railroads and work at othermenial jobs. But olks like Kwai Chang Caine arerelatively rare. Fighting styles like Boxing andDirty Infighting/Fisticuffs/Cinematic Brawlingare the only ones most Western Hero PCs willever see, though occasionally a character mightencounter someone who knows Fencing.

However, you don’t have to be that “realistic”;a clever GM can easily merge the world o the OldWest with the world o martial arts. PCs couldencounter Chinese gold miners, laundry workers,or railroad workers, any o whom might know alittle Kung Fu. Even such seemingly outlandishideas as a wandering Shaolin priest or a Chinesemonster or ghost aren’t out o the question,although you should keep such encounters toa minimum or else you’ll spoil the eel o mostWestern Hero campaigns.

FAST FISTS AND FASTGUNS: THE OLD WESTMEETS THE FAR EAST

Tere have been a number o movies wherethe world o the martial arts has mixed withthat o the Wild West. A short list includes:

Kung Fu: Warner Brothers elevision, 1972.American V series about a Shaolin priesthiding out in the Old West while on the runrom the Imperial Chinese government.

Once Upon A Time In China And America: Film Workshop Ltd., 1997. Hong Kong filmeaturing Chinese olk hero Wong Fei Hong visiting turn-o-the-century Caliornia.

Red Sun: Warner Brothers, 1971. CharlesBronson and oshiro Miune as a bandit and asamurai orced to work together to find a stolensword meant as a gif or the President o the

United States.Shanghai Noon: ouchstone Pictures, 2000.Hollywood production eaturing Jackie Chanas an Imperial guardsman searching or akidnapped Chinese princess in the “WildWest.”

“This is the West, not the East. The sun

may rise where we come from... but here

is where it sets. ”

- Chon Wang (Jackie Chan), Shanghai Noon

5



CHAPTER SIX

BLOOD AND STEEL

MARTIAL ARTS COMBAT



242 n Blood And Steel Hero System 6th Edition

COMBAT AND

MARTIAL MANEUVERS

This section supplements Chapter Treeo 6E2, which discusses Combat andMartial Maneuvers. Tese rules applyto Martial Arts campaigns, and in other

types o campaigns at the GM’s discretion.See also APG 166-71 or expanded rules or

some Combat/Martial Maneuvers, most o whichare appropriate (i not tailor-made or) Martial

Arts campaigns.

General RulesA character cannot Link two or more Martial

Maneuvers together.A character cannot Push his Martial Maneu-

vers. However, he can Push the SR that he useswhen attacking with them.

PARTIAL MANEUVERS

Some Martial Maneuvers have more thanone element or “aspect,” such as Block-Grab orBlock-Trow. In most cases it’s not necessary or

a character to use all aspects o a Maneuver —he can use only those aspects he wants to. Forexample, a Reversal allows a character to Escapea Grab, and then Grab the person who Grabbedhim. A character with Reversal doesn’t have toperorm the Grab i he doesn’t want to; he cansimply Escape, and then end the Maneuver at thatpoint. Another good example is the Joint Lock/Trow, which involves Grabbing the target’s limband bending it to orce the target to the ground. Acharacter doesn’t have to use either the “NND” orthe “Trow” aspects o this Maneuver i he preersnot to. (O course, an attack or Maneuver which“Must Follow” a particular Maneuver or which isa “Response” to a Maneuver cannot be used on itsown.)

However, sometimes one element acts as a“prerequisite” or another, or the definition o theManeuver dictates that all elements have to beused. For example, with Choke Hold, a charactercannot use the “NND” element without first usingthe “Grab” element. Similarly, most Trow-basedManeuvers do their damage in whole or in part byslamming the target to the ground, so not usingthe arget Falls element makes the Maneuvermeaningless.

Tus, you have to look at the Maneuver romthe perspective o special effects, common sense,and dramatic sense. In light o that, the GM couldallow a character to use only part o a Maneuveri he wanted — but even so, that should be theexception, not the rule. Maneuvers with multipleelements are packaged together specificallybecause they’re meant to be used together; a char-

acter who doesn’t want to do those things togethershould purchase two Maneuvers that each do oneo the things the “combo” Maneuver does all atonce. Te GM has the final say regarding whetheran element has to be used in a Maneuver.

MARTIAL MANEUVERS THAT IMPROVESTANDARD MANEUVERS

Many Martial Maneuvers — such as DeensiveStrike, Martial Strike, Offensive Strike, MartialDodge, Martial Block, and Martial Grab — areessentially just “improved” versions o StandardCombat Maneuvers. Tey either provide an OCVbonus, a DCV bonus, a damage bonus, and/or

some other enhanced ability (such as the extraGrabbing SR rom a Martial Grab). Tey unc-tion identically to the regular Combat Maneuverso similar name, but with different modifiers. Seethe descriptions o the relevant Standard CombatManeuvers or more inormation.

USING STANDARD MANEUVERS

Players o martial artist characters some-times orget that their characters can still use theStandard and Optional Combat Maneuvers romChapter Tree o 6E2. Any PC who orgets orturns up his nose at the Standard and OptionalCombat Maneuvers unnecessarily limits himsel.

Most beginning martial artist characters won’tstart the game with Martial Maneuvers o everytype... so a martial artist without Martial Grabshould still use the standard Grab, one without theMartial Disarm can still use the standard Disarm,one without the Martial Dodge can still utilize thestandard Dodge, and so on. Combat Skill Levelswith a Martial Arts style don’t apply to StandardManeuvers, but 8-point CSLs with All HHCombat do.

6



Hero System Martial Arts n Chapter Six 24

CONVERTING MARTIAL MANEUVERS TO STANDARD MANEUVERS

In some campaigns, the GM may wish to makea Martial Maneuver (such as a kick or Bind) aStandard Maneuver. Tere’s nothing wrong withthis, i it doesn’t unbalance the campaign and theGM keeps two things in mind.

First, there should be some justificationin realism or the genre or making a Martial

Maneuver Standard. For instance, in FantasyHero Weapon Bind is a Standard Maneuver, sinceweapons combat is such a prevalent part o thatgenre (see below). Another example is campaignsthat allow any character to perorm some sort o“kick” Maneuver, on the grounds that anyone cankick somebody else and do more damage than apunch, it’s just not as easy as punching them.

Second, Standard Maneuvers derived romMartial Maneuvers should never be as effectiveas their martial counterparts, so characters whobuy Martial Maneuvers still benefit rom doing so.For example, a standard “kick” Maneuver shouldimpose CV penalties a standard Strike does not,

and shouldn’t add as much damage as a compa-rable martial arts “kick” Maneuver. As a good ruleo thumb, a Standard Maneuver should cost about0-1 points when built using the Martial Maneuverconstruction rules.

Players should also remember that liberalapplication o special effects can “convert” aStandard Maneuver into a Martial Maneuver. Forexample, you could define a Grab and Trow asa “ootsweep” or “takedown” o some sort (i youdidn’t want to use the rip Maneuver or somereason).

Bindo use Bind, a character perorms an OCV

versus OCV attack as with a Block; a successulhit binds his opponent’s weapon, resulting in atemporary deadlock. Te attack does no actualdamage. Normally, the attacker uses a weapon,and binds the target’s by pinning it up against thetarget’s body. However, characters can use thisManeuver bare-handed, usually by pinning thetarget’s weapon arm against his body, or pinningthe target’s weapon under the target’s own armafer a wild swing.

I the character’s Attack Roll succeeds, the

target’s weapon is momentarily bound; bothfighters immediately make SR Rolls. I thetarget possesses the Escape Maneuver or the BindManeuver, he can use its SR bonus in the SRVersus SR Rolls. I he knows both, he can onlyuse the bonus rom one o them. I the attackerwins or the roll is a tie, the Bind stays in effect;i the deender wins, he breaks the Bind and thefight can resume normally.

I the attacker wins another, immediate SRRoll (which takes no time but may only beattempted once per Phase), he may also elect toshove his opponent back 1-2m, maintaining theBind, as long as there’s room or the deender to

move backwards; i the attacker ails or merely tiesthis second SR Roll, he may not do this.

On each o the Bound character’s Phases, bothcharacters again roll the SR Versus SR Rolls,as beore. Tis takes the Bound character a HalPhase; resisting an attempt to escape the Bind is anAction which takes no time. Te Bound charactercan ollow his attempt to escape with an attack ormovement. (I the weapon remains Bound, thecharacter cannot use it in an attack.) Te deendercan also break a Bind automatically by moving 2mbackward in one o his Phases.

While the characters remain Bound together,they may still talk, attack with their ree hands (iany), and so orth. Tey are at their normal OCVand DCV against one another, but the Boundcharacter is at ½ DCV against attacks rom thirdparties, while the attacker is at ull DCV againstattacks rom third parties.

A Bind is not considered a “deensive action”or purposes o Aborting.

BIND IN FANTASY HERO

At the GM’s option, characters in Fantasycampaigns (and other campaigns, i appropriate)can use a new Standard Combat Maneuver, Bind .A Bind allows a character to “lock up” anothercharacter’s weapon, preventing him rom usingit but not actually disarming him. A basic Bindis +0 OCV, +0 DCV, takes a Hal Phase, and i itsucceeds allows the two characters to engage in aSR Versus SR Contest as described above.

Characters may use Bind against an opponent’sshield. A Bound shield provides no DCV bonus toits wielder.

Block Don’t orget the visual element o the combatyou’re describing. A Block is a Block, but visu-ally it can be any number o things. A martialartist can Block a punch or weapon by catchingthe incoming wrist on his own wrist or orearm;he can Block a kick by using the orearm or acounterkick; he can Block a sword attack by clap-ping the incoming blade between his two hands (apopular technique in the movies).

BLOCKING POWERFUL ATTACKS

As noted on 6E2 58, Block isn’t affected by therelative SRs o the two characters involved. Simi-larly, the power o the attack being Blocked doesn’tdecrease a character’s chances to Block. However,in some Martial Arts movies and other media,Blocking powerul HH Combat attacks can causethe Blocker difficulties. o represent this, the GMcan use some or all o the ollowing optional rules:

n When a character Blocks an attack, he poten-tially suffers damage due to the power o theattack, the attack’s afershock, or the like.Compare the DCs in the attack to the char-acter’s PD (including any relevant specialabilities, i appropriate). (Use the character’sED i it’s an energy attack.) For each point by

which the DCs exceed his PD, he takes 1 SUN

Ifyou on

make a

attack and fa

there is littl

chance of suc

if you use the

same approach

again.

- Miyamoto

Musashi,

Go Rin No S

(“A Book o

Five Rings




damage rom Blocking the attack. I he takesmore than 10 SUN rom a single attack thisway, he also takes 1 BODY damage.

n When a character Blocks an attack, the orce othe attack may knock him backwards. Comparethe DCs in the attack to the character’s dice oNormal Damage rom his SR (do not includeHA dice, Martial Maneuver dice, or the like, just raw SR). For every 1 point by which the

DCs exceed his SR dice, the character suffers1m Knockback. (reat this as regular Knock-back or purposes o avoiding the effects, andthe like.)

RANGED ATTACKS AND DEFLECTION

With the GM’s permission, a character may usea Block-based Martial Maneuver when Blocking aRanged attack (see 6E2 59) so that he gains the CVbonuses or the Maneuver. However, unless theGM rules otherwise, characters cannot use Block-based Martial Maneuvers when using Deflection.

Choke HoldTe rules or Choke (6E2 84) apply to ChokeHold. For more inormation about martial artsNNDs, reer to Nerve Strike, below.

INCREASING CHOKE HOLD STRENGTH

Extra Damage Classes applied to a Choke Holdonly increase the NND damage done; they cannotincrease the SR o the hold. I a character hasMartial Grab, or some other Maneuver that addsSR to Grab, he does not get the benefits o thatextra SR when using Choke Hold. Choke Holdand Martial Grab are completely separate Martial

Maneuvers.However, there are ways a character canincrease the SR he uses to maintain a ChokeHold. Te first would be to buy extra SR that’sOnly Usable o Maintain Chokes/Choke Holds (-2). Second, the GM can waive the above ruleand allow a character to decided rom use touse whether Extra DCs applied to a Choke Holdincrease the SR o the hold or the NND damage(or, i the GM permits, to split them between thetwo unctions). Tird, you could reconstruct theManeuver to add an Exert Element that increasesthe SR o the hold.

CoverIn Martial Arts movies, characters seem to be

able to break out o being Covered with consid-erable ease; it doesn’t require a distraction or amomentary lapse on the Covering character’s partto effect this. Tereore, in Martial Arts campaigns(but not other sorts o campaigns, unless the GMpermits), a character can make an attack (usuallya Disarm) while Covered, without the Coveringcharacter going first, under the ollowingcircumstances:

n i he has Fast Draw and succeeds with his rollby more than the Covering character makes hisSight Group PER Roll;

n i he has Sleight O Hand and succeeds withhis roll by more than the Covering charactermakes his Sight Group PER Roll; or

n i he succeeds with a DEX Roll by more thanthe Covering character makes his DEX Roll.

Beore attempting to break the Cover, the char-acter must decide which o the three methods touse. I he ails his roll, the character Covering himcan choose to attack him with the Covering attack.

Crusho use Crush, a character Grabs his target in a

Phase (he could then Squeeze the target, i desired,per the usual rules or Grab). In his next Phase,provided the target hasn’t escaped, the charactercan attack with his Crush (he can’t do that onthe same Phase because it’s a Maneuver with the

Follows Element). Tis requires an Attack Roll(modified by the Maneuver’s OCV modifier, thetarget’s DCV penalty or being Grabbed, and soorth). I a character wants to repeatedly Crushsomeone, he has to make an Attack Roll eachPhase he uses the Maneuver.

DodgeUsing the Maneuver creation rules in Chapter

wo, a character could create a Martial Maneuverthat combines Dodge with an Element such asarget Falls, thus allowing him to (or example)“trip” people who attack him. However, youmust apply common sense when using such aManeuver. For example, the arget Falls part othe maneuver would only affect HH attackers,not persons who attack the character at range.

A character could make a Hal Move and thendeclare an ordinary Dodge as his Action, but ocourse cannot make a Hal Move while Abortingto a Dodge.

FeintsA eint is a alse or deceptive move designed to

trick an opponent into reacting the wrong way so

he exposes himsel to the attacker’s real attack. Inthe HERO System, characters can simulate eintsin several ways:

n using the optional Feint Skill (page 210)

n using Sleight O Hand to trick opponents (page203)

n buying an ability defined as a eint, such asFalse Disengage or Feint in Chapter Tree

Te Feint ability in Chapter Tree is built as aDrain DCV. One o the options describes a way toachieve the same effect using Images.

“Knowledge

studies

thers,

isdom is self-

nown;

uscle masters

rothers,

elf-mastery is

one. ”

- Lao Tzu,

Tao Te Ching

6




around an obstacle doesn’t ensure he’ll get therein time — all the Maneuver provides is a DCVbonus.

I a character uses a Flying Dodge against aRanged attack, the Range Modifier that applies tothe attacker derives rom the distance between theattacker and where the character is at the end ohis movement. For example, i a character beginsa Flying Dodge 8m away rom his attacker (-0Range Modifier) and ends it 24m rom his attacker(-4 Range Modifier), the attacker suffers a -4Range Modifier penalty.

I a character uses Flying Dodge, but gets hitwith an attack anyway, and that attack causesKnockback, calculate the Knockback rom thelocation the character moved to when he usedFlying Dodge.

Flying Kick Several styles, such as Kung Fu and ae Kwon

Do, have a flying kick o some sort as one o theirManeuvers. In HERO System terms the flying kick

is represented as a Sacrifice Strike, not a PassingStrike, to achieve the necessary level o power (the+v/10 element o the Passing Strike rarely addsenough damage to equal the +4 DC o the Sacri-fice Strike). However, in Superheroic games, wherecharacters ofen have large amounts o movement,a Passing Strike might more accurately reflect thissort o attack.

Full MoveUnless some more specific rule or description

indicates otherwise, the FMove Element allows a

character to perorm the attack involved at anypoint along his movement path. He can make theattack as he passes by someone and then keepmoving, or he can choose to stop moving afer hehits the target i he preers.

Characters who want to attack multiple targetsusing a Martial Maneuver built with the FMove Element can do so using the rules or MultipleAttack on 6E2 74. Tey cannot use the rules orperorming a Move By multiple times on a singletarget on 6E2 75, unless the GM specificallychooses to permit this.

GrabTe additional and expanded rules or Grabon APG 167-68 are highly appropriate or mostMartial Arts games.

GRABBING AND WEAPONS USE

A Grabbed character finds it harder to useweapons. Depending upon what limbs he has ree,he may not be able to use any weapons at all — ithe Grabbed character only has a sword, and anattacker immobilizes his sword-arm, he can’t usethe sword (at least not in that hand; i it’s possibleto draw the sword with his off-hand, he couldtry to use it with the usual off-hand penalties).

Assuming weapons use is possible, a Grabbedcharacter can use any Short weapon at no addi-tional penalty, any Medium weapon at a -2 penaltyto OCV, and any Long weapon at a -5 penalty toOCV.

Grab WeaponWhen one character Grabs another’s weapon

(whether with the standard Grab Maneuveror a Martial Maneuver with the Grab Weaponelement), this does not affect the DCV o eithercharacter. Te Grabbing character take no damagerom touching or grabbing hold o the weapon.

Joint Locks AndRelated Maneuvers

Several types o Maneuvers — the Joint Break,the Joint Lock/Trow, and Grabs defined as “JointLocks” — are perormed by grabbing hold o alimb and bending it in such a way that the target

cannot use it. Sometimes this involves bending thelimb in the direction it’s designed to move, but ina manner which “locks” it. More commonly, theseManeuvers bends a joint in a way it’s not supposedto bend. Tis causes great pain (simulated by theNND DMG Element o the Joint Lock/Trowmaneuver). Tis may also break the joint (theKilling Damage and Disable elements o the JointBreak) or orce the target to all down (the Trowelement). Te holding and locking aspect o theseManeuvers is o course simulated with the Grabelement.

In adjudicating the effects o joint-breakingManeuvers, the GM should careully consider thenature o the attack. Standard resistant deenses,such as a superhero’s “bulletproo spandex” or asoldier’s flak jacket, offer little (i any) protectionagainst having one’s joints bent backwards. Onthe other hand, suits o metal armor and similarequipment might completely protect the jointrom bending the wrong way. Te GM mightwant to grant these attacks a sort o NND effectwhere the “deense” against the attack is wearingsomething which keeps the joint rom being bentbackwards, having pliable limbs (i.e., Stretching),buying an Exert Maneuver to fight the effect o the joint-break, or something similar. However, this

could make joint-breaks more effective than othertypes o Killing Damage Maneuvers, so the GMshould be careul not to unbalance the campaignby doing this.

GMs should also keep the Impairing andDisabling rules (6E2 111) in mind when charac-ters use joint-breaks; reer also to the discussion oDisabling Attacks on page 251.

ROLEPLAYING

COMBAT

As you read through this

chapter, remember not

only the strategic aspects

of the rules, but the

roleplaying aspects as

well. All too often playersand GMs look at combat

solely as an exercise

in tactics, strategy, and

power-gaming, but in fact

it has a lot of roleplaying

potential.

When using martial arts,

you can best realize this

potential if you “talk out”

your battles as much as

possible. This simply

means describing what

your character does inreal-world terms rather

than just game terms. “I

hit him with my Offensive

Strike” is a lot less

exciting than “I step to

his side, pivot, and kick

him hard in the ribs!”

Roleplaying combat is

fun, adds an important

dimension to the battle,

and can even

result in some

tactical bonuses

— such as whenthe GM likes a

Maneuver’s descrip-

tion so much he awards

a Surprise Move bonus to

the character.

When describing attacks

this way, you don’t have

to use Hit Location penal-

ties. A player can say,

“Okay, I punch him in the

head!” without taking a

-8 OCV penalty. As long

as the character doesn’treceive the game bene-

fits of hitting someone

in the Head (x2 BODY, x2

NSTUN, and so forth), he

doesn’t suffer the penal-

ties either. A “described

shot” to the Head does

ordinary damage, it’s just

portrayed that way to

make the combat more

enjoyable. Of course, if

the character wants the

extra damage for hitting

his opponent in the Head,

6




Killing ThrowKilling Trows divide into two types. Te first

type, discussed under Joint Locks And Related Maneuvers, above, involves twisting a joint tobreak it and orce the target to all down. Tedamage occurs during the throw, not as a resulto the target’s impact with the ground. Te otheris a throw intended to make the target all insuch a way that he takes Killing Damage (brokenbones and the like) because o his impact withthe ground. Players and GMs should keep these“special effects” in mind when creating KillingTrow Maneuvers and adjudicating their effects.

Martial EscapeTe time required to perorm a Martial Escape

(or to use the Escape Element o any Maneuver)depends upon the situation. See 6E2 92 orguidelines.

I a Maneuver which has Escape as one oits eatures also has some other element which

affects the person whose Grab is being Escapedrom (such as arget Falls or Disarm), the secondelement only works i the Escape succeeds.

Move By/Move ThroughMove By and Move Trough can increase the

damage done by a weapon (see 6E2 99-102 ordetails). At the GM’s discretion, Move Bys andMove Troughs may add damage to NND attacks.Each 10m velocity rom a Move By, or 6m velocityrom a Move Trough, adds +½d6 NND to theNND attack. Te NND attack has to be some sort

o physical punch or blow rather than a nervetouch or energy discharge, o course.Move By and Move Trough are specific

Combat Maneuvers. You can’t do an “OffensiveStrike Move Trough,” adding both +4d6 romthe Offensive Strike Maneuver and +v/6 damagerom the Move Trough. You use only the basicdamage or the attack (or instance, SR rom apunch, or weapon damage plus SR bonuses or aweapon) plus the velocity modifier. Tis means ia character has a Killing Strike Martial Maneuver,he can’t use it with a Move By or Move Trough:they’re two distinct, separate Maneuvers he cannotcombine.

Multiple Attack Multiple Attack, especially when perormed by

a character with the Rapid Attack and/or Deensive Attack Skills, is ideal or all sorts o martial artsattacks against multiple targets (or even the use otwo or more Martial Maneuvers against a singletarget, such as to Disarm and then Strike him). It’sparticularly useul in Video Game campaigns or“combo moves” that finish off an opponent with aflashy series o attacks.

Te optional rule or allowing characters

to mix offensive and deensive maneuvers in a

Multiple Attack (APG 170) is ideal or manyhigher-powered or action-oriented Martial Artscampaigns. It would allow a character to, orexample, block an attack by striking the attackerso hard that the blow intereres with his attack (inMultiple Attack terms, that would be a Block-Strike sequence). However, a character remainssubject to the standard rules about Aborting —he can’t Abort to, say, a Block-Strike because it’sillegal to Abort to an attack. Tereore, a char-acter who wants to use a Block- or Dodge-basedManeuver in a Multiple Attack sequence typicallyhas to Hold his Action while waiting or a sloweropponent to attack.

Te rule regarding Multiple Attack with Chokeand Grab Weapon on 6E2 75 also applies to ChokeHold, Crush, akeaway, and Bind. Multiple Attackdoes not work with Maneuvers such as Root andEscape (which are not attacks), most attacks withthe Follow Element (the Multiple Attack wouldhave to be perormed with the original attack),and Shove (which a character can already use onseveral people at once as described on APG 170).

Nerve StrikeHere are some additional rules, options,

and ideas or Nerve Strike (and other MartialManeuver-based NNDs).

DEFENSES FOR NERVE STRIKES

6E2 describes two basic types o NND strikesand their possible deenses: some orm origid Resistant PD over the body’s vital pointsor a Nerve Strike (“NND(1)”); rigid ResistantProtection (resistant PD) on the neck or nothaving to breathe or a Choke Hold (“NND(2)”).

Tese options are perectly acceptable or mostcampaigns, but can cause problems in Superheroiccampaigns or other games where those deensesare common (which makes the Maneuversuseless).

I this problem exists in your campaign, there’sa twoold solution: first, define the deenses to aNerve Strike better; second, offer more potentialdeenses, so Nerve Strikes have some variety. Asalways, the GM has the final say on what deensesare acceptable. Here’s an expanded list o possibledeenses, with explanations:

NND 1: Rigid Resistant PD on vital areas

NND 2: Rigid Resistant PD on the neck or nothaving to breathe

NND 3: Rigid Resistant PD on a specific HitLocation

NND 4: Solid ear coverings

NND 5: Resistance

NND 6: PD Resistant Protection or Power Deense

NND 7: Various deenses against joint-bending;see below

NND 1: Rigid Resistant PD on vital areas: Te

NND(1) deense requires the target to have solid,

he can take the -8 OC

penalty for his attack

the usual way.

Players who want a

better idea of the “vis

elements” of their

characters’ martial ar

Maneuvers can consu

some of the books list

in the Bibliography.




rigid resistant PD over his vital points. “Rigid”means a sufficiently solid deense to prevent theattacker rom being contacting the target’s vitalpoints. Te stereotypical “bulletproo spandex”worn by many superheroes is not stiff enoughor this purpose. Nor does the super-strong skino most “brick” characters suffice, since theystill have nerve endings a trained martial artistcan find and strike. (A brick with tough “plates”in place o skin, or who transorms into rockor metal, probably has “rigid” deenses, as doesany brick who took Reduced Sense O ouch as aPhysical Complication because his super-toughskin prevents him rom eeling things properly.)Suits o powered armor, kevlar backed by ceramicor steel plates, PD Resistant Protection defined asa “orce-field,” and similar types o Resistant PDblock this Nerve Strike.

“Vital points” are particularly vulnerable placeson the body. Tey include nerve clusters close tothe skin, places where an attack can quickly andeasily cut off blood flow (such as the neck), placeswhere vital organs are relatively close to the skin,

locations where an attack can easily interrupt theflow o ch’i throughout the body, and so orth. Incampaigns eaturing a wide variety o humanoidspecies, such as some Science Fiction settings,a martial artist may have to buy a Science Skillreflecting his knowledge o a particular species’sanatomy to use this type o Nerve Strike againstthat species. An NND(1) may have no effect, orreduced effect, on some species (particularly non-humanoid ones).

NND 2: Rigid Resistant PD on the neck or nothaving to breathe: Tis is the deense or ChokeHolds and other NND strikes which cut off the

target’s ability to breathe. Te general commentsabout deenses appropriate or NND(1) apply hereas well.

NND 3: Rigid Resistant PD on a specific Hit Loca-tion: NND(3) is the deense or a Nerve Strikewhich always targets a specific nerve cluster or vital point. Te character must define the targetpoint when he buys the Nerve Strike. As withother attacks targeting a particular Hit Location,such a strike should not receive any Attack Roll ordamage modifiers because o the location struck.

NND 4: Solid ear coverings: NND(4) is thedeense or a Nerve Strike defined as clapping

one’s palms against the target’s ears, causingterrible pain (and sometimes disorientation). A“bulletproo spandex” mask or super-strong skinoffers no protection against this sort o attack; ahelmet, earphone-like gadgets, or having no earswould.

NND 5: Resistance: NND(5) attacks cause somuch agony that only characters who can with-stand a high level o pain (i.e., who’ve bought thealent Resistance) have any deense against them.In some cases, unusual nervous systems andcertain other powers or abilities might also act as adeense against this NND.

NND 6: PD Resistant Protection that costs END orPower Deense: NND(6) usually represents somesort o mystical, ch’i-based ability to hurt a targetby attacking his lie orce. Only PD ResistantProtection that costs END (e.g., a “orce-field” sorto power) or Power Deense offers enough protec-tion to save someone rom this sort o attack.

NND 7: Deenses against joint-bending: Charac-ters use NND(7) to simulate the excruciating pain

caused by Maneuvers which bend or torque a jointin a way it’s not supposed to move. Te deensesagainst this include Resistance, having rigid armoron the joint in question which prevents improperbending, Powers with a similar effect (such asStretching), or SR (as a Characteristic or ExertManeuver) double or more that o the SR used tobend the joint. In some cases the alent Double- Jointed may have the same effect. Reer to thediscussion o joint-locks and similar Maneuvers,above, or more inormation.

DISABLING NERVE STRIKES

Characters can use Nerve Strikes to tempo-

rarily Impair or Disable a limb. See page 251.

TWO OR MORE NERVE STRIKES

As discussed on 6E1 326, characters normallyshouldn’t have more than one NND attack (atleast, not without GM permission). Gamemas-ters may want to consider careully whether acharacter should have more than one MartialManeuver with the NND DMG Element(including Choke Holds). In many cases, NNDstrikes are different enough that it doesn’t unbal-ance play or a character to have more than one.

INCREASING NERVE STRIKE EFFECTIVENESS

Depending on the type o campaign and acharacter’s SR, a Nerve Strike as described in therules may not be a wise tactical choice comparedto a Normal Damage attack with more dice. Evenallowing or the act that all the NND Damageapplies i the target lacks the deense (which insome campaigns doesn’t happen very ofen), aSR+Martial Strike attack (to take one example)will get more damage through the target’s deensesin many cases, simply due to the amount o dicerolled. An NND Damage Martial Maneuver hassome potential secondary benefits (such as nochance to cause BODY damage), but in manycases it ends up playing second fiddle to high-diceNormal Damage attacks. Tat leads characters toavoid using them, and maybe even to avoid buyingthem.

I this is the case in a campaign, the GMmight want to consider rectiying the situationby increasing the effectiveness o NND DamageMartial Maneuvers. Te simplest way to do thisis to improve the amount o damage they do(without increasing their cost) until they becomea valid tactical option. For example, i the averageNND Damage Martial Maneuvers does 7 pointso SUN damage to an average target, while theaverage Normal Damage HH Combat attack

does 15 points o SUN damage, you can make

VITAL POINTS

AROUND THE

WORLD

The body’s vital points

are known in Japan as

kyusho (and an attack

against those points

is an atemi strike); in

China as tien-hsueh ;

in Korea as kuepso or

keupso ; in Vietnam as

huyet ; in Indonesia as

rahasia ; and in India as

marman .

6




the NNDs a viable choice by doubling the amounto damage they do. Another possibility might beto change “NND Damage” to “AVAD Damage.”

Passing DisarmStandard Disarm rules (such as how ar the

Disarmed object goes flying) apply to PassingDisarms. I the character wants to be able to

keep the weapon or object he snatches rom thetarget while moving past him, he’d need to build aPassing akeaway type o Maneuver.

The Response ElementI a character has a Martial Maneuver with the

Response Element defined that it only works aferhis opponent perorms some Maneuver or action,the opponent has to complete the Maneuver/action — just starting it isn’t enough. However,the opponent doesn’t have to complete it success-ully; or example, a Maneuver that’s a Responseto an attack doesn’t require that the attack hit orhurt the character. However, i a Maneuver MustFollow Block, the character must successully Blockan attack with it; i the Block ails, he can’t use theManeuver to “respond.”

A Response-based Maneuver can only beused against the character who “triggers” it. Forexample, i an attack Must Follow Block, a char-acter can only use its attack against the person he just successully Blocked; he can’t make an attackagainst some third party.

I a character has a Martial Maneuver withResponse that specifies an attack as the precondi-tion or the Maneuver, that means any type o

that attack. For example, a Maneuver with “MustFollow Grab” works with any type o Grab —i.e., a standard Grab Combat Maneuver, or anyManeuver with the “Grab Opponent” Element(Martial Grab, Grappling Block, Joint Lock, or thelike). Te GM has the final say as to what sort oattacks trigger a “Must Follow” Maneuver.

RootCharacters use the Root Maneuver to counter

Shove and Martial Maneuvers that offer the sameunctionality. Use the SR rom a Root to calculatethe total SR opposing a Shove.

But note that Root also has the Block Element.Tis is just another way o defining the resistanceto being Shoved: i the character Blocks a Shove,it has no effect on him at all. Te special effect inthis case is “immovability,” not the typical blockassociated with most martial arts — the Shoverhas struck the Rooted character solidly, but hasn’tmoved him! I the Block ails, the character canstill use the extra SR rom the Root to resistShove. In most cases, the GM should not allowcharacters to use the Block element o the RootManeuver to Block attacks other than Shoves, butthis depends upon the situation.

Characters with the Root Maneuver may addits SR to their own when they Brace to resistKnockback (6E2 117).

Root assumes the character’s standing on theground. A character cannot use it to, or example,stay in the saddle while mounted or remain seatedatop a wall.

Takeaway Visually, a akeaway can look as rough as

grabbing a weapon and yanking it out o thetarget’s hand, or can be more elegant, resemblinga Disarm in which the weapon flies out o thetarget’s hand and into the attacker’s. In any event,the attacking character takes no damage rom theweapon when he takes it away.

When a character perorms a akeaway, he canimmediately toss the weapon to someone or handit to a character within his Reach as an Actionwhich takes no time. ossing the weapon atsomeone to hurt or even distract him constitutesan attack, so he can’t do it until his next Phase.

I a character has a akeaway Maneuver, atthe GM’s option he can use it to deend againstakeaway Maneuvers used by persons attackinghim, using the same optional rule as or Disarms(6E2 60).

ThrowTe expanded rules or Trow on APG 171 are

highly appropriate or Martial Arts campaigns.With the GM’s permission, a character could

define the Trow aspect o a Martial Maneuver asa Slam (see 6E2 62) rather than a true Trow, thus

allowing him to maintain a hold on the target.O course, this means the Maneuver also has toinvolve a Grab, or be preceded by a Grab.

The Velocity/10 ElementI a character uses a Martial Maneuver with the

v/10 Element (or v/6 ), such as a Martial Trow, hedoesn’t take damage i he ails to do Knockbackto the target. Te v/10 Element doesn’t imposeany requirement on characters to do Knockbackor suffer damage — that’s one way in which theytend to be better than the standard Move By orMove Trough, which is why characters have to

pay Character Points or them instead o gettingto use them or ree. I a character wants to createa Maneuver that has that requirement, he can usethe ake Hal/Full Damage restrictive Elementto build the Maneuver and work with the GM todefine the damaging aspect as only affecting him ihe ails to do Knockback.

As always, the GM should evaluate each situ-ation individually, and decide based on commonsense, dramatic sense, special effects, and consid-erations o game balance what happens. Regard-less o the Maneuver used, a GM might decidethat a character who’s stupid enough to charge

right into a brick wall will probably hurt himsel.

Heshould

kill a l

being, nor cau

to be killed, n

should he inc

another to ki

Do not injure

any being, eith

strong or wea

the world.

Sutta Nipat

II,14




SPECIAL CASES &

OPTIONAL RULEST

his section includes some rules orcombat in unusual situations, as well assome new types o Combat Modifiers.In some cases, these rules supplement

the rules or environmental conditions on 6E2 47.Te GM decides whether to use these rules in hiscampaign.

BLINDED CHARACTERS AND MARTIAL ARTS

As you know, when blinded, a character is at ½DCV, ½ OCV in HH Combat, and 0 OCV withRanged Combat; i he can make a PER Roll witha Nontargeting Sense, then he is only -1 DCV, ½OCV in HH, and ½ OCV at range.

However, when a character Grabs another char-acter, he gets a bonus in hand-to-hand combat.Grabbing and holding onto another characterautomatically gives the attacker a successul PERRoll with a Nontargeting Sense (ouch) against

that oe. However, he’s still at ½ DCV against theperson he has Grabbed.

In other words, i a blinded character can Grabhis oe, he’ll be only at -1 OCV and ½ DCV whenfighting his opponent. He’s at 0 OCV againstanyone he’s not Grabbing, and is at 0 DCV atrange.

BOUND CHARACTERS AND MARTIAL ARTS

When a martial artist is bound, he suffers OCV

and DCV penalties.

Hands Bound in Front: Te character is at -1DCV, and is at -1 OCV or all HH attacks andCombat Maneuvers (including Martial Maneu- vers). Te GM may rule that he cannot use certainweapons (such as bows).

Hands Bound in Back: Te character is at -1 DCV,and is at ½ OCV or all HH attacks and CombatManeuvers (including Martial Maneuvers).Te GM may rule that he cannot use any handweapons or punching Maneuvers.

Feet Bound Apart: Te character is at -1 DCV,

and his running speed is cut in hal. He is at -1OCV because he cannot move in on his oe as ast

as normal. (Tis OCV minus is eliminated i he’sGrabbing his opponent; see Grab, above.) FeetBound Apart means they’re shackled together withrestraints that allow the character a very short,hobbled stride (usually one to two eet). Te GMmay rule that the character cannot use any kickingManeuvers (except through use o Acrobatics, orwhen kicking rom a prone position).

Feet Bound Together: Te character is at ½ DCV,and his running (hopping) speed is reduced to 2mper Phase. He’s at ½ OCV because he moves in onhis oe so slowly. (Tis OCV minus is eliminated ihe’s Grabbing his opponent; see Grab, above.) TeGM may rule that the character cannot use anyKicking Maneuvers (except through use o Acro-batics, or when kicking rom a prone position).

Combinations: Tese modifiers are cumulative.wo -1 modifiers means a ½ multiplier to the CV,and two ½ multipliers or a ½ and a -1 mean a 0CV.

For example, a character with his hands bound

in ront and his eet bound apart is at ½ OCV, ½DCV, and hal running speed. A character with hishands bound in back and his eet bound togetheris at 0 OCV, 0 DCV, and cannot run (though i heis able to get up, he can hop at 2m per Phase; theGM should require a DEX roll at -3 or an ordinaryAcrobatics roll to stand up unassisted, and oneDEX or Acrobatics roll per Phase o hopping).

NEGATING THE EFFECTS OF BEING BOUND

Te Contortionist Skill allows a character to slipout o bonds. Also, i the character has missed hisContortionist roll to slip his bonds, but the situa-tion warrants (i.e., the GM says it’s possible), the

character with Contortionist can change “handsbound in back” to “hands bound in ront” bycontorting his bound wrists over his legs.

A character with Acrobatics can negate theeffects o being bound or each Phase he success-ully makes his Skill Roll. I the character’s handsare bound in ront, he receives a -1 to Acrobatics;i his hands are bound in back, he receives a -3; ihis eet are bound apart, he receives a -2; i his eetare bound together, he receives a -5; and combi-nations o the above are cumulative (i.e., handsbound in back and eet bound together mean a-8). Each Phase the character makes his Acrobaticsroll at the listed penalties; i he succeeds, he canignore the OCV and DCV penalties o his boundstate during that Phase.

6




CASUAL STR VERSUS BARRIERS

In martial arts films, characters ofen punch orthrust through a door, wall, or even roo to stabthe assassin on the other side. Tis can already bedone in the HERO System, but it’s not as effec-tive as in the martial arts films, because the PD

and BODY o the intervening surace reduce thedamage done by the attack.

o make this trick work, you can use optionalrule: i the character’s Casual Strength attack (halthe character’s Strike damage or hal his weapondamage, modified by hal his SR) does enough topenetrate a barrier, the barrier doesn’t reduce thedamage his attack causes. (Note: this doesn’t applyto the Barrier Power, just to mundane barriers likeordinary walls.)

Example: David Li knows his opponent is on theother side o the door. He cannot see his oe andso attacks at ½ OCV; however, his oe is trying to

be still and stealthy, and does not see the attackcoming, so he is at 0 DCV. David’s Attack Rollsucceeds. His SR is 15, and his Offensive Strike(kick) adds 4d6, or a total o 7d6; thereore halo that is 3½d6. Te GM rules the door has 2 PD,2 BODY. David rolls his 3½d6, coming up with 4BODY, just enough to get through. David can dohis ull Kick damage to his unseen oe.

CONCEALEDWEAPONS AND

GADGETSTe Concealment rules rom the HERO System

presume you’re concealing Obvious, AccessibleFoci, and require a PER Roll versus Concealmentroll (with various modifiers) to detect the object.But many o the weapons built or martial artistcharacters are built as Inobvious Accessible Foci.Tough they’re in “plain sight” most o the time,they’re either artully built into another object, orclever decoration or construction cleverly disguisetheir true purpose.

Te Inobvious part o the Focus Limitationcorresponds to a Concealment “Skill” o 13- (11-

base roll, +2 or the act that the weapon is builtinto an object); extremely well made concealedweapons may merit higher Concealment “Skills.”Tereore, when someone tries to spot an Inob- vious (or concealed) object, that person makesa PER Roll against the object’s Concealment rollin a Skill Versus Skill Contest. A successul rollonly reveals that there’s something unusual in theconstruction o the item; the perceiving characterhas to perorm a hands-on search with anotherPER Roll versus Concealment Roll contest to openthe weapon up or determine what it does.

Naturally, once the Inobvious weapon is usedas such, it’s no longer Inobvious. When you pull

your ninja-to out o its sheath disguised as a vacuum cleaner, your opponent doesn’t have tomake a PER Roll to realize what it is; its unctionis now obvious.

DISABLING ATTACKSSometimes a character benefits most in combat

not by doing raw SUN to an opponent but bydisabling or weakening him so he fights less effec-tively, making it easier to deeat him. In the HEROSystem, there are our ways to attack to disable.Also reer to the rules on breaking limbs on 6E2107.

STANDARD IMPAIRING AND DISABLING RULES

Te first is to do enough damage to a limb toImpair or Disable it, as described on 6E2 111-12.Tis orm o Disabling usually results rom anattack which, though not specifically intended todisable, does enough damage to Impair/Disablethe area anyway. Attacks o this sort suffer the

standard Attack Roll and damage modifiers or thelocation struck (but o course, the damage modi-fier does not matter or purposes o determiningwhether a limb has been Impaired or Disabled).

Te advantage to using this orm o disablingattack is that it’s likely to result in long-termImpairment or Disablement. Te drawbacks arethe Attack Roll and damage modifiers, and thepossibility o severely injuring the target.

THE DISABLE ELEMENT

Te second way is to buy a Martial Maneuverwith the Disable Element. Maneuvers o this sortare specifically intended to target limbs, and do

not suffer Attack Roll or damage penalties or thelocation targeted.A Disable-based attack makes it easy to Impair

or Disable a limb, or even to break or destroy one.On the other hand, characters can normally onlyuse an attack with the Disable Element or thatone purpose, and it may be too severe in somesituations. Characters should consider Pullingtheir Punch or using ewer dice in situationswhere too much damage to a limb will have inap-propriate or undramatic consequences.

DISABLING NERVE STRIKE

Te third way to disable a limb is to use a

Nerve Strike to temporarily Impair or Disable it.o Impair a location, the SUN done by the blowmust equal or exceed the target’s BODY score,either beore or afer modifiers or the Hit Loca-tion. I a character has 12 BODY, the Nerve Strikemust inflict 12 SUN. o Disable a location, theSUN done by the blow must equal or exceed2x the target’s BODY score, either beore or afermodifiers or the Hit Location. I a character has10 BODY, the Nerve Strike must inflict 20 SUN.

Nerve Strike disabling attacks suffer the stan-dard Attack Roll penalties or the area they areaimed at, but do not suffer damage penalties (orbonuses). Te precise effects o the Impairing or

Disabling blow are listed on the accompanying

“All of man

work is a

bloody busine

- Yamamoto

Tsunetomo,

Hagakure




just about any style, whereas a chain mail shirtmight only impose a -1 to -2 on most styles.

o eliminate this OCV penalty, characters needonly buy a 1-point Element or their martial artsstyle, Use Art in Armor . o eliminate the DCVpenalties, characters can buy Deensive PenaltySkill Levels.

Styles specially intended or use by armoredfighters (such as Kenjutsu or Weapons Combat)do not require their practitioners to purchase thisElement; it’s a “deault” Element o that style.

CLUTTERED AND CRAMPED AREAS

Penalties or fighting in cluttered and crampedareas are described on 6E2 47. Based on the typeo area, a character may not be able to use certaintypes o Maneuvers (such as Flying Kicks, Maneu- vers with the FMove Element, and various kindso kicks and sweeps) at all; this may also affect hisability to use some weapons (see 6E2 201-202). Acharacter may be able to eliminate some o thesepenalties with a successul Acrobatics roll.

MOUNTS

Sometimes martial artists have to fight whileriding a horse or some other mount. Tis is ocourse most common in Fantasy campaigns, butcan occur in other settings as well. I the mount isunruly and bucks, the character’s at -3 OCV whilefighting. Characters can eliminate this penalty bysucceeding with a Riding roll. See 6E2 30 or moreinormation on mounted combat.

TIGHTROPES AND NARROW SURFACES

Penalties or fighting on narrow suraces, suchas tightropes and some ledges or tree limbs, aredescribed on 6E2 47. Additionally, some Maneu-

vers (such as kicks) are not practical in such asituation, and using them may involve additionalpenalties. A character can eliminate all o thesepenalties i he succeeds with an Acrobatics roll.On wide enough suraces, he may even receive abonus to his roll.

KNOCKBACK Te rules about increasing Knockback on 6E2

115 are particularly appropriate or the more ree-wheeling styles o Martial Arts campaigns, such asAnime and Video Game.

Conversely, sometimes a character wants tomake sure he doesn’t do any Knockback — suchas when he’s using a sequence attack (see below),or when he doesn’t want to risk knocking hisenemy off o a bridge and into the river, wherehe can escape. As an optional rule, characters inthis situation can “pull” their Knockback, similarto Pulling A Punch. Te character takes a flat -2penalty to his OCV, and i his attack hits, it doesno Knockback at all.

SEQUENCE ATTACKSA sequence attack (also known as a pattern

attack) is an attack built up over several Phases togain an advantage over an opponent in the end.Visually, a sequence attack usually requires theattacker to make several eints or attacks whosemain purpose is to orce the target into a disadvantageous position or the final blow — settingthe enemy up or the kill, in other words.

Characters can use two types o sequenceattacks: unstructured and structured. TeGM should decide which o these two types osequence attacks to allow in his campaign, i any.Although sequence attacks are intended primarilyor HH Combat, in some situations it might bepossible to use them with Ranged Combat (orexample, deliberately missing someone with threeshots to orce him into an open area where he hasno cover to hide behind).

UNSTRUCTURED SEQUENCE ATTACKS

In an unstructured sequence attack, theattacker doesn’t have to speciy in advance whichManeuvers he’ll use against his target — in act,Maneuvers aren’t really used at all. o beginan unstructured sequence attack, the characterdeclares the length (in Phases) o the sequencehe intends to attempt. An unstructured sequenceattack can be o any length, but tends to have apractical limit o three to five Phases.

o execute the sequence, the character makesan attack against his target in each Phase o thesequence. He makes this attack against the target’sbase DCV (i.e., without any Maneuver modifiersor Combat Skill Levels). Te attacker may use any

Combat Skill Levels he has with HH Combator with an entire Martial Arts style; he may notuse CSLs that only apply to one or two specificManeuvers. A hit does no damage — it doesn’tactually contact the target at all, it simply indicatesthe target was moved into position or the nextpart o the sequence.

For the unstructured sequence attack tosucceed, the character has to “hit” his targetduring each Phase o the sequence. I he stops thesequence at any time, i he misses even one o theattacks, or i he takes Knockback/Knockdown,is Stunned, or is Knocked Out, the sequenceis disrupted and ruined. (However, i he takes

damage without being knocked back, Stunned, orKnocked Out, the sequence is not disrupted —sometimes a fighter deliberately subjects himselto punishment to deliver a truly telling blowagainst his enemy.)

Te character realizes the benefits o makinga sequence attack in the first Phase afer thesequence ends. Tat benefit is: or every Phase othe sequence, the attacker may add +1 to his OCVor +1 DC to the damage he does to the target. Teattacker must pick one option or the other; hecannot, or example, use hal o his Phases or anOCV bonus and hal or a damage bonus. Tus, asequence attack offers the attacker the chance toset a superior fighter up or a devastating blow.

toll. He performs the t

part of his sequence a

rolls a 7, easily drawin

Sotomura further into

trap.

In Phase 3 of the next

Turn, Sotomura once

again tries his knifeha

attack, and again mis

Inohara feints at himagain, rolls a 10, and

successfully complete

his sequence attack.

In Phase 6, Sotomura

connects with his Knif

hand Strike, doing 8 BO

24 STUN, no Knockbac

Inohara is on the rope

but now he has Sotom

right where he wants

He chooses to add +4

to his normal 6d6 atta

puts all of his Levels i

OCV, and launches a s

kick. Sotomura’s DCV

currently 10, Inohara’s

OCV is 8. He rolls an 8

and connects! He rol

43 STUN, 11 BODY, an

4m Knockback, Stunn

Sotomura and knockin

him out of the ring. Th

Princess is his at last!




STRUCTURED SEQUENCE ATTACKS

Structured sequence attacks are similar tounstructured sequence attacks, with a ew impor-tant differences.

First, the attacker must speciy in advancewhich Maneuvers he’ll use in each o the Phaseso his attack. Each Maneuver must be offensivein nature, whether it’s a Strike, Trow, Disarm,Bind, or what have you — no Dodges, Blocks, or

other primarily deensive Maneuvers allowed. Allnormal modifiers apply, and the attack is madeagainst the target’s DCV as modified by Maneu- vers, levels, and the like.

Second, i the attacks made during a structuredsequence attack hit, the target does take damage,but only hal damage.

Tird, afer the attacker successully completesthe sequence, he gains a bonus o +1 OCV or +1DC damage per Phase o the sequence, and hemay divide his bonuses between OCV and damageas he pleases.

DETECTING AND DEFENDING

AGAINST SEQUENCE ATTACKSOne o the reasons sequence attacks are sodifficult is that they’re relatively easy to detect andavoid.

o detect a sequence attack (o either type),the target can make a roll against any o theollowing Skills: Analyze Style, actics, KS:[attacker’s specific martial arts style]. I the targetdoes not have any o these Skills, the GM may athis option allow the character to make a PER Rollat -4. Regardless o which Skill the target uses,the attacker may attempt an Acting or Sleight OHand roll to make his sequence attack harder todetect; or every 2 points he makes the roll by, he

imposes a -1 to the target’s roll.A character can avoid a sequence attack

in many ways. Te first is to not get hit — ithe target can block or dodge even one o thesequence’s blows, the whole sequence alls apart.Second, he can Stun, Knock Out, or do Knock-back to his attacker, or hit him with a Maneuverthat ruins the sequence (such as a Martial Grab).Tird, he can simply move ar enough away romhis attacker to orce him to make a Full Moveto catch up — this is enough to break up thesequence, since the attacker has to orego an attackto ollow his quarry. Fourth, the GM might rule

that some Surprise Moves disrupt the sequencebecause they startle the attacker.

SEQUENCE ATTACKS BETWEENPLAYER CHARACTERS

It’s even more difficult or a PC to use asequence attack on another PC, because it’s virtu-ally impossible to hide the act that the character’susing a sequence attack. Once the other playerrealizes what’s going on, he can easily have hischaracter disrupt the sequence.

Te only way or a PC to use a sequence attackon another PC without giving himsel away is toenlist the help o the GM. Usually this is done in

advance, but it can also be done by passing the

GM a note or speaking with him privately. Teplayer should inorm the GM o what he wantsto do, and the GM helps him by maintaining adeceptive ront. Tis requires a high level o playerand GM cooperation, and may require the playerto give alse readings o his die rolls in some cases(or example, in an unstructured sequence attack,telling the other player that an attack made againsthis character just missed, while secretly signallingthe GM that the attack hit or purposes o main-taining the sequence).

WOUNDSHere are some expanded rules or exploiting

injuries in HH Combat.

TARGETING INJURED AREAS

Sometimes a character wants to target an oppo-nent’s existing injuries or infirmities as a way oweakening, disabling, or torturing him. Tis isn’talways very heroic, o course — but then again,not all characters are heroes.

For purposes o these rules, an injury orwound is defined as any point on the body wherea character has taken BODY damage, regardlesso the type o attack used to inflict that damage orwhether the area is visibly injured. Cuts and stabwounds rom swords and knives, claw woundsrom animals, bullet wounds, and the like are all“injuries.”

argeting an existing injury can be easy ordifficult, depending on the size o the wound.A large wound (or example, a long cut roma sword) imposes a -4 to -5 OCV modifier. Amedium-sized wound (or example, claw wounds

rom a tiger) imposes a -5 to -7 OCV modifier.A small wound (or example, a stab wound or abullet wound) imposes a -7 to -12 OCV modifier.Tese modifiers take the place o the Hit Locationmodifiers normally used or Placed Shots (in effectthe wound becomes a separate target).

Hitting a wound or injured area has severalpainul effects. Te first hit to an existing wound isso painul that negative damage modifiers (such asx½) or SUN and BODY or the location o thewound are ignored. Te victim takes ull damage,calculated with any positive modifiers (such asx1½ or x2).

Te second hit to an existing injury has the

same effect as the first hit, plus it Impairs thearea (the GM should roll the Impairment imenormally). Te third and any subsequent hits to anexisting injury have the same effect as the secondhit, plus the BODY damage done by the attack isPenetrating. (At the GM’s option, the attack mayinstead automatically be Disabling.)

TWISTING THE BLADE

A avorite trick o many villains (and a ew vengeul heroes) is to stick a weapon into anenemy and then twist the blade, causing intensepain and a worse wound. o do this in HEROSystem combat, the attacking character must

declare his intention to twist the blade beore he

STRUCTURED

SEQUENCE

ATTACK EXAMPLE

In the example given in

the main text, suppose

that Inohara had declared

a structured sequence

attack using these

Maneuvers: Punch,

Punch, Knifehand Strike,

and Spin Kick. His

attacks are made against

Sotomura’s regular

DCV (his base of 8, plus

any levels or Maneuver

modifiers available). Each

hit damages Sotomura,

but he only takes half

damage. At the end,

after each attack hits,

Inohara gets a bonus of+4, which he may split

between OCV and Extra

DC of damage, as he

chooses.

6




makes the initial attack; urthermore, characterscan only perorm this Maneuver with Short orMedium length weapons. Te attack is at -3 OCV(to reflect both the difficulty o impaling someonethis way and certain game balance considerations),and must do BODY damage to the target. I thetarget takes Knockback, the attempt automaticallyails. I the attack succeeds, does BODY, and doesno Knockback, and the target cannot escape (seebelow), then in his next Phase the attacker may

twist the blade in the wound, doing hal o theweapon’s base damage (i.e., damage without SRor Damage Classes added to it), against which thetarget gets no deenses at all. wisting the blade inthis way is a Hal Phase Action (but may only beperormed once per Phase), so the character canmake another attack, i possible.

Te victim o this sort o attack can escapehaving the blade twisted in several ways. First,he can Knock Out, Stun, or kill his attacker withan attack o his own. Because the attacker has toget extremely close to the target to try an attacko this sort, he is at -2 DCV against attacks thetarget makes against him. Second, he can use a

Full Phase Action to try to move off o the weaponwithout injuring himsel. Tis requires the targetto step away rom his attacker and make a DEXRoll at -1 per BODY taken rom the initial attack.I the DEX Roll succeeds, the target extracts theblade without sustaining urther injury. I the rollails, the target takes damage just as i the attackerhad twisted the blade. I the target cannot moveaway rom his attacker (or example, i he’s beenbacked against a wall), then he cannot remove theblade rom himsel in this ashion.

TARGETI

WOUND

EXAMP

The tongs h

Xiu Kwan,

the lin kuei

assassin, to

a prominen

shopkeeper

who refused

to pay them

protection

money. The

killing is

supposed to

painful to se

an example

Xiu ambush

his target

during the

working daywhere seve

customers

and other

merchants can see hi

First he throws a volle

of shuriken, doing 2

BODY to the victim’s

Right Leg, 1 BODY to

Chest, and 1 BODY to

Left Arm. Then he mo

in to make his

victim suffer. The

GM rules the leg

wound is smalland imposes a -8

OCV modifier on Xiu. W

all of his levels in OCV

Xiu targets the leg wo

and hits it, causing fu

STUN (no x½ modifie

applied). Then, to mak

sure the shopkeeper

won’t run away, Xiu h

the leg wound again,

causing full STUN and

Impairing the leg for 1

hour (GM rolls 4 on th

Impairment Time Tab

If he hits it a third tim

the BODY damage do

is Penetrating.

TWISTING THEBLADE EXAMPLE

Isamu (CV 7) and Takeshi (CV 6), two kenjutsuka,

hate each other bitterly. They begin to duel with

katanas. Isamu decides he will try to hit Takeshi

and then twist the blade, to make Takeshi suffer.

Isamu uses a Lightning Stroke; his OCV is 7 (base

of 7, +2 for the Maneuver, +1 for the weapon, -3

for the attempt to impale). He rolls a 9 and hits. Theweapon does a base 1½d6 HKA, and Isamu is STR

10, so the attack does 2d6+1 HKA total. He rolls 8

for damage, penetrating Takeshi’s 4 PD Armor and

doing 4 BODY. The Hit Location Roll says Takeshi

was struck in the stomach, so he takes 32 STUN

against his defenses. Isamu’s katana is now stuck

in Takeshi’s body.

Takeshi decides he’d better get off of Isamu’s

katana before he’s hurt worse. He decides to try

a DEX Roll at -4 (-1 per BODY taken), and fails

miserably. Because of his failure, he takes half of

the weapon’s base damage, with no defense. Isamu

rolls ½d6+1 for damage, for a total of 3 BODYand 12 STUN, which Takeshi takes all of (he gets

no defense). In Isamu’s next Phase, he twists the

blade, doing 3 more BODY and 12 STUN. Takeshi is

unconscious and bleeding to death.




MARTIAL ARTS

WEAPONST

his section describes weapons (andother gear) appropriate or martialarts characters and campaigns. Costsor each weapon are given, so you can

use them in Superheroic campaigns; or Heroiccampaigns, characters don’t have to pay points orthese weapons, but are subject to the listed SRMinimum (see below).

All HH Combat weapons are built as HKAs(or HAs) with the Advantage Reduced Endurance (0 END; +½) and the Limitations OAF (-1), RealWeapon (-¼), and Strength Minimum (varies).Many also have the Required Hands Limitation.Ranged weapons are built as RKAs with some orall o the ollowing Limitations: Focus (OAF; -1),SR Minimum, Required Hands, Real Weapon,Beam, and Charges (indicating the number orounds o ammunition the average user carries).

OCV: Tis is applied as a bonus or penalty againstall attacks made with the weapon. OCV bonusesare bought as a 2-point Combat Skill Level withthe Limitations OAF, Required Hands, and RealWeapon. OCV penalties are a minor Side Effect (automatically occurs; -½) or the weapon.

RMod: Tis represents a modifier to the weapon’saccuracy at Range. Positive values (bought as

1-point Penalty Skill Levels versus the RangeGroup with the Focus and Required Hands Limita-tions) help to offset the standard Range Modifier;negative values (a minor Side Effect (automaticallyoccurs; -½)) add to it. RMod can never raise acharacter’s base OCV, it can only negate penalties.

Damage: Te amount o damage the weapondoes. An “N” indicates Normal Damage; other-wise damage is Killing.

6




MELEE WEAPONS TABLEName OCV Damage STUNx STRMin A/R Cost Length Culture Notes

Axes & Maces

Axe, Chinese +0 1d6 +0 11 27/10 M China RBS

Copper Hammer +0 4d6 N — 10 30/10 S China

Hand Mace +0 1d6 +0 11 23/9 M China

Soft Hammer +0 1½d6 +0 12 38/14 M China

Blades

Arit +0 1d6 +0 8 23/10 M Indonesia M

Bokken +0 5d6 N — 10 38/14 M Japan 1½H

Bundi +0 1d6 +0 10 24/9 M India +1 OCV w/ Block

Butterfly Sword +0 1d6+1 +0 9 31/12 M China

Cutlass +0 1d6 +0 10 41/13 M Europe

Cymbal +0 1d6 +0 10 26/10 S China RBS

Darn Do +0 1d6+1 +0 12 31/12 M China

Epee +0 2d6 N — 7 16/6 M Europe

Foil +0 1d6 N — 5 8/3 M Europe

Hook Sword +0 1d6+1 +0 13 55/19 M China +2 OCV w/Bind, Block, Disarm, Takeaway; 1

Jien +0 1d6 +0 10 23/9 M China

Katana +1 1½d6 +0 12 40/14 M Japan 1½H

Knuck-Knife +0 ½d6 +0 7 33/10 S USA 1

Ko-Gatana +0 ½d6 +0 5 15/6 S Japan

Kris (knife) +0 ½d6 +0 7 15/6 S Indonesia

Kris (normal) +0 1d6 +0 10 23/9 M Indonesia

Kris (sword) +0 1d6+1 +0 12 31/12 M Indonesia

Kukri +0 1d6-1 +0 6 21/8 S India RBS

Main-Gauche +0 1d6-1 +0 7 22/9 S Europe +2 OCV w/Block

Navaja +0 ½d6 +0 5 15/6 S Europe

Nine-Ring Sword +0 1d6+1 +0 12 37/15 M China +1 OCV with Disarm, Takeaway

Ninja-To +0 1½d6 +0 12 See text M Japan RBS, 1½H; Ninja Weapon, see text

No-Daichi +0 2d6 +0 17 47/14 L Japan 2H

Parang +0 1d6+1 +0 10 31/12 M Indonesia

Pedang +0 1d6 +0 10 23/9 M Indonesia

Puñal +0 1 point +0 5 7/3 S Europe

Rapier +1 1d6 +0 10 23/9 M Europe

Razor, Straight

Large +0 1d6 -1 7 22/7 S Various Reduced Penetration

Small +0 ½d6 -1 5 15/5 S Various Reduced Penetration

Sabre +0 1d6 +0 10 23/9 M Europe

Schlaeger +0 1d6 +0 10 23/9 M Europe

Shinai +0 2d6 N — 5 16/6 M Japan 1½H

Spread-The-Water Knife +0 1d6 +0 10 23/9 M China

Tanto +0 ½d6 +0 5 21/12 S Japan RBS

Tetsu-To +0 2½d6 +0 20 61/17 M Japan 1½H

Tjaluk +0 ½d6 +0 8 15/6 S Indonesia

Urumi +0 1d6 +0 12 31/12 M India May be up to AF (4 shots), see text

Wakizashi +0 1d6 +0 8 23/9 M Japan RBS

Yoroi-Toshi +0 1d6-1AP +0 10 21/8 S Japan




Chain and Rope Weapons

Kusari +0 3d6 N — 9 25/9 EL Japan 2H

Kusarigama or Kyogetsu Shoge See text EL Japan 2H, Ninja Weapon; see Kusari, Kama

Manriki-Gusari or Kusari-fundo +0 3d6 N — 8 27/8 M Japan RBS, Ninja Weapon

Rante See text L Indonesia

Using Chain +0 3d6 N — 5

Using Blade +0 ½d6 +0 5

Clubs (Do Not Require Weapon Familiarity)

Chakar +0 6d6 N 20 46/12 M India 2H

Gada +0 5d6 N — 13 38/11 M India 2H

Hanbo +0 3d6 N — 6 23/9 M Japan

Jo +0 3d6 N — 7 23/9 M Japan

Lathi +0 3d6 N — 8 24/10 L India

Makila +0 1d6 8 23/9 M Europe Use Club Weapon for stick blows

Fist-Loads (Do Not Require Weapon Familiarity)

Ashiko +0 ½d6 +0 5 17/7 S Japan +1 to Climbing Roll, Ninja Weapon

Brass Knuckles +0 2d6 N — 3 33/10 S Various 1

Cestus +0 +1 point +0 — 19/5 S Greece See text

Fist-Load +0 2d6 N — 3 15/6 S Various

Nekote +0 1 point +0 3 7/3 S Japan Ninja Weapon

Ring Needle +0 ½d6 +0 4 17/7 S China RBS

Shuko +0 1d6-1 +0 5 20/8 S Japan +1 to Climbing Roll, Ninja Weapon

Polearms 2

Arbir +0 1d6 +0 10 24/9 L Indonesia 2H

Chai-Dao +0 1d6+1 +0 12 32/11 L China 2H

Chiang +0 1d6+1 +0 12 32/11 L China 2H

Ghi +0 1d6+1 +0 13 38/14 L China 2H, +2 OCV w/Bind, Block, Disarm

Naginata +0 1½d6 +0 13 39/13 L Japan 2H

Nine-Dragon Trident +0 1d6+1 +0 13 38/14 L China 2H, +2 OCV w/Bind, Block, Disarm

Tai-Dao/Kwan Dao +0 1½d6 +0 18 39/12 L China 2H

Tiger Fork +0 1½d6 +0 13 39/13 L China 2H

Wolf’s Teeth Staff +0 1½d6 +0 13 39/13 L China 2H

Yari +0 1½d6 +0 13 46/15 L Japan 2H, RBS

Yari (Kamayari) +0 1½d6 +0 14 52/18 L Japan 2H, RBS, +2 OCV w/Bind, Block, Disarm

Miscellaneous Weapons

Bo (Staff) +1 4d6 N — 8 32/11 L Japan 2H, Karate Weapon

Bunot-Page +0 1 pip — 8 52/11 S Phil Poisoned (see text)

Chain Sword +0 1d6 +0 10 23/9 M-L China M-L

Chain Whip +0 1d6 +0 7 24/11 L China

Fang +0 ½d6 +0 8 15/6 S China

Flying Claw +0 1d6 +0 10 29/15 Spec China +7m Reach

Flying Guillotine -1 2d6 +0 10 51/16 Spec China 2H, +6m Reach, Must be Aimed at Extremity

Fo +0 2d6 N +0 5 16/6 M Europe

Garrotte

Strangling +0 3d6 N — 5 37/8 S Various 2H, Must Follow Grab, see text

Wire +0 ½d6 +0 5 22/5 S Various 2H, Must Follow Grab, see text

Lajatang +0 1d6+1 +0 12 31/12 M Indonesia

Kama +0 1d6 +0 11 27/10 M Japan RBS, Karate Weapon

Kanzashi +0 ½d6 -1 5 15/5 S Japan Ninja Weapon

Kiseru +0 2d6 N — 5 15/5 S China

Mourn Staff +0 1½d6 +0 14 31/11 M China

Nunchaku +0 3d6 N — 7 23/9 M Japan Karate Weapon

6




Pendjepit +0 ½d6 +0 10 18/6 S Indonesia +1 with Grab, Grab Weapon, Takeaway

Petjat +0 ½d6 +0 10 23/9 L Indonesia

Rings +0 2d6 N — 7 18/6 S China RBS

Rope Dart +0 ½d6 +0 8 22/13 Spec China +7m Reach

Sai Karate Weapon

Cinematic +0 ½d6 +0 8 23/10 S Japan RBS, +2 OCV w/Bind, Block, Disarm

Normal +0 3d6 N — 8 32/12 S Japan RBS, +2 OCV w/Bind, Block, Disarm

Shinobi-Zue +0 4d6 N — 6 32/12 L Japan 2H, Ninja Weapon

Sword-Spear +0 1d6 +0 12 27/10 M China RBS

Tetsubo +1 6d6 N — 14 47/13 L Japan 2H

Three-Section Staff +0 4d6 N — 9 38/14 Spec China 2H, +2 OCV w/Bind, Block, Disarm; see text

Timbe +0 ½d6 +0 10 17/6 S Japan RBS

Tonfa +1 3d6 N — 7 24/9 S Japan Karate Weapon

Umebi +0 1½d6 +0 — 44/12 S Japan 1m Radius, Triggered when stepped on

War Fan, Basic +0 3d6 N — 6 24/9 S Japan +2 OCV w/Block

War Fan, Edged See text S Japan +2 OCV w/Block

Blunt Attack +0 3d6 N — 6

Razor Attack +0 ½d6 +0 6

Wind/Fire Wheels

+0 ½d6 +0 8 23/10 S China RBS, +2 OCV w/Bind, Block, Disarm

+0 3d6 N — 8 29/12 S China RBS, +2 OCV w/Bind, Block, Disarm

STUNx: Tis is the SUN Multiplier or KillingDamage weapons (a 0 means “no modification”;use the standard ½d6 SUN Multiplier). Applythe SUNx modifier to the SUN Multiplier roll(or to the SUNx or the Hit Location struck,i the campaign uses Hit Location rules). Forexample, i a character with a SUNx +1 weaponhit an opponent in the Head, the total SUNxwould be 6.

STR Min: SR Minimum. See 6E2 199 or rules.Remember to apply the Adding Damage ruleson 6E2 99-102 when using SR to increase thedamage o a weapon bought with Advantages.

A/R Cost: Te Active Point/Real Point cost o theweapon. (For Concealed versions o the weapon,recalculate the cost using IAF (-½) instead o OAF(-1).)

Length: Te weapon’s length — Short, Medium,Long, or Extra Long.

Culture: Te culture or nation which created

the weapon. Te entries in the “Master List” oweapons descriptions ofen contain inormationabout equivalent weapons rom other cultures.

Notes: Any notes about the weapon; reer tothe “Notes And Key” section afer the chart orinormation.

NOTES AND KEY

NotesSee 6E2 198-203 or more inormation on

building weapons.

1. Tese weapons are built so that they protect the

hand, or have a special type o hilt that does so.Tis is bought as: Resistant Protection (6 PD/6ED) (18 Active Points); OAF (-1), Activation Roll11- (-½), Only Protects Te Hands (Hit Location6; -2) (total cost: 4 points).

2. For the Chinese and Japanese polearms, theones that do HKA 1d6+1 damage do 3d6 NormalDamage with a Club Weapon attack; the ones thatdoe HKA 1½d6 damage do 4d6 Normal Damagewith Club Weapon.

Key 1½H: One-and-a-hal-handed weapon (a -¼

Limitation)2H: wo-handed weapon (a -½ Limitation)

AF5: Autofire (5 shots; +½) AP: Armor PiercingConc: Concentration (½ DCV while using)L: Long-length weaponM: Medium-length weaponNWF: No Weapon Familiarity requiredRC: Recoverable ChargesS: Short-length weaponRBS: the weapon can be thrown (apply the RangeBased On SR (+¼) Advantage or (-¼) Limitation,signiying an HKA a character can also throw,so he adds his SR bonus when throwing theweapon)




RANGED WEAPONS TABLEName OCV RMod Damage STUNx STRMin Shots A/R Cost Length Culture Notes

Bows

Arrows

Dragon’s Tongue +0 +0 +1 point — — — 5/2 — Japan

Frog-Crotch +0 +0 +1 point — — — 5/2 — Japan

Hikime +0 +0 3d6 N — — — 15/5 — Japan

Skinsplitter +0 +0 +2 points — — — 7/3 — Japan

Willow Leaf +0 +0 +1 point — — — 5/2 — Japan

Chu-ko-nu +0 +0 1d6+1 +0 10 10 RC 25/7 — China 2H

Hankyu +0 +0 1d6 +0 7 24 RC 26/8 — Japan 2H, Conc

Yumi, One-Man +0 +1 1d6+1 +0 10 24 RC 36/10 — Japan 2H, Conc

Two-Man +0 +1 1½d6 +0 13 24 RC 44/13 — Japan 2H, Conc

Three-Man +0 +1 2d6 +0 16 24 RC 53/14 — Japan 2H, Conc

Four-Man +0 +1 2d6+1 +0 18 24 RC 62/16 — Japan 2H, Conc

Seven-Man +0 +1 2½d6 +0 21 24 RC 71/17 — Japan 2H, Conc

Shuriken

Bo Shuriken +0 +0 1d6-1 0 5 9 RC 24/10 — Japan AF5, RBS

Endokuken +0 +0 1d6 +0 5 9 RC 71/31 — Japan RBS, also poison smoke

(see text)

Large Star +0 +0 1d6+1 0 5 9 RC 40/16 — Japan AF5, RBS

Small Star +0 +0 1d6-1 0 5 9 RC 24/10 — Japan AF5, RBS

Tsubute +0 +0 3d6 N — 5 9 RC 30/12 — Japan AF5, RBS

Miscellaneous Ranged Weapons

Arare

Joarare +0 +0 1d6+1 +0 5 1 RC 25/7 — Japan RBS

Chuarare +0 +0 1d6-1 +0 5 9 RC 18/7 — Japan AF5, RBS

Koarare +0 +0 ½d6 +0 5 9 RC 15/6 — Japan AF5, RBS

Comet Star

Hammer

+0 +0 1d6+1 +0 10 1 RC 45/10 — China Also Entangle 2d6, 2 PD/2

ED, RBS

Dropped Marbles — — — — — 2 RC 18/5 — Japan NWF, RBS, see text

Fukimi-bari +0 +0 1 point +0 1 1 RC 6/2 — Japan AP, No Range, Ninja Weapon

Fukiya +0 +0 1 point -1 2 RC 8 5/1 — Japan Conc

Grenade, Smoke +0 +0 — — — 8 10/4 — Japan Darkness to Normal Sight

2m, RBS, NWF

Iron Mandarin Duck +0 +0 ½d6 +0 6 1 RC 12/3 — China RBS

Kapak +0 +0 ½d6 +0 6 1 RC 12/3 — Indonesia RBS

Metsubishi

Grenade +0 +0 — — — 8 12/4 — Japan

Blown powder +0 +0 — — — 1 10/2 — Japan Sight Group Flash 4d6, No

Range, see text

Nagedeppo +0 +0 1d6 +0 2 9 19/7 — Japan Area Of Effect (2m Radius),

NWF

Sling Bow +0 +0 1d6 +0 9 12 15/4 — China 2H

Steel Olive +0 +0 ½d6 +0 6 12 RC 12/4 — China RBS

Steel Toad +0 +0 ½d6 +0 6 1 RC 12/3 — China RBS

Tetsubishi +0 +0 1d6 +0 — 1 RC 34/10 — Japan

Toami

Small +0 +0 — — 1 1 RC 50/14 — Japan

Normal +0 +0 — — 1 1 RC 60/17 — Japan

Large +0 +0 — — 1 1 RC 60/17 — Japan

Wishful Steel Ball +0 +0 1 pt +0 3 12 RC 6/2 — China RBS

6




Te bo is one o the principal weapons oKarate (the others are kama, nunchaku, sai, eiku,tekko, timbe and rochin, and tona).

Te kuen is one o the most amous weapon oKung Fu; these statistics can also be used or twoother Chinese weapons, the Long Rod ( gunn) andWater and Fire Rod (shui or gunn).

Bokken: Tis is a wooden practice sword shapedlike a katana. It does Normal, not Killing, damage.

It’s no toy or mere practice blade, though; it’s madeo heavy, tough wood, unlike the shinai. Manyduels in eudal Japan were ought with bokken; it’spossible to kill an opponent with one.

Brass Knuckles: Tis classic street weapon is aridged brass knuckle-protector which protectsthe striking hand, allowing the character to strikeharder. Brass Knuckles also provide 6 PD/6 EDResistant Protection to the hand wearing themon an 11- Activation Roll. Te Japanese tetsu andtekko and the Indonesian roti kalong all use thesestatistics.

Bundi: Also known as a katar or a punch-dagger,the bundi is a broad, double-edged knie-bladeset into a rame/handle grasped in the fist (thus,the wielder’s arm appears to have a blade on theend rather than a hand). wo panels o the rame/handle extend down the sides o the arms orabout a oot, helping the user block an enemy’sattacks. Use the bundi’s statistics (minus the +1OCV or Blocks) or any sort o modern punch-dagger or -knie.

Bunot-Page: Tis weapon is simply the tail o astingray, cut rom the animal and used to strikean opponent. Some Arnis/Kali/Escrima expo-nents fight with it. Te stingray spine itsel doesrelatively little damage — but the poison in it cankill. Usually enough poison remains in the tail orabout two good hits. Te effects o the poison arenot included in the cost listed in the table, since it varies in amount and potency; the average poisonwould work roughly as ollows:

Stingray Poison: RKA 1d6, NND (deense isLie Support [appropriate Immunity]; +1), DoesBODY (+1) (45 Active Points); Spine HKA MustDo BODY (-½), No Range (-½), 2 Charges thatNever Recover (-3½). otal cost: 8 points.

Butterfly Sword: Tis short sword has a heavy,flat cleaver-like blade with one cutting edge.

It’s used by ninja and by Kung Fu practitioners,ofen in pairs. Te Willow Lea Knie, the Koreandan sang gum (twin short swords), and the to oKuntao are all very similar in appearance to thebutterfly sword and share the same statistics.

Don’t conuse the Butterfly Sword with thebalisong , a switchblade-like Filipino knie some-times called a “butterfly knie.”

Cestus: Tis weapon is a glove with spikes or jagged protrusions along its knuckles and back.Te character using it does his normal Punchdamage, and also does 1 point o Killing damage(he cannot add to this with his SR; it always

does only 1 point o Killing damage). Te Cestus

provides 4 PD/4 ED Resistant Protection to thehand wearing it.

Chai-Dao: Tis Chinese polearm is also called the“Bandit’s Encampment Broadsword.” It’s usuallyabout 5’3” tall, with 2’6” o that length a wickedcurved blade; the rest is haf. raditionally, it wasused in camp deense, ofen to chop at the legs ohorses riding through.

Chain Sword: Tis weapon, called lien tzu jen inChinese, consisted o two sword-like blades aboutas long as a human orearm connected by 1-2’o chain. Sometimes the blades can be detachedor throwing (this would be bought by turningthe weapon into a Multipower: one slot or theconnected blades, one with two RecoverableCharges o RKA that Lockout the HKA).

Chain Whip: Tis Chinese weapon (bian) is likea whip, but its length consists o metal platesconnected by chain links; it has a slashing bladeat the tip. It shares a Weapon Familiarity with thenormal bullwhip, but lacks that weapon’s range.Tis weapon’s statistics also apply to the bian tzuchiang , or Whip Spear, a 6’-plus length o chainwhip with a spearhead attached at both ends.

Chakar: Tis unusual weapon, used by Gatkapractitioners, resembles a wagon wheel with aheavy weight at the end o each spoke. o use it,the wielder spins it, building up momentum andpower, and then strikes with it to cause seriouscrushing injuries.

Chiang: Te Chinese spear, which comes indozens o unusual styles. Ofen the spear has ared tassel tied behind its head, partly or decora-tion and partly to keep blood rom running back

down the shaf and ouling the spearman’s grip.Use these statistics or the ollowing weaponsin addition to the standard spear: mao chiang (“snake spear,” a wavy-bladed spear); the EyebrowSpear (a spear with a crescent-shaped head); ba (“rake,” a combat rake with sharp tines); ba tou (a hoe converted to combat uses); chan (“shovel,”a term or several types o polearms with headsshaped like large coins, crescent moons, shovels,and other objects); chang (Korean spear); sode- garami (a -shaped Japanese spear with barbs allaround the end to entangle an enemy’s sleeve);tombak and tjio (two o dozens o different typeso Indonesian spears); kuntham (Indian spear);

kue (an Okinawan hoe used as a weapon by someKobujutsu practitioners); thuan (Tai spear).

Chu-ko-nu: Tis is the amous Chinese repeatingcrossbow. It resembles an ordinary crossbow,except that it has a box on top o it holding tenbolts. Te shooter works a lever to reload thecrossbow by cocking it and dropping one o thequarrels into place. Te chu-ko-nu is heavier andhas a shorter range than a standard crossbow, butcan be fired much more quickly: the SR Minlisted is the minimum to use the weapon, not toreload it, and a character can load the weapon in ahal Phase and fire the weapon in a hal Phase.

CONCEALED

AND INOBVIOUS

WEAPONS

Almost every weapon

described in this section

can be carried as a

normal weapon or as

a concealed weapon .

(Making a weapon

concealed usually means

changing it from OAF to

IAF, which requires you

to recalculate the cost if

necessary.) It’s a tradition

in Martial Arts films —

especially ninja movies

— that characters can

disguise many unusual

weapons as ordinary

objects. Following

are some examplesof weapons and ways

characters could disguise

them:

Blowgun: As a flute or

a walking stick; it can

be combined with a jo

or a used as a sword

scabbard.

Bokken, Katana, Jien,Ninja-to, No-daichi,

Wakizashi: Concealed within a

bo staff that actedas its sheath; about

a foot and a half of the

staff would actually be

the hilt of the blade.

Brass Knuckles: This

weapon could be fash-

ioned as the lining of a

pair of gloves or as the

handle of a suitcase.

Cestus: This could be

an ordinary-looking pair

of gloves. An observer

would not notice that the

inner lining is Kevlar and

that the first heavy blow

with these make short

spikes poke through the

outer lining.

Chain Whip, Kusari,Manriki-gusari, Urumi: Easily worn as a belt.

Climb line, Kusari,Manriki-gusari,Marbles, Tetsubishi:

Often carried inside the

6




Comet Star Hammer: Tis missile weapon, calledlieu shen chuai in Chinese and also known as aShooting Star Hammer or Wol’s eeth Hammer,consisted o a chain linking two spiked metal balls.It was typically thrown at the legs o horses orsoldiers to snare and injure them. Some versionso this weapon had only one spiked ball; thedamage and other effects are the same.

Copper Hammer: A short-hafed hammer with a

large ball o copper on the striking end. You canalso use this weapon’s statistics or other types oChinese hammers (chuai), and or the ton zen (atype o mace in the shape o a 2-3’ tall solid brassstatue o a man, somewhat similar in appearanceto the “Oscar” statuette given to Academy Awardwinners).

Cutlass: Tis is a European weapon, a shortslashing blade with a heavy guard to protect thehand; encers use it. Te hand-guard provides 6PD/6 ED Resistant Protection to the hand holdingit; the character can attack with the blade or punchwith the hand-guard (a Club Weapon Maneuver).

Te Vietnamese counterpart to this weapon is thesong dao.

Cymbal: Tis weapon is a small, hand-heldcymbal with sharpened edges. Warriors can use itas a punching/slashing weapon, or throw it. Tisweapon’s statistics also apply to the ooth Saber,a sort o hal-cymbal that comes in two varieties:the Sun ooth Saber, with sharp teeth along itscutting edge; and the Moon ooth Saber, which issmooth-edged. ooth Sabers cannot be thrown.

Darn Do: Te Chinese sabre, a long, heavy, single-edged sword with a curved blade. It’s also knownas a dau. Te Vietnamese equivalent is the ma dao.

Dropped Marbles: A character can drop thesewhere he thinks his enemies will run or walk,hopeully causing those enemies to all to theground. Marbles do not require a Weapon Famil-iarity. Tey’re built as ollows:

Change Environment (anyone entering ormoving through area slips and alls unless hesucceeds with a DEX Roll each Phase), -3 to DEXRolls, Area O Effect (4m Radius Surace; +½),Uncontrolled (removable by spending a Full Phaseto sweep them aside; +½) (18 Active Points);IAF (see text; -½), Activation Roll 14- (-¼), OnlyApplies o Horizontal Surace (-0), Range Based

On SR (-¼), 1 Recoverable Charge (-1¼). otalcost: 5 points.

When a character throws Dropped Marblesonto the ground, he rolls versus DCV 3 to hit histarget Area. When a target walks into the Areafilled with Marbles, the attacking player (or GM)rolls the 14- Activation Roll; i it succeeds, thetarget has to succeed with a DEX Roll at -3 orall down. Dropped marbles are bought as IAFsbecause they’re supposed to be inconspicuouswhen dropped — but depending on the situation,they might be highly visible.

A character who ails his DEX Roll and allsdown may, at the GM’s judgment, take 1-2d6

Normal Damage rom the all (or more, or KillingDamage, depending on the surace involved).I a character enters a Dropped Marble field athigh speed and ails his roll, he may lose controlo his movement and slam into a large object(taking velocity/6 in d6 o Normal Damage, toa maximum o the PD + BODY o the object hecollides with) or skid along the ground (taking velocity/10 in d6 o Normal Damage, possiblymore or less depending on the surace).

Endokuken: A type o shuriken that emits a 2mradius cloud o poisonous smoke when it contactsits target: RKA 1d6, NND (deense is Lie Support[appropriate Immunity]; +1), Does BODY (+1),Area O Effect (2m Radius; +¼) (49 ActivePoints); OAF (-1), 9 Charges (-¼). otal cost: 22points.

Epee: A light steel practice sword used by encers.Modelled afer the rapier, it has a light, flexibleblade ending in a blunt steel tip (which is itselcovered by a plastic cap), and is used only orthrusting.

Fang: Te ang , a Chinese weapon developedrom an Indian elephant goad, is a heavy ironrod about 2’ long with a point at one end. Aboutone-third o the way rom the top a curved bladeprojects to one side, similar to the blade o a kama (see below). Te fighter can use the blunt portiono the rod to stun his oes as a Club WeaponManeuver, or the point or blade to injure and killthem.

Fist-Load: Tis is a small, heavy rod held in in thecharacter’s fist. A thong or ring protruding romthe center o the rod goes around one or two othe wearer’s fingers to hold it in place. A fist-loadis also known as a yawara.

Flying Claw: Similar to the Rope Dart (seebelow), this weapon is a large, clawed metal handon the end o an up to 25’ long rope. Te userwhirls the hand around and slashes people withit; sometimes the claws are poisoned. Te Chinesecall it a ei chua. You can also use this weapon’sstatistics or: the Dragon’s Beard Hook (don shu gao), which resembles a U with a serrated, barbedouter edge; the Iron Lotus (tai lien ar ), whichresembles a bladed lotus flower; and the RopeHook ( gin tao sou), a large, barbed hook.

Flying Guillotine: Tis peculiar ibetan weaponconsists o a metal hoop (or sometimes a hat-likeobject) with a very sharp inner edge, or an inneredge lined with razor-sharp blades; the hoopattaches to a rope. It’s an effective ambush weapon;i the attacker can get above an unsuspectingtarget, he can drop the Guillotine over the target’shead and yank. (Alternately, when the guillotine’sthrown over an opponent’s head, the blades snapshut, neatly severing the neck.) Some orms o theweapon have a sort o mesh basket attached so thesevered head may be easily gathered. It’s some-what less effective in active combat; the weapononly does damage i it hits an extremity (head,

hand, arm, leg, or oot; this is a -½ Limitation).

hollow hilt of anothe

weapon.

Fist-Load: A fist-loa

can look like practica

anything : a statuette

a strangely-heavy

telephone receiver, a

so forth.

Garrotte: This weapcan be an ordinary-

looking (though rein-

forced) scarf or belt;

wire garrotes can be

built into the lining o

clothes or into decor

hair-ribbons.

Grenades, Flash andSmoke: Disguised fl

and smoke grenades

can look like cufflink

marbles, pebbles, fre

fruit, juggling balls, o

anything small, round

and inconspicuous.

Hanbo: A bo could b

down into twin hanbo

Kusarigama: A kam

(sickle) with a chain

its hollow hilt could b

instantly converted in

kusarigama.

Nunchaku: A

hanbo or an

innocuous-

looking walking

cane could pull

apart or unscrew into

nunchaku; a bo staff

could break down int

two pair. Any normal

looking length of sto

material, such as a te

pole, a flag staff, or a

chair leg could conce

nunchaku....

Sai: One interesting

prospect is that of

the high-tech sai, an

ordinary-looking stic

which (at the press o

button) pops out the

tines.

Shuriken: Small

star shuriken can be

disguised as buttons

loose change, the glit

tering baubles sewn

the skirt of an exotic

dancer, or the dangli

elements of a mobile

They and bo shuriken




Te attacker can roll Hit Locations normally(with attacks to Locations 9-14 simply ailing todo damage); or he can choose to aim or specificlocations, taking the OCV penalties or aiming. Incampaigns that don’t use Hit Locations, a char-acter using a flying guillotine must always take a-6 OCV penalty when using the weapon.

In game terms, a flying guillotine attack seversthe neck i it does BODY damage greater thantwice the character’s total BODY in a single strike.For an Average Person (6E1 438), this requires atotal o 17 BODY, or the average Player Char-acter this requires 21 or more BODY. Since thecharacter suffers the standard -8 OCV penaltyor targeting the Head, he gets the usual damagebonus i he hits. Te GM may wish to simplydeclare that aceless minions all victim to thisweapon instantly, with no die rolling needed.

HKA 2d6, Reduced Endurance (0 END; +½)(45 Active Points); OAF (-1), Must Be Aimed AtExtremities (see text; -½), No SR Bonus (-½),Side Effect (always -1 OCV to use weapon; -½),SR Minimum (10; -½), Real Weapon (-¼) (total

cost: 10 points) plus Reach +6m (6 Active Points;total cost 6 points). otal cost: 16 points.

Fo: A weighted cloak hem, used as a weapon bysome encers. At the appropriate moment, theencer flicks his cloak at his opponent, causing theweight sewn into the hem to strike him.

Foil: Tis weapon is much like the epee, buteven lighter and more flexible. You can also useits statistics or the daab, a Tai sword used inKrabi-Krabong.

Fukimi-bari: iny darts a character holdsconcealed in his hand (to throw at an enemy) orin his mouth (to blow into an enemy’s ace). Teattack has No Range (-½), since the character canonly throw/blow the darts a ew eet at most. (Tisweapon doesn’t grant an automatic head shot, butmost users who place ukimi-bari in their mouthstry to achieve a surprise result and take a PlacedShot at the head). Tis is a ninja weapon. You canalso use this weapon’s statistics or the Chinesemei ar chen (Plum Flower Needles).

Fukiya: Te classic blowgun, a weapon consistingo a long, hollow tube and numerous light darts tofire through it. Te darts themselves do very littledamage, but are usually tipped with some sort opoison. Use this weapon’s statistics or the Filipinoblowgun, or sumpit .

Gada: Te gada is a heavy wooden club used byKalaripayit exponents. It has a relatively thin shafand a large, bulbous head, making it look some-thing like a large wooden mace. It requires greatstrength to wield effectively.

Garotte: Tis is a strangling cord or wire. It comesin two varieties: the Strangling garotte, which maybe any strong rope, scar, or cord; and the Wiregarotte, a piece o strong, sharp wire with a handletied to either end. Te attacker loops either kindaround the victim’s neck and applies pressure;thereore the garotte is usually used rom surprise— it’s an assassin’s weapon. Te Strangling garottechokes the victim to death, and is no good againstany Hit Location except the Head. Te Wiregarotte can slice through flesh, and can thereorecut a throat or cut a head entirely off; it harms any

also be hidden in the

hollow hilt of another

weapon.

Three-section Staff: Perhaps a character

could have a piece of

lawn furniture break

down into a pair of

three-section staves.

Tonfa: As any normal

cane or baton, with the

perpendicular handle

a locking swing-out

mechanism.

War Fan: The best

disguise for this weapon

is to make it look like a

normal fan, carried by

some fashionable lady

martial artist, and used

for the normal purposes

of keeping cool and

flirting... until it’s time

for combat to begin.

Wind and Fire Wheels: Worn as the brim of a

hat.

6




body part the attacker can loop it around. Anychain weapon described in this section can beused as a Strangling Garotte; the manriki-gusari isespecially appropriate.

Strangling Garotte: HA +3d6, NND (deense isrigid Resistant PD on the neck or not needing tobreathe; +1), Constant (+½) (37 Active Points);OAF (-1), Hand-o-Hand Attack (-¼), MustFollow Grab (-½), Must Be Aimed At Head (-1),

Real Weapon (-¼), SR Minimum (5; -¼), wo-Handed (-½). otal cost: 8 points.

Wire Garotte: HKA ½d6, Constant (+½) (22 Active Points); OAF (-1), Must Follow Grab(-½), Must Be Aimed At Extremities (-½), RealWeapon (-¼), SR Minimum (5; -¼), No SRBonus (-½), wo-Handed (-½). otal cost: 5 points.

Ghi: Te Chinese halberd, which consists o aspear with one or two crescent moon-shapedblades set just below the spearhead. Te Viet-namese equivalent is the dai dao; the Tai equiva-lent is the ngow.

Grenades, Smoke: Some warriors (especiallyninja) use these grenades to blind and conoundan opponent, or to cloak their next action —such as hiding or preparing a new attack. Smokegrenades do not require a Weapon Familiarity.

Darkness to Sight Group 2m radius (10Active Points); OAF (-1), Limited Effect (NormalSight only; -¼), Range Based On SR (-¼), 8Continuing Charges lasting 6 Segments each(removed by winds or rain; -0). otal cost: 4points.

Hanbo: Tis is a fighting-stick weapon, rom 2’

to 3’ in length. Use these statistics also or thescabbard o a short sword (any blade with a basedamage o 1d6) when used as a weapon, or the pentjong (a knobbed club used in Bhakti NegaraPentjak-Silat), and or the ollowing weapons romIndia: kettukari (cane), muchan (a tapered 2’ longstaff), and the otta (curved heavy sticks).

Hand Mace: Tis term reers to a number omace-like Chinese weapons in the shape o hands,fists, or claws. Some o the hands hold objects,such as pens or brushes, or have one or two fingersupraised, which helps the mace pierce armor.Examples o this sort o weapon include the ch’uan

bi (“fist pen”), chua (long-handled claw), and usou (“Buddha hand”).

Hankyu: Tis is a short, comparatively weak,easily-carried bow avored by ninja. One variant,the tabiumi, was collapsible and hence easilyhidden when necessary; hidden arrows could becarried as the ribs o a straw hat or in many otherways.

Hook Sword: Tis is a Chinese sword popularin some Kung Fu styles. It includes a straight,double-edged blade, a orward-curving hook atthe end o that blade, a bladed crescent-shapedguard or the hand (providing 6 PD/6 ED Resis-

tant Protection to the hand on an 11- Activation

Roll), and a butt-spike protruding rom thehilt. Tis weapon has a +0 OCV bonus or mostManeuvers, but because o its unusual configura-tion gets a +2 OCV or Maneuvers including theBind, Block, and Disarm Maneuver elements. TeFire Wing sword, Elephant runk sword, and thesang kauw o Kuntao use the same statistics.

Iron Mandarin Duck: A throwing weapon madeout o iron and shaped like a mandarin duck.

Tanks to the duck’s weight and sharp points(eathers, wings, beak, and so orth), it’s a lethalweapon.

Jien: Te Chinese broadsword, ofen used inKung Fu styles. Te weapon’s blade is straight,light, and double-edged; it’s a thrusting weapon,and normally only the our inches at the tip o theblade are used in combat. Sometimes it comes inunusual configurations, such as: the sher ther jien,or snake-tongued sword, which has a orked tip;the giau tzu jen, which has tiny serrations alongboth edges; and the wu grou jen, or CentipedeHook, which has a hook protruding rom one

side. Te Vietnamese equivalent to the jien wasthe kiem.

Jo: Tis is a single stick around 4’ in length. Usethese statistics also or these weapons: the scab-bard o a long sword (any sword with a damageo 1d6+1 or better) when used as a weapon; thesticks used in the escrima martial art; the tieh tzu (“iron ruler,” a flat iron bar used as a weapon);the chuu, a weapon derived rom the Chinesegrain pestle; or the Indonesian sticks, tongkat andtekken (the latter resembles a small walking cane);the Korean sticks, dan bong and joong bong ; andthe Vietnamese stick, tien bong .

Kama: Tis is the Okinawan sickle, whichconsists o a short wooden handle topped by ashort curved sickle blade. It’s one o the prin-cipal weapons o Karate (the others are bo, eiku,nunchaku, sai, tekko, timbe and rochin, andtona), and is ofen used in pairs. You can also usethe statistics or the kama or the Chinese sickle(lian).

Kanzashi: Te kanzashi is a wooden or metalhair needle, about 12-20 cm long, with two tinesrunning parallel. It could be used as a weapon, andwas a avorite o the kunoichi (emale ninja).

Kapak: A small throwing hatchet used by theBatak people o Indonesia. You can also use thisor any number o small, hatchet-like throwingweapons used by many different cultures.

Katana: Tis is the traditional samurai sword; it’sthe larger o the daisho, the pair o blades wornby the samurai. Te odachi is an older-style bladeusing the same game statistics. Te katana is wornin the belt, edge upwards. Te tachi, another longJapanese blade, has identical game statistics tothe katana, but is slightly more curved than thekatana; the tachi is either worn in the belt (withthe edge down) or worn over shoulder instead o

in belt.




Use the katana’s statistics or the traditionalKorean sword ( gum), the Vietnamese sword( guom), or the Chinese Seagull Sword (a double-bladed sword with a bulbous tip), and or the tosangto, a orm o twin swords used in Kuntao.

Kiseru: Tis weapon is a metal smoking pipeabout 1’ long. It’s easily concealed and can actuallybe used or smoking.

Knuck-Knife: Tis is a normal olding, lock-backblade... except that its handle is a set o brassknuckles.

Ko-Gatana: A small knie attached to one side othe scabbard o a wakizashi (q.v.).

Kris: Tis weapon is the Malaysian double-edged,wavy-bladed sword/dagger. It’s mainly a thrustingweapon, and the waves in the blade make wounds very, very painul and more likely to bleedprousely. Kris blades vary in length rom 5 inchesto over 30 inches. Te Kris Knie stats shown areor a blade in the 5-10 inch range, the Normal Krisstats are or a blade in the 10-20 inch range, and

the Kris Sword stats are or a blade in the 20-30inch range.

Te kris has the same significance or Indo-nesians that the katana has or the Japanese.Every part o the weapon has its own designationand lore. A large number o magical abilities, ortasawwa , are attributed to it (see page 61); they’reallegedly implanted in the blade by the pande,or master smith, who crafs it. Every male issupposed to possess a kris, and it’s a ather’s dutyto see that his son is urnished with one. Kris romdifferent areas o the Indonesian archipelago canbe told by their distinctive styles or orms.

Kukri: An Indian knie which is also requentlyused by Bando practitioners and by the Gurkas oNepal. It has a recurved blade and a slightly ovalor rounded point. It can be thrown. You can alsouse the kukri’s statistics or the badik, a type oIndonesian dagger, which is not normally thrown.

Kusari: A flexible weapon consisting o a chainabout 12’ long with a weight on one end and ametal ring on the other. It can be thrown at atarget to do him harm or to grab him (e.g., grabhis legs to trip him, or wrap around his arms tobind him).

Kusarigama: Tis is a kusari with a kama (sickle)

on one end. Te wielder o the kusarigama holdsthe kama by the hilt and swings the chain tostrike or grab a oe; once he snares the target, heollows up with the sickle end. You can buy it as aMultipower combining the Kusari and the Kama(but give the Kama a Limited Range o 3m, repre-senting the length o the chain).

Several variants o the kusarigama deservemention. Te first is the bakuhatsugama, akusarigama with a nagedeppo (explosive grenade,see below) or metsubishi (flash grenade, see below)attached to the weighted end o the chain. Tesecond is the mamukigama, a kusarigama with

a live poisonous serpent loosely attached to the

chain! In theory, the snake will bite an enemywrapped in the chain. Last is the oh-gama, anextremely large (4’+) battlefield version o thekusarigama; it does double the damage o thekusarigama but has a correspondingly larger SRMinimum in Heroic campaigns.

Kyogetsu Shoge: Tis weapon is much like thekusarigama, but has a bladed grappling hook onthe end instead o a kama. It’s also carried as a

grappling hook, its chain acting as its climb-line.Lajatang: A weapon used in the Indonesianfighting style o Kuntao, consisting o a shortwooden staff with a crescent moon-shaped bladeset perpendicular to it at each end.

Lathi: Tis is the six to eight eet-long stick usedin the Indian stickfighting art o the same name.

Main-Gauche: A European encing dagger. Ithas a heavy hand-guard (6 PD/6 ED ResistantProtection on an Activation Roll 11- or the handholding it) and extra-long quillions. It’s especiallygood at, and so receives an extra +2 OCV or,

Maneuvers with the Bind, Block, and Disarmelements.

Makila: Used by Zipota practitioners, this is a 1.5meter-long stick traditionally used as a shepherd’stool. One end has an iron cap, and the handleunscrews to reveal a long, sharp needle-likethrusting weapon. Te sharp part is an HKA 1d6;using the stick as a blunt weapon is a Club Weapon Maneuver doing 3d6 Normal Damage.

Manriki-gusari: Also called a manriki or akusariundo, this is a 3’ chain with weights at bothends. It can be swung to strike a oe or thrown toensnare him, just like the kusari. You can also usethis weapon’s statistics or the ollowing weapons:the suruchin, a weighted rope used by someKobujutsu practitioners; the kabit , a chain weaponused in Arnis; the panu, a scar or handkerchieweighted with coins used by some Arnis expo-nents; and the sarong , a type o waistcloth worn inthe Philippines and Indonesia which is used likethe panu, but is much heavier — there are reportso skilled practitioners “flicking” the sarong atthick boards and snapping them in two!

Metsubishi: Small grenades which can momen-tarily blind an opponent. Grenades do not requirea Weapon Familiarity. Alternatively, a “flash

grenade” could be one use’s worth o eye-irritatingdust, either thrown at a oe or blown through anopen-ended sword sheath, a small pillbox, or asimilar device. Tis type o metsubishi has NoRange, since it can only be used effectively withina ew eet.

Metsubishi (Thrown): Sight Group Flash 2d6, Area o Effect Nonselective (2m Radius; +¼) (12 Active Points); OAF (-1), Range Based On SR(-¼), 8 Charges (-½). otal cost: 4 points.

Metsubishi (Blown Powder): Sight Group Flash2d6 (10 Active Points); OAF (-1), No Range (-½),

1 Charge (-2). otal cost: 2 points.

6




Chinese du sar , “poison sand,” uses the samestatistics as the blown metsubishi.

Mourn Staff: Known as a Torn Staff or, inChinese, as a san men barn, this weapon actu-ally resembles a sword more than it does a staff.It consists o a 3-4’ wooden or metal shaf, withthree-quarters o its length studded with metal“teeth.”

Nagedeppo: A type o primitive explosivegrenade. Its explosion covers a 2m radius. Ineudal Japanese campaigns, the bang and flashrom this grenade are as disorienting as itsdamaging effects, since such weapons wereextremely uncommon in that period.

Naginata: Tis Japanese weapon consists o a 2-3’edged blade on a long staff; the weapon is usually7-8’ long. It’s traditionally a very popular weaponwith emale Japanese fighters. Warriors use it asboth a bladed weapon and as a staff; it’s very versa-tile. You can also use this weapon’s statistics orthe nagemaki or nagakami, which has a somewhatlonger and heavier blade but a shorter handle.

Navaja: A large olding knie used by Europeankniefighters, with a very slight curve toward thetip o the three to six inch-long blade.

Nekote: Nekote, or “cat’s claws,” are a set o fivemetal claws fitting on the fingertips. By themselvesthey do relatively little damage, but they’re ofenpoisoned. Use this weapon’s statistics or Chinesefingernail razors (small blades that fit underneaththe fingernails) and the Japanese kakute, or “hornfinger” ring. Tis ring has a small spike on oneside that is normally poisoned, making even thelightest punch atal.

Net: See oami.

Nine-Dragon Trident: Tis Chinese polearmconsists o a 6’ shaf with a trident on top, plustwo cross-bars urther down (turned at 90o toone another) which bear an indescribable arrayo flanges and protrusions. It grants a +2 OCV toManeuvers including the Bind, Block, and DisarmBases. In Chinese, it’s called the gao loon cha.

Nine-Ring Sword: A single-edged, sabre-likeweapon with nine rings set into its back edge. Terings help to catch an enemy’s weapon and disarmhim. Another name or this weapon is Ghost Hat

Sword.Ninja-to: Tis weapon, also called the shinobi- gatama, shinobigatana, and ninja-ken, is the tradi-tional ninja sword. It has a blade about 24” longand is about 40” long overall. It looks somethinglike other Japanese swords such as the katana, butthe blade is straight and the handguard (tsuba) issquare instead o round.

Te ninja-to is a tool as much as a weapon —to use a modern comic book analogy, it’s a sorto “utility belt” or the ninja. It can be used orclimbing and or digging holes in the earth aswell, an indignity the owner o a katana would

never subject his blade to. Its scabbard, or saya,

is longer than the sword itsel and can be used tocarry concealed powder weapons or bo shuriken.Te scabbard cord, or sageo, has a variety o uses.Tese additional uses are bought as part o aMultipower.

Cost Power

15 Ninja-to And Saya: Multipower, 31-pointreserve, all OAF (-1)

1f 1) Blade: HKA 1½d6 (plus STR), Reduced Endur-ance (0 END; +½); OAF (-1), STR Minimum

(12; -½), Real Weapon (-¼) plus Reach +1m

1f 2) Saya As Club: HA +2d6, Reduced Endurance(0 END; +½); OAF (-1), HTH Attack (-½), STRMinimum (12; -½), Real Weapon (-¼) plus

Reach +1m

1f 3) Saya And Sageo As A Climbing Platform:+1 to Climbing Roll; OAF (-1)

1f 4) Blinding Powder In Saya: As Metsubishi,

Blown, above

1f 5) Sageo As Strangling Garrotte: refer to“Garrotte,” above, for details on that weapon

1f 6) Saya As Breathing Tube (Takezutsu): LifeSupport (Breathe Underwater); OAF (-1), OnlyWorks Close To The Surface (-1)

Ninja only use a ninja-to on stealth missions;when disguised as ordinary people, they use what-ever weapons are appropriate to those olk. Ninjaalso ofen use the katana.

No-daichi: Tis is a Japanese two-handed sword.

Nunchaku: Tis weapon, one o the principalweapons o Karate (the others are bo, eiku, kama,sai, tekko, timbe and rochin, and tona), is anOkinawan wooden flail. It consists o two pieceso wood (each 12” to 14” long) connected by shortchain or cord (itsel 1” to 5” long). Nunchaku areofen used in pairs.

Parang: A cleaver-like Indonesian blade, about 10inches to three eet in length. You can also use itsstatistics or other Indonesian weapons, includingthe golok (which has a more convex cutting edgeand a sharper point than the parang).

Pedang: A straight or curved Indonesian shortsword (10-35” long). It’s used one-handed.Other Indonesian blades using similar statisticsinclude the kělewang (a single-edged sword with apronounced notch near the tip on the blunt side).

Pendjepit: A weapon used in Prisai Sakti Pentjak-Silat. It’s a metal Pincher with sharp, tiny teeth inthe ends that are used to tear at the flesh grabbed.

Petjat: A 4-6’ whip used in some parts o Indo-nesia. You can also use this weapon’s statistics orthe chemeti, another type o Indonesian whip witha 1-2’ wooden handle, and a 2-3’ buffalo-hide orhuman hair whip.

Puñal: A olding knie similar to the navaja, butsomewhat smaller and more streamlined, withoutthe slight curve at the tip.

Rante: A chain weapon rom Indonesia. Te

chain can be used in typical ashion, to whip and




snare, but many rante also have some sort o bladeor barb attached to one end, making the weaponmore lethal than it otherwise would be.

Cost Power10 Rante: Multipower, 24-point reserve, all OAF

(-1), Real Weapon (-¼), STR Minimum (5; -¼)

1f 1) Chain: HA +3d6, Reduced Endurance (0 END;+½); OAF (-1), Hand-To-Hand Attack (-¼),STR Minimum (5; -¼), Real Weapon (-¼) plusReach +2m

1f 2) Blade: HKA ½d6 (plus STR), Reduced Endur-ance (0 END; +½); OAF (-1), STR Minimum(5; -¼), Real Weapon (-¼) plus Reach +2m

Rapier: A long, narrow stabbing sword, a Euro-pean encing weapon.

Razor, Straight: Tis is the normal shaving imple-ment; the large variety is larger than the typesnormally used to shave. It’s ineffective againstResistant Protection (it has the Reduced Penetra-tion Limitation) and doesn’t do as much SUNas cleaving or stabbing weapons. It’s the preerred

weapon o capoeiristas. wo types o StraightRazors are shown on the chart, one o ordinarylength and one extra-long.

You can also use the statistics or the smallerStraight Razor or the Justice Pen (bi), a Chinesestabbing weapon which resembled a large metalbrush or pen.

Ring Needle: Also known as an er mei tzu, or“sting,” this weapon consists o a ring attachedto a thin, sharpened metal rod. It was originallydesigned or underwater fighting. Pakua practitio-ners use it to stab or thrust, and can throw it.

Rings: Steel rings about 8” in diameter, used asbludgeoning weapons or missiles.

Cost Power10 Rings: Multipower, 15-point reserve, all OAF (-1),

Real Weapon (-¼), STR Minimum (7; -¼)

1f 1) HTH: HA +2d6, Reduced Endurance (0 END;+½); OAF (-1), Hand-To-Hand Attack (-¼),STR Minimum (7; -¼), Real Weapon (-¼)

1f 2) Thrown: Blast 2d6; OAF (-1), STR Minimum(5; -¼), Lockout (can’t use HA until Charge isrecovered; -½), Range Based On STR (-¼),

Real Weapon (-¼), 1 Recoverable Charge(-1¼)

Rope Dart: A small blade on the end o an up to25’ long rope. Te weapon was used by whirlingthe dart around and slashing people with it. TeIndonesian equivalent or this weapon is the suk piao, used in Kuntao.

Sabre: Tis is the European encing sabre,a sharp, curved weapon used principally orslashing. You can also use the sabre’s statis-tics or the krabi, a sabre-like sword used inKrabi-Krabong.

Sai: Tis Japanese weapon, known as gen or cha in China and as a tjabang or titjio in Indonesia,is one o the principal weapons o Karate (the

others are bo, eiku, kama, nunchaku, tekko, timbeand rochin, and tona). It’s is trident-shapedtruncheon, some 15-20” long, made o metal.Te point is blunted; it’s not a stabbing imple-ment. Due to its trident shape, the Sai receives anadditional +2 OCV when perorming Maneuverswhich include the Bind, Block, and Disarm Bases(thus receiving a total o +3 OCV with theseManeuvers).

Tese statistics are also used or the jutte andnunte weapons. Te jutte (or jitte) looks like thesai but with one tine missing; this makes it easierto conceal, and thus popular among ninja. Tenunte looks like the sai but with one tine bentbackwards. Te sai, jutte and nunte can be thrown;the three weapons share an identical WeaponFamiliarity.

Sai, Cinematic: Tough historical sai appearnever to have been sharpened, sai in movies aresometimes stabbing weapons. Te statistics orthis weapon can also be used or the Chinese char ,or trident dagger, and or the siangkam, a Kuntaoweapon resembling a metal arrow about 1-2’ long.

Schlaeger: A duelling sword avored by Germanstudents, particularly during the latter hal o the1800s. It has a straight, double-edged blade, alarge basket hilt (to allow the wrist a ull range omotion), and a dull point (it was used or slashing,not stabbing).

Shinai: Tis is a bamboo practice sword shapedlike a katana and used in the sport o kendo.

Shinobi-zue: Tis ninja weapon is a bamboo staff.One end is loaded with lead or a harder impactwhen it hits. Te other is capped with a metalplug; when removed, this releases a concealed 6’chain. Te staff is used as a bo; the chain is usedlike a kusari but cannot be thrown. Tis weaponis also known as a shikomi-zue. You can also usethe shinobi-zue’s statistics or the chigiriki, a staffor spear with a 3-10’-long chain with a weightedend attached to it (use the yari’s statistics or thespearhead).

Shuko: Tese are the ninja climbing claws wornon the hands, usable in hand-to-hand combatto slash a target. Tey provide a +1 bonus toClimbing rolls (when wearing both the shukoand the ashiko, or oot-claws, the ninja gets a totalbonus o +2 to Climbing rolls). A character cannot

carry a weapon in a hand which has a shuko init. And the characer must wear both shuko, oneon each hand, to get the +1 to his Climbing rolls.Shuko are also known as tekkokagi.

Shuriken: Commonly called throwing stars andthrowing spikes, these are ranged weapons usedby ninja and by modern martial artist heroes and villains. Tey come in three basic types:

Bo Shuriken are sharply-pointed metal spikesa ew inches long. One to five bo shuriken may bethrown at a time.

Large (Star) Shuriken are star-shaped metaldisks several inches across, about hal an inch

thick, and possessing three to eight sharp points.

6




Small (Star) Shuriken are shaped the same asLarge Star Shuriken, but are only about an eightho an inch thick and a couple o inches across.One to five small star shuriken may be thrown ata time.

Star shuriken are called hira shuriken in Japa-nese. Te our-pointed star, the most popular type,is called a senban shuriken. Shuriken made out oflat metal bars with sharpened ends are itaken.

Te Chinese have a weapon called a SleeveDart (shouu gen, darts easily concealed in a sleeveor in various spring-loaded tubes hidden inone’s clothes) which has the same statistics as boshuriken. Te Chinese also created razor-edgedcoins (lo han chain [Japanese, nasare en]) andoddly-shaped Dart Knives (biau dau) which havethe same statistics as small star shuriken, as doesthe piau, an Indonesian throwing blade vaguelyshaped like a hatchet-head. Te Indian chakram orcher-khi, a razor-edged throwing ring also called aquoit, uses the statistics or a large shuriken. Te paku, a sort o sharpened throwing stick weaponused in Indonesia, uses the bo shuriken’s statistics.

Many dart weapons, including specially-thrownnails or the narrow darts sometimes slipped intowar ans, correspond to bo shuriken.

Te Ranged Weapons Chart shows a load o 9to 12 shuriken. Ninja traditionally carried nine,because that number has special significance tothem.

Sling Bow: Tis missile weapon is a bow designedto fire small iron balls — sort o a cross betweena bow and a slingshot. In Chinese it’s known as adan kurn.

Soft Hammer: Tis Chinese weapon (nuan chuai)is the same as the European morningstar: a metal

ball (spiked or not) connected to a wooden shafby a short length o chain.

Spread-The-Water Knife: A bladed weaponshaped like a thin D, with the curved edge beingthe blade and the straight bar being a woodenshaf. Te straight bar averaged about 2-3’ long.

Steel Olive: An olive-shaped throwing weapon.Te ends taper down to sharp points, giving theweapon an eye-shaped profile.

Steel Toad: A throwing weapon in the shape o atoad! Te toad’s head tapers to slightly more o apoint that a normal toad’s does, so the weapon can

do more damage than it would i it were blunt.

Sword-Spear: A type o short (3-4’) Chinesespear, known as a jen chian. Also use these statis-tics or a Double Hook Arrow (shunn gou shih), atype o large arrow with two hooks which curveaway rom the arrow head.

Tai-Dao: Tis Chinese polearm is two meters longand topped with a heavy, curved blade. It wasused both rom oot and horseback. Te kwan dao(also spelled quan tao, meaning “General Kwan’sKnie”), da dau (a long-handled broadsword-likeweapon), bisento (a Japanese weapon), and the

chun jung whule-do (“heavenly dragon moon

knie,” a Korean weapon) use the same statistics asthis weapon, as do the kwanto and sjang sutai, twoweapons used in Kuntao.

Tanto: A Japanese dagger, sturdily constructed,with a curved, single-edged, chisel-pointed blade.It’s 9” or so long and has no hand-guard.

Use these statistics or two other Japaneseblades, the aikuchi and hamidashi, and orseveral short Chinese bladed weapons, including

the shaou dau (“scrape saber,” a small versiono the Chinese saber) and shou li jen (“sleevesword,” a sword about the size o a dagger witha concealed spring that allowed to to expand totwice its length). Te tanto’s statistics also applyto a number o Indonesian daggers, including the pisau.

Tetsubishi: Tese are caltrops — our-pointedspikes which, when dropped on the ground,always land with one spike pointed up. When thecharacter throws his tetsubishi onto the ground,he rolls versus DCV 3 to hit his target Area. Whena target walks into the Area where tetsubishi

have been thrown, the attacking player (or GM)rolls the 14- Activation Roll; i it succeeds, thetarget takes damage. In campaigns which use HitLocations, this damage is always to the character’seet (Hit Location 18). A character who sees thecaltrops ahead o time may move through theArea without stepping on them i he succeeds with




cost 1 point) plus Autofire (4 shots; +½) or sword(8 Active Points); OAF (-1), Real Weapon (-¼),Requires A DEX Roll (-½) (total cost: 3 points).otal cost: 12 points.

Wakizashi: Tis is the companion sword othe katana; it’s the smaller o the daisho pair osamurai blades. Te kodachi is the older orm othe same blade.

War Fan: Tis weapon, known in Japanese as atessen or gunsen and in Chinese as a san, looks likea normal hand-an, but is larger than purely decora-tive ans and is made o hardier materials. It’s usedtwo ways: closed, it’s a punching weapon; open, it’seffective at blocking attacks (+2 OCV with BlockManeuvers). Special War Fans come with an addi-tional blade option. Te blade may be a razor edgeon the vanes o the an used in a slicing motionwhen the an is open, or it may be a spike at thebase o the an, used when the an is closed. Bothtypes are shown on the Melee Weapons able. WarFans are sometimes made with small darts hiddenin the vanes; i a character uses them, treat these

darts identically to Bo Shuriken.Cost Power9 War Fan, Edged: Multipower, 22-point reserve;

all OAF (-1), STR Minimum (6; -¼), RealWeapon (-¼)

1f 1) Folded Fan Attack: HA +3d6, ReducedEndurance (0 END; +½); OAF (-1), HTH Attack

(-½), STR Minimum (6; -¼), Real Weapon (-¼)

1f 2) Spread Fan Attack: HKA ½d6 (plus STR),Reduced Endurance (0 END; +½); OAF (-1),STR Minimum (6; -¼), Real Weapon (-¼)

2 War Fan Blocking: +2 OCV with Block (4 ActivePoints); OAF (-1)

Wind and Fire Wheels: Tese are Chineseweapons. Tey consist o broad metal hoops aoot or two in diameter. Some eature protrudingspikes and handles; other are plain hoops. Fightersuse them to punch and slash, and receive a +2OCV bonus when used with Maneuvers with theBind, Block, and Disarm Bases. Te statistics orthis weapon also apply to the lun (which is similarin unction but shaped more like a coin), the yue (which is eye-shaped), and the zi-wu (Shaolin“deer-horn knives,” made o two overlappingcrescent-shaped metal bars).

Wishful Steel Ball: A small steel ball similar to amodern ball-bearing, used as a weapon by flickingit at high speed at the target.

Wolf’s Teeth Staff: Tis weapon, called lan yarbarn in Chinese, consists o a staff approximately6’ long. About 1’ o one end o it’s covered withsmall metal spikes.

Yari: Tis is the Japanese spear. It comes intwo basic versions. Te normal version works just like any other spear. Another version, theKamayari, comes with a back-hook (a backward-pointing spike mounted at the head), which gives

the weapon a +2 OCV bonus when used with

Maneuvers with the Bind, Block, and DisarmBases. Tere are several other varieties withdifferent spearhead and combinations o hooksand and other projections. Te Vietnamese coun-terpart to this weapon is the thuong .

For the Kamayari, use the same write-up, butincrease the SR Minimum to 14.

Yoroi-toshi: Tis weapon, the same approximatesize and shape as the tanto, is a dagger designed to

pierce armor. It’s very heavy and very sharp, anddoes armor-piercing damage.

Yumi: Tis is the Japanese bow, also known asa daikyu. It can be anywhere rom five to eighteet long, and, unlike Western bows, isn’t held inthe middle; the handle is about one-third o theway rom the bottom. Tereore it’s easily used byhorsemen. Te “One-Man, wo-Man, Tree-Man”designations indicate how many men it theoreti-cally takes to string the bow; or HERO System purposes, the SR Min o the weapon is also theSR Min it takes to string the bow.

Versatile WeaponsPage 129 has an ability called Versatile

Weapons, which represents a talent displayed bymany movie martial artists: the skill o usingordinary objects as impromptu weapons. But thereare several other ways to handle this ability i theGM preers.

First, the GM can assume that all PCs andmajor NPCs have the Versatile Weapons ability orree. Tis is an especially appropriate choice ormost Wuxia campaigns and many o the flashierCinematic campaigns. However, in this case theGM may impose OCV penalties based on the size,bulkiness, and configuration o the object.

Second, instead o having characters buyVersatile Weapons as an ability, the GM canrequire characters to buy impromptu weaponsas Weapon Elements or their Martial Arts: UseArt with Bicycles, Use Art with Sawhorse, and soorth. Tis allows a character to use the definedtype o objects normally with his Martial Maneu- vers, but not to use any other objects. (Alternately,the GM may allow the character to use similarobjects as well, but at an OCV penalty.) Tis tendsto be oddly restrictive at times, but it more clearlydefines a character’s capabilities in a way many

GMs preer.Tird, the GM can allow a character to buy3-point Combat Skill Levels with ImpromptuWeapons. In this case, instead o treating an objecto opportunity as a way to get a damage bonus oran attack, the GM should consider the item beingpicked up to be a Club (which every characterhas a ree WF with) and then decide which threeManeuvers the character’s Skill Levels apply towhen he’s using that weapon. He should make hisdecision based on the look o the item and how heimagines the character can use it in combat. Teaccompanying sidebar provides general guidelinesor types o non-weapons and what combat effects

they might have.

Example: A garden ho

would do negligible

damage, but it isn’t

clumsy; it shouldn’t

impose an OCV penalt

A character can also

use it to catch incomi

weapons (blunt

weapons only — sha

ones would cut right

through), to choke a

foe, or to swing the

metal cap at the end

at the target. Therefor

the GM decides the

character can use his

skill levels with Block

Choke Hold, and Strik

Maneuvers using the

hands (i.e., Punches, n

Kicks). Garden hoses

aren’t terribly effectiv

weapons; the GM rule

they do 1d6 NormalDamage with a STR

Minimum of 8.




ARMORTough body armor isn’t very common in

Martial Arts adventures, a ew types do showup with some regularity: samurai armor, kendoarmor, and body armor or ull-contact karatesparring, or example.

Te example armors here are real-worldarmors designed or Heroic campaigns. Super-heroic characters generally create armor whichprovides consistent deense over all the body loca-tions, which doesn’t have an encumbrance rating,and so orth. In Superheroic campaigns, sucharmor is usually built with higher PD/ED ratingsthan real-world armor, and simply looks identicalto the real-world armors described below.

FULL-CONTACT KARATE ARMOR

Tis is a set o vinyl or leather-covered paddingdesigned to minimize risk o injury while charac-ters are sparring or training. It primarily providesNormal Deense; only the part listed in paren-theses is Resistant.

Te Weight column is included or thoseHeroic campaigns using the HERO System encumbrance rules (see 6E2 46). I your campaigndoesn’t use those rules, don’t worry about theWeight column except to determine whether acharacter can lif the equipment at all.

You cannot “stack” the parts o Karate armor;a character cannot wear a Face Guard and a FullFace Guard and get the benefits o both. He onlygets the benefit o the greater o the two.

FULL-CONTACT KARATE ARMOR

Name of Armor Locations Defense Weight(kg)

Face Guard 4-5 6 (2) .1

Full Face Guard 3-5 6 (2) .2

Gloves (2) 6 6 (2) .2

Forearm Guards (2) 7 6 (2) .1

Torso Guard 9-11 6 (2) .8

Chest Guard 10-11 6 (2) .7

Rib Guard 12 6 (2) .4

Athletic Cup 13 6 (2) .2

Shin Guards, Sm (2) 16 6 (2) .1

Shin Guards, Lg (2) 16-17 6 (2) .2

Leg Guard (2) 15-17 6 (2) .3

KENDO ARMOR

Te armor used by kendoka (practitioners oKendo, the modern sport orm o Kenjutsu) intheir practices consists o several items.

Te men, or helmet, has a wire-rame mask andpadded armor which covers the top and back othe head and the throat. Accompanying this area heavy chest-plate and gloves which cover theorearms, both made o resilient padded material;a padded apron; and a lighter protective jacket.

Te Men provides no PD versus firearms. TeKote and Do only provide hal their PD versus fire-arms. In other words, bullets automatically bypassthe armor o the helmet, and are automaticallyArmor Piercing attacks against the Kote and Do.

KENDO ARMOR


Men (Helmet) 3-5, 9 6 (0) 1.8

Kote (Sleeves) 6-7 4 (2) .5

Do (Breastplate) 10-11 4 (2) 1.1

Keikogi (Jacket) 8-11 1 (1) .6

Tare (Apron) 12-13 2 (2) .6

HAND-WRAPPINGS

Practitioners o ancient boxing (see Boxing, Ancient in Chapter One) protected their handsby wrapping them in leather strips; this was thesort o protection that ultimately evolved into theboxing glove. A character who wraps his hands in

this ashion has a piece o equipment that provides+4 PD that only protects his hands and weighs .2kg.

Rawhide hand-wrappings are just like leatherhand-wrappings, with one exception. Ratherlike the cestus (see above in the melee weaponslisting), rawhide wrappings can cause a little extraKilling Damage to the target. With each punchthat successully hits a target, the character withrawhide hand-wrappings should make a 3d6roll. On an 8-, the rawhide do 1 point o KillingDamage in addition to the regular damage o theattack. I the character has rawhide wrappings butuses some sort o NND DMG or Killing Damageattack, the rawhide adds nothing.

SAMURAI ARMOR

Tis armor is arranged much like the Kendoarmor described above, except that it’s designedto provide protection in real warare (i.e., all thedeense is Resistant, though it provides only haldeense versus firearms). It’s made o metal andhardened leather plates, usually brightly orna-mented with decorative enamels.

SAMURAI ARMOR


Hachi/Shikoro (Helm/Shoulders)

4-5 6 1

Happuri (Facemask) 3 6 .5

Kote (Sleeves) 6-7 4 1

O-Sode (Shoulders) 9 6 2

Tateage (Breastplate)

10-13 6 9.5

Haidate (Apron) 14-15 6 2.5

Sune-ate (Greaves) 16-17 4 .75

6



CHAPTER SEVE

NINJA HERO

THE MARTIAL ARTS GENRE



Hero System Martial Arts n Chapter Seven 27

differentiate one warrior rom another. Second,the fighting abilities and scenes become moreantastic — not as over-the-top as in WuxiaMartial Arts, but much more so than in Realisticstories. Characters can’t run up the sides o wallsor battle 27 ninja masters to a standstill, but theycan fight in more spectacular ways, and take on

more oes, than any Realistic character. CINEMATIC MARTIAL ARTS CHARACTERS

Characters built or a Cinematic Martial Artscampaign are usually near the peak o “real-istic” human perormance with regard to theirphysical abilities. Tey should range in scale romPowerul Heroes (225 otal Points, including 50points’ worth o Matching Complications) to VeryPowerul Heroes (275 otal Points, including 50points’ worth o Matching Complications). Tey’reautomatically subject to Normal CharacteristicMaxima, but can carry normal weapons and wearnormal armor without paying points or them.

o emphasize the differences between Real-istic and Cinematic, GMs should let players in aCinematic Martial Arts campaign create their ownmartial arts styles (or sub-styles), and perhapseven a custom Martial Maneuver or two. Addi-tionally, GMs should also allow characters topurchase special abilities that don’t verge too arrom the realistic (more Extra Damage Classesthan Realistic characters, abilities rom theCinematic section o Chapter Tree, and so orth).

WUXIA MARTIAL ARTSWuxia (pronounced “woo-she”) translates

approximately as “knight-errant.” Te termdescribes the Hong Kong antasy film genrespecializing in suspending its actors on wires or

spectacular action sequences (“wire u”). Eveni you’ve never seen a Hong Kong action film, iyou’ve seen either Big rouble In Little China orTe Matrix , then you should have a basic under-standing o the genre.

Te Wuxia Martial Arts subgenre takes theantastic elements o Cinematic Martial Arts onestep urther. Epitomized by the conventions oHong Kong cinema, a Wuxia story becomes not just a martial arts action-adventure tale, but amartial arts antasy , and as such is jam-packedwith bizarre characters, ast and urious fightscenes, strange and unusual settings, and breath-taking over-the-top stunts.

Wuxia characters aren’t merely at the peak ohuman perormance, they ofen go beyond it tobecome virtual superhumans. In addition, char-acters can ofen manipulate their internal energy,or ch’i (see page 277); this allows them to perormsuch eats as punching down walls, leapingimmense distances, ignoring normally lethalsword blows, and climbing (and clinging to) sheerrock aces and walls. Wuxia characters usuallypractice their own style o martial arts; secrettechniques unique to each style and/or characterare common.



276 n Ninja Hero Hero System 6th Edition

WUXIA MARTIAL ARTS CHARACTERS

Characters in a Wuxia Martial Arts campaignare incredibly powerul compared to Realistic orCinematic characters. At a minimum, they’re builtas Low-Powered Superheroic characters (300 otalPoints, including 60 points’ worth o MatchingComplications), but many are even more powerulStandard Superheroic characters (400 otal Points,including 75 points’ worth o Matching Complica-

tions). Characters have to pay Character Pointsor any weapons or equipment they carry and anyarmor they wear.

Gamemasters should let players in WuxiaMartial Arts campaigns create new styles, sub-styles, and maneuvers (though o course the GMshould review and approve these creations beoreletting PCs use them in the game). Each maneuverin a character’s style should have its own name.Te GM should allow any and all o the specialabilities listed in the Realistic, Cinematic, andWuxia sections o Chapter Tree.

VIDEO GAMEMARTIAL ARTSTe Video Game Martial Arts subgenre ocuses

on martial arts and martial artists as seen inAmerican and Japanese video games. It closelyresembles Wuxia, but with the addition o whatamount to ull-fledged “superpowers.” ypicallythese powers involve some sort o energy projec-tion (flaming fists, blasts o heat, fireballs, light-ning bolts). In addition, the characters themselvesare ofen as varied as the powers they possess. It’snot unheard o or a martial arts video game to

eature aliens, ghosts, robots, and supernaturalmonsters as part o the cast.Video Game Martial Arts is a combat-heavy

subgenre (even or the Martial Arts genre). Storydevelopment and roleplaying ofen take a backseat to challenges, duels, and coping with the diffi-culties posed by the unusual “arenas” where fightstake place: the flagstoned courtyards o ancienttemples; on the tops o poles projecting out o apit o lava; a platorm bobbing in a strange sea; ora cleared circle o ground in the midst o a snowy,monster-filled orest. Te visual element is crucial;a player must be able to “see” the exotic localesand colorul characters in his mind’s eye, or the

impact o the subgenre diminishes.Te Video Game subgenre offers one advan-

tage or gaming that other types o Martial Artscampaigns may not: it ofen eatures team play.Characters in a Video Game Martial Arts settingare usually part o a “stable” o proessionalfighters and travel around the world to participatein matches against similarly powered opponents.

VIDEO GAME MARTIAL ARTS CHARACTERS

Video Game Martial Arts PCs are built on thesame power levels as Wuxia Campaign characters;they’re usually Standard Superheroic characters(400 otal Points, including 75 points’ worth o

Matching Complications). Characters must paypoints or any weapons, armor, or other gear theycommonly use.

Characters in a Video Game Martial Artscampaign should practice their own unique styleo martial arts — they’re ofen as well known bytheir respective styles as they are by their name.At the very least, the GM should restrict each realworld style to a single PC — i Chozaru knowsShotokan Karate, no other PC can know thatsubstyle. Additionally, each character should havea unique array o special techniques and powers(perhaps bought as a Power Framework). Each othese techniques should have a name, and charac-ters should announce the name o a power when-ever they use it (they receive no Limitation orComplication or this; it’s a subgenre convention).

ANIME MARTIAL ARTSTe Anime Martial Arts subgenre reflects

martial arts action as seen in Japanese animated

films (a.k.a. “anime”) and comic books (manga).Although anime isn’t precisely a subgenre inand o itsel (it’s better described as an art style),Anime martial artists display enough charac-teristics in common that they deserve their owncategory. Te Anime Martial Arts subgenretypically combines elements common to boththe Wuxia and Video Game settings, but thenturns everything up a notch. Anime martial artscharacters are ofen out-and-out superhumans,with powers and abilities ar beyond those o evenVideo Game martial artists. Te GM can set anAnime Martial Arts campaign in any time or placehe wishes; what makes the subgenre unique is the

style o the action and the characters themselves,not the setting or time period.

ANIME MARTIAL ARTS CHARACTERS

Te power levels o Anime characters rangerom Low-Powered Superheroic (300 otal Points,including 60 points’ worth o Matching Complica-tions) to High-Powered Superheroic (500 otalPoints, including 75 points’ worth o MatchingComplications), though the higher end o thescale is used more requently than the lower. Teymust buy any weapons, armor, or other gear theywant with their Character Points.

As with Wuxia and Video Game, Anime

martial artists invariably have their own specialpowers and techniques, each with its own name.And just like Video Game characters, loudlyannouncing the name o an attack as it’s used isa must. Te powers allowed to characters in anAnime Martial Arts campaign depend on theexact setting and the desires o the GM, but typi-cally should include such seemingly impossiblepowers as moving so ast the character leavesaferimages behind, hurling devastating blasts oenergy, throwing several hundred punches in theblink o an eye, or transorming one’s skin intoiron. Te Anime section o Chapter Tree hasplenty o examples.

7




ELEMENTS OF THE

MARTIAL ARTS GENRE

C ertain conventions, or classic “bits,” areairly common to the Martial Arts genreno matter what the subgenre. Te GMshould look these bits over careully

and decide how to fit each one he likes into hiscampaign. Many o these elements link together,so using one almost guarantees the appearance oseveral others.

BANDITSIn period settings, China is a huge sprawling

empire, while Japan is ofen wracked by internalpower struggles and wars between neighboringdaimyo (warlords). Tus, areas o both lands arelawless and beset by bandits. In China, banditsare usually ound to the north and west, along theringes o the Gobi Desert. Japanese bandits arenormally ronin (masterless samurai) and ormerashigaru (oot soldiers) now homeless afer beingon the losing side o a battle. Both nations have todeal with pirates, and Chinese pirates are noto-rious or being exceedingly violent and brutal.

In general, Japanese bandits are simpleswordsmen, and usually not very skilled. Chinesebandits, however, ofen possess unusual fightingtechniques and exotic weapons ar different thanthose normally seen in the more civilized areaso China. And unlike Japanese bandits, who areinvariably enemies o the hero, in China banditscan be either riend o oe, and ofen develop intoa possible romantic interest or the hero or heroine(more than one Chinese bandit, or bandit leader,is emale).

Because the average group o bandits lives bylooting and pillaging, this element is a naturaladventure catalyst. Bandits may menace a local

town, orcing the PCs to deend themselves andthe townsolk, or the bandits may threaten thePCs directly, demanding tribute in exchange orsae passage (or simply trying to take what theywant). Bandits may steal something the PCs needor want, or kidnap someone they’re going to seeor are supposed to protect. And, o course, banditsmay serve as flunkies or even more powerul villains.

BATTLE AURAS

Primarily a eature o Anime Martial Arts,battle auras appear when a martial artist is angry,outraged, or mentally preparing or a serious

fight. Tey usually look like aint flickering flames

around the character’s body. According to tradi-tion, good or heroic characters have blue auras,while evil characters have red ones. O course,this isn’t a hard and ast rule; in some campaigns,each character has his own uniquely colored aura,regardless o personality.

BOOKS AND SCROLLS

An important plot hook in many Martial Arts

adventures is the existence o a book or scrolldocumenting some new and unusual fightingstyle, or which contains inormation on advancedand unbeatable fighting techniques. Ofen, theactual contents o the book are unimportant;its mere existence sets off a series o thefs andmurders leading up to a final showdown withthe person responsible or attempting to steal thebook in the first place (almost invariably an evileunuch; see below).

Gamemasters can use these same books andscrolls as a way or PCs to learn new techniquesand powers in an ongoing campaign. A grateulpatron might give the PCs a book, or they mayfind a valuable scroll as part o a bandit’s horde.Naturally, any skills they learn will almostcertainly be put to the test in their next majorcombat!

CH’I

Ch’i (pronounced “kee,” also spelled qi) trans-lates literally as “breath.” It reers to the energybelieved to flow through every living thing, as wellas the world itsel. Ch’i can be positive or negative,and too much or too little o one orm o ch’i cancause illness and even death. But i a person hasperectly balanced ch’i, it’s said he can live orever.

A warrior can disrupt the flow o ch’i thoughanother’s body by striking specific pressure points,which can cause loss o power, agonizing pain, oreven death. Conversely, acupuncture can releasepressure on these same points and restore ahealthy flow o ch’i. Te manipulation o the ch’i flowing through the world involves geomancy — eng shui, meaning “wind and water.”

By using proper orms o meditation, breathingexercises and even diet, a character can harnesshis ch’i and develop superhuman abilities. Oncea person has ound a way to properly channel hisch’i, he can use it to resist pain, leap great distances(or even fly), and perorm great eats o strength

and agility.

OUT OF ASIA

Almost all the “bits”

listed here reference

Asian martial arts

stories. Although the

elements have been

taken from Asian

sources, the GM canadapt them to any

setting he chooses. Fo

example, if he runs a

swashbuckling game

set in the era of the

Three Musketeers,

the GM could have

his PCs search for a

lost fencing manual

(“Books and Scrolls”),

duel with the Cardinal

Guard (“Feuds”), seek

revenge for the death

a comrade (“Murder”and “Revenge”),

cross swords with

another Muske-

teer who feels his

style is superior

to the PCs’ (“Rival

Schools and/or Styles

and introduce a femal

Musketeer (“Women”




Tis latter aspect o ch’i is central to the wilderorms o the Martial Arts genre. Almost all o theabilities displayed by characters in Anime, Wuxia,and Video Game Martial Arts stories derive romtheir mastery o ch’i. In Wuxia, ch’i mastery usuallymaniests though a character’s ability to fly, hisgreat strength, and his high resistance to harm. InAnime and Video Game stories, ch’i mastery goesa step urther, allowing many characters to projectblasts o fiery ch’i at their enemies. (See ChapterTree or many example abilities involving ch’i manipulation.)

Te concept o ch’i carries over to othercultures and non-Chinese martial arts styles.Other names or ch’i include ki or wa (Japan; thelatter term means “harmonious spirit”), mana (Hawaii), and prana or ting (India).

EUNUCHS

Te historical Chinese government was virtu-ally run by the eunuch class, so anytime a periodChinese story requires an authority figure (likea provincial governor or a local magistrate),

he’s probably a eunuch. Normally, eunuchs arecruel, oppressive, and incredibly corrupt, virtu-ally robbing the local populace to line their ownpockets with wealth. Since the heroic PCs usuallyseek to overthrow cruel regimes, eunuchs opposethem. Unortunately or any such heroes, eunuchsare ofen masters o powerul Kung Fu techniques,making them a match or even a large group oheroes. Most o the time the PCs just have to fightthe eunuch’s minions (bandits, ninja, soldiers, andeven magicians), but i pressed or cornered, an evileunuch becomes a whirlwind o destruction.

FEUDS

One o the oldest plots in the Martial Artsgenre is the eud between two schools over whosestyle is better. Although it’s an almost clichéd plot,euds o this sort were all too real; many historicalmartial artists, rom Miyamoto Musashi to BruceLee, ought duels to prove their style was supe-rior. Some euds are only hal-serious — some-what lighthearted competitions between schoolsencouraged by masters to keep the students infighting trim — while others are deadly.

In a roleplaying game, the GM can get a lot omileage out o such euds, especially i a PC hasdeveloped his own unique style. Tat character canexpect other fighters to challenge him — they wish

to test this new style, to find out firsthand exactlyhow powerul it is.He must fight or lose “ace”(respect) and honor. A more insidious plot wouldhave a PC become the target o a eud not becauseo his own actions, but due to his associationwith someone else (such as a relative, or a ellowstudent) who has committed a crime. In this case,the PC must discover why he’s part o the eud,who started it, and i any way exists to resolve theproblem peaceully.

GHOSTS AND OTHERSUPERNATURAL MONSTERS

Although it’s completely out o place in Real-istic Martial Arts stories, and even most Cine-matic stories, the supernatural is quite commonin Anime and Wuxia tales. Characters may findthemselves acing anything rom beautiul ghoststo horrific hopping vampires. Although thesecreatures are supernatural, characters can combat

many o them with airly “normal” martial artsskills... but to truly destroy such creatures onemust know certain specialized techniques orpossess magical powers.

Supernatural threats exist in almost limit-less types, shapes, and sizes (Wuxia heroes haveought fight everything rom rubbery demons tohouse-sized centipedes), but two things seem toremain constant. First, any vampires are hopping vampires — greenish withered corpses dressedin Mandarin robes. Tey have stiff movements,incredible strength, and tremendous resistance toinjury; they travel by hopping instead o walking(hence the name). Second, most ghosts are beau-

tiul emales. Dressed in long flowing gowns androbes, they flit about seducing (and sometimesdestroying) any man unable to resist their charms.

See Te HERO System Bestiary or someexamples o Asian monsters suitable or storiesinvolving this element.

MAGIC AND SORCERERS

I high-flying, energy-blasting kung u warriorsaren’t enough, many Anime and Wuxia storieseature magicians o some sort or another. aoistsorcerers are common, as are Shinto priests andpriestesses, Buddhist mystics, and even ninja (whoare usually depicted as masters o strange and

bizarre semi-magical techniques).Tere are no set rules or magic-using char-

acters, although many seem to be necromancers,summoning ghosts and hopping vampires toattack their enemies. Mental powers (particularlythe ability to control minds) are common as well.In the most over-the-top campaigns, magicianscan fly, breathe fire, and deflect an enemy’s spellsright out o the air.

You can convert just about any power oundin Chapter Tree into a magic spell with a ewminor changes. In both Chinese and Japanesesettings, magicians ofen write spells on sheets o

paper and hurl them at the enemy. Shinto priestsuse these talismans (known as ouda) extensively,usually to combat ghosts and other supernaturalmonsters. aoist magicians tend to need largealtars to perorm their sorcery, as well as extensiveand complex rituals, such as burning paper talis-mans and spitting orth volatile liquids during thecourse o an incantation. Other Chinese sorcerersuse wooden swords to assist in casting their spells,the sword serving much the same purpose as aWestern magician’s magic wand.

Magicians can rarely hurl spells with the sameease that martial artists utilize their techniques.Limitations such as Focus (writing materials),

Gestures (the writing and/or hurling), Extra ime

HISTORICAL

EUNUCHS

In China, eunuchs were

created by surgically

removing the male’s

entire genitals. If this

was done before puberty,

the eunuch never reallylost his “baby fat,” could

not grow a beard, and

never developed a deep

voice. If the procedure

was performed once a

man reached puberty,

the eunuch generally

gained a great deal of

weight.

Eunuchs were used as

servants in the Imperial

court of China for nearly

2,000 years. Accordingto tradition, the Emperor

had 3,000 eunuchs at his

command, while lesser

nobles and favorites of

the court typically had

only 10-30. Eunuchs

were the lowest social

class in China, consid-

ered on par with insects.

Eunuchs usually came

from poor families;

they joined the Impe-

rial ranks to escape

poverty. As part of

the royal court

they received

a small salary,

room, board, and

a percentage of

anything that passed

through the court. In

addition, they received

numerous bribes and

stole regularly. Because

the only way to gain

any form of power was

through intrigue, mosteunuchs plotted behind

the Emperor’s back,

jockeying for positions

of power and influence.

Martial Arts stories often

emphasize these latter

qualities.

7




RELIGION

Due to the influence o the Shaolin emple onChinese martial arts (see below), religion and themartial arts ofen go hand-in-hand.

BUDDHISM

Historians trace the origins o Buddhism tothe historical figure o Siddhartha Gautama, whodied in 480 BC. His teachings reached China by100 BC at the latest, supposedly brought at therequest o the Emperor Ming o the Han Dynasty.Buddhism spread throughout China airly rapidly,then Korea, and eventually reached Japan around600 AD.

A devout Buddhist wishes to ree himselrom the three great sins o ignorance, greed,and passion, and thus escape the delusions oanger, joy, hatred, desire, and grie. Once a personaccomplishes this, he becomes enlightened, andenters into Nirvana, where he remains ree romthe needs o the material world. Tose who ail toachieve Nirvana are doomed to a cycle o reincar-nation, returning to lie as either a man or a beast,

or may spend time in the various Chinese andBuddhist hells (and the Chinese have a lot o hells;see the sidebar on page 282). A person’s ate isdetermined by karma; those who have committednumerous offenses (and built up a great deal obad karma) are punished or their misdeeds intheir next lie.

An individual’s karmic ties to other people cancontinue through cycles o reincarnation. Tisconcept ofen plays a part in Anime and WuxiaMartial Arts stories, where the souls o long-deadwarriors are reborn in a new era, only to onceagain run aoul o their old enemies, who havealso been born into this new time.

BODHIDHARMA

Although almost certainly a mythical person,Bodhidharma supposedly ounded Chinese ZenBuddhism, and created Shaolin Chu’an, betterknown as Shaolin Kung Fu. He came to Chinarom India to spread the teachings o his ownBuddhist sect. He met with the Emperor o Chinabeore continuing on to the Shaolin emple.Reused admittance, Bodhidharma sat down andmeditated by staring at a cliff wall or nine years,eventually (according to legend) boring a holethrough the wall by virtue o his intense gaze.Aferwards, he was allowed to enter the temple.

Discovering the monks were in poor health andofen ell asleep during meditation, Bodhidharmainstructed them in certain exercises and breathingtechniques, which they were to practice every day.Legend states these exercises ormed the basis orcreation o Shaolin Kung Fu, while the breathingtechniques centered on the concept o harnessingch’i energy, an underlying principle o manyChinese and Japanese martial arts.

TAOISM

Founded by the Chinese philosopher Lao zu(c. 580-480 BC), aoism has had a great influenceon the martial arts. It’s difficult to understand,

mainly because it’s difficult to define. o boil it

down to a very basic synopsis, a aoist believesthe world (or ao) is made up o two orces, theYin and the Yang. Yin is eminine, lunar, terres-trial, passive, negative, dark, wet, and cold, whileYang is masculine, solar, celestial, active, positive,white, dry, and hot. Yin and Yang should remainin perect balance (as seen in the well-knownYin-Yang symbol), and thus all events, both goodand bad, should be accepted as a matter o act.A true aoist lives in perect harmony with hisuniverse, and doesn’t try to exert his will on theworld around him. He lives with the world, not inopposition to it.

aoism has influenced the martial arts withthe idea o wu wei, or non-action. Wu wei canbest be defined as eliminating the need to make aconscious decision with regards to one’s actions.A warrior who has perected wu wei with regardsto his martial arts is impossible to surprise,because he no longer has to think about reacting.I attacked, he reacts without conscious thought,automatically perorming a deensive maneuverand counterattacking.

REVENGETe need or revenge occurs as a primary

motivator in many Martial Arts plots. Charactersmay seek revenge in response to the murder o ariend or loved one, the humiliation o themselvesor their master, or as part o an attempt to recoversome sort o stolen property. O course, the PCsaren’t the only people seeking revenge. NPCs maybe out or vengeance as well, typically against oneo the PCs or someone they have to protect.

Quests or revenge typically resove in oneo several ways. Te usual outcome is or theavenging character to kill the person responsible

or the insult (although a savage beating maysuffice). A somewhat less bloodthirsty resolutioninvolves bringing the target o one’s revenge to justice, or simply taking back whatever was stolenin the first place.

RIVAL SCHOOLS AND/OR STYLES

As mentioned under Feuds, it’s airly commonor practitioners o different martial arts styles tobicker and fight with one another over whose styleis better. In a similar vein, students rom compa-rable styles, but different schools, may also harassand annoy each other. Tis rivalry ranges romsimple insults to deadly serious duels. In Japan,

it was common or swordsmen rom differingschools to duel as a test o their style and skill, andat times, entire schools got involved in the eud.Te same goes or China, where similar rivalriescontinue to exist into the present day.

For campaigns set in early 1930s China, theGM should consider moving the rival schoolsconcept to an international level. In this setting,the rivalry isn’t between various Chinese martialarts schools, but between China and Japan,with the question being the superiority o eachcountry’s native art (usually Kung Fu and Karate,respectively).

MAGIC PLOT

SEEDS

The possible adventures

involving magic in a

Ninja Hero campaign

are almost infinite. The

PCs might seek out

a Shinto priestess tospeak with the spirits

of the dead (or to have

a spirit banished from a

home), or they may look

to a Buddhist for healing

spells and the like. A

Taoist sorcerer may cast

spells on them (usually

while in the employ of an

evil eunuch), or the PCs

may ask a Taoist for aid

in combating some sort

of supernatural evil. The

campaign’s evil eunuchmight be a powerful

magician himself,

capable of summoning

terrible monsters to fight

his foes for him. And

of course, one or more

PCs may be magicians,

at which point people

probably come to them

for help.

7




SHAOLIN

Both the Shaolin emple itsel, and its monks,are common elements in martial arts stories.

Te monastery o the Shaolin priests waslocated on Sha-Shih Mountain, and was calledShaolin Ssu, or “Young Forest emple.” Foundedin the fifh century AD, the temple lasted until1735, when a Manchu army burned it to theground in an effort to quell rebellion. Legend has

it only five monks (known as the Venerable Five)escaped the destruction o the temple. O thesefive, one was Ng Mui, a Buddhist warrior nun andthe ounder o the Wing Chun style o Kung Fu.

Te burning o the temple is an event GMs canincorporate into a period campaign. A Shaolinmonk PC may have survived the burning, orperhaps he was away at the time o its destruc-tion and must now lie low to avoid the Manchusoldiers. In either case, the GM has a large hookon which to hang possible plots.

Monks rom Shaolin appear in almost as manyMartial Arts adventures as do ninja. Invari-ably, they are strong, skilled fighters, and usually

possess powerul Kung Fu techniques, puttingthem ar ahead o the average martial artist. Teymay act as either heroes or villains; apparentlythere was no test o nobility or honor required togain admittance to Shaolin. Discredited, outcast,and/or selfish monks ofen wreak havoc andoppress the populace, usually in the service oa eunuch magistrate or governor. WanderingShaolin monks make or excellent PCs, temporaryallies, or sources o inormation and assistance; ievil, they’re naturals as powerul repeat villains.

SIGNBOARDS

Chinese and Japanese martial arts schools

all have a signboard mounted somewhere in theschool. Te teachers and students must protectthis board at all cost, and cannot allow it tocome to harm. In some cases, the master (or hisstudents) go to great lengths to keep the boardrom so much as touching the ground. ypically,i two schools fight, the winner tears down andsmashes the loser’s signboard, signiying the loser’sutter deeat. Signboards or places o businessare ofen given the same attention; to tear downand abuse one o these signs is a orm o greatdisrespect.

STUDENTS

Every Master (old or not) has students. Someare studious, some are rebellious, some are clowns,and all o them can be counted on to get into somesort o trouble. In more serious campaigns, an OldMaster may be drawn into conflict by the deatho his students, or, as is ar more common, thestudents avenge the Old Master when an enemykills or humiliates him.

Even skilled martial artists may becomestudents or a time. It’s a common theme inMartial Arts stories or a warrior to spend timewith an instructor learning some new or unusualfighting style so he can achieve victory in an

upcoming battle. In game terms, this is a great way

to explain how PCs spend their Experience Points.Just finding the right master to train with may bean adventure itsel!

THEFT

Te thef o an object, be it a sacred scroll or apowerul weapon, has started many a martial artsstory. But thieves can steal things other than mate-rial items. Many schools worry about the thef otheir fighting styles and secret techniques, andin a Wuxia or Anime story, the thef o a person’sshadow or soul may be possible. Naturally, whenone wants something stolen, one should call in amaster thie — which is why there are so manyninja.

TOURNAMENTS

Te idea o the tournament, in which martialartists rom all over come together to partici-pate in a regulated fighting competition, is aairly common one (not to mention central tothe basis o any Video Game story!). Dependingon the scope o the setting, a tournament mayrange in size rom a single school (or temple)to one involving people rom around the world(and beyond — interstellar or extradimensionalfighting tournaments are not unheard o).

One o the easiest ways to get a group o PCstogether is to have them all meet at a tourna-ment. I the PCs all win (or at least do very well),a patron may ask them to join an elite guard, atwhich point the GM can send them on all sortso missions. ournaments are also major socialevents; PCs attending one may have to deal withFeuds, Ninja, Revenge, Rivals, ellow Studentsout to prove themselves... and the more mundanepossibilities o cheating, spying, and romance.

UNUSUAL AND UNBEATABLE FIGHTING STYLESIn many Martial Arts stories, one character

(sometimes a hero, sometimes not) possesses astrange combat style — a way o fighting virtu-ally no one’s seen beore. ypically this style isa powerul one, and contains spectacular tech-niques allowing its practitioner to deeat even thetoughest o opponents. Variations on this themeinclude making the practitioner the only mastero the style, or its last living practitioner. Anotheridea is to reverse the circumstances. Instead o thehero possessing the unusual style, it is the hero’senemies who practice strange martial arts tech-

niques. Naturally, these enemies are all too willingto demonstrate their prowess with these styleswhen fighting the hero.

Another twist on the unusual fighting stylegimmick is the idea o the unbeatable style. Tisis a rare fighting style known to virtually no one(it might even be a lost art, ound only in books).Once learned, however, it allows the practitionerto totally dominate his opponents, achieving victory even against supposedly impossible odds.Since giving a hero an unbeatable style doesn’t domuch or story development, typically only vil lainsknow them... and the hero (or heroes) must go ona journey to discover a style or technique o his

own that can deeat the style.

NINJA PLOT

SEEDS

Needs something

stolen? Send a ninja.

Need to have someon

killed? Send a ninja.

Need to know what yo

enemy is up to? Senda ninja. Need to get a

message through ene

lines? Send a ninja.

Need cable TV installe

Send a ninja.

Ninja are the GM’s

friend. They can appe

in any campaign, in

any setting, and almo

any time period. (For

example, in Phil Foglio

“Buck Godot” comic

books, ninja are a

phenomenon commo

to all sentient species

Since they rarely act

on their own, ninja als

allow the GM to involv

major campaign villai

in the action without

actually having the

villain show up.




WEAPONS

Weapons and weapon-using warriors areextremely common in many Martial Arts settings.Tis especially holds true or those campaigns setin Japan, which eature sword-wielding samuraiand ronin extensively. Campaigns set in Chinaare more mixed in the treatment o weapons,although in most cases, a Chinese hero possessessome sort o weapon proficiency. Naturally, this

being the Martial Arts genre, strange and unusualweapons are common, with some being down-right bizarre (and in many cases either illogical indesign, or physically impossible to use). And ocourse, magic weapons occur requently in Wuxiaor Anime stories. Usually the heroes must go on aquest to find the weapon, or must recover it afer a villain steals it.

Almost as common as true weapons is the useo seemingly ordinary objects as weapons. Tisincludes items such as benches, chairs, tables,curtains, lengths o silk or rope, umbrellas, andmost common household urnishings. Tese itemsare ofen just as effective as “real” weapons in the

hands o a skilled martial artist (see the VersatileWeapons ability in Chapter Tree or an exampleo a way to represent this skill in HERO System terms).

WOMEN

Te Martial Arts genre has no gender bias.Although both Chinese and Japanese culturesdiscriminate against women, this doesn’t stop thegenre rom eaturing all sorts o powerul, skilled,and sel-sufficient emale martial artists, ninja, andsorcerers. In many cases, these women are eisty,powerul, strong-willed fighters with ar moreindependence than one would normally expect.

In addition, most are masters o the martial arts,and know strange and unusual techniques. Teexistence o emale PCs poses no problem or anyNinja Hero campaign.

MARTIAL ARTS ANDMETAGENRES

A Martial Arts campaign should consist omore than just people hitting each other. Even inthe most action-intense game the GM can findroom or meta-genres — styles or themes o story-telling or game play applicable to any genre, such

as Comedy, Horror, Romance, or ragedy. (By thesame token, players should consider the meta-genre aspects o their characters. One PC may bethe element o Comedy in an otherwise seriouscampaign, while another’s unrequited love or theevil governor’s beautiul daughter injects a note oRomance into the game.)

Comedy Te Martial Arts genre readily lends itsel to

comedy. Even in the most serious story, there’sofen one character who’s a clown, who enjoys

jokes and pranks, and who makes others laugh. (Ithe story’s serious one, he’s usually the first personbeaten up or killed by the vil lains.) In addition,the nature o the Martial Arts genre makes it ripeor parody. You could build an entire campaignaround the idea that a character can be a martialarts master o literally anything . Imagine, orexample, a campaign where the PCs must deendthemselves rom a master o martial arts cookingor martial arts inline skating!

Te problem with using Comedy in a campaignrevolves around the idea o what is unny andwhat isn’t. I the GM’s sense o humor differs romthat o his players, sequences the GM finds unny

may be annoying, boring, or outright distasteulto his players. A GM who wants to inject comedyinto his campaign should make sure he knowshis players and what they like in the humordepartment.

Tere’s also the simple possibility o runningout o jokes and unny scenes afer a ew games. Anonstop diet o comedy works great or televi-sion sitcoms, but may pale in a gaming campaign.ypically, Ninja Hero GMs solve this problem bysimply incorporating occasional humor into anormal campaign, instead o making comedy thegame’s ocus.

One o the biggest comedy pitalls or the GM

to avoid is making the players look like ools.No one likes to be the butt o one joke, muchless repeated jokes, and PCs (the stars o thecampaign) are even less likely to enjoy this sorto thing. Unless some player willingly takes onthe clown’s role, a good option or the GM is tocreate an NPC specifically designated as comedyrelie. Tis character gets made a ool o, makeshumorous mistakes, and constantly gets intohilarious trouble. O course, the GM also needs tomake sure this character is someone the PCs careabout, or else they’ll quickly tire o his antics.

CHINESE GOTTA

LOTTA HELLS

Chinese religion and

folklore describe a lot

of unpleasant hells (or

“earth prisons”) where

sinners suffer after

death. Many of themare devoted to specific

sins, much like the

levels of Dante’s Hell;

for example, the Hell Of

Hanging Upside Down

is to punish those who

engaged in ungrateful

or animal-like behavior.

Some of them include:

The Hell Where Sinners’

Tongues Are Torn Out

The Hell Of Cold Ice

The Hell Of Sword-Filled

Trees

The Hell With Hills Stuck

Full Of Knives

The Hell Of Dancing On

Red-Hot Iron

The Hell Of Being Boiled

Alive

The Hell Of Sawing Into

Pieces

The Hell Of PoisonedSerpents

The Hell Of

Cutting And

Grinding To

Pieces

The Hell Of Blackness

And Darkness

The Hell Of Iron Beds

The Hell Of Starving

The Hell Of Gouging The

Eyes OutThe Hell Of Sliced Faces

The Hell Of Hanging

Upside Down

The Hell Of Drugs Forced

Into The Mouth

Mouth-Goring Hell

The Hell Of Cut-Off

Hands

Toxic Bee Hell

Heart-Digging Hell

Eddie Lee: Well sure it was a war,

and anyone who showed up was going

to join Lem Lee in the Hell of Being

Cut to Pieces.

Jack Burton: The Hell of being

What?

Eddie Lee: Chinese got a lot of

hells.

- Eddie explains Chinese

Cosmology to Jack in

Big Trouble in Little China

7




HorrorDepending on the nature or style o a Martial

Arts game, Horror elements may be either wildlyinappropriate or an integral part o the campaign.In Cinematic and Realistic settings, Horror usuallydoesn’t work well. It’s possible to create some eerie,suspenseul stories involving serial killers andthe like, but many o the supernatural elementsassociated with Horror gaming aren’t appropriate.A modern day action-adventure campaign usuallyhas no room or ghosts, and even i one didappear, the characters would be powerless to affectit. Furthermore, Horror derives a lot o its effectrom the ear o the unknown and inability toaffect the supernatural, but even realistic martialartists ofen have a great deal o confidence intheir skills and abilities.

I the GM wants to introduce Horror intoa Realistic or Cinematic game, he has to find away to create the eelings o terror and dreadcommon to Horror, without spoiling either thestandard tropes o the Martial Arts genre or the

“realistic” tone o the campaign. Instead o usingovert monsters and demons, he should considerusing purely human horrors (murderers, derangedcultists), or low-key supernatural threats such assome ghosts and vampires. Tat way the heroesmay have trouble dealing with the threat, but caneventually find a way to overcome the horror andtriumph.

On the other hand, many Wuxia, Video Game,and Anime martial arts stories include elements oHorror — supernatural encounters with creaturessuch as ghosts are common. Fortunately, char-acters in these campaigns typically have enoughskills and powers o their own to combat weird

opponents. Te ear o the unknown still exists(supernatural beings in these settings are usuallyvery powerul, and have bizarre abilities), but thePCs’ abilities balance it and let them adventureeffectively.

Mystery O all the meta-genres discussed here, Mystery

is the one seen least in the Martial Arts genre. Ingeneral, Martial Arts stories are all about action,and the slower pacing o a “whodunit?” is at oddswith the typical action-adventure plot. ypically,

i the catalyst o the average mystery plot (such asmurder or thef) occurs in a Martial Arts setting,everyone already knows who did it (enemies othe clan or school, or example). Te questionisn’t “who did this?” but “what are we going to doabout this?”.

However, GMs can easily work mysteryelements into martial arts campaigns in whichthe PCs are police officers, private detectives, orspecial agents. Such characters investigate thefs,murders, and other crimes as part o their jobs,and can utilize their martial skills as they try touncover the guilty party. Te GM simply has toset up the investigation so it involves lots o time

out in the street beating up the Big Boss’s thugs or

inormation, instead o time in the orensics labswaiting or the results o a DNA test. A campaignsuch as this doesn’t have to take place in the earlytwenty-first century, either; the characters couldbe magistrates and guards in a period Chinese orJapanese setting (or any appropriate historical era) just as easily as they could be modern cops.

RomanceRomance is a common element o Martial Arts

stories. Te classic example is the hero alling inlove with the Kung Fu master’s beautiul daughter,and his trials and tribulations to prove himselworthy o her affections. Romance also works asa strong plot hook; the death o a loved one haskicked off many a revenge story.

However, just because a GM can includeRomance in a game doesn’t mean he should . Ithe players are deadly serious and only concernedabout combat, then odds are any attempt to createa Romance subplot will all flat. Developing asuccessul romantic subplot requires the coopera-

tion o the player(s). Once that’s assured, the GMsimply needs to create an NPC who attracts theinterest o the player/PC. Since roleplaying gamesare about wish ulfillment, potential romanticinterests are pretty much always beautiul/hand-some; the attraction comes rom the character’sconduct or personality, which are more importantto the game.

Once he’s got the elements o a romanticsubplot in place, the GM has many options orpossible plots. Te simplest (and most clichéd)is the kidnapping o the romantic interest by anadversary. A more sophisticated story ocuseson the actions o Rivals or the NPC’s affections.(In some cases, an aggressive “suitor” who comesafer the PC works even better; that’s a hardersituation or the PC to cope with.) Rival storiesbecome all the more intriguing when the PC can’tsimply challenge the Rival to a duel — perhaps hisbeloved (or her/his amily) loathes fighting, or theRival is too powerul or influential or the PC todare attack. Other options appropriate to the genreinclude overprotective parents, past lovers, or thelove interest’s uture spouse rom a previouslyarranged marriage.

Regardless o how the GM introduces aRomance subplot into the game, he must not

overdo the romantic interest’s involvement. oomany kidnappings, too many conflicts with Rivals,or too many soap operatic moments may makethe character’s interest in his “beloved” wane. TeGM should avoid killing off a romantic interestevery time he needs a tragic incident to spur thecharacters into action. Afer a while, the playerswill avoid any and all occasions or romance, aseach one invariably leads to tragedy.

Mouse-Bite And Cut P

Hell

Car-Pulling Hell

The Hell Of Thorn-Bal

The Mouth

Barbed Wire Net And

Brain-Eating Grassho

Hell

Extra-Cruel Burned Br

Hell

Fingers Boiling Burne

Iron Channel Hell

Splitting Stomach Hel

Drop And Carry Stone

Copper Pan Hell

Cutting Tongue And

Boring Cheeks Hell

Car Running Over Bod

Hell

The Hell Of Hands And

Legs Cutting

The Hell Of Boiling An

Splashing Oil

There are many other

“karmic” hells where

one’s sins in life are

revisited upon one’s s

For example, a person

who harmed many ca

in life might find his s

condemned to a hellwhere cats tear

him to pieces,

again and again.




Satire/Social Commentary Due to the nature o the Martial Arts genre,

it’s not normally used as a vehicle or Satire.Social commentary, on the other hand, crops uprequently in minor ways. Many Martial Arts filmscontain a simple social message, even i it’s as basicas “do the right thing” or “be kind to lessers andthe unortunate.” Other films gave gone a stepurther and taken a look at historical events orcurrent practices with a discerning eye, criticizingand commenting on elements o society manypeople take or granted.

Although both Satire and Social Commentarymake fine elements in public media, GMs mightfind them less than useul as a campaign element.rying to convey a “message” via a orm o inter-active entertainment may not work well, especiallyi the GM and players don’t see eye-to-eye on the validity o the message. Simplistic “morals” likethe ones mentioned above come across well in agaming context; more complex messages ofen donot.

Tragedy Te world o the martial arts is ofen a violent

one, and calamitous events spark many stories.Murder is the most common event, with rape,thef, and destruction o property close behind.Such events can spur PCs to action, or be parto their backstory to explain why they don’t act.Gamemasters can also use events such as this tostart euds, which almost always result in urther violence.

ragedy mixes easily with other meta-genres.A romantic interest can be raped or killed, thecomedy relie character can run aoul o theenemy, a rival master murders the PCs’ master,and so on. Te most important thing to rememberabout ragedy is not to overuse it. I tragedy afertragedy afflicts the PCs, they may soon becomeso jaded and rustrated that they lose interest inheroic activities. Gamemasters should also remainsensitive to their players’ eelings and try to avoiddisturbing them with scenes and events they finduncomortable.

7




GAMEMASTERING

NINJA HEROT

his section examines the art and scienceo GMing a Ninja Hero campaign. Itdiscusses creating the campaign itsel,how to mix in heroes and villains, and

what to do with both types o characters to keepthe action resh and interesting. Although it’smeant or GMs, players may wish to read throughit as well, since doing so may urther amiliarizethem with the nature and elements o the MartialArts genre.

CREATING THE CAMPAIGNEvery type o HERO System campaign differs,

to greater or lesser degree, rom other typesin terms o what’s required rom the GM. Tissection o Chapter Four covers some consider-ations specific to Ninja Hero campaigns. Game-masters interested in more ideas, suggestions, andtips or running any sort o HERO System gameshould consult the GMing chapter o 6E2.

Power Levels AndPoint Ceilings

When you set out to create a Ninja Herocampaign, the most important question you mustask is: “How many Character Points will PCs bebuilt on?” Te more points the characters have,the more Martial Maneuvers, Combat Skill Levels,Skills, and special abilities they can purchase, andthus the more powerul they’ll be. Tat affects howthey relate to the world around them, how easilyother characters can oppose or thwart them, and

the like. Te more points characters have, the less“realistic” the campaign tends to become. Char-acter point totals also raise the issue o point ceil-ings and effectiveness ceilings (see 6E2 282) — thehigher those restrictions (i you choose to imposethem at all), the less “realistic” your campaign.

How you resolve these issues depends on thestyle o campaign you want to run. A GM whowants a gritty “street-level” game in which thecharacters are Hong Kong gang toughs needs toset very different standards than one running acampaign eaturing PCs who are globe-trottingch’i-powered superwarriors.

Generally, as one rises up the scale rom a Real-

istic campaign to an Anime campaign, the power

level o the PCs rises as well, while the power levelo the rest o the world stays the same:

n A Realistic martial artist might be able to fightmaybe two or three (lesser-skilled) opponentsat once, but would have to run rom a largemob or a squad o soldiers.

n A Cinematic martial artist can easily tackle

our or five (sometimes more) oes o lesserskill, and two or three o almost equal skill,and usually thinks nothing o wading into asmall mob o untrained fighters. However,even a Cinematic hero cannot dodge bulletsand would have to be wary o a squad o armedsoldiers.

n A Wuxia martial artist can easily cut his waythrough a virtual army o oes. Bullets may (ormay not) pose a problem, but anything else(such as arrows or thrown spears) he can cutout o the air or simply knock aside.

n A Video Game martial artist is at about the

same power level as the Wuxia warrior (maybea little more powerul), but he usually hasimpressive ch’i-blasts and other “superpowers”that allow him to attack at range and perormother incredible eats.

n For an Anime martial artist, even bullets don’tpresent a threat — generally the only thing ahigh-end Anime martial artist ears is anotherAnime martial artist.

You should also consider whether the PCs arethe most powerul characters in their world, and inot, where they stand on the scale o power. Evenin an Anime campaign, there’s no guarantee thatthe characters’ high point totals and power ceilingsmake them the most powerul people in the world.Normally, the idea is no matter how powerul youare, there’s always someone else, tougher than you,out there — and usually that person is a villain (ori not, something prevents him rom acting as ahero, so heroic tasks all to the PCs). For example, villagers may ask a group o seven Realistic martialartists to deend a small village rom a maraudinggang o about 40 bandits. In a Wuxia game, thosesame seven heroes may have to deal with 200bandits and several skilled warriors. In an Animegame, it might only be five heroes versus 700

bandits and five commanders with powers andabilities equal to those o the PCs!




Te descriptions o the fivesubgenres (pages 274-276)offer suggestions on possiblepoint totals or characters andother matters. Te accompa-nying tables summarize andsupplement that inormation.

Campaign ToneTe tone o a campaign is

just as important as its typeand power level. Te morality,realism, outlook, and serious-ness o the game do as muchto create its “look and eel”as the abilities characterspossess, and sometimes helpyou enorce certain genreconventions.

MORALITY

In a Ninja Hero campaign,

morality is ofen a airlysimple campaign element— at least in campaignsinfluenced and modeled aferChinese martial arts films.Te PCs are the heroes, theirenemies are evil villains,and the picture o moralityis painted in broad strokes.Te PCs represent the heroicideal: they’re dedicated totheir study o the martial arts,honorable, honest, and kindto the weak, poor, and elderly.

Te villains are cruel, usingtheir martial skills to oppressothers. Tey steal, cheat,murder, and think nothingo gaining power by perse-cuting and mistreating thosewho cannot deend them-

selves. Naturally, the PCs do not submit to thecruel demands o these villains, and afer severalskirmishes, deeat evil through their purity andharmony o spirit.

Tis sort o black-and-white worldview doesn’talways work as well or a Martial Arts campaign

as it does or film. Players and GMs ofen preersituations with greater moral complexity, sincestories tend to become boring i the answer toevery dilemma is painully obvious to even themost casual viewer.

Tus, a Ninja Hero campaign’s level o moralityofen depends on the type o campaign you’rerunning, not the type o film you’re trying toemulate. Realistic campaigns, being “realistic,”usually don’t have clearly defined moral choices,but instead present things in shades o grey. Inthese campaigns, as in the real world, there areew easy moral decisions, although some maybe simpler than others. o urther complicate

matters, these campaigns ofen eature PCs who

NINJA HERO CHARACTER TYPES GUIDELINES TABLE

Character Type Total Points

Matching

Complications

Maximum Points

Per Complication

Realistic 100-175 30-50 25

Cinematic 225-275 50 30Wuxia 300-400 60-75 40

Video Game 400 75 40

Anime 300-500 60-75 40

NINJA HERO CHARACTER ABILITY GUIDELINES TABLE

Character

Type Char SPD CV DC

Active

Points

Skill

Points Skill Roll Def/rDef

Realistic 8-20 2-4 2-7 2-8 15-50 10-75 8- to 13- 9/5

Cinematic 10-23 2-5 4-9 4-9 20-60 60-120 8- to 14- 11/6

Wuxia 10-35 3-9 6-12 6-12 40-80 75-150 11-to 16- 18/8Video Game 10-40 3-10 7-13 6-14 40-80 75-150 11- to 16- 20/10

Anime 10-50 5-10 8-14 10-15 50-90 75-150 11- to 16- 23/12

NotesChar: Te typical range o characters’ main Characteristics. Some Characteristics tend to be on thehigher end o (or even outside) the range (SR or “brick” characters, or example), and some (such asEGO) are typically on the low end o the range.

SPD: Te typical range o characters’ SPDs.

CV: Te typical range o characters’ base Combat Values.

DC: Te typical range o the Damage Classes in characters’ attacks.

Active Points: Te typical range o Active Points in characters’ Powers.Skill Points: Te typical range o Character Points characters spend on Skills or Skill-like abilities.

Skill Roll: Te typical range o Skill Rolls in characters’ Skills.

Def/rDef: Te typical level o the characters’ Normal and Resistant Deenses.

“The reputation of a

thousand years may be

determined by the conduct ofone hour.”

- Japanese proverb

7




are all subject to the orders o others: samurai inthe service o a single lord, members o a specialpolice unit, or the like. Tat means the characters’personal eelings may (and ofen will) be over-ridden by commands rom superiors, leading tointernal conflict and difficult choices or the PCs.

Cinematic campaigns usually have the samesort o moral flavor as Realistic settings, but witha more, well, “cinematic” tinge: good and evil area bit easier to tell apart, and the PCs’ choices are alittle easier to make. But ew decisions are paintedin pure black and white, and there may be timeswhen the PCs encounter difficult moral challenges(such as having to fight someone who, in othercircumstances, might have been an ally).

As Wuxia and Video Game campaigns eature amore “over the top” style o action and adventure,their moral tone also tends to be somewhat exag-gerated. In these games, moral choices are muchsimpler, and although the hero might not look very heroic (or act very heroically), there’s usuallyno doubt about the intent and motivations o the villains.

Anime campaigns, although requently evenmore outlandish than Wuxia and Video Gamecampaigns, don’t continue this trend. An AnimeCampaign can range rom strict black and whiteto shades o grey, with the exact direction o themoral compass depending on a host o otherelements, such as the time period depicted, thestory being told, the ocus o the story, and so on.

REALISM

Te “realism” level o a particular campaign iseasily determined based on its type. A Realisticcampaign is, not surprisingly, ar more “realistic”than a Cinematic campaign, which is more real (or

less antastic) than a Wuxia campaign, and so on.As a general rule, the Martial Arts genre thrives

on characters who perorm stunts normallyconsidered improbable, or even impossible.In campaigns where characters can leap to thehorizon, punch through walls, and fire off blastso ch’i energy, there’s no point in penalizing themor attempting outlandish or dangerous stunts— in act, hindering or disallowing such stuntsundermines the purpose and intent o the moreantastic campaign types. But you need to makesure the PCs don’t go too ar; even the MartialArts genre has its limits. Just because a charactercan run along a length o rope strung between

two poles without alling doesn’t mean he can runup a stream o bullets fired rom a gun. Only inthe most antastic o Anime campaigns could acharacter succeed with such a stunt. You need toestablish early on exactly what characters can andcannot do within the confines o your campaign,so the players understand the limits.

OUTLOOK AND SERIOUSNESS

For the most part, the Martial Arts genre isan optimistic one. Te characters, through use otheir martial skill (ofen backed by purity o intentand a healthy dose o honor) can overcome theiroes and make a difference in the world aroundthem — even i that difference is only keeping thelocal neighborhood sae rom bullies and thieves.Only the dark and grim samurai dramas o Japan

reverse this trend; in them, characters who areunable to change their ate or the world aroundthem, no matter how hard they try, tend to bethe norm. But in these stories, even the death oa character doesn’t necessarily mean he’s “lost” orailed. I a loyal samurai dies while ulfilling hislord’s wishes, he’s carried out his duty properly, hisdeath not withstanding.

Most people like to watch Martial Arts moviesso they can see the hero (Bruce Lee, Jackie Chan,Jet Li, Michelle Yeoh...) kick the stuffing out o hisenemies. Odds are, the players in a Martial Artscampaign want to experience the same thing.However, this doesn’t mean you should make

all the villains pushovers! Even i the PCs canoverthrow the evil eunuch and restore reedom tothe province, this doesn’t mean they should do itin a single session — an optimistic outlook isn’tthe same thing as an easy road to success. Makethe characters work or their victories, have themsweat and bleed, mix setbacks with advances, andin the end, when they’ve deeated the evil magis-trate and have cause to celebrate, let them enjoythe ruits o their success or a little while beorethe next enemy comes along.

By the same token, you should give somethought to the level o humor you want in yourcampaign. As noted on page 282, the MartialArts genre is prone to sel-parody; even the mostserious Wuxia films ofen eature lightheartedmoments. You should be ready and willing toallow occasional moments o comic relie tocrop up in even the most serious campaigns andgame sessions. Few players (or GMs) enjoy gamesthat are uniormly deadly serious or constantlycomedic; most preer a blending o the twoelements.

“K

arate is a form of martial

arts in which people whohave had years and years of

training can, using only their

hands and feet, make some of the

worst movies in the history of

the world. ”

- Dave Barry




Campaign ViewpointNinja Hero campaigns typically eature one o

three viewpoints: Chinese, Japanese, or Amer-ican. You need to decide which viewpoint yourcampaign has, and inorm the players in advance,since viewpoint may influence characters’ back-grounds, personalities, and conduct.

CHINESE

A Chinese Viewpoint adventure is usually a very patriotic affair, in which the heroes provethe worth and valor o China and its people byopposing and deeating an oppressor (either in theorm o a corrupt government official or a oreigninvader). Te hero (or heroine) is usually a mastero one o the Chinese martial arts. I he’s not, thestory revolves around him learning some newtechnique or style with which to deeat the villain.He either learns the technique rom a teacheror (more commonly) develops the new abilityhimsel through study, practice, and long hours ohard work (thus proving he has “powerul kung

u”).Te nature o the villain depends on the timeperiod. Adventures set in the past (i.e., beore1600 AD) usually eature Chinese or Mongolian villains. Te ormer are typically corrupt govern-ment officials; the latter are either invaders, orhave newly established themselves as the rulerso China (the Yuan dynasty). Another common villain is the Manchus, northern barbarians romManchuria noted or their oppression o theirChinese subjects.

Adventures set in the mid to late eighteenthcentury usually eature European villains. At thispoint in time, several European powers (and the

United States) were economically “invading”China, ofen using opium to enrich themselves atthe expense o the Chinese people.

More modern adventures (i.e., pre-World WarII) usually eature the Japanese as villains. Japanconquered and controlled much o China in the1930s, and any adventure set during this timeperiod almost certainly uses the Japanese (anda ew traitorous Chinese lackeys) as the heroes’enemies.

Tere are two common themes in ChineseViewpoint adventures. Te first is “overwhelmingstrie.” Because everyone (the government,merchants, numerous martial arts societies...)

wants more power (be it political, economic, ormartial), there’s great upheaval, with constant warsand fighting, leading to the ruination o Chinaand its people. Trust into the middle o this isthe hero, who ofen doesn’t want to fight, but mustanyway, i only to put down those who wouldoppress everything he holds dear.

Te second theme is “Chinese unity.” Teprotagonist o a Chinese Viewpoint adventureis ofen the “people’s hero” — one who fights onbehal o the people, in the process inspiring themto stand up to oppression. He encourages thepeople to remain strong, to fight corruption, and

to oppose oreigners who try to orce their desires

and laws on the people o China. In these stories,the hero is much more willing to fight, since orceis usually the only thing the enemy respects orunderstands.

I you want to run a Chinese Viewpointcampaign or adventure, you should have at leasta passing amiliarity with Chinese history, i onlyto figure out who would make a proper enemyor the PCs. Chinese cinema itsel tends to playast-and-loose with history whenever it suits theplot, and anachronistic elements abound in someo the more antastic films, so they can in yourcampaign, too... up to a point. You also need toensure the players understand and care about theircharacters’ place in society. A proper Chinese herois a patriot, fighting or his country and its people,but not a jingoist; he roots out and opposesinternal corruption as well as oreign invasion.

In many respects, the morality in a ChineseViewpoint story is broadly black-and-white.Te true Chinese are heroes, and the Japaneseand other oreigners are vil lains. You can usethis ormat occasionally, but it becomes repeti-

tious or players afer only a ew adventures. Forgaming purposes, it’s ofen better to vary elements,presenting the characters with Europeans (andeven Japanese) sympathetic to their cause, as wellas Chinese secret societies bent on overthrowingthe current government (not to mention kil lingany and all oreigners they find). Films like FistO Legend and Once Upon A ime In China present such elements perectly, and may be worthwatching or inspiration.

JAPANESE

In Japanese Viewpoint stories, the heroes areusually samurai or ronin placed in a can’t-win

situation. Tey may ace a crisis o ethics with noclear solution (or example, their code o obedi-ence to their lord may demand one action, whiletheir code o vengeance demands the opposite).Sometimes, an impossible task conronts them(such as surviving the attacks o an unbeatable oeor an entire army).

In Japanese Viewpoint stories, virtually allheroes are Japanese. Te martial arts are not ascentral a theme in Japanese Viewpoint adventuresas in Chinese Viewpoint stories, since almostall characters have some fighting skill, and theirmartial arts abilities (usually Kenjutsu swords-manship, although some characters may practice

such styles as Naginatajustsu, Sojutsu, or evenJujutsu) are simply a means to an end.

When Japanese Viewpoint heroes conronttheir enemies, combat is almost always lethal —indeed, it’s usually incredibly violent and bloody.Since most characters are swordsmen rather thanunarmed combatants, and ew people wear armor,death is common among PCs and NPCs alike.

Te majority o villains in Japanese Viewpointstories are usually not posturing, evil men. Tey’re just people placed in a bad situation... one whichrequires them to oppose the heroes. “Right” and“wrong” remain unclear — the heroes have one

goal, the vil lains have another, and i events are to

THE 47 RONIN

Nothing better illus-

trates the elements of

a Japanese Viewpoint

story than the tale of the

47 ronin.

In 1701, the Lord Asano

was ordered to preparea reception for Imperial

envoys in Edo. The court

official sent to instruct

him in proper conduct,

Kira Yoshinaka, deeply

insulted Asano, who drew

a dagger and attempted

to kill Kira (though he

was restrained before

doing more than lightly

wounding him).

To draw a weapon in

the Shogun’s palace

was a capital offense,

and Asano was forced

to commit seppuku

to pay for his crime.

His retainers swore to

avenge his death (by

killing the man who orig-

inally insulted him), and

then went their separate

ways. After nearly

two years of planning,

waiting, and appearing

to have lost all honor

(by becoming beggarsand drunkards), on

January 30, 1703

Lord Asano’s 47

ronin attacked

their target’s

home, killing him.

After laying Kira’s head

before Asano’s tomb,

the 47 ronin turned

themselves in, for

while they had satis-

fied the requirements

of bushido they’d alsodisobeyed the shogun.

The shogun sentenced

them to death, but in

light of many appeals for

mercy from the populace

he permitted them the

honorable death of

seppuku . They were

buried in front of Asano’s

tomb, having satisfied

their obligation to avenge

their lord’s death and

preserved their personal

honor in the process.

7




move orward, one side has to die. Tose villainswho are evil are usually ruthless, amoral gangstersor corrupt officials who stop at nothing to ensuretheir own saety, security, success, or prosperity.

When running a Japanese Viewpoint story,you can enorce these elements by making sureconflicting desires, emotions, and obligationsbeset the characters. By contrasting the require-ments o their oaths o loyalty to their lord withtheir personal codes o honor, you can set upthe sort o dilemmas all too common to Japa-nese Viewpoint stories. Te characters thenhave to bide their time beore they can act, orcome up with a creative way to accomplish theirgoals. Characters who violate their codes shouldbe punished appropriately, and in many casesseppuku (ritual suicide) is the only way to atoneor such a misdeed.

For the most part, Japanese Viewpoint adven-tures are set in either the Sengoku (Warring States)period (roughly 1540-1600 AD) or during theokugawa Shogunate (1600-1868 AD). I youwant to run a Japanese Viewpoint campaign, you

should become amiliar with the history o eudalJapan — the time period tells you who’s currentlyattempting to uniy Japan, and thus where thestruggle’s taking place.

AMERICAN

In American Viewpoint adventures, the heroesare not usually adventurers; they’re gainully-employed people who know a lot about themartial arts. O course, their type o employmenteasily leads to dramatic situations — they’re ofenpolicemen, ederal agents, military personnel,criminals with hearts o gold, or martial artsinstructors.

As with Japanese Viewpoint adventures, themartial arts used by the heroes are a means to anend. Te plots o American Viewpoint adventurestranslate to other genres without difficulty, withguns and cars taking the place o the martial arts.But the martial arts receive more exposure than inJapanese Viewpoint adventures, or two reasons.First, each hero tends to have his own style ocombat, so the story includes a scene or situationwhere each one gets to show off his skil ls. Second,many o the minions do not know martial arts,and the very act the major villains and the heroesdo sets them apart rom “ordinary humanity,” sothe story emphasizes such abilities. Tis is ofen

even more pronounced than in Chinese Viewpointadventures, where most people seem to knowsome sort o fighting arts; in American films, theheroes are extra-special because they’ve masteredthese unusual abilities.

In American Viewpoint adventures, the heroesencounter a situation they must resolve, and theirmartial arts abilities allow them to resolve it. Temaster/student relationship seldom plays a part(films such as Te Karate Kid are exceptions);generally, the heroes are a society o equals, asbefits Western democratic traditions. Te villainsare usually crimelords, using their martial arts

and minions to maintain their crime empires orto hatch some enormous plot. Usually they’reso lacking in honor that the heroes can be veryflawed human beings and still contrast avorablywith the villains.

Combat in American Viewpoint adventures varies. In the first part o the story, it’s usuallynot very deadly; in the end, it’s always lethal. Aew American Viewpoint movies eature lethal violence all the way through, though.

American Viewpoint stories typically takeplace in the modern world; period dramas arerare. Frequently the setting is a big city in theUnited States, but it may be a more exotic oreigncity, such as okyo, Hong Kong, Shanghai, orManila.

American Viewpoint adventures have a greatdeal in common with the Dark Champions genre,such as their strong emphasis on vigilantismand concepts like “justice, not law.” Frequently,the hero o an American Viewpoint adventuremust oppose both the villain and the authorities(represented by the police and/or government)

to accomplish his goals. He “bucks the system,”so to speak, because the system isn’t working orhampers his ability to fight crime. By taking thelaw into his own hands, the hero o an AmericanViewpoint adventure eliminates crime and crimi-nals using his martial skills, and in the end theauthorities “look the other way” when the heroexposes the criminal’s deeds.

Running an American Viewpoint adventureis usually a airly simple. It doesn’t require anyhistorical research or effort to hook the PCs in; just create a oe whose actions are so heinous theheroes have to act... and then turn them loose. Ithe PCs react by ignoring their superiors, ignoring

the law, and pretty much doing what they want,then they’re behaving perectly “in character”or an American Viewpoint adventure (as seenin Above Te Law and many other Steven Seagalmovies, among others).

Campaign ThemeIn addition to deciding on a Viewpoint, you

should also consider the overall theme o yourcampaign (i any). Temes aren’t required orNinja Hero games, but can help motivate playersor set the tone or the campaign.

In Martial Arts stories, themes range romthe simple (“hard work and discipline lead tosuccess”) to the more complex or involved (“thosewith a pure heart are unstoppable”). Other themesare more setting-specific; as mentioned under theChinese Viewpoint section, strie and unrest in themartial world is a common theme in such stories.Characters whose backgrounds and actions helpto advance or explore the theme may receive extraExperience Points, positive modifiers on die rolls,or other bonuses; those who don’t may sufferpenalties (or simply miss out on any benefits).




You should decide which (i any) themes willarise in your campaign, since that helps you setthe tone o the game. For example, i revenge is acentral theme, odds are the campaign is dark andgritty.

Here are a ew examples o themes common tothe Martial Arts genre as a whole:

AGE

Old masters, sages, and retired warriors knowmore about the world and how it works than theyoung give them credit or. Te aged are a reposi-tory o knowledge, and in a Martial Arts setting,this usually translates to new and unusual martialarts styles and techniques. Te same also goesor ancient books and manuscripts, which maydetail powerul martial techniques lost or ages.Te “generation gap” that arises when youngerheroes don’t understand the value o age, or over-look the wisdom o the elderly, ofen causes plotcomplications.

POWER

Power is an important consideration ormartial arts characters. No matter how powerula character is, there’s always someone out therewho is more powerul still — and sometimes thosewith power (corrupt Shaolin monks, evil eunuchgovernors) abuse it. How characters acquirepower, use power, and react to those with greateror lesser power than themselves is a basic themeunderlying many Martial Arts stories.

REVENGE

Revenge drives many Martial Arts heroes toact. ypically, someone dear to the heroes is killedand honor requires that they take vengeance on

the killer. What transorms this rom a simplemotivation to a theme is an exploration o whatrevenge is and means... and what it does to thosewho seek it. How does the quest or vengeanceaffect the character? Does he really gain any satis-action rom obtaining it? Does repaying “an eyeor an eye” accomplish anything?

SACRIFICE

Ofen closely related to Revenge, the themeo sacrifice examines what a character’s willingto give up to accomplish his goals. Is anythingimportant enough to justiy the loss o a char-acter’s honor? His soul? His amily? His lie? By

examining the boundaries o what the heroes willand will not sacrifice, the campaign ofen engagesin detailed character exploration, leading to lots ointense roleplaying.

Campaign Framework Te five basic subgenres (campaign types)

described above tell you about various types oNinja Hero campaigns, but don’t specificallydescribe a particular ramework on which to basethe adventures o a group o PCs. “Framework”in this respect reers to what brings the charac-ters together and keeps them together; broadlyspeaking, it defines the PCs and guides themduring their adventures. Not all campaigns havespecific rameworks — some just throw the PCstogether and send them on their way withoutworrying about dramatic logic or consequences— but many do, since having a ramework ofenmakes things easier on the GM. Players need toknow what ramework (i any) you’ve chosen orthe campaign beore they start designing PCs,and you need to know it so you can plan the righttypes o adventures and subplots or them.

Here are some common rameworks orMartial Arts campaigns:

The Heroes Are Bounty Hunters: Te PCs are ateam o bounty hunters traveling about the landcapturing criminals and turning them over to theauthorities in exchange or reward money. Alongthe way, they ofen encounter situations whichcompel them to get involved, regardless o thefinancial compensation. Tis ramework is bestsuited or Fantasy or historical campaigns.

The Heroes Are Freelance Do-Gooders: Teheroes are wanderers, men and women who travelrom place to place trying to make things better.Inevitably, trouble finds them wherever they go.Tis ramework is appropriate or any type ocampaign; while it’s most associated with Fantasy/

historical campaigns, V shows like Te A-eam show that it works in the modern day as well.

The Heroes Are Professional Fighters: Tecampaign centers around a tour o proessionalcompetitions. Wherever the heroes go, they havea tournament to participate in — and, inevitably,some other situation arises that requires themto use their martial arts abilities or real. Ofen,old riends and buddies need their help againstthe local mob or other troublemakers. Natu-rally, this ramework is tailor-made or VideoGame campaigns, but it’s also suitable or othersubgenres.

The Heroes Are Skilled Warriors: Te PCs aremembers o an elite military orce, a clan o ninja,or ronin in a eudal Japanese campaign. What-ever they are, at the beginning o each adventuresomeone orders or hires them to pull off someimpossible task, assassination, or rescue. Tismakes it easy or you to motivate and controlthem; they do what their employer tells them todo, how he tells them to do it.

7




Campaign SettingYou can set a Ninja Hero campaign in virtually

any time period, rom the ar past to the distantuture, and virtually any location (even Fantasyworlds or alien planets replete with monsters andstrange creatures). All that’s required is a wayor you to emphasize martial arts fighting styles,techniques, and action.

Consider the overall scope o the campaign:will you limit it to one small area (say, a city), orwill it range over the entire countryside... or evenrom planet to planet? Scope ofen depends onsubgenre. A Video Game campaign, or example,almost requires a broad scope so characters cantravel rom one exotic locale to another to partici-pate in fights, while a Realistic campaign typicallyinvolves a more restricted venue (such as Paris ora French Musketeers game). Te smaller the scopeo the campaign, the easier it is or you, since youcan re-use a lot o material over and over (such aslocations and NPCs) — but it’s also harder, sinceyou can’t just create any sort o situation and ofen

have to spend a lot o time developing aspectso the setting. On the other hand, a campaigncovering a large area gives you a great deal oleeway with regard to plots and possible encoun-ters with NPCs, but deprives you o the intimateknowledge o a smaller setting.

I you choose a historical setting, such as HanDynasty China, you should spend some timeamiliarizing yoursel with the era, its events, itspeople, and its customs. You don’t have to becomean expert, but you should know enough to answerplayers’ questions — and hopeully inspire themto study the setting themselves to improve theirroleplaying.

RUNNING THE CAMPAIGNOnce you’ve decided on the basics and created

your campaign and its setting, you have to actu-ally run the game. Tis involves some additionalconsiderations and work on your part, but themore effort you put into your game, the betteryour games tend to be, and the more everyoneenjoys them.

Campaign PlotsWhen you settle on broader issues such as

campaign type, ramework, and theme, youshould give some consideration to plots — inother words, to the individual stories you want totell and what happens in them. You may also wantto consider subplots (secondary plots occurringin the background o main plots) and “story arc”plots that unold over multiple adventures.

Creating stories or Ninja Hero campaigns is aairly simple matter, since the Martial Arts genreisn’t exactly noted or its overly-imaginative plots.Usually the concern is not so much with the plotitsel, but how it’s dressed up. Enter Te Dragon

has only the most threadbare o plots, but no

one cares because Bruce Lee utterly dominatesthe film. Te same goes or many other MartialArts films, in which basic and ormulaic plotsare carried by well-choreographed fight scenes,bizarre heroes and villains, and jaw-droppingstunts.

Here are some standard Martial Arts adventureplots, and how they typically develop.

BUILDING TO CONFRONTATION

How the Heroes Get Involved: Te heroes areall attacked or insulted until they cannot takeit any longer and the only possible response is vengeance. With some groups, this might takeonly one insult; with others, it may require a serieso affronts and lesser conrontations that put moreand more pressure on the normally-peaceulheroes until they can’t hold back.

The Early Part Of The Adventure: Te heroes are just living their lives when someone decides toharass or harm them: annoy their amilies, ruintheir places o business, methodically kill everyone

in their amilies, humiliate or murder their master,and so on. Several combats result rom thissequence in events, each one nastier and moreserious than the one beore.

The Middle Part Of The Adventure: Te heroesrealize they can’t get out o this situation withoutbloodshed and decide to take the war to theirenemy. More deadly combat between the twogroups results.

The Climax Of The Adventure: Te heroes maketheir way to their enemy and conront him (orthem) or a climactic battle.

Potential Complications: Tis plot works well ina movie, where the scriptwriter controls the maincharacters. In a game, you don’t control the maincharacters (the PCs), so you can’t control theirreactions. It’s entirely likely the PCs won’t toleratea continued campaign o assault and harassment— one attack by the villains and the PCs will setout to take them down. You may have to providesome sort o in-game reason why the PCs haveto put up with the villains’ actions in the earlyparts o the adventure. For example, i they leavetheir shops to go punish the evil magistrate (the villain whose soldiers have been bothering them),bandits will take advantage o their absence to

loot the town. Te PCs (or some NPCs) have toremove the bandit threat beore they can copewith the magistrate.

THE COMPETITION

How the Heroes Get Involved: Someone invites orchallenges the heroes to participate in a compe-tition (typically a tournament o some sort). Itshould be a airly normal competition, but theactions o crooks, double-dealers, and other ne’er-do-wells complicate matters.

The Early Part Of The Adventure: Te earlyrounds o the competition pit the heroes against

some minor opponents, whom they deeat so they

INSPIRATIONAL

FILMS

It’s a fairly simple

matter to match the

sample plots with

various well-known

martial arts films. A

short list is as follows

Building To Confronttion: Drunken Master

II (Golden Harvest Ltd

1994), Fist Of Legend

(Eastern Production Lt

1994), Return Of The

Dragon (Golden Harve

Ltd., 1973)

The Competition: Bloodsport (Cannon

International, 1988), T

Quest (Universal, 1996

Infiltrate And RescueDestroy: Enter The

Dragon (Warner

Brothers, 1973)

Loss, Retraining, AndConfrontation: The

Blade (Golden Harvest

Ltd., 1995), Tai Chi

Master (Eastern Produ

tion Ltd., 1993)

Protect The Defense-less: Iron Monkey

(Golden Harvest Ltd.,1993), The Seven

Samurai (Toho

Company Ltd.,

1954)

The Search ForPerfection: Dragonba

Z (Toei Company Ltd.,

series from 1989-199




rise in the standings. Tis part o the adventureserves two purposes. First, it lets the PCs get toknow the important NPCs at the competition —both the riendly/honorable ones who’ll becomeallies, and the angry/dishonorable ones who’llbecome the PCs’ bitter enemies. Second, it givesthe PCs the chance to discover that there’s some-thing untoward going on, a complication they’lleventually have to deal with. Usually this involvesthe actions o gangsters, who may be trying to rigthe tournament, or who back a avorite fighter anddon’t want the PCs to deeat him. Alternately, itmay involve a avored competitor who’s cheatingto ensure his own success.

The Middle Part Of The Adventure: As the PCs(or most o them) continue to succeed in the tour-nament, their enemies try to remove them romthe picture. Tey start out with low-level threats,attempts at bribery or seduction, and other “sof”methods, but afer the PCs reuse to be intimi-dated or distracted, the opposition progresses to“hard” methods such as attacks by minions o various quality or bribing a tournament fighter totry to cripple them in the ring.

The Climax Of The Adventure: Te villains persistin their efforts to keep the PCs rom finishingor winning the competition. Ofen this entailskidnapping one or more PCs, or even better theirDNPCs or love interests, to lure the heroes away;severe orms o cheating (like drugging the PCs)are another possibility. Somehow the PCs have toresolve the situation, make it to the competitionon time, and fight or the championship.

Potential Complications: Unortunate dice rolls,poor tactics, or even drawing tough opponents in

early rounds may eliminate the PCs (or most othem) rom the competition so early the villainsdon’t need to do anything to stop them. You eitherhave to orchestrate events to keep at least one PCin the tournament, or ally them with an NPC whohas a decent chance o winning so they can savehim rom the villains.

Alternately, you may end up in a situationwhere two PCs have to fight one another in thecompetition, which makes some gaming groupsuncomortable. Unless you set up the tournamentas one pitting teams o fighters against each other(which would be very odd or the genre), there’sno way to avoid this possibility. Tus, the best way

to deal with it is to make sure the players are awareo it in advance and agree to it, which will hope-ully minimize any hard eelings.

INFILTRATE AND RESCUE/DESTROY

How the Heroes Get Involved: Te government,or in some cases a private patron, asks or hiresthe PCs to infiltrate a protected place (a castle,a top-secret installation, a terrorist camp) andaccomplish some goal. ypically the PCs have torescue kidnappees, deeat (kill) the main villain, ordisable the organization maintaining the place.

The Early Part Of The Adventure: First, the patronhas to bring the PCs together and convince them

to undertake the mission. Ten, the PCs haveto prepare or the mission, using inormationprovided by the patron, plus data gathered bytheir own investigation (i appropriate). Planningthe raid may take a lot o time (both in-gameand out o game) as the PCs obtain equipment(including alse identities, i they need to disguisethemselves to sneak in), practice their roles, andhone their martial arts abilities or the inevitableconrontation.

The Middle Part Of The Adventure: Te heroeslaunch their raid. At first it goes well; theyovercome some minor obstacle or deeat a lesseropponent, and reach their early objectives. Ten,inevitably, something goes wrong. Te enemy maydiscover them too soon, or there’s an obstacle theyknew nothing about and aren’t prepared or, or theperson they’re trying to rescue doesn’t want to berescued or some reason. Most fiendishly o all,they may find out their target is the Good Guy —the patron who recruited them is evil or corrupt.

The Climax Of The Adventure: Using their natural

resourceulness and martial arts skills, the heroesadapt and overcome, finding a way around thenew obstacles so they can battle their way to victory! Afer a successul mission, they celebrate.

Potential Complications: Te party may reuse tohelp the patron. Perhaps they hold out or moremoney, or simply aren’t interested in the adventurehe offers. Tis orces you to get creative, perhapsmaking the patron the villain so he can use evilmeans (e.g., kidnapping DNPCs) to orce them todo his bidding.

LOSS, RETRAINING, AND CONFRONTATION

How the Heroes Get Involved: Tis adventurebegins like any other, but proceeds differently.

The Early Part Of The Adventure: Unlike moststories, where the PCs don’t conront the main villain until the climax, here they somehow getto conront him early... only to have him soundlydeeat them. Rather than killing them, he leavesthem deeated, humiliated, and injured.

The Middle Part Of The Adventure: Te heroeslearn, through research or the help o a riendlyNPC, how the villain deeated them so handily— he has a special technique or secret style (or,more rarely, a special weapon). Tey also learn o

someone who can teach them this style, or a tech-nique that counteracts it. Tey have to find thisperson (ofen an arduous adventure in itsel!) andconvince him to accept them as his students. Afera long period o intensive, and ofen somewhatconusing, training, the PCs are ready to conrontthe villain on more equal ooting. At this pointthey may have to end off attacks rom the villain(via minions), who’s learned what they’re up to;the PCs’ teacher may even be killed, giving themurther motive or revenge.

The Climax Of The Adventure: Now that they’vere-trained, the PC conront the master villain

again (though they usually have to fight their way

OTHER MARTIAL

ARTS PLOTS

Besides the ones

described in the main

text, here are a few

other typical Martial

Arts adventure plots:

Caught In The Middle: The PCs find them-

selves thrust into a

situation they may

not fully understand.

Around them, two or

more factions battle

over territory, wealth, or

power, not caring who

gets hurt in the process.

The PCs must survive

the situation, figure out

what’s going on, and put

a stop to it. Usually, theyaccomplish this through

stealth, guile, and a

violent final confronta-

tion that puts all their

martial arts skills to the

test.

Escort: The PCs

must get a person (or

persons) to safety.

Usually, their charge

is of high rank and

pursued by numerous

powerful enemies. To

make matters worse,

the escape route

runs through

enemy-

controlled

(or otherwise

dangerous) territory.

The PCs need both their

wits and their martial

prowess to succeed.

The Race: The PCs

are in a race to get

somewhere or some-

thing before anyone

else. If somewhere,

the place is usually a

sanctuary where the

PCs will be safe or a

location where the PCs

can deliver needed

information. If the goal

is an object, it’s usually

an enchanted item or

a valuable source of

information. The other

people involved in the

race range from rival

7




through his minions first). Tis time, the battle isa air fight, with both PCs and villain using theirutmost skill to triumph.

Potential Complications: It’s hard to predict whatPCs will do or how the dice will all, so it’s possiblethey may deeat the main villain (or come close toit) in the early conrontation. You should designthe villain to make this as unlikely as possible, andi necessary include a oolproo way or him to

escape (such as a eleportation Ring).Even worse, the PCs might lose the final,

climactic, battle. Tis is even less likely, sincestrength o numbers is an important actor, but iit occurs you can, i appropriate, simply repeat theprocess. Enough retraining and they’re bound todeeat him.

PROTECT THE DEFENSELESS

How the Heroes Get Involved: Te heroes find asmall business, neighborhood, village, or provincethat’s being menaced by evil, such as supernaturalhorrors, criminal gangs, a cruel eunuch governor,

bandits, or a villainous martial arts school. Teymay come across this place in their travels, or livethere when the troubles begin — or maybe, as inTe Seven Samurai, the inhabitants actively seekthem out due to their reputations.

The Early Part Of The Adventure: Te heroesarrange a first encounter with the bad guys, typi-cally by waiting or them to come back or anotherround o marauding and crime. Ten they usetheir martial arts skills to administer a soundthrashing, earning the accolades o the populace.

The Middle Part Of The Adventure: Having lostone or more groups o minions because o the

PCs’ efforts, the main villain gets proactive. Hesends out groups o higher-powered minions(including some whose job is just to observe andanalyze the PCs), investigates the characters, andperhaps even tries to warn the PCs away (by, orexample, kidnapping or killing a DNPC). Some othe deenseless people may claim the PCs are stir-ring up the villain unnecessarily, and cause troubleor them as a way o trying to get them to leave.

The Climax Of The Adventure: Realizing thatdeensive tactics alone won’t get the job done,the PCs take the fight directly to the main villain.Tis may require some investigation or scouting

(to find his lair) and/or infiltration (to get insidehis lair), but it always climaxes in a major battle.Usually the PCs have to deeat some powerulminions beore they can attack the main villain.

Potential Complications: Te PCs may not wantto “waste their time” protecting some tiny village.I this happens, you need to give them a reason tochange their minds, such as a DNPC who tries tohelp out and gets hurt, or a love interest who livesthere. Another potential problem is that some PCscould get badly hurt or injured beore the finalconrontation, when they need to be in top condi-tion. Be sure they have time to rest and recuperate,

or access to healing, in case this happens.

THE SEARCH FOR PERFECTION

How the Heroes Get Involved: One or more PCstakes it upon himsel to perect his fighting tech-niques, learn something, or address his characterflaws (Psychological Complications). Tis involvesa quest both physical and personal.

The Early Part Of The Adventure: Some event —deeat at the hands o a superior fighter, the loss

o a love interest who can’t cope with his person-ality, or the like — conronts a character with hisown deficiencies. A wise NPC recommends thathe leave his home; travel is, afer all, broadening.Te PC and his riends set out on a journey odiscovery.

The Middle Part Of The Adventure: Duringtheir travels, the characters have several mini-adventures, ofen ones tailored to broaden theirhorizons or conront the main character withthe problems he’s trying to correct. As they earnExperience Points, the PCs improve themselves(ofen by buying off Complications) and start to

overcome their personal difficulties... but theyalso accumulate a rogues’ gallery o enemies andadversaries.

The Climax Of The Adventure: Eventually, thePCs improve enough to take on the problemthat originally led to their quest (or an enemythey met early on, i the motivation was a morepersonal problem). Now events maneuver theminto a battle with this enemy, who’s probably hiredsome o the other enemies they’ve made alongthe way to help deeat them. (On the other hand,an honorable enemy may choose to side with thePCs.) In a final conrontation, the PCs deeat the

villains and return home better people.Potential Complications: Tis plot (almost acampaign ramework) creates personal campaignswith episodic stories, which not all players mayenjoy. Make sure all the players know what youhave in mind, and approve, beore you start thegame.

schools, to members

of the government, to

greedy criminals. The

PCs need to keep the

wits about them and t

weapons ready if they

to survive.

Troublemakers: A

group has moved into

the local area and iscausing trouble. This

group can be a crimin

gang, a rival martial a

school, a corrupt offic

personal guard, or a

troop of foreign nation

They may harass or e

assault decent towns

extort money and goo

or just engage in fight

for the sheer fun of it.

Eventually, they assau

or harm the PCs (or o

of their friends), and i

time to fight back.

“Yield and you need not

break:

Bent you can straighten,

Empty you can hold,

Torn you can mend;

And as want can reward you

So wealth can bewilder. “





Instant Plot Generator

I you’re pressed or time, use the accompa-nying instant plot generator to create Ninja Heroscenarios. Pick one rom Column A, one romColumn B, and one rom Column C — or rollrandomly, using two dice. O course, you’ll havedo a little work to flesh out the details o who (A)does what (B) to what (C), but building on thebasic ramework shouldn’t take too long.

NINJA HERO INSTANT PLOT GENERATOR

FirstDie

SecondDie Column A Column B Column C

1 1-3 A corrupt

official

Assault A bridge or

pass

1 4-6 A ghost Attack A bowl of

ashes

2 1-3 A group ofrevolution-

aries

Defend A brokensword

2 4-6 A kung fu

master

Destroy A hidden

fortress

3 1-2 A loneswordsman

Duel A magicflower

3 3-4 A one-armedswordsman

Escort A magicsword

3 5-6 An army Find A princess

4 1-2 An army

general

Hide A sacred

scroll

4 3-4 An evileunuch

Infiltrate A village

4 5-6 Eight ninja Protect An island

5 1-3 Fourassassins

Recover Twochildren

5 4-6 Seven

samurai

Steal An impor-

tant official

6 1-3 Three

brothers

Replace A wise

scholar

6 4-6 Two Shaolinmonks

Curse A piousmonk

Dealing With DisconnectsOne o the most important things to remember

when GMing a Ninja Hero campaign is this:what works in the movies may not work duringplay. Te reason or this is simple — the writero a manga or movie controls all the characters’actions, while you only control your NPCs, not themain characters (the PCs). In addition, an authorcan incapacitate a character or as long as he needswithout any difficulty, whereas you’ll have to dealwith bored players i you sideline some o the PCswhile the others remain ree to act.

Here are some suggestions about how to dealwith “disconnects” common to the Martial Arts

genre.

LETTING THE STUNNED FOE RECOVER

In many genres, it’s common or charactersin combat to press any advantage they obtain— including Stunning a oe. Once a character isStunned, that ofen signals the end o the fight,since he can’t react while his opponent keepspounding on him until he’s Knocked Out or dead.

Many Martial Arts stories, particularly thosecentered around tournaments or similar competi-

tions (such as the movie Bloodsport ), don’t workthis way. For some reason — perhaps to satisyhonor, perhaps because it looks good on-screen— a character who Stuns another fighter backs offand gives his opponent the chance to recover rombeing Stunned. Even dishonorable or villainousfighters do this, ofen as a way o expressingcontempt or scorn or their opponents. A char-acter usually only allows a oe to Recover once ortwice (mercy has its limits, even among honorablewarriors), and never grants such leniency towardthe end o a fight, but he still does it at first.

I you want to simulate this sort o scene inyour games, you have to convince the players to

go along with it. Most gamers aren’t the type tostand around and let a Stunned opponent shakeoff the effects and keep fighting. You should decidewhy a fighter would let his opponent recover rombeing Stunned this way. Is it a case o honor overexpediency? Is it local custom? Do characters liketo prolong fights? Decide on a reasonable explana-tion and let the players know what it is so they canaccept it in the context o the game.

A similar situation occurs in games eaturinga lot o weapons combat. In this case the pauseusually doesn’t come afer one character isStunned, but when one character loses hisweapon. Te pause lets the disarmed fighterrecover his blade so the fight can resume on equalooting. Te explanation in this case is almostalways honor — it’s not honorable to kill anunarmed man, nor does it show off the character’sskill with weapons.

Incorporating this aspect o martial artscombat into your games means a character whoStuns his oe simply has to rerain rom attackinghis opponent until the opponent recovers rombeing Stunned. I players aren’t willing to do this voluntarily, the GM can require it as a rule, orpenalize merciless fighters by awarding themewer Experience Points, imposing a Negative

Reputation Complication, or the like.In at least one subgenre — Video Games —this “bit” doesn’t apply. In those settings, stunning(or “dizzying”) an opponent isn’t only a desiredeffect, it’s practically encouraged! Characters inthese games shouldn’t think twice about striking aStunned oe (especially i they can use a spectac-ular “combo move” to do it!).

PAUSING FOR LAST WORDS

Invariably, when two characters engage in afight to the death the loser manages to utters a ewfinal words beore dying (sometimes he makesquite a speech!). Tis doesn’t always translate well

into a roleplaying game setting, where characters

7




are either conscious or dead, without a “lastwords” middle ground beore they expire.

Fortunately, it’s not too hard to arrange mattersto allow or this in a Ninja Hero game, i you wantit. First o all, it’s possible or a HERO System char-acter to be at negative BODY (dying) but positiveSUN, which makes it easy or him to talk a whilebeore perishing. In other situations, the GMsimply has to udge things a bit, allowing a char-acter just enough time or a soliloquy (an actionwhich takes no time) beore death takes him.

ypically a soliloquy only provides a littledramatic effect. In appropriate situations, the GMmay allow a dying character to impart a final clue,or perhaps even make his soliloquy a PresenceAttack to rally his comrades.

SAMURAI DUELS

Similar to “last words” moments are scenesin samurai movies where two katana-wieldingwarriors rush at each other, strike, keep moving,and then stop, both standing stock-still until oneo them — the one who got hit — alls over.

Reproducing this in a game, where playersknow what they rolled on the dice and instantlyhave a good idea whether they hit a target,requires a little effort. Have the player make anAttack Roll as normal, but in such a way that onlyyou can see the result. For example, maybe he hasto roll the dice so they land behind your GM’sScreen. Tis allows you to determine who hits,and to describe it in the most dramatic terms.For example, instead o saying “Oh, you got him.He stands or a minute and then alls over with athud,” try this: “Shin and Jiro pass with a flash oblades. Both come to a stop and stand still or aew moments in picture-perect Kenjutsu stances.

Ten, Shin turns around as Jiro slowly slumps tothe ground.”

raditionally, in this sort o conrontation,one character dies (or suffers grievous injury),while the other — the superior warrior — suffersnot a scratch. In situations where a PC duels anunimportant NPC, you can simply assume that ithe PC hits, he automatically kills his opponentwithout being hit in return. For major NPCs,though, it’s probably best to let both charactersmake their Attack Rolls, and damage rolls i neces-sary, to preserve game balance.

SPLITTING UP THE PARTY

A common literary effect involves splitting upa group o characters into two or more smallergroups. Although this works well in a film orbook, in a roleplaying session this can be a verybad idea. Splitting up a party o PCs causesnumerous problems: some players sit aroundbored while their characters are off-camera;players know exactly what the other group isdoing, ruining the dramatic tension normallyinherent in the situation; you have to keep track otwo groups.

Te easiest way to avoid this problem is simplynever to split the party. I you have to do it, do itsparingly, and try to move between groups at short

intervals so no one gets bored. Alternately, i theoff-camera players are willing, have them take thepart o NPCs so they remain involved with thestory.

A VILLAIN FOR EVERY HERO

In many Martial Arts stories, a group ocharacters gets whittled down one by one as theyapproach their objective. At certain points thegroup meets a villain who’s the specific nemesis oone o the characters. Tat character stays behindto fight his nemesis, while the rest o the partymoves on. Usually, only the main hero (or the heroand his sidekick) makes it to the final objective(and meets his nemesis, the main villain).

Although this is a perectly valid (and exciting)literary stunt, it suffers rom all the problemsthat splitting up the party does, plus more (likeresolving what happens i a lesser PC deeatshis nemesis and then tries to catch up with hiscomrades). Only i the players want to play alongwith something like this should you attemptit — and even then, you may want to wait and

run all the fights simultaneously to save time andminimize boredom.

Keeping YourCampaign Fresh

One o the biggest problems you’ll ace overthe course o your Ninja Hero campaign is how tokeep it rom becoming dull and boring. Althoughthe campaign may initially seem new and exciting,afer a while the plots become repetitious andpredictable. A new villain moves into town, showsoff his unstoppable new martial arts style, and

proceeds to beat up anyone who doesn’t agreewith him. Te PCs, afer losing a fight or two tothe villain and his minions, get together to train,develop a counter to the villain’s style, and proceedto show him the error o his ways. Sound amiliar?It should; it’s the basis or an uncountable numbero cheaply made aiwanese “chop-socky” films.Interestingly enough, the answer to this dilemmacan be ound in another field o popular martialarts media: video fighting games.

Te makers o video fighting games ace thesame situation as the Ninja Hero GM — they haveto keep the players entertained. And their anbaseis ar more demanding. I a new game doesn’t hold

anyone’s interest, no one will play it, and i noone plays it, the game loses money. Gamemastersace the same problem; i their game doesn’t holdanyone’s interest, no one wants to play in it, andno one has any un (the GM most o al l).

Te video fighting game solution is toconstantly update the story line and the style ogameplay. For Ninja Hero GMs, this means notbeing araid to change the scope o the game as thecampaign progresses.

Look at it this way: with each new releasein a video fighting game series, the game addsnew characters and removes some o the olderones. Sometimes missing characters simply retire

Itdoesn

matte

you Kill one o

a hundred. The

can only hang

once.

- Orin (Isuzu

Yamada),

Yojimbo




(whether due to lasting injuries or because theyresolved their reason or fighting); others arekilled in combat or just vanish or unexplainedreasons. New characters ofen have some connec-tion to older characters; they may be blood rela-tives, ormer students, old oes, Hunters, or long-lost riends. As the story evolves, so does gameplay. Individual characters may gain new powers,while new game programming may make previ-ously unique/impossible attacks and techniquesavailable to all characters.

You can (and should) apply these same ideasto your own game. I the players become boredor lose interest in the campaign, find out why.Are they tired o dealing with a certain character?Ten retire that NPC and bring in a replace-ment — one who’s sufficiently different to intriguethem. Have fights become routine? Perhaps it’stime to allow some new powers into the game, orto otherwise change the look and eel o combat.Don’t be araid to let the game evolve, either withregard to the story or in terms o power level. Suchchanges are typical o the Martial Arts genre.

But don’t make such changes willy-nilly. Iyou’re going to alter the scope or nature o yourcampaign, make the players aware o what youintend to do, and use them (i possible) as acatalyst or the changes. I you decide to eliminatean unwanted NPC, don’t just have him disappear— let the PCs remove him in some way (or at leastassist with the effort). Alternately, maybe the newNPC you want to introduce gets rid o the oldNPC as a way o “upping the ante” and showingthe PCs how dangerous he is. Maybe he revealsthat the old NPC was a mere underling o hiswho’s now been “re-assigned”... to the graveyard.

When it comes to changing the power level o

the game, create a plausible in-game way to doit. I there’s a really powerul new villain in town,maybe this time when the PCs go or retrainingyou give them each 50 Experience Points to spendon new abilities. Whatever the case, you shouldmake the changes part o the story line instead osimply letting them “happen.”

Gamemastering NinjaHero Complications

Te PCs’ Complications are built-in plot hooksor you to use — ways to cause endless amounts otrouble or the players and their characters, drawnew characters into the game, and keep a partyo characters together. Here are some suggestionsand ideas about ways to use Complications to help

you run your Ninja Hero campaign; you shouldalso reer to the Complications section o ChapterFour.

DEPENDENT NON-PLAYER CHARACTER

In a Martial Arts game, you should make aDNPC more than just the “victim o the week.”Tere are plenty o more creative ways you canuse them. For example, even when they’re notbeing assaulted by villains, DNPCs can drawcharacters into scenarios. A DNPC may runaoul o someone the PC wants to avoid, withthe PC challenged to a duel as a result. Perhapsthe DNPC is the player’s student, and somehow

insults the villain (or perhaps the student beatone o the villain’s students and the villain wantsto exact revenge). Characters out to “get” a PCmight engineer harmless incidents to provoke ahero into rash action, or to warn the hero off. Orthe DNPC might decide to deend the PC’s honorand engage in rash actions o his own (this seemsto be especially true o DNPCs defined as studentsor sidekicks). I a single DNPC might be toorestrictive to a character, let the PCs take FloatingDNPCs (see 6E1 417).

DNPCS BY GROUP

You might also want to consider allowing a PC

group DNPC — an NPC the entire group o PCsswears to protect. In other words, all the PCs buythe same character as their DNPC (though youmay wish to allot -5 points or the Complication,since the DNPC has a lot more protectors thana standard DNPC). Te DNPC could be almostanyone — the child o a local lord, the heir to thethrone, the last surviving member o the royalamily on the run, or even a simple merchanttrying to get home — as long as all the PCs havea vested interest in ensuring his saety. Tis is agreat way to bring a group o otherwise disparatePCs together or an extended adventure until theyorm ties o their own.

ENRAGED

Enraged, by its very nature, gives the GMplenty o ways to trouble a PC — particularly in acampaign set in Asian cultural areas, where diplo-macy, poise, and “ace” are ofen valued. Oddsare, sooner or later events will provoke a PC intohitting (or even killing) someone he shouldn’t,and that creates stories in and o itsel as the PCand his riends try to avoid government officials,cover up the misdeed, justiy the PC’s actions, orescape rom new Hunteds acquired because o theincident.

“What kills the enemy is

anger, what gets the

enemy’s goods is reward. “


7




HUNTED

Much like a DNPC, a Hunted provides anexcellent way to bring a group o PCs together andkeep them together. A common Hunted can, inact, orce a group o characters to stay together,i only because there’s strength in numbers.Te exact nature o the Hunted depends on thecampaign, o course. In a game set in ancientChina, the Hunted might be an evil eunuch

oppressing a province and ruthlessly executing allknown martial artists in the area. In a eudal Japangame, the Hunted might be the orces o a rivalwarlord, pursuing the survivors o a recent battlehe won. In a Pulp-era game, the Hunted could bethe Japanese, looking to eliminate any trouble-some Kung Fu masters in Manchuria.

Regardless o who the Hunted is, try to use himcreatively. Not every encounter between him andhis quarry needs to be a dramatic battle. Instead,Hunted can strike at the PCs in more subtle ways.Tey can aid their enemies, tell bounty hunterswhere to find them, harass their loved ones, smearthe character’s reputation, and so orth. Imagine

how angry the PCs will be when they discover thattheir old adversary, ai Jing, helped the local evileunuch track them down! In short, let the Huntedinfluence the game, even i he’s not always “onstage.”

NEGATIVE REPUTATION

Much like Enraged, Reputation makes anexcellent GMing tool. You can use one to embroila character in unwanted fights (when his NegativeReputation is one that attracts challengers eagerto take down the “top gun”) or earn the characterunwanted attention (or Negative Reputationssuch as “Brutal In Combat,” or which bring the

character unwanted students). As with Hunted,you don’t have to restrict Negative Reputation justto combat situations. Characters may find theirNegative Reputations precede them, so innkeepersreuse them rooms, merchants don’t sell to them,townsolk flee their approach, and the local law

COMMON MARTIAL ARTS SCENERY Material Or Object PD ED BODY

Furniture

Bar Stool 4 3 5

Bench, Small 3 2 2

Bench, Large 3 2 4

Chair 3 2 3Display Case 2 2 4

Japanese Paper Wall (2) (1) 2

Priceless Porcelain Vase, Small (12”-24” tall) 2 3 2

Priceless Porcelain Vase, Medium (24”-48” tall) 2 3 3-4

Priceless Porcelain Vase, Large (48”+ tall) 2 3 5-6

Railing (for Stairs and so on) 4 3 2

Stairs, Wooden 5 3 12

Table 4 3 5

Window, Cinematic (1) (1) 1

Window, Realistic (1-2) (1) 1Wooden Support Post 4 3 5

Miscellaneous Outdoor Items

Bamboo Tree, Small 3 3 5

Bamboo Tree, Medium 4 3 8

Bamboo Tree, Large 5 4 11

Boulder, Small 5 10 7

Boulder, Large 5 10 13

Rake 2 2 1

Stone Garden Lantern 5 8 3

Street Lamp 5 6 6

Telephone Booth 3 4 6

Weapons

Polearm 4 4 5-7

Pool Cue 3 3 3

Staff 4 4 4

Sword 4 4 4-6

Miscellaneous

Cart, Vendor 3 3 8-12

Chain, Length of (4’-6’) 5 8 1-3

Ice, block of 4 3 6-12

Rope, Length of (5’-8’) Special Special 1-2

Sack of Grain 2 2 5

Statue of Buddha, Small, Wooden 3 2 3

Statue of Buddha, Medium, Clay 3 3 3-4

Statue of Buddha, Large, Stone 6 8 8-10

Statue of Buddha, Giant, Bronze 8 12 18-20

Trash Can, Metal 4 6 4

Wooden Crate, Small 4 3 4

Wooden Crate, Large 4 3 7

CUTTING A ROPETe ability to cut a length o rope depends on

the special effect o the attack used. Virtually allnormal attacks (such as punches, kicks, clubs,and staff weapons) cannot damage a length orope, especially i there’s any slack available.Edged attacks (such as knies and daggers)can saw through the rope, while extremelysharp edged weapons (axes, katana, some poleweapons) might cut through in a single swing.Ch’i powers can burn through rope easily. Whendealing with edged weapons, figure a standardthickness o rope (such as normally used orclimbing) has 1-2 PD/ED. Tin ropes only have1 PD/ED, while thick ropes (such as the hawsersused on ships) have 3+ PD and slightly less ED.Te BODY given is or a standard thickness orope, thin ropes have but 1 BODY, while thick

hawsers have 3-5 BODY.




either asks them to leave town, or simply arreststhem and tosses them in prison.

PHYSICAL COMPLICATION

Most Physical Complications affect a charac-ter’s combat perormance and don’t require anyadditional attention rom the GM to impact thegame. However, you do need to consider howto handle the situation when a PC “picks up” aPhysical Complication during play due to injuriessuffered in battle. I you’re using the Impairingand Disabling rules, you need to make sure yourplayers understand that, and understand howstrictly you intend to enorce it. Although playersmay not care or the idea o their characters beingpermanently maimed, that happens requently

in the genre. Moreover, it’s ofen the catalyst ora character to develop a unique new martial artsstyle or weapon.

PSYCHOLOGICAL COMPLICATION

Psychological Complications, particularlycodes o honor and oaths o loyalty, are commonin the Martial Arts genre. Tey’re a great way toembroil a character in adventures, or inflict moraldilemmas upon him (especially when there’s aninherent conflict between two o his PsychologicalComplications, or two aspects o a code o honor).It’s important or players to handle martial artsPsychological Complications (like Code O TeBushi or Code O Te Chinese Knight-Errant )properly; ignoring or mishandling them runscontrary to the Martial Arts genre (and role-playing in general). See Chapter Four or a list oPsychological Complications appropriate or NinjaHero characters.

SOCIAL COMPLICATION

You can use some Social Complications tobring a group o PCs together. Minority works wellor this, especially i the game involves a group oChinese nationals fighting to assert their indepen-dence rom an outside orce. You can also make aSocial Complication central to the overall plot oa campaign. For example, i the PCs are bandits(in the Robin Hood mold), then maintaining theircover identities and keeping their activities secretis an important element o the campaign.

The Ninja Hero EnvironmentTe ability to break boards is almost a given

or a martial artist. Many styles specifically teach

such breaking exercises, and judge the abilityto break boards and the like when consideringstudents or promotion to the next rank. It’s notunheard o or real world martial artists to beable to break boards, bricks, and cinderblocks,and with the proper training a stylist can shatterimpressive stacks o clay tiles or bricks, or blockso ice. Naturally, Cinematic and Wuxia stylists arecapable o even greater demonstrations o power,and routinely punch down walls, smash trees, andreduce large rocks to ragments. Anime warriorsgo even urther — when two high-poweredAnime martial artists fight, they ofen leave thecountryside in ruins, with flattened buildings andsmoking craters marking the combat.

You should populate any fight scene withinteresting objects or the characters to fightaround, on, under, and even with. Missed attacks(especially ch’i blasts and the like) should destroywhatever scenery they hit, and you may also wantto consider the same effect those or hand-to-handattacks which miss their intended targets.

Te text box on page 297 lists the PD, ED, andBODY values or a variety o objects commonlyound at martial arts battle sites. You can use thislist to create new objects and can alter the itemson this list, i needed, to represent specific custom-

made objects.

7




MARTIAL ARTS VILLAINSTe villain or villains opposing the PCs are

one o the most important elements o a NinjaHero campaign. Tis section discusses the art ocreating interesting Martial Arts villains, and howto use them in the campaign.

What Makes A Good Enemy?Te question o “what makes a good villain?”

conronts animators, filmmakers, writers, videogame programmers, and GMs alike. Te right villain can either make or break a Martial Artsadventure, and while interesting villains can drawplayers into a campaign and get them involved,dull or boring villains can virtually kill a gamesession.

o create a “good” villain, you need to findways to ensure the players (not to mention theircharacters) remember him long afer a gamesession ends. Tat means he’s got to be distinc-

tive, and there are three ways to do that. You canuse one or more o them; the best villains ofencombine all three.

Te first is to make the villain visually distinc-tive (a common tactic in video games and other visual media). Perhaps the villain is a oreignerand uses an unknown and distinctive fightingstyle, has a unique or rare weapon, or simplylooks, dresses, acts, and/or talks in a strange andunusual manner.

Te second method is to make your villain psychologically distinctive — in other words,making him stand out because o his personality.Ask yoursel why he opposes the heroes. Is he a

mercenary, a man who fights or the sheer enjoy-ment o fighting, or a greedy or ruthless personseeking to remove obstacles to his plans o oppres-sion? Alternately, he may be an honorable man,thrust into the role o “villain” by unortunatecircumstance or misunderstanding (Martial Artsstories, with their requent emphasis on honor, arethe perect showcases or such “bad” guys).

Tird, you can make him dramatically distinc-tive — memorable because o his central role inthe campaign, a particular character’s background,or both. Villains linked to the PCs in some wayhave a firmer ooting in the campaign, and a

stronger presence in the minds o the players. Youshould look or ways to connect established andnewly introduced villains to one or more PCs (ipossible), since these connections can provideexcellent plot hooks.

One thing all GMs should remember about villains: less is more. Resist the urge to throw yourmost avorite, powerul villains at the heroes at theoutset o a campaign. Let the PCs work their wayup through the ranks, fighting minions and moreminions, beore they get the chance to challengeyour best bad guys. Tis way, you’ll have time toestablish the major villain as a powerul presence,and can build up his reputation beore the PCs

actually meet him.

A perect example o a villain central to botha campaign and a specific character is Lord Hikijiin Stan Sakai’s comic series Usagi Yojimbo. LordHikiji is a human in a world dominated by anthro-pomorphic animals, which makes him visuallydistinctive and unusual. He killed Usagi’s ather,indirectly killed Lord Miune (Usagi’s master),and gave Usagi his distinctive acial scar. Finally,Lord Hikiji desires to conquer all o Japan, andUsagi has run aoul o his plots and agents manytimes. Tus, although Usagi rarely sees Lord Hikijihimsel, he’s crucial to both the world o UsagiYojimbo, and to Usagi’s origin story.

BALANCING VILLAINS

As the GM, you have (in effect) an unlimitednumber o Character Points to work with whenbuilding villains, so you’re under less o an obliga-tion to build balanced characters in the sense olimiting yoursel to the campaign guidelines ortaking the right amount o Matching Complica-tions. But you still have to consider the issue o villain balance versus the PCs. For those purposes,

you can organize villains into three distinct groups— Lessers, Equals, and Greaters — based on theirCharacter Points and power levels relative to thePCs.

Lessers — low-end, low-powered villains,such as gang members, soldiers, minions, andcommon thugs — don’t require many CharacterPoints; they’re usually too weak to present mucho a threat to any one PC, much less a wholegroup (that’s why minions always attack in largenumbers).

Greaters — high-powered villains, such as evilOld Masters, video game-style “boss” characters,and would-be world conquerers — require so

many Character Points you shouldn’t even bothertrying to balance them; they should threaten theentire PC group. A villain intended to ace theentire PC group in combat must be much morepowerul than any one PC. Te PCs have to workhard to deeat such a oe, ofen spending points tobuy eamwork and other special abilities specifi-cally to overcome him.

You have to give the most thought to Equals— the mid-ranged villains, the ones who balanceagainst the PCs both in numbers and in CharacterPoint totals. Tese villains fight the PCs on equalooting; typically the heroes must deeat thembeore they can tackle the main villain. However,

even though mid-ranged villains are similar tothe heroes in numbers, Active Point totals, andthe like, they don’t have to be perectly balancedgame play-wise. Villains ofen specialize in aspecific martial art or weapon much more so thanPCs can (giving them higher CVs, more maneuvers, more special abilities, and sometimes moreDCs). You can also design a mid-range villainto exploit a PC’s weaknesses (just don’t overdoit, or do it requently; it’s unair and discourageswell-rounded PCs). Naturally, once the villainloses his special weapon, or the PCs neutralize histechnique, his advantage vanishes and he’s much

easier to deeat.

Sanjuro: You'

all tough, then

Gambler: Wha

Kill me if you c

Sanjuro: It'l

hurt.

- Sanjuro

(Toshiro Mif

confronts a

gang of gam

in Yojimbo




Villain MotivationsBuilding your villain is only hal the battle. You

also need to run him as part o the campaign; iyou run the villain well, the players will rememberhim even i their characters deeat him easily.

When you create a villain, perhaps the mostimportant aspects o him is his motivation. Whatmakes him do what he does? Few (i any) peopleactively think o themselves as “evil”; they havespecific reasons or their conduct, ofen ones that(in their eyes) completely justiy their actions.Some o the motivations common to Ninja Hero villains include:

BLOODLUST

Tis sort o villain likes to hurt people and haslittle to no compunctions about killing his oes.He’s rarely a main villain, but is ofen a eared andpowerul high-level minion. He lives or battle,and likes to start, engage in, and win fights. He’sa particularly dangerous opponent, one who’squick to exploit any weakness, usually ignores any

attempts to surrender, and ofen uses attacks andtechniques designed to inflict maximum injuries.He’s also highly likely to attack innocents. He ofenhas Enraged, Negative Reputation, or Psycholog-ical Complications such as Bad empered, CasualKiller, Cruel And Brutal, Likes o Hurt Foes, orVicious Fighter .

GLORY

Tis villain only wishes to enhance his ownreputation (or that o his country). Everything(or almost everything) he does is designed to callattention to his deeds and to prove his greatness.Ofen sel-centered, and only willing get involved

in a situation i he can use it to enhance his ownstature and reputation, he may even manipulateevents to make himsel look better. aking theadage “All’s air in love and war” to heart, heengages in bribery, raud, kidnapping, and evenmurder to ensure that his reputation and notorietyremain untarnished. (A ew examples o this sorto villain avoid such behavior; they genuinely wantto earn their glory air and square.) He ofen hasa great deal o wealth and personal power, as wellas such Psychological Complications as Arrogant,Sel-Centered , or Only Concerned With PersonalImage.

GREED

A classic motivation, greed drives villains toaccumulate as much wealth as possible. (In theMartial Arts genre, some characters are greedy orknowledge instead o money.) Common bandits,avaricious officials, and powerul crimelords alltend to have this motivation, ofen mixed with adesire or power as well (see below). PsychologicalComplications such as Greedy , ofen coupled withRuthless or Sel-Centered , are common; greedycharacters ofen don’t care who they have to hurtto get what they want.

PERSONAL SUPERIORITY

A Martial Arts character with this motivationis ofen the least villainous o villains. He fightsnot or glory, money, or revenge, but to prove hisown superiority and sel-worth. However, littleelse matters to the character, and trying to gethim to do anything but fight is ofen impossible.He’ll go out o his way to challenge characters withreputations as skilled fighters, sometimes even

arranging events to put them in situations wherethey have to fight him... and he’ll go on fightingeven i a building is collapsing around him.

Once a personal superiority villain startsfighting, he usually fights honorably, withouttricks or cheating; it wouldn’t prove his superiorityi he won by underhanded means. On the otherhand, i he eels an opponent doesn’t live up tohis reputation as a skilled fighter, or isn’t fightingas hard as he can, he might just decide to teachhis opponent a “lesson” involving grievous (evendeadly) injuries.

Personal superiority villains normally aren’tmain villains, but ofen serve one as a major

minion. Tey usually have Psychological Compli-cations such as Arrogant, Honorable, or Overcon- fidence, plus a Negative Reputation as a ruthlessfighter.

POWER

Te powerhungry villain is similar in manyrespects to the greedy villain, but instead o moneyhe craves power — be it political, military, martial,mystical, or all o the above. In many settings, thissort o villain is the most dangerous o all, utterlyruthless and obsessed with his goal. He’ll do what-ever he must to get what he wants, and usually hasplentiul resources (money, land, troops, weapons)

to help him. He’s ofen the campaign’s main villain,built on an epic scale, and has PsychologicalComplications such as Powerhungry, CravesPower And Influence, Disdain For Te Weak, or Megalomania.

REVENGE

Tis character has just one thing on hismind: revenge. Someone, somewhere, at sometime insulted, harmed, or otherwise dishonoredhim, and now he wants his revenge. He’ll stop atnothing to see it done, and is ofen righteninglypersistent. He becomes a villain, rather than justan annoying NPC, when he lets his desire orrevenge overcome his desire to see any sort o justice done. A samurai who swears to avenge hismaster’s death by slaying his master’s killer is ahero, but i he burns down an inn to do it (thuskilling numerous innocents), he’s a villain.

One interesting twist is to create a vengeance-seeking villain who doesn’t have a valid case orseeking revenge. Perhaps he’s afer the wrongperson, or maybe he just imagined the insult.But he’s still determined to obtain his revenge,and won’t listen to reason when the PCs try todissuade him.

ho'nuff: Am I

he meanest?

ho'nuff's

oons: Sho'nuff!

ho’nuff: Am I the

rettiest?

ho’nuff‘s

oons: Sho'nuff!

ho’nuff: Am I the

addest mofo low

own around this

own?

ho’nuff‘s

oons: Sho'nuff!

ho’nuff: Well

ho am I?

ho’nuff‘s

oons: Sho'nuff!

ho’nuff: Who am

?

Sho’nuff‘s

Goons:

Sho'nuff!

Sho’nuff: I

an't hear you...

ho’nuff ‘s

oons: Sho'nuff!

- Sho’nuff, Shogunof Harlem, puts

on a show for

the crowd in

The Last

Dragon

7




Te revenge-seeking villains are usuallyminor characters, though one who’s afer a PCmay appear requently and cause a great deal otrouble. Common Psychological Complicationsor such villains include Hunting X (where “X” istheir target), Vengeul, Seeks Vengeance, Single-minded , and Te Ends Justiy Te Means.

THRILLSEEKING

Te thrillseeker lives to match wits withauthority, the law, and others in positions opower. Usually a solo operative, he might be anassassin, a mercenary, or a thie, but his maindesire is to get into, and then saely get out o,dangerous situations. An even more dangerousorm o thrillseeking villain is the one who actsas a villain or “kicks” and has little regard or thewelare o others. o make matters worse, thrill-seekers o either type tend to be unconventional intheir methods and unpredictable in their actions.In a campaign, the ormer type o villain might just be a pest, but the latter may present a lethalthreat, especially to innocent bystanders. Trill-

seeking villains ofen have such PsychologicalComplications as Adrenaline Junkie, Overconfi-dence, Reckless, and, o course, Trillseeker .

Villain ArchetypesJust like every other genre, Martial Arts stories

ofen eature certain readily-identifiable villainstereotypes. Tese include:

THE BIG BOSS

“Big Boss” is a longstanding Martial Artsgenre term or “master villain.” Most o the major villains the PCs encounter who aren’t Evil Masters

will be Big Bosses.Big Bosses, as the name implies, are ofen

crimelords, although discredited Shaolin monks,evil eunuchs, military commanders, and warlordscan all fit into this archetype. In any case, a BigBoss has a lot o power, not just physically, butpolitically and in the orm o minions. He’snormally the enemy o at least one (i not all) othe PCs, although he might once have been a PC’steacher and master.

Te PCs typically encounter a Big Boss eitherwhen he moves into a “territory” they’re alreadyin (their home village, or example), or when they visit someplace they’ve never been beore wherethe Big Boss already holds sway. Adventureseaturing Big Bosses usually require the PCs tostave off attacks rom the Boss’s minions whilethey find ways to cripple his organization and thentake him on personally.

Big Bosses are built as a Greater villain. ypi-cally they’re excellent fighters, a match or at leastany one or two PCs, though a ew all into theSydney Greenstreet “too at to fight” category.

THE BROTHER/RIVAL

Once a member o the PC’s school or amily(or both), this character grew jealous o the PC’sskill in the martial arts, or what he perceived aspreerential treatment or the PC. Eventually, hedishonored himsel in the eyes o his school and/or amily (usually by unairly attacking the PC, ortrying to beat him by cheating), and was cast out.Now he’s the PC’s greatest enemy, and seeks to

revenge himsel or the humiliation and disgracethe PC “caused.” In many stories, a Big Boss, EvilMaster, or other main villain recruits the Brother/Rival and uses him as a weapon against the PC.

You should design a Brother/Rival as an Equal— the PC’s dark twin, with similar fighting abili-ties but different motivations and goals. However,he may have a ew more points o CV or DCs,since he ocuses so singlemindedly on his fighting,or perhaps some extra dice o damage that activateonly i his Enraged: When Fighting PC Complica-tion takes effect.

THE BRUTE

Every Big Boss, and many Evil Masters, hasat least one large, well-muscled minion to do hisdirty work. Ofen slow o wit, the Brute worksas an enorcer or collector o protection money— jobs depending more on intimidation andstrength than smarts. His martial arts skills runtoward Sumo Wrestling, Wrestling, CinematicBrawling, or other styles that don’t rely so muchon swifness and agility.

ypically, the PCs’ first encounter the Bruteearly in the scenario, ofen in a situation where hecan demonstrate his rightening strength by casu-ally deeating a ew normals. Later in the scenario,they meet him again, using their speed and skill to

overcome his brawn.You should build the Brute as an Equal —

almost. He should have ewer points o SPD thanthe PCs, but higher SR, and perhaps a very highOCV with one or two signature maneuvers (typi-cally Punch or Grab). His CON and REC shouldalso be high; he’s hard to put down and keepdown.

A variant on the Brute is the Muscleman, whounlike the Brute is (a) smart, and (b) fights well— very well. He’s got all the Brute’s strength andresilience, plus the speed, agility, and quick wits oordinary martial artists. He’s not quite as good a

warrior as the PCs — he may lack a point or twoo CV, or a DC or two, on them — but his abilityto shrug off damage should righten the PCs, atleast at first. He may also serve his boss as a Lieu-tenant (see below). Build him as an Equal.

THE CLAN ADVISOR

In Martial Arts stories eaturing the PCs’ clan,school, corporation, or like organization or group,one o the chie advisors to the group’s leaders(and/or the PCs) is ofen a traitor who’s colludingwith the main villain. ypically he hopes to gainleadership o the group or himsel, or to marrythe leader’s beautiul daughter, or to take revenge

or some long-imagined slight. (In a ew cases,

“Those wh

come

seeking peace

without a tre

are plotting.

- Sun Tzu,

The Art of




he’s an unwilling traitor whom the main villain isblackmailing or coercing.) He works insidiously,giving cleverly-disguised bad advice and other-wise trying to undermine the group’s position andpower. At the same time, he keeps the main villainupdated on what the group and the PCs are doing.When the PCs figure out what’s going on, poetic justice usually steps in — either the main villainkills the traitor, or he dies in an accident as he triesto escape rom the PCs.

Most Clan Advisors are built as Lessers; they’renot intended to fight even a single PC one-on-one,though they do have some martial arts skills. Teyusually have lots o Interaction Skills and KSs.

THE EVIL MASTER

A highly skilled and powerul master o themartial arts, the Evil Master resembles the BigBoss, but he’s usually the head o a school, ninjaclan, or the like. He’s usually more concernedwith proving the supremacy o his style, school, orpersonal prowess than with acquiring wealth orpower, though some Evil Masters intend to create

a legion o unstoppable martial arts assassins,conquer the PCs’ nation, or something equallynearious. In some cases he’s the Brother/Rival othe PCs’ own master.

Te Evil Master is a Greater villain. ypicallyhe can take on all o the PCs at once and beatthem easily early in the story. Once they retrain,learning secret techniques and counters or theEvil Master’s own style, the PCs can deeat him.

THE EVIL MASTER’S DAUGHTER

Evil Masters ofen have daughters, whom theytrain to be skilled martial artists. Sometimes theDaughter is devoted to her ather and his goals;

she helps him to work toward them and scornsthe PCs (though she may beriend them as a trick,later betraying them at an opportune moment). Inother stories, the Daughter is wracked by indeci-sion — she loves her ather and deends him tothe death, but loathes his evil nature and does notwant him to triumph. Te latter orm o Daughterofen becomes an ally o the PCs (at least tempo-rarily), and may be a good love interest or a malePC.

You should build the Evil Master’s Daughter asan Equal.

THE GO-BETWEEN

A messenger who carries orders rom aBig Boss (or Evil Master) to his minions, theGo-Between also delivers ultimatums to peoplethe Big Boss wants to bow to his will (such as thePCs). Go-Betweens range rom simpering toadies,to insidiously clever diplomats, to powerul andclever fighters.

Normally the PCs don’t fight the Go-Between;he has a sort o “diplomatic immunity,” at leastuntil the climactic fight scene. Even then, it’s likelythe Go-Between will sneak away rom the battle,to return in a later adventure as the new Big Boss.You should build him as a Lesser or an Equal,

depending on whether you intend to have himfight the PCs. He usually has a high PRE and lotso Interaction Skills.

THE LIEUTENANT/SENIOR STUDENT

Big Bosses, Evil Masters, and other major villains o all kinds usually have one or morelieutenants or senior students — well-trained,powerul assistants who help run the Big Boss’sorganization. As important members o theorganization, Lieutenants should be designed asEquals; in most stories, the PCs must encounterand deeat a main villain’s Lieutenants beoreproceeding to the final battle with the main villainhimsel (in some cases, the PCs may mistake theLieutenant or his boss, until they deeat him).Each one should have his own personality andbackground, including a preerred fighting style,weapon, and/or special abilities.

THE SURVIVOR SEEKING REVENGE

Over the course o a campaign, or even a singlelong adventure, PCs tend to meet, deeat, andofen kill their enemies. It’s a staple o the MartialArts genre that the dead enemies have siblings,widow(er)s, children, riends, and allies who seekrevenge. In some cases, this is a simple mattero one evil person trying to avenge another. Itbecomes more complex when the Survivor is anhonorable, kind, or good-hearted person boundby ties o blood and honor to avenge his evil rela-tive. In the latter case, avoiding the terrible tragedyo having to deeat (and probably kill) so noble aperson because o a pointless blood eud may takea lot o effort and sacrifice on the PCs’ part. Youshould build this character as an Equal.

MARTIAL ARTS NPCSWell-developed NPCs are as important to a

Ninja Hero campaign as well-developed villains,or while the villains give the PCs someone tofight, the NPCs serve many roles that are nearly asimportant: provider o inormation; love interest;scenario motivation; and more.

Te best Martial Arts NPCs are more than just “window dressing.” A good NPC isn’t just acardboard cutout; he should have motivations anda personality all his own. Tat doesn’t mean youneed to prepare a character sheet or everyone

the PCs might meet, though; or most NPCs onlya single sentence (or a single word) descriptionshould suffice. Te most important, memorabledetails (“old man, walks with a limp, Cantonaccent, cantankerous”, “headstrong teenager, ullo enthusiasm, sloppy dresser”) are what you needto know. Go beyond visual appearance i neces-sary; accents, smells, and the like can all helpbring an NPC to lie. More important NPCs, orthose whom you expect to interact heavily withthe PCs, should have a more detailed background,possibly including a ull character sheet, or at leasta character brie.

Bruce” Leroy

reen: Those

ho are bound by

esire see only

hat which can

e held in their

ands.

ho’nuff: See,

ow it is mumbo

umbo like that,

nd skinny little

zards like you

hinkin’ they the

ast dragon, that

ives Kung Fu a bad

ame. Get up, Leroy,

got somethin’eal fo’ yo’ ass in

hese hands... and

will not rest

ntil everybody

nows that Shogun

s the master!”

- Sho’nuff,

Shogun of

Harlem,

confronts

“Bruce”

Leroy Green

in

The Last

Dragon

7




NPC MotivationsNon-Player Characters are more than just

oils or the PCs to order around and use asthey see fit. Tey’ve got their own motivations,agendas, and plans (even i they’re simple oneslike “earn a living” or “survive this attack”). Someenthusiastically help the PCs; others shun them,inorm the authorities about them, or even attackthem. When creating NPCs or your Ninja Herocampaign, you should decide what motivates eachone. Tat way you know how he’ll react to thePCs and other in-game situations. A ew commonNPC motivations are:

CURIOSITY

Te character is curious about the unknown.Tis might be scientific curiosity (“Why is thesky blue?”), investigative curiosity (“Where isBoss Lee hiding his ill-gotten money?”), or mereidle curiosity (“What does this button do?”). Techaracter may ollow the PCs to see what they’reup to (eventually becoming either a help or a

hindrance), or he may serve the PCs as a source oinormation (or gossip). Curiosity-afflicted NPCsalso make great scenario-starters; they get introuble easily, ofen find things they shouldn’t, andotherwise get the action going.

GREED

Tis character wants material wealth. Unlikethe villain who’s motivated by greed, the greedyNPC usually isn’t so blatant or ruthless about it.For example, a greedy merchant overcharges hiscustomers and underpays his employees, whilea greedy mercenary takes any job as long as themoney is decent (even i that means betraying his

current employer). Greedy characters also tend tobe miserly, and ofen try to pay as little as possibleor anything they might need (including theservices o the PCs). In some cases, PCs can enlistthe help o greedy NPCs by paying them, or bypointing out a threat to their money.

LOVE

Love, in one o its myriad orms, motivatesmany NPCs. A character may act out o love oran individual or or a group (such as a clan ora country), to win the love o an individual, orto prove his love or an individual. Dependingon the orm o love that motivates the NPC, his

actions may be benign, bothersome, or downrightdangerous.Love ofen works best as an NPC motivation

when it’s love or one o the PCs — in other words,when the NPC is a “love interest” or a PC (eithercurrently, or potentially). A love interest mayprovide significant help to the object o his affec-tion, or become a potential hostage or the villains.In a story tinged by tragedy, the love interest maysacrifice himsel to save or help the PC.

You should use love interests sparingly — toomany o them, and they become routine, or thePC may start to abuse their affections by orderingthem around. Killing love interests should be evenmore inrequent; it quickly becomes anti-climacticand loses its impact i it happens more than onceor twice in a campaign.

REVENGE

Te NPC seeks vengeance or some act that’sdisgraced his honor, clan, amily, or school. Hewants to find the person(s) responsible, andusually won’t stop until he sees justice done. Insome stories, this sort o NPC works at cross-purposes to the PCs (perhaps he wants to killsomeone they like); in others, he tries to obtainthe PCs’ help with his quest. In some cases, theNPC may even want revenge against a PC, butsince he’s not a villain, that usually means he’ssuffering rom a case o mistaken identity.

SENSE OF ADVENTURE

Te NPC has gone out to seek his ortune inthe world and travels about looking or new expe-riences and situations. Ofen young and somewhatnaive, this sort o character may travel with PCs(especially i they seem to live an “exciting” lie).He may or may not recognize a dangerous situa-tion when it develops, and may or may not possessfighting skills.

SENSE OF DUTY/RESPONSIBILITY

Te NPC has a job to do and intends to do itwell. ypically a member o a larger organization(a school or the Police Department, or example),or sworn to the service o a local lord, this NPC isusually hard to bribe and/or corrupt, but can be a

staunch ally o the PCs in times o trouble i theirinterests align.Alternately, an NPC may have a “Sense O

Responsibility” to a particular organization orcommunity. Even i he sometimes seems a littleshady or scruffy, his heart’s in the right place, andthe PCs can usually count on him when the chipsare down.

“By victory gained in

crossing swords with

individuals, or enjoining battle

with large numbers, we can

attain power and fame for

ourselves or our lord. This is

the virtue of strategy. ”

- Miyamoto Musashi, Go Rin No

Sho (“A Book of Five Rings”)



BIBLIOGRAPHY & INDEX



306 n Appendix Hero System 6th Edition

APPENDIX A GLOSSARY OF

MARTIAL ARTS TERMSerms in this Glossary are in Chinese (C), Japa-

nese (J), Korean (K), and American (A).

Ai (J): Harmony.

Aiki (J): Harmony o effort, harmony o orce.

Anime (J): Te Japanese name or their extensiveanimation industry and all animation in general.Usually pronounced “annie-may.”

Bu (J): Military, martial.

Bushi (J): Warrior.

Cantonese (C): Te common dialect o southernChina and the city o Hong Kong. Currently, HongKong action films are shot in Cantonese (beore1970, they were usually shot in Mandarin).

Category One/Two/Three (C): Hong Kong’s system

or rating films. A Category One film is open to all viewers, while a Category wo is or those 16 andover. Category Tree films eature nudity, explicitsex, and/or violence, and are or adults only.

Cattie (C): An old orm o measure in China. Onecattie equals .605 kilograms or 1.3 pounds. Tehistorical figure San e was said to be able to lif400 catties.

Chanbara (J): Also spelled chambara, these areJapanese historical samurai dramas. Known ortheir violence and bloodshed, they ofen have thesame loose historical basis as Hong Kong’s wuxia

films. Te word chanbara comes rom “chan-chanbara-bara,” the vocal sound effect or swordsclashing.

Ch’i (C): Also spelled chi or qi, this term meansspirit, breath, or energy. In some martial artsphilosophies or styles it represents personal energythat a character can harness to create spectacularpowers or effects. In Japan it’s called ki, while inIndia it’s called prana.

Ching Dynasty (C): Te rulers o China rom 1645to 1911. Also known as the Manchus, the Ching

replaced the Ming Dynasty, and are ofen the villains in many Martial Arts movies.

Ch’uan (C): Fist, boxing.

-Do (J, K): “Te way o.” When applied to the endo the name o a martial arts style, it implies philo-sophical teachings as well as martial arts training(or example, karate-do means “the way o the

empty hand”). See - Jutsu.Dojang (K): raining hall, school.

Dojo (J): raining hall, school.

Fa (C): “Te way o.” Ch’uan a means “the way othe fist”

Face: When used in Chinese films, it means“respect.” “You will give me ace!” is a commonphrase in Hong Kong action cinema.

Feng Shui (C): “Wind and water.” Te art ogeomancy, or influencing the flow o ch’i through astructure by configuring elements both within and

without a building.Gaijin (J): Outsider, oreigner. Ofen a derogatoryterm.

Giri (J): Duty, obligation.

Gung Fu (C): Chinese pronunciation o “kungu.” Bruce Lee used “gong u” in his writings onthe martial arts, but it was quickly replaced in theWest by kung u as the V series o that namebecame popular.

Gup (K): Grade; ranks below black belt in Koreanmartial arts.

Hapki (K): Harmony.Hopping Corpse: Te bodies o the dead broughtback to a semblance o lie. Seen in many HongKong films dealing with the supernatural, theseundead hop instead o walk, and are usually stiffin their movements. Strong and immune to harm,they usually appear in great numbers. Hoppingcorpses are loosely derived rom the chiang-shih, or Chinese vampire (see Te HERO System Bestiary).

Hwarang (K): “Flowering youth,” an ancient termor a Korean knight (see Hwarang-Do in ChapterOne).



Hero System Martial Arts n Appendix 30

Hyung (K): Forms, exercises, ormalized trainingmovements.

Jidai-geki (J): Japanese word meaning “periodplays.” It reers to such period samurai films as TeSeven Samurai and Yojimbo. It’s the source or thename “Jedi” in the Star Wars films.

Ju (J): Compliance.

-Jutsu (J): “Te art o.” When applied to the end

o the name o a martial arts style, it indicates thatthis is primarily a combat system (or example,karate-jutsu means “the art o the empty hand”).See -Do.

-Ka (J): Suffix meaning “practitioner o” (orexample, judoka means “judo practitioner”)

Karate (J): Common name or a wide variety oJapanese martial arts styles. o most Westerners,all martial arts are usually “karate” or “kung u.”Literally translates to “empty hand” (“kara” empty,“te” hand). Originally it meant “China hand.”

Kata (J): Forms, exercises, ormalized training

movements.

Ken (J): Sword.

Ki (J): Spirit; breath; energy. See Ch’i.

Kiai (J): Te Japanese war shout.

Kobu (J): Old-style fighting.

Kuen (C): Forms, exercises, ormalized trainingmovements.

Kumite (J): Free sparring training exercise.

Kung Fu (C): Generic name or Chinese martialarts. ranslated literally it means “hard work,” or“skill acquired afer long practice.” Tus, any craf(not just martial arts), demonstrated with greatskill, can be said to show “strong kung u.”

Kwon (K): Punching, or hand.

Kwoon (C): raining hall, school.

Kyu (J): Grade, ranks below black belt in Japanese

martial arts. It also means archery (Kyujutsu is theart o archery).

Lion Dancing: Chinese olk-art in which partici-pants dress up in anciul costumes resemblingsome sort o mythical beast (the ancient Chinesehad no idea what a real lion looked like). Liondancing is a traditional skill o martial artsmasters, and is commonly seen in many martialarts films.

Mah Jong (C): Popular Chinese gambling game. Itis superficially similar to dominoes, uses tiles, andhas a complex scoring system.

Manchu (C): Another name or the ChingDynasty (q.v.).

Mandarin (C): Te main language o China andaiwan.

Ming (C): Te ruling dynasty o China rom 1368to 1644. Tey were displaced by the Ching, whichled to rebellions in Southern China.

Manga (J): Literally means “irresponsiblepictures.” Te word reers to Japanese comicbooks.




ASIAN NAMESBurmese Names

Burmese names generally do not include lastnames; people have given names only, plus othernames assigned as titles (or example, Ma (“littlesister”) or Daw (“aunt”) or women, and Maung(“little brother”) and U (“uncle”) or men).

Burmese children’s names traditionally dependon what day o the week they are born on -- eachday has a letter assigned to it, and the child’s namewill begin with that letter (or example, all Fridaynames begin with “th”).

Burmese male and emale names may be thesame; there is no clear differentiation as there isin Western cultures. Tus, one could play a malecharacter named Myint, or a emale one namedTant.

MALE GIVEN NAMES

Aung Ye Kyaw, Aye, Aye Ko, Aye Taung, BaHla, Ba Nyien, Ba Tan, Ba Taw, Ba Tein, BaTwin, Ba lome, Ba u, Ba Yin, Bo Gyaw, Bo

Mya, Byi Gawbyan, Byu Gale, Chit Hlaing, ChitSwe, Chit Tan, Gyi, Hiit Lat, Hla, Htoo, Jap u,Kala Byan, Kha, Khin, Khin Nyunt, Kyaw Ba,Lin, Lone, Mai, Min, Mya Tinn, Myint, Myo,Myo Nyunt, Ne Win, Ngwe Khain, Nu, Nyan Lin,Nyunt, On, Oo, Pe Tein, Phone Myint, Po Sin, PoTit, Pye Tein, Sai Aung un, San Yu, Saw, SeinLwin, Shwe, Soe, an, Tan, Tant, Taung, TawShwe, Tet She, Takin, Tin, Tint, in, inAung, in Oo, oe, un, un Kyi, un in, un Yi,un Yin Law, Van Kulh, Win, Yo. Zaw Win

FEMALE GIVEN NAMES

Aung, Aye, Khin, Kyaw, Kyi, Meit, Mima, Mya,

Myint, Ne Htun, Nu, Taw, Tin, in, Warwar,Yon

Chinese NamesWith Chinese names, the amily name goes

first and the given name second. “Jim Smith” inthe U.S. would be “Smith Jim” in China.

Personal names usually have great import tothe Chinese. Ofen a name which deprecates thechild is chosen, to make the child seem undesir-able to evil spirits and other malevolent creatures.As someone goes through lie, new names maybe added to commemorate important events or

occurences (such as getting married, a new job,starting or graduating school, and so orth).

Americanized Given Names: Ofen, Ameri-canized Chinese will have a traditional Chinesegiven name but also adopt a Western given nameor use among westerners. A woman who is Shihse to the Chinese might be Sandra Shih to theAmericans.

FAMILY NAMESÁo, Ba, Bào, Cài, Cáo, Chan, Chang, Chao,

Che, Chen, Cheng, Chiang, Chin, Ching, Cho,Chou, Chow, Chu, Chung, Cong, Cuī, Deng, Fan,Fán, Fang, Féng, Fēng, Fok, Fong, Fù, Fung, Gài,Gān, Gao, Gào, Gāo, Gē, Gěng, Gòng, Göng,Gōng, Gŭ, Guàn, Guān, Guì, Guī, Guó, Guō, Hăi,Han, Hán, Háng, Hăo, Hè, Ho, Hoi, Hou, Hóu,Hsaio, Hsu, Hu, Hú, Hù, Hua, Huà, Huā, Huán,Huàn, Huang, Huáng, Huángŭ, Hui, Huì, Hung, I,Jí, Jì, Jï, Jī, Jiă, Jianbua, Jiang, Jiăng, Jiāng, Jīn, Jïng,Jīng, Jū, King, Köng, Kuăi, Kuàng, Kuāng, Kuí,Kun, Kung, Kwan, Lai, Lài, Lan, Lán, Lang, Lang,

Lao, Láo, Lăo, Lei, Léi, Lěng, Leung, Li (Lee), Lí,Lì, Lï, Lián, Liang, Liáng, Liào, Lim, Lin, Lìn, Líng,Liu, Liú, Lo, Lóng, Lóu, Lu, Lú, Lù, Lŭ, Lü, Luán,Luó, Luò, Ma, Mài, Mak, Măn, Mao, Máo, Méi,Méi, Mén, Mén, Mèng, Mèng, Miáo, Miào, Miào,Mïn, Míng, Mò, Mòqí, Mù, Mùróng, Nā, Ní, Nián,Niè, Niè, Nìng, Nìng, Niú, Niú, Niŭ, Ōu, Ōuyáng,Pak, Pán, Pān, Páng, Pei, Péi, Péng, Qí, Qï, Qī,Qian, Qiáo, Qín, Qìng, Qiu, Qiú, Quán, Răn, Rén,Rong, Ruăn, Ruì, Sà, Sau-Ki, Shàn, Shàng, Shāng,Shàngguān, Shào, Shé, Shěn, Shï, Shī, Shih, Shih,Shiu, Shòu, Shū, Shuï, Sī, Siju, Sīkōng, Sīma, Sītú,Song, Sōng, Su, Sù, Suí, Sun, Sūn, Sung, Suö, ah,ái, an, án, ang, áng, āng, eng, éng, i,

ián, iě, ieh, ong, óng, sai, se, Wa, Wan,Wàn, Wang, Wáng, Wei, Wéi, Wèi, Wēi, Wén,Wēn, Wēng, Wong, Wu, Wŭ, Wū, Xí, Xī, Xià, Xiăn,Xiàng, Xiānyú, Xiāo, Xie, Xiè, Xīmén, Xíng, Xiu,Xu, Xú, Xŭ, Xún, Yán, Yàn, Yān, Yang, Yáo, Yè, Yee,Yeh, Yì, Yī, Yim, Yin, Yìn, Ying, Yíng, Yip, Yóu,Yu, Yú, Yù, Yŭ, Yuan, Yuán, Yùchí, Yuè, Yuen, Yun,Yún, Yùn, Zāng, Zeng, Zēng, Zhā, Zhái, Zhàn,Zhān, Zhang, Zhāng, Zhăngsūn, Zhào, Zhēn,Zheng, Zhèng, Zhī, Zhòng, Zhōng, Zhoun, Zhōu,Zhu, Zhū, Zhuāng, Zhūgé, Zhuō, Zōng, Zōu

MALE GIVEN NAMES

An, Angúo, Baio, Bang, Chao-hui, Cheh, Chen,

Cheung, Chi, Chia-cheng, Chia-liang, Chih, Cho,




Chung, Daquan, Dé-lì, Deng, Déshì, Déwei, Dìng-bang, Dou, Enlai, Fai, Fei, Feng, Fu, Fung-lung,Gan, Gangsheng, Gong, Gongquan, Gungwu,Guoeng, Guoquiang, Guotin, Guoxi, Haieng,Hing, Hing-keung, Ho, Hong, Hop, Hou, Hsaio-hsien, Hu, Huailiang, Huang-u, Huei-Ho, Hulin,Hung, Jaw-long, Jianguang, Jian-Guo, Jianyang,Jin, Jingquan, Jingrong, Jingsheng, Jinxi, Jizhong,Jun, Juntao, Keung, Kien, Kong, Kuang, Kuan-tai,Kung, Kungzheng, Kwan, Lanqing, Li, Lì, Liang,Liàng, Liangde, Lieh, Liko, Long-Xiang, Loo, Lok,Lung, Man, Manchu, Ming, Ming-hóa, Ming-tun,Nan, Ning, On, Park, Peng, Qichen, Qiuping,Qiu-Yue, Qung-Fa, Quon, Rongji, Runming,Shangkun, Shàoqiáng, Shen, Sheng, Shìlín, Shing,Shiping, Shiyu, Shizhen, Shoi-ming, Shude,Shu-sai-chong, Siguang, Song, Songhe, Sueh-yén,Sying, Sze, ai-Sheng, an, ao, e, sun-chùng,ung, Wang, Wei, Weiqian, Weiqiang, Wing, Woo,Wu, Xiaopeng, Xiaoping, Xiaotao, Xiaoxuan,Xiaoyauin, Xinling, Xiu-Fang, Xun, Yang, Yiu,Yin, Yiquan, Yiren, Yixiao, Yong, Youming, Yu,Yuejei, Yun, Yun-Fat, Yuwei, Zemin, Zhang, Zhao,

Zhìhuán, Zhiqiang, Zhiqing, Zhìxin, Zhìyuan,Zhongli, Zhu, Zi, Zuang

FEMALE GIVEN NAMES

Ah Cy, Ah Kum, Ah Lam, An, Bik, Bo, Chao-xing, Chen, Chin, Chow, Chu-hua, Chun, Chyou,Da-chun, Dai-tai, Da-xia, Ding, Eu-ùnh, Eu-meh,Fang, Far, Fung, Guan-yin, Guixian, Haixia,Howin, Hseuh, Hu, Hua, Hui, Hùiang, Hwei-ru,Jiahui, Jiani, Jianping, Jihong, Jing-wei, Jueeng,Juijuan, Jun, Kuai-hùa, Kue-ching, Kwong, Lan,Lee, Lian, Lien, Lien-hua, Lì-húa, Lihwa, Lijuan,Lin, Ling, Lingjuan, Lingling, Linwei, Liping,Lìxúe, Mao, Méh-è, Méh-ùnh, Mei, Mei-Chun,

Meiying, Meizhu, Min, Ming-húa, Mingxing,Mu-lan, Mu-tan, Nuwa, Peihsi, Peijun, Peipei,Ping, Qiànrú, Qing, Qiurui, Qun, Rongang,Rúen, Sheu-ùnh, Syà, Sying, Szu, ao, è, se, u,Ushi, Weihong, Xiaobo, Xiaojun, Xiaolan, Xiao-quin, Xiaotian, Xilan, Xingjiang, Xiulan, Xiu-mei,Xiumin, Xuedi, Yan, Yáng, Yanhong, Yanjun,Yet-kwai, Yín, Ying, Yong, Yow, Yueang, Yuèhai,Yuèqín, Yuet, Yu-jun, Yuk, Yuke, Yumei, Yüying,Yüzhen, Yuzhu, Zhen

Japanese Names

Japanese names are presented with amilyname first, given name last. However, because oWestern influences in modern Japan, many Japa-nese now write their names in the Western ashion(given name first, amily name last).

FAMILY NAMES

Abukawa, Aburakoji, Adachi, Aihara, Akada,Akashi, Akimoto, Akusawa, Akutagawa, Anekoji,Ankokuji, Ano, Aoki, Aonuma, Arai, Arakida,Arima, Asahina, Asaka, Asako, Asakura, Asaoka,Asayama, Ashiya, Atarashi, Awataguchi, Ayakoji,Baba, Ban, Bannen, Bessho, Bojo, Chiba, Chibano-suke, Chikusa, Cho, Choichi, Chosogabo, Daidoji,

Daigo, Dan, Dei, Demura, Doi, Ebara, Edo,

Egami, Endo, Emi, Emori, Endo, Fuji, Fujibayashi,Fujimoto, Fujimura, Fujikawa, Fujisawa, Fukami,Fukatsu, Fukawa, Fukazawa, Fukuchi, Fukunaka,Funakoshi, Furue, Furukawa, Furusaka, Fuse,Fuseya, Fushiki, Futamatsu, Futami, Futoshi,Gama, Gamo, Gojo, Gomi, Goto, Gushiken,Hachisuga, Hagiwara, Hama, Hamada, Hamuro,Hanagata, Hanazono, Handa, Hane, Hara, Harada,Hase, Hasegawa, Hashimoto, Hatakeyama,Hattori, Hayashi, Hayashida, Hayata, Hayuka,Henmi, Hida, Higshirokujo, Higuchi, Hikata,Hino, Hinonishi, Hioki, Hirai, Hirano, Hirata,Hirayama, Hiro, Hirose, Hisamatsu, Hisatomo,Hitomi, Hitotsuyanagi, Hoho, Hoki, Hongo,Honme, Hori, Horiuchi, Hoshino, Hosoi, Hoso-kawa, Hotta, Iba, Ichihashi, Ichino, Ichiyanagi, Ide,Ido, Igarashi, Iida, Iimuro, Iizuka, Ijichi, Ikeda,Ikoma, Imagawa, Ina, Ino, Inohara, Inokuma,Inoue, Iriye, Isawa, Ise, Ishida, Ishigaya, Ishimaki,Isobe, Itagaki, Itazaki, Ito, Iwahara, Iwakura,Iwano, Iwata, Iyohara, Izeki, Jikoji, Jimyoin, Jinbo,Kabeyama, Kadono, Kainsho, Kagabu, Kagawa,Kaji, Kajino, Kajitani, Kajiyama, Kakei, Kamachi,

Kamadai, Kamimura, Kaminaga, Kamonomiya,Kanbayashi, Kaneko, Kanemaru, Kanesaka, Kano,Karasumaru, Kasai, Kasamatsu, Kashida, Katano,Kato, Katsu, Katsuragawa, Kawaguchi, Kawai,Kawanabe, Kaya, Kazanin, Kazuo, Kenmotsu, Ki,Kihara, Kikuchi, Kimotsuki, Kimura, Kimuro,Kira, Kishiro, Kitabatake, Kiyooka, Kobayagawa,Kobayashi, Kochi, Koda, Kohone, Koizumi,Kojima, Komakine, Komparu, Kon, Kondo,Konishi, Kono, Koo, Kosuge, Kozukuri, Kubota,Kuge, Kuna, Kuni, Kuramitsu, Kuramoto, Kuri-uda, Kuroyanagi, Kusakabe, Kushimoto, Kutsuki,Kuwayama, Kyogoko, Machida, Maeda, Maehata,Magaribuchi, Maki, Mamiya, Manabe, Maru,

Masaki, Masamori, Matsubayashi, Matsudaira,Matsukara, Matsumara, Matsumoto, Matsumura,Matsuoka, Matsushige, Matsuyama, Matsuzaki,Menokoji, Mibu, Miki, Mimuroto, Minase,Mishina, Mitsuhashi, Mitsukuri, Mitsuya, Miura,Miuranosuke, Miyajima, Miyakawa, Miyamoto,Miyazawa, Mizunoya, Mochizuki, Monna,Monobe, Mori, Morioka, Morisue, Morita,Motoyoshi, Mukai, Muramatsu, Mushiakoji,Muto, Mutsu, Nabeshima, Nabo, Nagai, Naga-okita, Naito, Nakada, Nakamikado, Nakamura,Nakane, Nakanichi, Nakao, Nakatoni, Nakayama,Nambu, Namekata, Narau, Narimatsu, Naruhito,Narushima, Nasu, Nataga, Natsume, Negishi, Nie,Nii, Niinomi, Niki, Ninomiya, Nishi, Nishidoin,Nishikigori, Nishimura, Nishirokujo, Nitta,Niyakuoiji, Noda, Noisski, Nomura, Nonoyama,Noro, Nose, Oba, Ochi, Oda, Odaka, Ogazawara,Oguri, Ogushi, Ohara, Oi, Oinuma, Okamura,Okano, Oki, Okudaira, Omikado, Ono, Onuki,Ooka, Orui, Osaki, Oseki, Oshikoji, Otagaki,Otaku, Otani, Ouchi, Owada, Ozaki, Reizei,Rokkaku, Rokugo, Rokujo, Ryojoji, Ryozoji, Saai,Saigusa, Saito, Sakai, Sakakiwara, Sakamoto,Sakiyurai, Samukawa, Sanai, Sanjonishi, Sasakawa,Sasaki, Sasase, Satomura, Sawai, Sekiguchi, Sekine,Senbon, Senke, Serizawa, Shiba, Shibanokuji,

Shibata, Shibazani, Shibuki, Shibuya, Shijo,




Shimabayashi, Shimakage, Shimazu, Shimoeda,Shimura, Shin, Shinjo, Shinoyama, Shinozaki,Shiokawa, Shiomi, Shirai, Shirasu, Shiskikura, Sho,Shokei, So, Soue, Sohda, Somo, Sono, Sonoda,Soshi, Sotomura, Soyeshima, Sue, Suganuma,Sugimoto, Sugiyama, Suhara, Suwa, achinaba,ada, aguchi, ajiha, akachihara, akabe,akahashi, akaki, akano, akara, akatsukasa,akayama, akayanagi, akeba, akeda, akemoto,akemura, akenoya, akikawa, amamatsu,anabe, anaka, anba, ani, anida, anji, arao,ashiro, azawa, enno, erasaka, o, ogashi,ogi, okudaiji, omizawa, orii, oshima,okooya, ozawa, subai, suchihashi, sugane,suji, sukahara, sukawaki, sumori, surimi,sutsumi, Uchikawa, Uehara, Uemura, Uesugi,Ukita, Unno, Uramatsu, Urya, Usami, Ushigome,Utsonomiya, Wada, Wakauji, Wakizaka, Watada,Watanabe, abe, Yagyu, Yamadera, Yamaguchi,Yamakawa, Yamakazi, Yamamoto, Yamana,Yamanouchi, Yamashita, Yamawaki, Yanada, Yano,Yasuki, Yoda, Yogo, Yokose, Yokoyama, Yoneno,Yoneta, Yoshida, Yoshikawa, Yoshimatsu, Yoshi-sato, Yuasa, Yuhi, Yui, Yura, Yusa, Zakoji

MALE GIVEN NAMES

Agatamori, Akae, Akahito, Akemi, Akihiko,Akiie, Akinobu, Akinori, Akio, Akira, Akiuji,Akiyoshi, Arimoro, Atsutada, Azumamaro,Baisetsu, Bakin, Bancho, Bantaro, Botan,Chikashira, Chikatsada, Chikauji, Chikayoshi,Choei, Chokei, Chonei, Daini, Dokwan, Dosan,Doshun, Eiichi, Eiji, Eizo, Ekei, Ekiken, Emishi,Emon, Fuhito, Fujiusa, Fujitsuna, Fusaaki, Fusaie,Fusasaki, Fuyuyoshi, Gekkei, Gennai, Gidayu,Goemon, Gohei, Gongoro, Gonsai, Gorodayu,Hakusekei, Hamanari, Hamaomi, Hangwan,Haruhiko, Haruhiro, Haruhisa, Haruki, Harusue,Harutomo, Haseo, Hayanari, Heihachiro, Hideaki,Hidekani, Hidemasa, Hidetsugu, Hideyoshi,Hikaru, Hiroie, Hiromasa, Hiroshi, Hiroteru,

Hirotsuna, Hiroyo, Hisahide, Hisashi, Hisato,

Hisemasa, Hisoi, Hisoka, Hitoshi, Hoitsu, Hoki-ichi, Hoshu, Ieharu, Iemoto, Ienobu, Ietsugu,Ieyasu, Iezane, Ikku, Imakebito, Iname, Isamu,Isao, Isas, Ishi, Issai, Iwao, Jikkyu, Jingoro, Jiro,Jo, Joji, Jun, Junan, Junkei, Junzo, Jusai, Kabun,Kageki, Kagekiyo, Kagemoto, Kagetoki, Kahei,Kanamura, Kanamichi, Katsumi, Kane, Kanesue,Kaneyasu, Kauren, Katsumi, Katsushige, Kazuhiro,Kazuo, Keiki, Keisai, Keisuke, Ken, Kenichi, Kenji,Kenko, Kenshin, Kiichi, Kimmochi, Kin, Kinsue,Kinto, Kintsune, Kiyogimi, Kiyomoro, Kiyoshi,Kiyotsura, Koetsu, Koji, Kokan, Konyo, Korekado,Korenao, Korin, Koshiro, Kumpei, Kurajimaro,Kuromaro, Kawaran, Kyoji, Kyoso, Makato,Makoto, Masahiro, Masaichi, Masami, Masao,Masato, Masue, Masutomo, Matabei, Matate, Me,Michichika, Michio, Miune, Mitsuo, Mitsuyako,Mochikune, Mochimoto, Mondo, Monzaemon,Morihiro, Morito, Moroe, Motoki, Motomari,Motomuchi, Munekiyo, Munesuke, Muneto,Muramune, Nagachika, Nagate, Naoko, Naozumi,Natsui, Nobuhiro, Nobunaga, Nobuyuki, Nori-katsu, Norimoto, Noritoshi, Noriuji, Noriyori,Norizane, Ogame, Ogi, Oguramaro, Oiwa, Okyo,Otomoro, On-shi, Otondo, Oyori, Oyumi, Raiden,Razau, Renshi, Rikyu, Ringo, Rinzo, Rokuemon,Ryoi, Ryokoi, Ryoshun, Saburo, Sadauji, Sadaie,

Sadakata, Sadamasa, Sadataka, Sadauji, Sadayoshi,Sakehisa, Samba, Samuru, Sanehima, Saneyuki,San-yo, Sanzo, Saru, Sawao, Seiki, Seikwa, Seimei,Seiri, Shigehide, Shigekatsu, Shigekori, Shigenari,Shigeru, Shigetani, Shigeyoshi, Shikei, Shikibu,Shipei, Shin, Shingen, Shinji, Shinobu, Shinsaku,Shiro, Shirozaemon, Sho, Shoan, Shonagon, Shuji,Shumkichi, Shun, Shunsui, Sodan, Soi, Sorai,Sorin, Soun, Sueusa, Sukechika, Sukena, Sukune,Sumio, Surimoto, Surugamaro, adaaki, adausa,adahiro, adao, adashi, adataka, adatomo,adatsuno, adauji, adayoshi, aiga, akaai,akaie, akakage, akamori, akanoba, akao,akashi, akatomo, akatora, akaugi, akehide,

akeichi, akeo, akeshi, akuji, ameaki, ameie,




amekago, ameyori, amikichi, ampaku, amu-ramoro, anenara, aro, arozayemon, ashiro,atsutsaka, ensui, eriuihi, eruzumi, oemon,ou, ogai, ogama, ogan, oju, okihiro,okimune, okisada, okiyuki, okubei, oku-suke, omi, omoie, omomitsu, omomune,omonori, oshi, oshiusa, oshihiro, oshiie,oshikatsu, oshinao, oshio, oshisue, oyo-haru, oyokazu, oyokuni, suburu, suginawa,sunashige, sunayoshi, sunetake, sunetsugu,surunaga, suruyuki, sutomu, Uchinaro,Ujiaki, Ujichika, Ujiharu, Ujikiyo, Ujimitsu,Ujiyasu, Ujiyori, Ukon, Umakai, Umbin, Umon,Uona, Wakimura, Yakamochi, Yasahiro, Yasu-chika, Yasuhira, Yasuhiro, Yasumoto, Yasumura,Yasuo, Yasushi, Yasushige, Yasutoki, Yasuyo,Yayu, Yemon, Yorto, Yoriashi, Yoriusa, Yorikane,Yorinari, Yorinobu, Yorisada, Yoritada, Yoriyasu,Yoriyuka, Yorozu, Yosai, Yoshi, Yoshiaki, Yoshia-kira, Yoshiura, Yoshiharu, Yoshihide, Yoshihisa,Yoshikage, Yoshikane, Yoshikaru, Yoshikatsu,Yoshima, Yohimitsu, Yoshimoto, Yoshimune,Yoshinaga, Yoshinao, Yoshinobu, Yoshinori,

Yoshio, Yoshioki, Yoshiro, Yoshishoge, Yoshisuge,Yoshitaka, Yoshito-hi, Yoshitoshi, Yoshitoyo,Yoshitsugu, Yoshitsune, Yoshituje, Yoshiyaru,Yoshiyori, Yoshiyuki, Yoshizane, Yoshizumi, Yujo,Yukihara, Yukiie, Yukimasa, Yukimori, Yukimura,Yukinaga, Yukio, Yukitsune, Yukiyasu, Yukiyori,Zenan, Zeshin, Zuiken

FEMALE GIVEN NAMES

Ai, Aiko, Akako, Akasuki, Akemi, Aki, Akiko,Akina, Anzu, Aoi, Asa, Au, Ayako, Ayame,Ayano, Azami, Chika, Chikako, Chitose, Chiyo,Chizu, Cho, Chuemoko, Dai, Den, Echiko,Emiko, Etsu, Etsuko, Fujiko, Fuyu, Gen, Gin,

Ginko, Haketoko, Hama, Hanako, Haru, Harue,Haruko, Hatsu, Haya, Hide, Hideko, Hideyo,Hiro, Hiroko, Hiromi, Hisa, Hisano, Hoshi,Iku, Ima, Imoko, Ine, Iruko, Ito, Iwa, Izuko, Jin,Junko, Juri, Kachiko, Kaedé, Kagami, Kaiyo,Kama, Kamako, Kame, Kameko, Kana, Kane,Kaoru, Kata, Katsu, Katsuko, Katsumi, Kawa,Kaya, Kayoko, Kazashi, Kazu, Kazuko, Kei, Keiko,Kenko, Kichi, Kikue, Kikuko, Kikuno, Kimi,Kimie, Kin, Kinu, Kinuko, Kinuye, Kishi, Kiwa,Kiyo, Kiyoko, Kiyomi, Kiyoshi, Ko, Kohana, Koko,Koma, Kome, Konomi, Koto, Kozakura, Kozue,Kukiko, Kuma, Kumi, Kumiko, Kuni, Kunie,Kuniko, Kura, Kuri, Kusuriko, Kyoko, Leiko,

Machi, Mai, Makiko, Manako, Mari, Mariko,Masa, Masae, Masago, Masako, Masu, Masuko,Matsu, Matsuko, Mayumi, Michi, Michiko,Midori, Mië, Mieko, Mika, Mikazuki, Miki,Mikie, Mina, Mine, Mineko, Misao, Mitsu, Miwa,Miwako, Miyo, Miyoko, Miyuki, Mochiko, Mon,Morie, Moto, Mura, Murasaki, Nagisa, Namako,Nami, Namiko, Nani, Naoki, Nara, Nari, Nariako,Nariko, Natsu, Nishi, Nori, Norie, Noriko, Nui,Nyoko, Orino, Otsu, Rai, Raku, Ran, Rei, Reiko,Ren, Riku, Roku, Ruri, Ruriko, Ryo, Ryu, Sachi,Sachiko, Sachiko, Sada, Sadako, Sadchiko, Saeko,Sai, Sakaë, Saki, Sakura, Sata, Sato, Sawa, Saya,

Sei, Seiko, Seki, Sen, Setsu, Setsuko, Shigé, Shiho,

Shihobu, Shika, Shikako, Shina, Shino, Shirushi,Shizu, Shizue, Shizuka, Shizuko, Shizuyo, Shoko,Soko, Sugi, Suki, Sumi, Sumie, Sute, Suzu, Suzue,Suzuki, adamako, aka, akako, akara, ake,akeko, aki, ama, amaki, amako, ame, ami,amiko, anaka, ane, ani, aniko, aru, atsu,azu, eruoko, etsu, oki, okiwa, oko, okuko,okutako, omi, omiju, omo, omotoko, ora,ori, oshi, oshiko, oyoko, sughi, suko,suna, suru, Ujikiko, Umako, Umeko, Umeno,Urano, Uta, Utako, Utano, Yachi, Yaeko, Yasu,Yasuko, Yayoi, Yei, Yo, Yoi, Yoko, Yone, Yori, Yori-toko, Yoshe, Yoshi, Yoshike, Yoshiko, Yoshioko,Yuki, Yukiako, Yukie, Yukiko, Yukiyo, Yuko, Yumi,Yuri, Yuriko, Zanako

Korean NamesKorean names also go in the order o amily

name first, given name last.raditionally, Korean first names have two

syllables. Te first syllable is shared by all siblingso the same gender, and the second syllable is

individualized. Te first syllable is predestinedor generations and is based on a cycle whichis determined by the amily name. However, asKorea becomes modernized and more Koreansmove away rom their native villages or lands, thissystem is breaking down and is ofen no longerused.

FAMILY NAMES

Ahn, An, Baik, Bae, Bang, Byon, Chang, Cho,Choi, Chol, Chung, Gu, Gwang, Ha, Han, Ho,Huang, Hwang, Jang, Jeon, Jeong, Jeung, Jo, Jong,Jung, Kang, Kim, Kwang, Kwon, Lee, Li, Ma,Moon, Oh, Paek, Pai, Park, Ri, Ryom, San, Seo,

Shin, Si, Sin, Son, Song, Sung, Yang, Yi, Yoon, You,Youn, Yu, Yun

MALE GIVEN NAMES

Bon-hwa, Bong-chol, Byeoung-keun, Chang-hee, Chang-sun, Chin-hae, Chin-hwa, Chul-moo, Chulsoon, Chung-ho, Dae-du, Dong-gul,Dong-sun, Dong-yul, Duck-hwan, Duck-young,Eui-kon, Eui-tae, Eunkyhung, Gab-do, Gyong-si,Hae-jin, Hae-sup, Hak-kun, Han-gyong, Ho-bong,Ho-jun, Ho-pyong, Hyang-soon, Hyong-kim,Hyoung-zoo, Hyun-ki, Hyun-shik, In-su, In-sung,In-ak, Jae-hwa, Jae-yup, Jeaki, Jong-kyu, Joon-ho,Joon-sup, Jung-keun, Jung-mo, Jung-oh, Ju-yung,Kang-dae, Ki-woon, Kwang-sun, Kyou-chull,Mal-chin, Man-shik, Man-young, Mun-hee,Myung-dae, Myung-suck, Nam-hong, Pan-yong,Sang-mun, Sang-ook, Se-hong, Seung-lip, Shin-cho, Soo-ann, Soon-chun, Suck-chin, Sun-tae,Sung-joo, Weon-kee, Won-shik, Won-sop, Yo-sub,Yong-chul, Yong-ik, Yong-jo, Yong-kyun, Yong-sun, Young-hai, Young-jae, Young-joon, Young-sam, Young-soo, Young-su, Youngchul

FEMALE GIVEN NAMES

Ae-cha, Aei-young, Bong-cha, Byung-soon,Chan-sook, Chin-sun, Choon-hee, Choon-yei, Chun-ja, Chun-ok, Chung-ae, Chung-cha,

3




BIBLIOGRAPHY NONFICTION BOOKS

Amberger, J. Christoph. Te Secret History o theSword

Anglo, Sydney. Te Martial Arts o RenaissanceEurope

Balin, Michael. ’ai Chi Ch’uan: Te Martial Side

Birch, Cyril. Chinese Myths And Fantasies

Bottomley, I. and A.P. Hopson. Arms And ArmorO Te Samurai

Carella, C.J. GURPS Martial Arts

Capoeira, Nestor. Te Little Capoeira Book

Chow, David, and Richard Spangler. Kung Fu:History, Philosophy, and echnique

Clements, John. Medieval Swordsmanship

—Renaissance Swordsmanship

Corcoran, John. Te Martial Arts Companion

—Te Martial Arts Sourcebook

Corcoran, John, and Emil Farkas. Te Original Martial Arts Encyclopedia: radition, History,Pioneers (ormerly Martial Arts: raditions,History, People)

Cowie, A.P., and A. Evison. Te Concise English-Chinese Chinese-English Dictionary

Craig, Darrell. Japan’s Ultimate Martial Art: JujitsuBeore 1882

Crompton, Paul. Te Complete Martial Arts

Crompton, Paul, trans. A Dictionary o the Martial Arts, by Louis Frederic

Crudelli, Chris. Te Way O Te Warrior: Martial

Arts And Fighting Styles From Around TeWorld

Daniel, Charles. Kenjutsu: Te Art o JapaneseSwordsmanship

Dannen, Fredric and Barry Long. Hong KongBabylon

Dorling Kindersley. Warrior: A Visual History OTe Fighting Man

—Weapon: A Visual History O Arms And Armor

Draeger, Donn. Te Weapons and Fighting Arts oIndonesia

Draeger, Donn, and Robert Smith. Comprehensive Asian Fighting Arts

Evangelista, Nick. Te Encyclopedia o the Sword

Finn, Michael. Martial Arts: A Complete Illus-trated History

Gygax, Gary. Oriental Adventures

Hallander, Jane. Te Complete Guide to Kung FuFighting Styles

Hammond, Stean and Mike Wilkins. Sex and Zen& A Bullet in the Head

Hatsumi, Masaaki. Ninjutsu: History andradition

Hayes, Stephen. Te Mystic Arts o the Ninja

Hsieh, Douglas. Ancient Chinese Hidden Weapons

In Hyuk Suh and Jane Hallander. Te FightingWeapons O Korean Martial Arts

Kai, Hyōjun. All-Romanized English-JapaneseDictionary

Kim, Ashida. Ninja Mind Control

—Ninja Secrets o Invisibility —Secrets o the Ninja

Lawler, Jennier. Te Martial Arts Encyclopedia

Lee, Bruce. Te ao o Jeet Kune Do

Logan, Bey. Hong Kong Action Cinema

Loriega, James. Sevillian Steel: Te raditionalKnie-Fighting Arts O Spain

Malizewski, Michael. Spiritual Dimensions o the Martial Arts

Marinas, Amante Sr. Pananandata

McCubbin, Chris, C.J. Carella, and StephenDedman. GURPS Martial Arts Adventures

McNeil, James. Hsing-I

Park, Bok Nam, and Dan Miller. Te Fundamen-tals o Pa Kua Chang

Piggott, Juliet. Japanese Mythology

Ratti, Oscar and Adele Westbrook. Secrets o theSamurai

Reid, Howard, and Michael Croucher. Te Way othe Warrior

Soet, John. Martial Arts Around the World

Spear, Robert. Hapkido: Te Integrated Fighting Art

VIDEO FIGHTING

GAMES

There are many video

fighting games out

there, with all sorts of

characters, gameplay,

and storylines. Someof the best in terms of

interesting and creative

character designs are:

Advanced Variable Geo ,

Battle Arena Toshinden ,

Darkstalkers (Vampire

Saviour), Dead Or Alive

2, Fatal Fury, Guilty Gear

X, King Of Fighters (and

its numerous sequels),

Mortal Kombat (and

its numerous sequels),

Samurai Showdown,

Soul Calibur, StreetFighter II (and its

numerous sequels), and

Tekken .




Stockmann, Hardy. Muay-Tai: Te Art oSiamese Un-armed Combat

alhoffer, Hans. Medieval Combat

urnbull, Stephen. Te Samurai Source Book

Walters, Derek. Chinese Mythology: An Encyclo- pedia o Myth and Legend

Warner, Gordon and Donn Draeger. JapaneseSwordsmanship: echnique and Practice

Wujcik, Erick. Ninjas and SuperspiesYang, Jeff. Once Upon A ime in China: A Guide to

Hong Kong, aiwanese, and Mainland ChineseCinema

Yang, Dr. Jwing-Ming. Introduction to AncientChinese Weapons

Yates, Keith. Warrior Secrets: A Handbook o the Martial Arts

Zoran, Rebac. Tai Boxing Dynamite: Te Explo-sive Art o Muay Tai

Various martial arts magazines, including BlackBelt , Inside Kung Fu and its progeny, Karate/

Kung Fu Illustrated , and ae Kwon Do imes.Various sites on the World Wide Web

Te number o Martial Arts movies and televi-sion shows is practically infinite. Tis list includessome o the authors’ avorites or ones they thinkare particularly useul or learning about the genreor gaming purposes

HONG KONG CINEMA A Man Called Hero

Ashes o ime

Te Blade

Te Bride With White Hair 1 & 2

Butterfly and Sword A Chinese Ghost Story 1-3

A Chinese Odyssey I: Pandora’s Box

A Chinese Odyssey II: Cinderella

Crouching iger, Hidden Dragon

Eastern Condors

Enter the Fat Dragon

Executioners

Dragon Inn

Dragons Forever

Drunken Master 2

Duel to the Death

WHAT TO WATCH

If you’ve never seen a

Hong Kong action film

before, your best bet i

to find A Chinese Ghos

Story . Although the

subtitles are suspect,

and it might be a bit

slow-paced for some,the last half of the film

is filled with all sorts o

great effects and actio

scenes, which more th

make up for its sedate

beginning. In addition

A Chinese Ghost Story

is positively crammed

with all sorts of comm

Wuxia subgenre

elements. If you don’t

like this film, odds are

you won’t care for The

Blade, Dragon Inn or

Swordsman either.

For a full introduction

Hong Kong cinema, an

wuxia action specifica

the author recommen

the following five films

A Chinese Ghost Story

The Bride With the

White Hair, Iron Monke

Swordsman 2 , and Zu

Warriors of the Magic

Mountain . These five

films contain a broad

of wuxia elements and

feature a wide variety

of over-the-top action

sequences.

If you can’t find any of

these movies at your

local video store, then

try the classic Americ

film Big Trouble In Litt

China . It has all you ca

ask for in a wuxia film

and more, including

some great characterideas, excellent specia

effects, well-done act

scenes, and extremely

funny character intera

tion and one-liners.

FICTION

Japanese MangaBlade o the Immortal

Dark Angel

Dragonball

Fist o the North Star

Ranma ½

Real Bout High School

Striker (a.k.a. Spriggen)

AMERICAN COMIC BOOKSBulletproo Monk

Gen 13 Bootleg: Grunge Te Movie

Sin City

Usagi Yojimbo

Fist o Legend

Te Five Deadly Venoms

Flying Dagger

Fong Sai Yuk 1 & 2

Hero

Te Heroic rio

House O Flying Daggers

Iron Monkey

A Kid From ibet

Kung Fu Cult Master

Last Hero in China

Once Upon a ime in China 1-6 Police Story

Project : A 1 & 2

Te Stormriders

Supercop

Swordsman 1-3

ai Chi Master

win Dragons

Wing Chun

Wheels On Meals

Yip Man

Zu: Warriors o the Magic Mountain

FILMOGRAPHY




AMERICAN ACTIONCINEMA

Above Te Law

Te Big Brawl

Big rouble In Little China

Bloodsport

Brotherhood O Te Wol

Charlie’s Angels

Enter Te Dragon (and any other Bruce Lee film,really)

Ghost Dog: Te Way o the Samurai

Kill Bill, Vol. 1-2

Kiss O Te Dragon

Kung Fu Panda

Te Last Dragon

Marked For Death

Te Matrix

Mortal Kombat

Mortal Kombat II: Annihilation

Te One

Te Quest

Romeo Must Die

Street Fighter

X-Men

AMERICAN TELEVISIONHuman Weapon

Jackie Chan Adventures

Kung Fu

Kung Fu: Te Legend Continues

Martial Law

Raven

Xena: Warrior Princess

FILMS LISTED BY

ACTOR/DIRECTORHere’s a brief filmography for

some of the biggest names in

Martial Arts cinema.

Brigitte Lin Ching-hsia: Ashes of Time, The Bride

With White Hair 1 and 2 ,

Dragon Inn, Swordsman 2 and 3 (a.k.a. East is Red ),

Zu: Warriors of the Magic

Mountain .

Bruce Lee: The Big Boss

(a.k.a. Fists of Fury ), Enter the

Dragon , Fist of Fury (a.k.a.

The Chinese Connection ),

Return of the Dragon

Jackie Chan: Armor of God,

Armor of God 2: Operation

Condor, City Hunter, Dragons

Forever, Drunken Master 2,

Police Story, Project: A 1

and 2, Rumble in the Bronx,

Supercop, Twin Dragons,

Wheels on Meals .

Jet Li: Fist of Legend, Fong

Sai Yuk 1 and 2 , Kiss of the

Dragon, Kung Fu Cult Master,

Last Hero in China, Once Upon

a Time in China 1-3 and 6,

The One, Romeo Must Die,

Swordsman II, Tai Chi Master

Michelle Yeoh: Butterfly

and Sword, Crouching Tiger,

Hidden Dragon, Executioners,

The Heroic Trio, Tai Chi Maste r,

Tomorrow Never Dies, Wing

Chun Samo Hung Kam-bo: Dragons Forever, Eastern

Condors, Enter The Dragon,

Enter the Fat Dragon,

Pedicab Driver, Project: A,

Shanghai Express, Spooky

Encounters, Wheels on Meals,


Mountain

Toshiro Mifune: The Hidden

Fortress, Samurai 1-3, Seven

Samurai, Samurai Rebellion,

Sanjuro, The Sword of Doom,

Yojimbo, Zatoichi Meets

Yojimbo

Tsui Hark: The Blade,

Burning Paradise, A Chinese

Ghost Story 1-3, Dragon

Inn, Green Snake, Once

Upon a Time in China 1-6,

Swordsman 2, Wicked City,


Mountain .

Yuen Woo-ping: Crouching

Tiger, Hidden Dragon, Drunken

Master, Eastern Condors, Fist

of Legend, Iron Monkey, Last

Hero in China, The Matrix,

Once Upon a Time in China,

Snake in the Eagle’s Shadow,

Wing Chun

JAPANESE CINEMA Hari-Kiri

Te Hidden Fortress

Legend o Eight Samurai

Long Wol and Cub (series)

Samurai 1-3

Seven SamuraiSamurai Rebellion

Sanjuro

Te Sword o Doom

Yojimbo

Zatoichi (series)

Zatoichi Meets Yojimbo

OTHER ASIAN CINEMA Ong-Bak: Muay Tai Warrior

JAPANESE ANIMECowboy Bebop

Dagger o Kamui

Dragonball Z

Fatal Fury

Fist o the North Star

Jubei-chan Te Ninja Girl

Monkey

Ninja Scroll

Outlaw Star

Ranma 1/2

Raven engu Kabuto

Street Fighter II

Variable Geo



Hero System Martial Arts n Index 31

INDEX

6E1, 6E2: 4 Doces Pares (substyle of Arnis/Kali/Escrima): 19

6E1, 6E2: 4

Abilities for martial artists: 112-86

Abort (Element for Martial Maneuvers):94, 95

Accredited Instructor (Fringe Benefit): 204

Acrobatics (Skill): 197

Acting (Skill): 198

Active Defense (special ability): 130

Advantages

Generally: 208

For Martial Maneuvers: 106-08

Africa, martial arts of: 15

African Stickfighting: 67

Age (theme of Martial Arts campaigns): 290 Aid (Power): 206

Aikido (martial arts style): 17

Alien Martial Artist, The (martial artistarchetype): 188

American From The Orient, The (martial artistarchetype): 188

American viewpoint in campaigns/stories:289

Americas, martial arts of: 15

An Ch’i (martial arts style): 18

Analyze (Skill): 198

Angampora (martial arts style): 18

Animal kingdom, as style inspiration: 87

Anime Martial Arts (Martial Arts subgenre):172, 276

Anting-Anting (special ability): 136

APG: 4

Appendix: 306

Arare: 260-61

Arbir: 258, 261

Archetypes for heroes: 188

Archetypes for villains and NPCs: 301, 304

Area Of Effect (Advantage): 208

Arit: 257, 261

Armor: 272

Armor (hindering circumstance): 252

Armor-Shredding Strike (special ability): 136

Arnis (martial arts style): 19

Array (special ability): 123

Arrows: 260-61

Arte dell’Abbracciare (martial arts style): 20

Ashigaru: 194

Ashiko: 258, 261

Asian names: 309-13 Assassin’s Strike (special ability): 178

Asura (type of Wrestling): 74

Atemi: 248

Avenger, The (martial artist archetype): 188

Axe, Chinese: 257, 261

Axes: 257

Bag Kung (special ability): 152

Bandesh (martial arts style): 21

Bandits (genre element): 277

Bando (martial arts style): 21

Banshay: 21

Baritsu (martial arts style): 22

Barton-Wright, Edward William: 22

Baru Silat (substyle of Pentjak-Silat): 61

Base (Perk) 205

Bases for Martial Maneuvers: 92-94, 103

Bataireacht (type of Stickfighting): 67Battle auras (genre element): 277

Battlefield Agility (special ability): 119

Battlefield Mobility (special ability): 120

Battlefield Punch (special ability): 113

Battle Shifting (fictional martial art): 78

Bear Style (substyle of Kung Fu): 46

Bearing (Distinctive Feature): 210

Belts: 13

Bersilat (martial arts style): 23

Bhakti Negara (substyle of Pentjak-Silat): 61

Bibliography: 314

Big Boss, The (villain archetype): 301

Bind

As Basis for Martial Maneuvers: 93, 95

As a Combat/Martial Manevuer: 243

Binot (martial art): 76

Bkyukl Bökh (type of Wrestling): 74

Black Belt (Fringe Benefit): 204

Black belt status: 13-14

Blade Flare (special ability): 124

Blades: 257

Blessing Of Ho-Masubi, The (special ability):178

Blind, martial arts and being: 249

Blindfighting (special ability): 135

Block

As a Basis for Martial Maneuvers: 93, 95

As a Combat/Martial Manevuer: 243

Blocking Strike (special ability): 124

Bo (Staff): 258, 261

Bo Shuriken: 260, 268

Bodhidharma: 45 , 280

Body Of Iron (special ability): 176

Bojutsu (martial arts style): 23

Bokator (martial arts style): 24

Bokken: 257, 262

Books (genre element): 277

Bound, martial arts and being: 249

Bows: 260

Boxing, Ancient (martial arts style): 24

Boxing, Modern (martial arts style): 25

Brass Knuckles: 258, 262

Brazilian Jujutsu (substyle of Jujutsu): 37

Breakfall (Skill): 199

Breaking Strike (special ability): 172

Breath Control (special ability): 154

Brick Martial Artist, The (martial artistarchetype): 188

Brick Tricks (fictional martial art): 79

Bridge Of The Tide Dragon, The (specialability): 183

Brother/Rival, The (villain archetype): 301

Brute, The (villain archetype): 301

Buddha Palm (special ability): 137

Buddhism: 280

Buddhist Warrior-Monk, The (martial artistarchetype): 189

Building To Confrontation (classic Martial Artsplot): 291

Bundi: 257, 262

Bûno (type of Wrestling): 74

Bunot-Page: 258 , 262

Bureaucratics (Skill): 199

Burma, martial arts of: 15

Bushi: 194

But Marma Atti (martial art): 76Butterfly Sword: 257, 262

Buza (martial art): 77

Calinda (type of Stickfighting): 67

Cambodia, martial arts of: 15

Campaign creation: 285

Can Take A Fall (special ability): 130

Capoeira (martial arts style): 26

Career path of the martial artist: 195

Castle Without Walls (special ability): 185

Casual STR versus barriers: 250

Catch This! (special ability): 137

Catching The Blade (special ability): 131

Catching The Bullet (special ability): 153

Caught In The Middle (classic Martial Arts

plot): 292Cestus: 258, 262

Ch’i

Generally : 16

As a genre element: 277

Ch’i Block (special ability): 153

Ch’i Blocking (special ability): 169

Ch’i Eye (special ability): 160

Ch’i Fireball (special ability): 164

Ch’i Fires (special ability): 164

Ch’i Strike (special ability): 138

Ch’i Suppression (special ability): 177

Ch’i Telekinesis (special ability): 172

Ch’i Touch (special ability): 161

Ch’i Weapon (special ability): 165

Cha-Yon Ryu (martial art): 76

Chai-Dao: 258, 262

Chain and Rope Weapons: 258

Chain Sword: 258, 262

Chain Whip: 258, 262

Chakar: 258, 262

Champions, martial arts in: 214

Character creation: 187-212

Charging Slash (special ability): 124

Cheena Adi (substyle of Kung Fu): 46

Chekak (substyle of Bersilat): 23

Chiang: 258, 262

Chin Na (substyle of Kung Fu): 47

Chin Na Palm (special ability): 138

China, martial arts of: 15

Chinese Healing (PS): 203

Chinese Knight-Errant, The (martial artistarchetype): 189

Chinese Master, The (martial artist archetype):190

Chinese viewpoint in campaigns/stories: 288

Choi Yong Suhl: 32

Choke Hold (Martial Manevuer): 244

Choy Lee Fut (substyle of Kung Fu): 47

Chu-ko-nu: 260, 262

Chuarare: 260-61

Cinematic Brawling (martial arts style): 27

Cinematic Martial Arts (Martial Artssubgenre): 123, 274

Cireum (type of Wrestling): 74

Clan Advisor, The (villain or NPC archetype):301, 304

Cloth Lance (special ability): 139

Clubs: 258

Cluttered areas (hindering circumstance):253

Codes of honor for martial artists: 210Combat Maneuvers: 242-43

Combat Running (special ability): 133

Combat Sense (Talent): 205

Combat Skill Level “Martial Art”: 109

Combat Skill Levels (Skill): 199

Comedy (meta-genre): 282

Comet Star Hammer: 260, 263

Commando Training (martial arts style): 2

Competition, The (classic Martial Arts plot291

Complications: 209-12, 296

Concealed weapons and gadgets: 251, 2

Constraints, as style inspiration: 87

Contact (Perk): 204

Contortionist (Skill): 200Contortionist (Skill): 199

Copper Hammer: 257, 263

Counterpunch (special ability): 124

Cover (Combat Manevuer): 244

Cramped areas (hindering circumstance)253

Create Food (special ability): 162

Creating Martial Maneuvers: 92-101

Creating martial artist characters: 187-2

Creating martial arts styles: 87-90

Crush (Martial Manevuer): 244

Cuong-Nhu (martial art): 76

Cutlass: 257 , 263

Cyber Hero, martial arts in: 220

Cymbal: 257, 263

Da’paru (fictional Martial Arts style): 234

Dairokkan (special ability): 135Daletai (martial art): 76

Damage Negation (Power): 206

Damage Reduction (Power): 206

Damage Shield (Advantage): 208

Dambe (martial arts style): 27

Dance Of The Six Stars, The (special abili178

Dancing On Air (special ability): 177

Dancing Weapon Technique (special abili139

Danger Sense (Talent): 205

Dark Champions, martial arts in: 223

Darn Do: 257, 263

DCV +/- (Element for Martial Maneuvers)94, 95, 104

Deactivation Strike (special ability): 144

Deflection (Power): 244Delima (substyle of Pentjak-Silat): 61

Demonstration Of Skill (special ability): 1

Dependent NPC (Complication): 209, 29

Dim Mak (special ability): 139

Dirty Infighting (martial arts style): 27

Disable (Element for Martial Maneuvers):94, 95

Disabling attacks: 250

Disappearing Act (special ability): 133

Disarm (Basis for Martial Maneuvers): 93

Disarm + (Basis for Ranged MartialManeuvers): 104

Disconnects, dealing with: 294

Disruptive Fist (special ability): 140

Distinctive Features (Complication): 209

Do: 16

Doc Nhan (martial art): 77Doces Pares (substyle of Arnis/Kali/Escrim19



318 n Index Hero System 6th Edition Dodge (Basis for Martial Maneuvers): 93, 96 Leap To Safety (special ability): 131

Dodge (Basis for Martial Maneuvers): 93, 96

Dodge (Combat/Martial Manevuer): 244

Dontonjutsu (special ability): 184

Dragon Walking (special ability): 162

Dragon’s Claw, The (special ability): 179

Dragon’s Tongue Arrow: 260-61

Drain (Power): 206

Dropped Marbles: 260, 263

Drunken Boxing (special ability): 125Drunken Style (substyle of Kung Fu): 47

Ducking And Weaving (special ability): 119

Dumog (type of Wrestling): 74

Dwarven War Art (fictional Martial Artsstyle): 226

Eagle Claw (substyle of Kung Fu): 47

Earthquake Strike (special ability): 165

Eight Steps Of The Heavenly Dragon (specialability): 157

Elasticombat (fictional Martial Arts style): 214

Endokuken: 260 , 263

Enduring (special ability): 119

Energy flow, as style inspirat ion: 87

Enerjutsu (fictional martial art): 80

Enhanced Senses (Power): 206

Enraged (Complication): 296

Environment: 297-98

Epee: 257, 263

Escort (classic Martial Arts plot): 292

Escrima (martial arts style): 19

Essence Absorbing Stance (special ability):140

Eunuchs (genre element): 278

Europe, martial arts of: 15

Everyman Skills: 197

Evil Master, The (villain archetype): 302

Evil Master’s Daughter, The (villain archetype):302

Ex-Master (Contact): 204

Exclusive Bases: 93

Exert (Basis for Martial Maneuvers): 92-93

Extendable Limbs (special ability): 170

External styles: 16

Extra DCs: 89-90

Extra Limbs (Power): 206

Fa-Ch’ing (special ability): 141

Fall (Element for Martial Maneuvers): 94, 96

False Disengage (special ability): 113

Fang: 258, 263

Fantasy genre, martial arts in: 226

Fast Draw (Skill): 199

Feint (as Combat/Martial Manevuer): 244-45

Feint (optional new Skill): 200

Feint (special ability): 114

Fencing (martial arts style): 29

Feudal Japanese military titles: 194

Feuds (genre element): 278

Fighting Skill (special ability): 114

Filmography: 316

Fire Control (special ability): 141

Fire Of The Soul (special ability): 153

Fire Of The Mind (special ability): 153

Fire Powder Packets (special ability): 125

Fist Kung (special ability): 141

Fist-Loads: 258

Fisticuffs (martial arts style): 27

Fists Of Agony (special ability): 125

Five Ways Cutting (special ability): 125

Flagstone Currents (special ability): 157

Flaming Dragon Dance (special ability): 165

Flaming Kicks And Punches (special ability):166

Flash (Basis for Martial Maneuvers): 93, 96

Flesh Like Iron (special ability): 176

Flesh Like Oak (special ability): 154

Flexible Sleeves (special ability): 141

Flick Attack (special ability): 142

Flow Restoration (special ability): 162

Flying Claw: 258, 263

Flying Dagger Finds Any Target (specialability): 142

Flying Dodge (Martial Manevuer): 245

Flying Guillotine: 258, 263

Flying Kick (Martial Manevuer): 246

FMove (Element for Martial Maneuvers): 94,96, 246

Fo: 258, 264

Focused Ch’i (special ability): 154Foil: 257, 264

Folded Blade, The (special ability): 179

Follow (Element for Martial Maneuvers):94, 97

Follower (Perk): 204

Four Celestial Kung Fu (fictional martialart): 80

Fringe Benefits (Perk): 204

Frog-Crotch Arrow: 260-61

Frost Fist (special ability): 166

Fukimi-bari: 260, 264

Fukiya: : 260, 264

Fulfiller Of Prophecy, The (martial artistarchetype): 191

Gada: 258, 264

Gambling (Skill): 201

Gamemastering: 285-304Garrotte: 258, 264

Gatka (martial arts style): 31

Gecko Crawling (special ability): 157

Generic Martial Arts (martial arts style): 32

Genjutsu (special ability): 179

Genre by genre: 213-40

Genshin (special ability): 114

Gestures (Limitation): 209

Ghi: 258, 265

Ghosts (genre element): 278

Gikan Ryu (substyle of Ninjutsu): 57

Glimae (type of Wrestling): 74

Glossary: 306

Go-Between, The (villain archetype): 302

Goju-Ryu (substyle of Karate): 40

Golden Tiger Kung Fu (fictional Martial Arts

style): 232-33Golden Tiger, the (example character): 232

Gouren (type of Wrestling): 74

Grab (Combat/Martial Manevuer): 246

Grab Opponent (Basis for Martial Maneuvers):93, 98

Grab Weapon (Basis for Martial Maneuvers):93, 98

Grab Weapon (Combat/Martial Manevuer):246

Grass Perching Stance (special ability): 158

Grass Running Stance (special ability): 157

Grenade, Smoke: 260, 265

Gulat (type of Wrestling): 74

Gun Fu (fictional martial art): 82

Gyokko Ryu (substyle of Ninjutsu): 57

Gyokkushin Ryu (substyle of Ninjutsu): 57

Hac Ho (martial art): 77

Hakko-Ryu (substyle of Jujutsu): 37

Half Move Required (Element for MartialManeuvers ): 94, 98

Hanbo: 258, 265

Hand Mace: 257, 265

Hand-wrappings: 272

Hands Of The Spider (special ability): 184

Hands registered as lethal weapons (NegativeReputation): 211

Hankyu: 260, 265

Hapkido (martial arts style): 32

Harimau Silat (substyle of Pentjak-Silat): 61

Head Kung (special ability): 143

Heidelberg school of Fencing: 30

Hells, Chinese: 282-83

Hensojutsu (special ability): 185

Hidden Ch’i (special ability): 177

High-Speed Carving (special ability): 162

Hikime Arrow: 260-61

Hindering circumstances: 252

Hing Kung (special ability): 134

Hisardut (martial arts style): 33

Hojojutsu (special ability): 186

Holmes, Sherlock: 22

Honorable ninja: 193

Hook Sword: 257, 265

Horror (meta-genre): 283Hsing-I (martial arts style): 33

HTH Martial Maneuvers Table: 7

Hung Gar (substyle of Kung Fu): 47

Hunted (Complication): 210, 297

Huyet: 248

Hwarang-Do (martial arts style): 34

Hypercombat (fictional martial art): 83

I Trained With Bruce Lee (special ability): 115

I’ve Taken Your Measure (special abilit y): 115

Iaijutsu (special ability): 121, 199

Igabakama (Distinctive Feature): 210

Impenetrable Arrow Defense (special ability):154

Improved Leaping (special ability): 121

Inbuan (type of Wrestling): 74

India, martial arts of: 15

Indirect (Advantage): 208Indones ia, martial arts of: 15

Infiltrate And Rescue/Destroy (classic Martial Arts plot): 292

Injured areas, targeting: 254

Instant Plot Generator: 294

Instantaneous Movement (special ability):177

Instructor (PS): 203

Internal styles: 16

Introduction: 4

Invisible Hands Technique (special ability):143

Invisible Power Effects (Advantage): 208

Iron Broom (special ability): 143

Iron Finger (special ability): 143

Iron Forearm (special ability): 144

Iron Mandarin Duck: 260, 265

Iron Shirt (special ability): 154

Iron Skin (special ability): 154

Irritable Student, The (martial artistarchetype): 191

Israel, martial arts of: 15

Isshin-Ryu (substyle of Karate): 41

It’s All In The Reflexes (special ability): 131

It’s Only A Flesh Wound (special ability): 131

Itto Ryu (substyle of Kenjutsu): 42

Jade Belt (special ability): 144

Jailhouse Rock (martial arts style): 35

Japan, martial arts of: 15

Japanese military titles: 194

Japanese viewpoint in campaigns/stories:288

Jeet Kune Do (martial arts style): 35

Jien: 257, 265

Jigen-Ryu (substyle of Kenjutsu): 42Jo: 258, 265

Joarare: 260-61

Jogo du Pau (type of Stickfighting): 67

Joint Lock (Martial Manevuer): 246

Jojutsu (type of Stickfighting): 67

Juego del Palo (type of Stickfighting): 67

Jujutsu (martial arts style): 36

Jukenjutsu (martial arts style): 38

Jusul (special ability): 161

Jutsu: 16

K’rova (fictional Martial Arts style): 236

K-Damage (Element for Martial Maneuvers):94, 98

Kage Ryu (substyle of Kenjutsu): 42

Kajukenbo (substyle of Karate): 41

Kakalaau (type of Stickfighting): 67

Kalaripayit (martial arts style): 38

Kali (martial arts style): 19

Kama: 258, 265

Kamihikari (special ability): 167

Kampfringen (martial arts style): 39

Kanzashi: 258, 265

Kapak: 260, 265

Karate (martial arts style): 39

Karate armor: 272

Kashima Style (substyle of Kenjutsu): 42Katana: 257, 265

Kelantan (substyle of Bersilat): 23

Kendari Silat (substyle of Pentjak-Silat): 61

Kendo armor: 272

Kenjutsu (martial arts style): 41

Kenpo (substyle of Karate): 41

Kensei, The (martial artist archetype): 191

Kentauroi (fictional Martial Arts style): 227

Keupso: 248

Khridoli (martial arts style): 43

Ki: 16

Kiaijutsu (special ability): 144

Kickboxing (substyle of Karate): 41

Kickboxing Champion, The (martial artistarchetype): 191

Kickboxing Cop, The (martial artist archetype):191

Kid, The (martial artist archetype): 192

Killing Throw (Martial Manevuer): 247

Kim Ke (martial art): 76

Kip-up (special ability): 121

Kirisutogomen (Fringe Benefit): 204

Kiseru: 258, 266

Kito-Ryu (substyle of Jujutsu): 37

Knifefighting (martial arts style): 44

Knowledge Skills (Skill): 201

Knuck-Knife: 257, 266

Ko-Gatana: 257, 266

Koarare: 260-61

Kobojutsu: 39-40

Kongjin (special ability): 145

Koonomon Togip Baip (martial art): 76

Korea, martial arts of: 15

Koshti (type of Wrestling): 74Koto Ryu (substyle of Ninjutsu): 57

Krabi-Krabong: 55

Krav Maga (martial arts style): 45

Kris: 257, 266

Kuepso: 248

Kuji Kiri (special ability): 180

Kuk Sool Won (martial arts style): 45

Kuki-shin Ryu (martial art): 76

Kukri: 257, 266

Kukushinden Ryu (substyle of Ninjutsu): 57

Kulachnoi Boya (martial art): 77

Kumango Silat (substyle of Pentjak-Silat): 61

Kumogakure Ryu (substyle of Ninjutsu): 58

Kung Fu (martial arts style): 45

Kuntao (martial arts style): 51

Kupigana Ngumi (martial art): 76

Kurash (type of Wrestling): 74Kusari: 258, 266

Kusari-fundo: 258, 266

Kusarigama: 258, 266

Kushti (type of Wrestling): 74

Kyogetsu Shoge: 258, 266

Kyokushinkai (substyle of Karate): 41

Kyujutsu (martial arts style): 51

Lacoste (substyle of Arnis/Kali/Escrima): 20

Lajatang: 258, 266

Language (Skill): 202

Largo Mano (substyle of Arnis/Kali/Escrima):20

Lasting Restriction (Element for MartialManeuvers): 94, 98

Lathi: 258, 266

Lathi (type of Stickfighting): 67

Leap To Safety (special ability): 131



Hero System Martial Arts n Index 31 Leaping (Power): 206 Setting of the campaign: 29

Mourn Staff: 258 , 267

Move By (Combat Manevuer): 247

Move Through (Combat Manevuer): 247

Mshindi Vita Saana (martial art): 76

Muay Baran: 55

Muay Thai (martial arts style): 54

Multiple Attack (Combat Manevuer): 247

Multiple styles, learning: 10

Murder (genre element): 279Muto Style (substyle of Kenjutsu): 42

Mystery (meta-genre): 283

N-Damage (Element for Martial Maneuvers):94, 99, 104

Naban (type of Wrestling): 75

Nabebutajutsu (martial art): 76

Nagedeppo: 260, 267

Naginata: 258, 267

Naginatajutsu (martial arts style): 56

Naive Hero/Heroine, The (martial artistarchetype): 192

Nakanich i Tokisada (example character): 220

Names: 309-13

Narrow surfaces (hindering circumstance):253

Navaja: 257, 267

Necksnapper (special ability): 126

Negative Reputation (Complication): 211,297

Nekote: 258, 267

Nerve Strike (Martial Manevuer): 247,251-52

Night’s Blessing (special ability): 132

Nine-Dragon Trident: 258, 267

Nine-Ring Sword: 257, 267

Ninja

Generally 56, 279

As a genre element: 279

As a martial artist archetype: 192

Ninja Clan Codes And Symbols (Language):202

Ninja Invisibility (special ability): 183

Ninja Night-Suit (Distinctive Feature): 210

Ninja-To: 257, 267

Ninjutsu (martial arts style): 56Nito Style (special ability): 116

Nito Style (substyle of Kenjutsu): 43

NND DMG (Element for Martial Maneuvers):94, 99

No Shadow Kick (special ability): 146

No-Daichi: 257 , 267

Non-Exclusive Bases: 93

Noroshijutsu (special ability): 186

Noxious Breath (special ability): 126

Nunchaku: 258, 267

Objects: 297-98

OCV +/- (Element for Martial Maneuvers):94, 99, 104

Okinawa, martial arts of: 15

Okol (type of Wrestling): 75

Old Buddy (Contact): 204

Old Masters (genre element): 279One Against Many (special ability): 119

One Finger Kung (special ability): 146

One Hundred Fists (special ability): 167

One Limb (Element for Martial Maneuvers):94, 99

One-Inch Punch (special ability): 117

Onibi No Jutsu (special ability): 180

Only A Ninja Can Kill A Ninja (special ability):183

Outlook of the campaign: 287

Overdrive (special ability): 126

Pakchigi (martial art): 76

Pakua (martial arts style): 58

Pamur (substyle of Pentjak-Silat): 61

Pankration (martial arts style): 59

Pao-Yeh-Pao-Lo-Mi Fist (special ability): 147

Parang: 257, 267

Partial Maneuvers: 242

Pass Without Trace (special ability): 184

Passing Disarm (Martial Manevuer): 249

Patai Silat (substyle of Pentjak-Silat): 61

Pauh Silat (substyle of Pentjak-Silat): 62

Peach Blessing (special ability): 163

Peach Trance (special ability): 163

Pedang: 257, 267

Pekiti Tersia (substyle of Arnis/Kali/Escrima):20

Pendjepit: 259, 267

Pentjak-Silat (martial arts style): 60

Perisai Diri (substyle of Pentjak-Silat): 62

Perks: 204

Personal sacrifice (genre element): 279

Petjat: 259, 267

Philippines, martial arts of: 15

Philosopher, The (martial artist archetype):193

Physical Complication (Complication): 298

Piercing Missile (special ability): 147

Plots for Martial Arts campaigns: 291

Po Bok Sul (martial art): 76

Point Blockage (special ability): 147

Point ceilings in Martial Arts campaigns: 285

Poison-Soaked Body (special ability): 181

Pokulan: 60

Pole Dance (special ability): 152

Polearms: 258, 267

Poluraathkaa (fictional Martial Arts style):227

Positive Reputation (Perk) 205

Post-Apocalyptic genre, martial arts in: 238

Power (theme of Martial Arts campaigns):290

Power Advantages: 208

Power Advantages for Martial Maneuvers:106-08

Power Fist (special ability): 147

Power levels in Martial Arts campaigns: 285

Power Limitations: 209

Power Of Positive Ch’i (special ability): 148

Power Up (special ability): 170

Powers: 206-07

Powers as Martial Arts: 110Pradel Serey: 55

Prana: 16

Praying Mantis Style (substyle of KungFu): 48

Prerequisites for Martial Maneuvers: 13

Pressure Point Strike (special ability): 148

Prisai Sakti (substyle of Pentjak-Silat): 62

Professional Skills (Skill): 203

Professional Wrestling (martial arts style): 75

Prone (Element for Martial Maneuvers):94, 99

Prone, Acrobatics and: 197

Protect The Defenseless (classic Martial Artsplot): 293

Psychological Complication (Complication):210, 298

Pulp Hero, martial arts in: 231

Puñal: 257, 267

Purge Poison (special ability): 176

Push Hands (special ability): 158

Qwan Ki Do (martial arts style): 63

Race, The (classic Martial Arts plot): 292

Rage Meter (special ability): 170

Rage Meter Energy Pool (special ability): 171

Rahasia: 248

Rain Of Shuriken (special ability): 172

Ranged Martial Arts: 6, 90, 103-05

Ranged Martial Maneuvers Table: 6

Ranking Martial Maneuvers: 12

Ranks in martial arts styles: 13

Rante: 258, 267

Rapier: 257, 268

Razor Dancing (fictional Martial Arts style):220

Razor, Straigh t: 257, 268

Re-efi Areh-ehsee (martial arts style): 64

Realism in the campaign: 287

Realistic Martial Arts (Martial Arts subgen113, 274

Red In Tooth And Claw (fictional martialart): 84

Red Sand Palm (special ability): 148

Redundant Martial Maneuvers in a style:

Reflection (Power): 207

Religion (genre element): 280

Repeticion (substyle of Arnis/Kali/Escrima20

Requires A Roll (Limitation): 209

Requires Both Hands (Element for MartiaManeuvers): 94, 99

Requires Object/Condition (Element forMartial Maneuvers): 94, 99

Requires Precise Sequence (Limitation):

Resistant (Advantage): 208

Resistant Protection (Power): 207

Response (Element for Martial Maneuvers94, 100, 249

Restrained, martial arts and being: 249

Revenge (genre element): 280

Revenge (theme of Martial Arts campaign290

Right Of Shelter (Fringe Benefit): 205

Right To Marry (Fringe Benefit): 205

Ring Needle: 258, 268

Rings: 259, 268

Riposte Strike (special ability): 117

Rival schools/styles (genre element): 280

Rivalry (Complication): 211

Rng +/- (Basis for Ranged MartialManeuvers): 104-05

Roleplaying combat: 246

Romance (meta-genre): 283

Ronin: 194, 288

Ronin: 277

Root (Martial Manevuer): 249

Rope, cutting: 297

Rope Dart: 259, 268

ROSS (martial art): 77

Rourke, Bobby (example character): 223

Running the campaign: 291

Running up walls, Acrobatics and: 197

Sabre: 257, 268

Sacrifice (theme of Martial Arts campaign290

Sai: 259, 268

Saijutsu (martial arts style): 64

Saiminjutsu (special ability): 182

Sambo (martial arts style): 64

Samoz (martial art): 77

Samurai armor: 272

Samurai, The (martial artist archetype):193-94

Sandang Silat (substyle of Pentjak-Silat):

Sandbag Kung Fu (special ability): 149

Satire (meta-genre): 284

Savate (martial arts style): 65

Scenery: 297-98

Schlaeger: 257, 268

Schwingen (type of Wrestling): 75

Science Skill (Skill): 203

Scrolls (genre element): 277

Search For Perfection, The (classic Martia Arts plot): 293

Sebekkha (martial art): 77

Self-Propelled Arrow Technique (specialability): 159

Sense Ch’i (special ability): 160

Sequence attacks: 253

Serada (substyle of Arnis/Kali/Escrima): 2

Serious Student, The (martial artistarchetype): 194

Seriousness of the campaign: 287

Setia Hati (substyle of Pentjak-Silat): 62

Setting of the campaign: 291

Leaping (Power): 206

Leaping To The Horizon (special ability): 158

Learning martial arts: 9

Lee, Bruce: 35, 117

Leopard Strike (special ability): 145

Ler Dit: 54

Lieutenant/Senior Student, The (villainarchetype): 302

Lightning Reflexes (Talent): 205

Limitations: 209

LINE: 54

Ling Lom: 55

Lin kuei: 18, 192

Lion’s Roar (special ability): 145

Long Fist (substyle of Kung Fu): 48

Loss, Retraining, And Confrontation (classicMartial Arts plot): 292

Loved One, The (NPC archetype): 304

Lua (martial arts style): 52

Lucha Libre (martial arts style): 53

Luck (Power): 206

Maashira (fictional Martial Arts style): 234

Maces: 257, 266

Magic (genre element): 278

Main-Gauche: 257, 266

Makila: 258, 266

Malaysia, martial arts of: 15

Mallayuddha (type of Wrestling): 75

Malyutham (type of Wrestling): 75

Mana: 16

Maneuver prerequisites: 13

Maneuvers, creating: 92-101

Mani Stick Fighting: 67

Manriki-Gusari: 258, 266

Marine Corps Martial Arts Program (martialarts style): 54

Marman: 248

Martial arts abilities: 112-86

Martial arts styles

Generally: 5-90

Creating your own 87-90

Martial Escape (Martial Manevuer): 247

Martial Maneuvers

Generally 6-7

Creating your own: 92-101

Telekinesis and: 207

Martial Maneuvers Tables: 6-7

Martial World, the (Skill): 201

Master Of The Blade (special ability): 126

Master, The (NPC archetype): 304

Master’s Beautiful Daughter, The (NPCarchetype): 304

Mau Rakau (martial art): 76

Mental Defense (Power): 207

Meta-genres: 282-84

Metsubishi: 260, 266

Mijin Style (substyle of Kenjutsu): 42

Military titles, feudal Japanese: 194

Mind Like The Moon (special ability): 160

Mind Reading (special ability): 146Miraculous Sunburst, The (special ability):180

Mirror Strike (special ability): 116

Mixed Martial Arts: 77

Miyamoto Musashi: 41,43, 67

Modern American ninja: 192

Modern-Day Samurai/Ninja, The (martial artistarchetype): 192

Moi-saree (martial art): 76

Mon: 202

Money (Perk) 205

Mongoose Style (example of style creation):87, 101-02

Monkey Style (substyle of Kung Fu): 48

Morák, Brother (example character): 238

Morality of the campaign: 286

Motivations for villains and NPCs: 300, 303

Mounted (hindering circumstance): 253

hero system martial arts

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