Martial Arts
Introduction
As written, the martial arts system in Laws of the East is imbalanced, giving too great an advantage to the user, and doing it in such a way that the main purpose of including Martial Arts in the MET system – dramatic flavor – is lost. The current system of adding a (potentially) large number of traits to most of a combatant's challenges is unbalancing, because it allows a huge trait advantage that is far beyond what almost any other circumstance can contribute. The weapon style martial arts essentially deny another character the use of their abilities, which while mechanically may work, is understandably troublesome to players. In order to bring the MET Martial Arts system more in line with the tabletop Martial Arts system, the following rules will be used. The aim of the system is to provide mechanical advantages that are very useful in some circumstances, while not providing a blanket benefit that is insurmountable compared to non-martial arts combat styles. This should be done in a way that enhances the drama of action scenes by lending flavor to a martial artist's fighting style.
Administrative Rules
Before going into the nature of the martial arts ability itself, there are a few administrative rules for martial arts that should be implemented across the board.
- Martial Arts are already on your sheet. Brawl and Melee and even Meditation are principles of such disciplines. One must perfect a related standard ability (achieving 5 traits) before they may start to purchase traits in a particular art. What this is will be up to ST discretion. Often an art heavy on hand to hand combat will require Brawl, one using weapons will require Melee and so on.
- Martial Arts require two experience per level, rather than one.
- Martial Arts should always require either a teacher or extensive effort to learn. In addition, remaining in fighting form means that a dedicated martial artist must train extensively, cutting into his free time. See the ‘training' section below for more details.
- Published 'martial arts systems such as Klaviskar (klaive dueling), Kailindo (Stargazer shapeshifting martial art) or Iskkaku (from the Child of Gaia tribebook) should be considered martial arts for the purposes of these rules.
General Concepts (top)
While the division of Martial Arts into Hard, Soft, and Weapon styles as presented in Laws of the East made an attempt at making different martial arts distinctive, they unfortunately only generalize and sterilize the history, appearance, and flavor of each martial art. For example, both Capoeira and Muay Thai would be considered Hard martial arts, but nothing differentiates the fluid, circular Capoeira from the linear, lightning quick Muay Thai. Therefore, each style is learned as a separate ability, and the hard/soft distinction instead becomes a discussion about the philosophies of each style.
There are four categories of Martial Arts we use; Hard, Soft, Weapon and Utility. Any given Martial Art can fit into multiple of these categories. Those Arts can be purchased multiple times under each category. Hard style will provide offensive techniques, soft styles will provide defensive techniques, weapon styles will provide melee techniques and utility styles will provide techniques that don't necessarily apply to combat, like concentration and balance. The advantage to keeping these all within the same Martial Art, or in some cases family of Arts (designed to be taught and work together), they count as a single stance (this is explained later)
The first type of ‘armed' martial arts simply reflects the use of weapons within unarmed styles. For each level taken, the character chooses a weapon family and can now use those weapons in conjunction with his unarmed style. Alternately, there are a small number of general techniques available that can be chosen after at least one weapon family is known to the martial artist. This will be referred to as ‘general' weapon style.
The second type of ‘armed' martial arts reflects combat styles focused exclusively on a particular weapon or weapon family. Examples of this would be Kenjutsu's focus on swords, Iskakku's focus on staves, and Escrima's focus on fighting sticks and blades. These styles give access to much more specific techniques based around the weapon(s) being used, but become focused combat systems in and of themselves. These will be referred to as ‘focused' weapon styles.
Training (top)
Learning martial arts should always be difficult. The quick pace of advancement in LARP means that this can be overlooked easily – in a system where you are for the most part married to real time, and where gaining your third dot of medicine means you are now as qualified as most general practitioners, it is difficult to balance realistic learning times with making players feel like their characters are stagnant. That being said, the nature of martial arts should bring training into the drama of the system, integrating it to add more flavor.
If a character has a teacher, he should be able to learn fairly quickly. A suggestion is that training should take one month of dedicated effort per level to reach a new level of martial arts. So to move from Karate x3 to Karate x4 would take 4 months with a teacher. Obviously, this is much faster than in reality, but it at least gives a nod to the focus required for martial arts training. Double this time if a character does not have a teacher, but is instead working from written texts, training videos, or sufficient personal observation (note: habitually stalking master martial artists may be hazardous to your health). Double this time again (quadrupling it in total) if the character is trying to devise his own martial arts system from scratch.
Also note that true martial arts masters are rare. You can probably get away with going to your local kenpo school or the equivalent to learn a style at level 1, and perhaps hire a nationally acclaimed professional private tutor can teach level 2, but any more than that is going to require significant effort to track down a teacher. Even then, most of these teachers will not work only for money, and will require certain behavior and duties of their students. This is especially true of the more rare, exclusive and secretive styles (Chi Hsuan Men, Ninjutsu, Bai He Quan, etc). Purchasing the Mentor background once an appropriate individual has been located and persuaded to teach is recommended.
Maintaining martial arts requires a great deal of focus. A character should expect to practice an average of half an hour per day for each level of martial arts in order to maintain his level of training. This does not have to be exact, but it should be used as a rough guideline – skipping a day of practice here and there won't hurt too much as long as the character is diligent in trying to make it up at a later date, but if he habitually skips training, his skills will deteriorate. An ST should notify the player if his character'shabits are nearing the point at which he will lose a level of martial arts. Note that this means a character who has reached level 5 in both an armed and unarmed style of martial arts is spending 35 hours per week practicing and maintaining his form. Being a true master is a full time job.
Martial Arts in Combat (top)
There are a few universal rules that should be applied to the use of martial arts in combat situations.
- Martial arts techniques may not be used in frenzy. No techniques can be used without the focus of a clear mind.
- Martial Arts are extensions of existing skill, they do not in and of themselves provide retests, merely special techniques and other advantages listed later. When fighting Brawl is still a retest, in defense Dodge is still used and so on.
- Only one martial art style may be used at a time. For example, a character with Tae Kwon Do and Aikido must choose which style he is utilizing – which ‘stance' he is adopting -upon entering combat. The character may then only use techniques learned from that style of martial arts. If he wishes to use techniques from his other style, he must change his stance. This requires a full round of purely defensive action, utilizing no techniques, although the character may still move. So as mentioned before if a character has multiple categories in one style of Art or in a family they can use the techniques across all of those without changing.
- Penalties inflicted by different martial arts techniques stack, but multiple applications of the same technique do not unless specified in the rules for that technique.
In addition, there are a few core combat rules that need to be in place that form the foundation of some techniques. These are specifically NOT considered martial arts techniques, and could be performed with Brawl or Melee (when appropriate) just as easily.
- Grappling – A grapple is an attack that allows the attacker to gain control over his opponent's physical actions. For the purposes of the system, a grapple represents a solid hold on an opponent that prevents him from taking any physical action except attempting to escape the hold. Situations where two opponents are hanging on to each other are not considered a grapple – one person must be in control for any sort of hold to be considered a grapple. An attacker successfully maintaining a grapple gains a two trait bonus on appropriate melee attacks – knives, claws, or simply twisting and crushing the opponent (1 bashing), but may only attack once per turn while still maintaining the grapple.
- Throw - After successfully grappling an opponent, an attacker may attempt to throw him to the ground. This requires a physical challenge, and success forces the opponent to the ground anywhere within 3 steps. In addition, the opponent must make a static physical challenge against 7 traits or be dazed by the fall and suffer a two trait penalty to all actions for the next round. The thrown character is prone, and suffers the normal penalties thereof (see below)
- Prone characters suffer a 3 trait penalty on all melee challenges to attack or defend. In addition, they may only move 1 step per turn (to represent crawling or wiggling), and may take no other action in any turn during which they move. Standing up from a prone position is an action. The one benefit to being prone is that you receive a 2 trait bonus to defend against ranged attacks.
- Called shots – Called shots may have various special effects at the discretion of the ST. Striking the gun in the opponents hand may cause it to fire unexpectedly, wasting a shot. Targeting an opponent's leg may cause them to lose a step of movement in the next round or two. Because of the abstracted nature of MET combat, called shots cannot bypass armor (even if you shoot at the head of an opponent with no helmet), inflict extra damage, or in general have any effect that would last more than a round or two, barring dramatic called shots that start a Rube Goldberg like chain of events. Called shots may be used to allow an attack where none would normally be allowed (knife hand through the mail slot as someone peeks through) and other such situations. As a rule, the ST should be conservative about the power of called shots. A called shot requires the attacker to bid one to four extra traits – one for a fairly simple called shot, four for the most difficult that are even remotely possible for the character.
Martial Arts Advantages (top)
These are the inherent advantages a character gets for each level of a Martial Art they have (instead of restests).
- Once per session, use full traits no matter how many you have lost on an applicable test.
- Cannot lose more than 1 trait per round in applicable Martial Art-related challenges, unless forced to bid extra for negative traits, wound penalties, etc
- Gain a free retest per session on an applicable challenge, this comes after any ability retests and before all others. *
- Once per session, move into this stance without the usual round. These are cumulative within different categories of a single style or family of styles.
- Once per session, add 50% (rounded up) to your traits for a single related challenge.
Martial Arts Styles (top)
This is a listing of many martial arts styles and the techniques to which they have access. This is not intended to be a comprehensive list – if a player wishes to use an unlisted style, the ST should work with the player to determine the basic flavor of the style and which techniques fit its personality best, so that it can be added to the system. A brief description of each style is included. Please realize that these are very brief descriptions of what can often be very deep philosophical principles. For the purposes of drama and gameplay, some leeway may be taken to make the style more dramatically suitable for use in a supernatural-based game. Additionally, similar styles may be melded into one descriptive style – the slight differentiations between styles in the same family can be explained and emphasized by what techniques the students focus on.
Hand to Hand Styles
Aikido (styles)
Techniques: Ground Fighting, Eagle and Mouse, Cataleptic Grapple, Counter Throw , Joint Lock, Lightning Grasp, Spinning Throw, Withering Grasp
Description: Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather than opposing it head-on. This requires very little physical energy, as the aikidōka (aikido practitioner) "leads" the attacker's momentum using entering and turning movements. The techniques are completed with various throws or joint locks. Aikido can be categorized under the general umbrella of grappling arts.
Aikido techniques are usually a defense against an attack; therefore, to practice aikido with their partner, students must learn to deliver various types of attacks. Although attacks are not studied as thoroughly as in striking-based arts, "honest" attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.
Many of the strikes of aikido are often said to resemble cuts from a sword or other grasped object, which indicates its origins in techniques intended for armed combat. Other techniques, which appear to explicitly be punches, are also practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.
Bai He Quan (White Crane style Kung Fu) (styles)
Techniques: Kiai, Plum Flower Blossom, Acrobatic Dodge, Atemi, Jou Chuan, Mantis Strike, Elbow Strike, Arrow Cutting
Description: The Fāng family lived in Fujian, a province of China, in a place where there were many cranes. Qīniáng's father knew the Southern Chinese martial arts and taught them to his daughter.
One day, while Qīniáng was doing her chores, a crane alighted nearby. Qīniáng tried to scare the bird off using a stick and the skills she learned from her father but whatever she did, the crane would counter. Qīniáng tried to hit the crane on the head, but the bird moved its head out of the way and blocked the stick with its wings. Qīniáng tried to hit the crane's wings, but the crane stepped to the side and this time blocked with the claws of its feet. Qīniáng tried to poke the crane's body, but the crane dodged backwards and struck the stick with its beak.
From then on, Qīniáng carefully studied the movements of cranes and combined these movements with the martial arts she learned from her father, creating the White Crane style of Fujian Province.
There are many versions of this legend, some in which the crane does not block the stick Qīniáng used; but it evaded, and countered. The point of the style is to make less use of physical strength, stressing evasion, and attacks to vulnerable areas instead. What makes white crane fitting elements so popular is not depending on strength, especially for women's self defense. Popular white crane katas like hakutsuru, stress vital point striking (or kyusho).
The white crane system is not practiced much, anymore. There are several kata in karate, that have white crane elements, most stem from the Chinese tea merchant on Okinawa, Go Kenki, but few practice the true white crane system.
Capoeria (styles)
Techniques: Escape Arts, Ground Fighting, Kip Up, Acrobatic Dodge, Dragon Tail Sweep, Spinning Throw, Broken Rhythm*, Spinning Kick
Description: Capoeria is an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves brought from Africa, especially from present day Angola sometime after the 16th century. The fighting is marked by fluid acrobatic play, feints, and extensive use of sweeps, kicks, and headbutts. Less frequently used techniques include elbow strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with theories ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.
In the mid-1970s masters of the art form—mestre capoeiristas, began to emigrate and teach capoeira in the United States and other countries. At this time capoeira in Brazil was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed.
Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Capoeira has gained popularity among non-Brazilian and non-African practitioners for the fluidity of its movements.
Ch'a Ch'uan (styles)
Techniques: Kip Up, Plum Flower Blossom, River Step, Acrobatic Dodge, Elbow Strike, Iron Hand, Silent Wind*, Thunder Kick
Description: Ch'a Ch'uan was born in Mongolia. Pressed between some of the most remote of the former Soviet republics and China, the birth of this martial art is atypical. Invented by Muslims in northern China sometime in the 15th century, Ch'a Ch'uan is designed for long-distance combat, and is punctuated by tremendous leaps and back flips. Attacking is typically started with a leap attack or flying kick, and is followed by as many strikes as possible, then by a leaping or back flip retreat.
Learning this martial art often involves cultural immersion. In Mongolia, there are still groups of nomads that lead a more or less traditional lifestyle that hasn't changed much from the 15th century. The occasional pickup truck or radio makes an appearance, but the people still echo the lives of their ancestors. Riding, herding, and Islamic Sufist philosophy are central to understanding this art.
Fu Jow Pai (Black Tiger Kung Fu) (styles)
Techniques: Kip Up, Dragon Tail Sweep, Iron Shirt, Atemi, Damaging Blocks*, Iron Hand, Killing Blows, Ripping Strike
Description: Black Tiger kung fu is a harsh, forward method of kung fu. It is easily one of the most offense-oriented martial arts. The art emulates the demeanor and fighting strategy of an attacking tiger. Striking movements are lightning fast and powerful, often utilizing ripping, tearing, clawing, and some grasping techniques. Often, the sheer intimidation generated by these brutal tactics is enough to stop a battle before it begins.
Hwa Rang Do (styles)
Techniques: Butterfly Palms, Kiai, Arrow Cutting, Deflecting Block, Lightning Grasp, Elbow Strike, Jou Chuan, Spinning Kick
Description: Hwa Rang Do is the Korean "Way of the Flower of Manhood," and has one of the most complex structures in martial arts. The "Man" idea in this title refers to an ideal man: one of honor, strength, responsibility, and virtue. The reason for the word "Flower" is to state that just as a flower grows and then blooms, so should a man grow and then bloom into something beautiful. Also, just as a flower is beautiful just by being, so too should a man be honorable, loyal, strong, and virtuous by simply existing, without having to try to be any of these things. Obviously, since it is in the name of the Art, this idea is central to all aspects of Hwarangdo: one should be without needing to try to be. By this concept a practitioner is taught to be humble, strong, and honorable.
Hwa Rang Do is meant to be a combination of hard and soft, linear and circular. A skilled practitioner will evaluate the enemy, and attempt to respond to his attacks in a way that is completely unlike his opponent. Circular, wide attacks will be met with short, linear counterattacks. Strong and straightforward attacks will be deflected and yielded to. Quick, light, probing attacks will be punished by harsh blocks and grapples. Used properly, Hwa Rang Do is one of the most versatile arts, with applicability in many situations.
Houquan (Monkey style kung fu) (styles)
Techniques: Butterfly Palms, Escape Arts, Ground Fighting, Plum Flower Blossom, Acrobatic Dodge, Dragon Tail Sweep, Mantis Strike, Spinning Kick
Description: Hou Quan, literally Monkey Fist, can be traced back to the Han dynasty and is recorded in the Mi Hou Wu dance performed at the Emperor's court. Being one of the more difficult styles of kung fu, Monkey kung fu integrates the use of an extensive collection of weapons for use in combat.
Traditional hou quan as taught in Mainland China includes running on all fours (i.e. the hands and feet), various difficult acrobatic movements such as flipping sideways in the air, front flips, back flips, back handsprings, hand stands, walking on the hands, forward lunges/dives, backward lunges, spinning on the butt, spinning on the back and many kicks and strikes. Most of the attacks are aimed at the knees, groin area, throat or eyes of the opponent and hand strikes are normally either open handed slaps or clawing with a semi-closed fist called the monkey claw.
Wide arrays of facial monkey expressions are also practiced, inclusive of happiness, anger, fear, fright, confusion and bewilderment etc. Except for very brief periods, most movements inclusive of running are executed from either a squatting or semi-squatting position and are normally accompanied by very swift and 'jerky' head movements as the practitioner nervously looks around. The monkey staff, or hou gun, is one of this style's specialty weapons. Monkey boxing is an imitative technique and so execution of themovements and facial expressions must be so convincing that it looks exactly like a monkey and not simply like a human imitating a monkey hence the very high degree of difficulty associated with this technique.
Jeet Kune Do (styles)
Techniques: Kip Up, Deflecting Block, Dragon Tail Sweep, Lightning Grasp, Damaging Blocks*, Elbow Strike, Iron Hand, Killing Blows
Description: Jeet Kun Do, the Way of the Intercepting Fist, is the martial art founded by Bruce Lee. It emphasizes a holistic approach to martial arts, advocating "absorbing what is useful." This does not men assembling the best techniques from various styles and assembling them into a new style, it means immersing oneself in a style or system and grasping its essence. Only with that essence, understanding the methods, theories and mental attitudes of the system, can one decide what is useful to themselves through real combat training situations.
Lee believed that martial systems should be as flexible as possible. He often used water as an analogy for describing why flexibility is a desired trait in martial arts. Water is infinitely flexible. It can be seen through, and yet at other times it can obscure things from sight. It can split and go around things, rejoining on the other side, or it can crash through things. It can erode the hardest rocks by gently lapping away at them or it can flow past the tiniest pebble. Lee believed that a martial system should have these attributes. JKD students reject traditional systems of training, fighting styles and the Confucian pedagogy used in traditional kung fu schools because of this lack of flexibility. JKD is claimed to be a dynamic concept that is forever changing, thus being extremely flexible. "Absorb what is useful; Disregard that which is useless" is an often quoted Bruce Lee maxim. JKD students are encouraged to study every form of combat possible. This is believed to expand one's knowledge of other fighting systems; to both add to one's arsenal as well as to know how to defend against such tactics.
Jiujutsu (styles)
Techniques: Escape Arts, Ground Fighting, Cataleptic Grapple, Counter Throw , Dragon Tail Sweep, Eagle and Mouse, Joint Lock, Lightning Grasp
Description: Jiujutsu evolved among the samurai of feudal Japan as a method for defeating an armed and armored opponent without weapons. Due to the ineffectiveness of striking against an armored opponent, the most efficient methods for neutralizing an enemy took the form of pins, joint locks, and throws. These techniques were developed around the principle of using an attacker's energy against him, rather than directly opposing it.
Japanese jujutsu systems typically place more emphasis on throwing, immobilizing and pinning, joint-locking, choking, and strangling techniques as compared with other martial arts systems such as karate. Atemi-waza (striking techniques) were seen as less important in most older Japanese systems, since samurai body armor protected against many striking techniques. In jujutsu, there are five main sectors ("arts") of training. The first, the Art of Blocking, is used to defend against attacks. The second, the Art of the Fulcrum Throw, is employed in modern judo. The third, the Art of the Non-fulcrum Throw is employed through throws that involve little or no contact with the opponent. The fourth, the Art of Escaping (Hakko-Dori), is very crucial in many styles of Jujutsu. The fifth is the Art of Striking (Atemi-Waza).
Karate (styles)
Techniques: Kiai, Arrow Cutting, Dragon Tail Sweep, Iron Shirt, Atemi, Iron Hand, Spinning Kick
Description: Karate is a martial art developed in the Ryukyu Islands (Okinawa) from indigenous fighting methods called te (literally, "hand") and Chinese kenpō. Karate is a striking art using punching, kicking, knee and elbow strikes, and open-handed techniques such as knife-hands (karate chop). Grappling, locks, restraints, throws, and vital point strikes are taught in some styles.
Karate developed in the Ryukyu Kingdom prior to its 19th century annexation by Japan. It was brought to the Japanese mainland in the early 20th century during a time of cultural exchanges between the Japanese and the Ryukyuans. After the second world war, Okinawa became an important United States military site and karate became popular among servicemen stationed there.
The martial arts movies of the 1960s and 1970s served to greatly increase its popularity and the word karate began to be used in a generic way to refer to all striking-based Oriental martial arts. Karate schools began appearing across the world, catering to those with casual interest as well as those seeking a deeper study of the art.
Krav Maga (styles)
Techniques: Ground Fighting, Kip Up, Cataleptic Grapple, Deflecting Block, Withering Grasp, Elbow Strike, Killing Blows
Description: Krav Maga is an eclectic combat system developed in Israel. It was derived from street-fighting skills developed by Imi Lichtenfeld, who made use of his training as a boxer and wrestler, as a means of defending the Jewish quarter during a period of anti-Semitic activity in Bratislava in the mid- to late 1930s. Unlike most martial arts, Krav Maga is essentially a tactical defense skill. Its philosophy emphasizes threat neutralization, simultaneous defensive and offensive techniques, and aggressive endurance in a 'him-or-me' context. Krav Maga is still used by the Israel Defense Forces and several closely related variations have been developed and adopted by law enforcement, Mossad, Shin Bet, FBI and United States special operations forces.
There are no rules for Krav Maga fighting, and no built-in distinctions in training between men and women. It has no sporting federation, and there are no official uniforms or attire, although some organizations do recognize progress through training with rank badges, different levels, and belts. Techniques generally focus on training combatants in conditions approximating real-life scenarios. Krav Maga trains combatants for situations where losing would be potentially fatal. Its attack and defense techniques aim to neutralize the threat and facilitate rapid and safe escape. These include a variety of fast and fluid crippling attacks to vulnerable body parts through various efficient and often brutal strikes. The improvised use of any available aids is encouraged - maximizing personal safety in a fight is emphasized.
Krav Maga training programs involve rapid learning, with offensive and defensive techniques introduced from the first lesson and retzev (pronounced ret-zef and meaning "sequencing") playing an important part in both training and techniques.
Muay Thai (styles)
Techniques: Kip Up, Deflecting Block, Dragon Tail Sweep, Damaging Blocks*, Elbow Strike, Iron Hand, Spinning Kick
Description: Muay Thai is referred to as "The Art of Eight Limbs", as the hands, shins, elbows, and knees are all used extensively in this art. A practitioner of Muay Thai ("nak muay") thus has the ability to execute strikes using eight "points of contact," as opposed to "two points" (fists) in Western boxing and "four points" (fists, feet) used in the primarily sport-oriented forms of martial arts. A practitioner of Muay Thai who is not of Thai nationality or race, is known as a Falang Nak Muay (foreign boxer).
Muay Thai consists of an arsenal of nine weapons—the head, fists, elbows, knees and feet—known collectively as na-wa arwud. In modern sport Muay Thai, both amateur and professional, headbutting an opponent is no longer allowed. To strike and bind the opponent for both offensive and defensive purposes, small amounts of stand-up grappling are used: the clinch. Formal Muay Thai techniques are divided into two groups: Mae Mai or major techniques and Luk Mai or minor techniques. Muay Thai is often a fighting art of attrition, where opponents exchange blows with one another. This is certainly the case with traditional stylists in Thailand, but is a less popular form of fighting in the contemporary world fighting circuit.
With the success of Muay Thai in mixed martial arts fighting, it has become one of the prevalent martial arts of choice for competitive stand-up fighters. As a result, it has evolved and incorporated much more powerful hand striking techniques used in western style boxing and the Thai style of exchanging blow for blow is no longer favorable. When Muay Thai fighters compete against fighters of other styles (and if the rules permit it), they almost invariably emphasize elbow (sok) and knee (kao) techniques to gain a distinct advantage in fighting. Almost all techniques in Muay Thai use the entire body movement, rotating the hip with each kick, punch, elbow and block. The rotation of the hips in Muay Thai techniques, and intensive focus on "core muscles" (such as abdominal muscles and surrounding muscles) is very distinctive and is what sets Muay Thai apart from other styles of martial arts.
Ninjutsu (styles)
Techniques: Butterfly Palms, Escape Arts, Kip Up, Plum Flower Blossom, River Step, Acrobatic Dodge, Killing Blows, Silent Wind*
Description: Ninjutsu, sometimes used interchangeably with the term ninpō, is the martial art, strategy, and tactics of unconventional warfare and guerrilla warfare as well as the art of espionage purportedly practiced by the shinobi (commonly known outside of Japan as ninja). While several "modern" ninjutsu schools exist, their authenticity is dubious at best. If there are true inheritors to this martial art, it is likely they are as stealthy and mysterious as their ancestors.
Ninjutsu emphasizes eighteen disciplines Only one of these disciplines focuses on purely unarmed combat, five focus on weapons, and the rest on the skills of the spy and assassin. Subjects range from pyrotechnics to disguise, water training, espionage, tactics, and more.
In combat, ninjutsu emphasizes surprise strikes to cripple or kill an opponent, and mobility and evasion techniques to avoid face-to-face confrontation either to escape a failed ambush or to let an opponent weaken from a severe wound or poison. Toe to toe combat is not this style's strength, but for someone wishing to use guerilla techniques against a stronger enemy, there is no better choice.
Sambo (styles)
Techniques: Ground Fighting, Cataleptic Grapple, Eagle and Mouse, Iron Shirt, Joint Lock, Withering Grasp, Spinning Kick
Description: Sambo is a relatively modern martial art and self-defense system developed in the Soiet Union during the 1930s. It's name is an acronym in Russian that translates into "self-defense without weapons." Sambo has its roots in Japanese Jiujitsu and traditional wrestling techniques of the Russian peoples, such as the Armenian Koch, the Georgian Chidaoba, and other such indigenous combat styles.
The founders of Sambo deliberately sifted through all of the world's martial arts available to them to augment their military's hand-to-hand combat system. One of these men, Vasili Oschepkov, taught judo and karate to elite Red Army forces at the Central Red Army House. He was one of the first foreigners to learn Judo in Japan and had earned his nidan (second degree black belt out of then five) from judo's founder, Kano Jigoro. Oschepkov used some of Kano's philosophy to formulate the early development of the new Soviet art.
Sambo was in part born of native Russian and other regional styles of grappling and combative wrestling, bolstered with the most useful and adaptable concepts and techniques from the rest of the world.
Over the centuries, the inhabitants of what is now known as Russia had had ample opportunity to evaluate the martial skills of various invaders: from the Vikings in the West and from the Tatars and Genghis Khan's Golden Horde from Mongolia in the East. The regional, native combat systems included in Sambo's genesis are Russian fist fighting, Tuvan Khuresh, Yakuts khapsagai, Chuvash akatuy, Georgian chidaoba, Moldavian trinta, Armenian kokh, and Uzbek Kurash to name a few.
The foreign influences included various styles of European wrestling,catch wrestling, Japanese jujutsu, French savate, muay thai and other martial arts of the day plus the classical Olympic sports of amateur boxing, Greco-Roman wrestling and freestyle wrestling. Sambo even derived lunging and parrying techniques from the Italian school of swordsmanship.
Each technique was carefully dissected and considered for its merits, and if found acceptable in unarmed combat, refined to reach Sambo's ultimate goal: to stop an armed or unarmed adversary in the least time possible. Thus, the best techniques of jujutsu and its cousin, judo, entered the Sambo repertoire. When the techniques were perfected, they were woven into Sambo applications for personal self-defense, police, crowd control, border guards, secret police, dignitary protection, psychiatric hospital staff, military, and commandos.
Savate (styles)
Techniques: Kip Up, Acrobatic Dodge, Dragon Tail Sweep, Broken Rhythm*, Ripping Strike, Spinning Kick
Description: Savate takes its name from the French for "old boot" (heavy footwear that used to be worn during fights). The modern formalized form is mainly an amalgam of French street fighting techniques from the beginning of the 19th century. Savate was then a type of street fighting common in Paris and northern France. In the south, especially in the port of Marseille, sailors developed a fighting style involving high kicks and open-handed slaps. It is conjectured that this kicking style was developed in this way to allow the fighter to use a hand to hold onto something for balance on a rocking ship's deck, and that the kicks and slaps were used on land to avoid the legal penalties for using a closed fist, which was considered a deadly weapon under the law.
Savate focuses on striking and a quick, overwhelming offense. In practice, it's sweeping movements serve to draw the entire musculature of the back and waist into each punch and kick. Defense tends to rely on avoidance rather than blocks or parries.
Tae Kwon Do (styles)
Techniques: Deflecting Block, Dragon Tail Sweep, Atemi, Damaging Blocks*, Iron Hand, Spinning Kick, Thunder Kick
Description: Tae kwon do is known for its emphasis on kicking techniques, which distinguishes it from martial arts such as karate or southern styles of kung fu. The rationale is that the leg is the longest and strongest weapon a martial artist has, and kicks thus have the greatest potential to execute powerful strikes without successful retaliation. Historically, the Koreans thought that the hands were too valuable to be used in combat.
Tae kwon do's kicks are the focus of the style. Every kick can be executed in multiple iterations – jump kicks, spin kicks, spinning jump kicks, or multi-rotational spin kicks. Also, all can be performed by either the front or rear leg in a given stance. Basic hand attacks are taught, but tend to be reserved for close range attacks where kicks are impossible. Breaking is also a formal part of the curriculum, with students learning to break more and harder materials as time goes on.
Taijiquan (styles)
Techniques: Cataleptic Grapple, Dragon Tail Sweep, Lightning Grasp, Push Hands, Spinning Throw, Withering Grasp, Jou Chuan, Ripping Strike
Description: Taijiquan (or Tai Chi Chuan) is a combat sysem based on a study of Yin and Yang principles. The philosophy of the style is that if one uses hardness to resist violent force, then both sides are certain to be injured at least to some degree. Such injury, according to tai chi theory, is a natural consequence of meeting brute force with brute force. Instead, students are taught not to directly fight or resist an incoming force, but to meet it in softness and follow its motion while remaining in physical contact until the incoming force of attack exhausts itself or can be safely redirected, meeting yang with yin. Done correctly, this yin/yang or yang/yin balance in combat, or in a broader philosophical sense, is a primary goal of tai chi chuan training. Lao Tzu provided the archetype for this in the Tao Te Ching when he wrote, "The soft and the pliable will defeat the hard and strong."
Tai chi's martial aspect relies on sensitivity to the opponent's movements and center of gravity dictating appropriate responses. Effectively affecting or "capturing" the opponent's center of gravity immediately upon contact is trained as the primary goal of the martial tai chi student. The sensitivity needed to capture the center is acquired over thousands of hours of first yin (slow, repetitive, meditative, low impact) and then later adding yang ("realistic," active, fast, high impact) martial training; forms, pushing hands and sparring. Tai chi trains in three basic ranges: close, medium and long, and then everything in between.
Pushes and open hand strikes are more common than punches, and kicks are usually to the legs and lower torso, never higher than the hip depending on style. The fingers, fists, palms, sides of the hands, wrists, forearms, elbows, shoulders, back, hips, knees and feet are commonly used to strike, with strikes to the eyes, throat, heart, groin and other acupressure points trained by advanced students. Joint traps, locks and breaks (chin na) are also used. Most tai chi teachers expect their students to thoroughly learn defensive or neutralizing skills first, and a student will have to demonstrate proficiency with them before offensive skills will be extensively trained. There is also an emphasis in the traditional schools that one is expected to show wu te, martial virtue or heroism, to protect the defenseless and show mercy to one's opponents.
Xingyiquan (Hsing I Chuan) (styles)
Techniques: Killing Blows, Mantis Strike, Iron Hand, Jou Chuan, Broken Rhythm, Plum Flower Blossom, Damaging Blocks, Push Hands
Description: Xingyiquan features aggressive shocking attacks and direct footwork. Despite its hard, angular appearance, cultivating "soft" internal strength or qi is essential to achieving power in Xingyiquan. The goal of the xingyiquan exponent is to reach the opponent quickly and drive powerfully through them in a single burst — the analogy with spear fighting is useful here. This is achieved by coordinating one's body as a single unit and the intense focusing of one's qi.
Efficiency and economy of movement are the qualities of a xingyiquan stylist and its direct fighting philosophy advocates simultaneous attack and defence. There are few kicks except for extremely low foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks, and techniques are prized for their deadliness rather than aesthetic value.
Xingyiquan practitioners use the five classical Chinese elements as an interpretative framework for reacting and responding to attacks. This follows the five element theory, a general combat formula which assumes at least three outcomes of a fight; the constructive, the neutral, and the destructive. Xingyiquan students train to react to and execute specific techniques in such a way that a desirable cycle will form based on the constructive, neutral and destructive interactions of five element theory. Where to aim, where to hit and with what technique—and how those motions should work defensively—is determined by what point of which cycle they see themselves in.
Xingyiquan also utilizes twelve distinct animal forms. Present in all regional and family styles, these emulate the techniques and tactics of the corresponding animal rather than just their physical movements. Many schools of xingyiquan have only small number of movements for each animal, though some teach extended sequences of movements. Once the individual animal forms are taught, a student is often taught an animal linking form (shi'er xing lianhuan) which connects all the taught animals together in a sequence. Some styles have longer, or multiple forms for individual animals, such Eight Tiger Forms Huxing bashi.
Yingzhaoquan (Eagle Claw kung fu) (styles)
Techniques: Butterfly Palms, Arrow Cutting, Cataleptic Grapple, Eagle and Mouse, Joint Lock, Lightning Grasp, Withering Grasp, Ripping Strike
Description: The style of Chinese martial art known as Eagle Claw is thought to be one of the oldest and most complex of the surviving Northern Shaolin Kung Fu systems. Along with the long strikes and kicks that typify Northern systems, the Eagle Claw system is distinguished by its gripping techniques and system of joint locks, takedowns, and pressure point strikes, which represent one of the oldest forms of the Chinese grappling known as Chin Na.
How the Eagle Claw system is taught varies between each teacher's skill and experiences. What is consistent of an Eagle Claw Master is their knowledge of the 3 core sets of the style.
*Xing Quan is known as the "Walking Fist." This set consists of ten to twelve rows of techniques epresentative of what is today known as Shaolin Fanziquan.
*Lian Quan is known as the "Linking Fist." A very important set in that it not only provides the exponent with an encyclopedic base of the various seizing, grappling and joint-locks of qinna, but it also incorporates various Qigong skills as well. Most have nicknamed this set the "Dictionary of Eagle Claw" due to the content containing probably 90% of the styles skills and techniques.
*Yue Shi San Shou – "108 Seize-Grab techniques" is considered the "heart" of the Eagle Claw system. It is believed to be the original material passed down by the style's legendary founder Yue Fei. This material has 108 different categories of skills/techniques that are trained to a level of perfection with partners. One thing to remember is that each sequence is only an example of that category which contains numerous variations and off shoots.
Zuijiuquan (Drunken Kung-fu) (styles)
Techniques: Escape Arts, Ground Fighting, Kip Up, Acrobatic Dodge, Dragon Tail Sweep, Iron Shirt, Spinning Throw, Broken Rhythm*, Silent Wind*
Description: Zuijiuquan is a category of techniques, forms and fighting philosophy that appear to imitate a drunkard's movements. The postures are created by momentum and weight of the body, and imitation is generally through staggering and certain type of fluidity in the movements. It is considered to be among the more difficult wushu styles to learn due to the need for powerful joints and fingers. While in fiction, practitioners of Zuijiuquan are often portrayed as being actually intoxicated, Zuijiuquan techniques are highly acrobatic and skilled and require a great degree of balance and coordination, such that any person attempting to perform any Zuijiuquan techniques while intoxicated would be likely to injure themselves.
While there are many individual schools of Zuijiuquan, they all share the same root. The art is part deception and part adherence to ‘yielding' concepts found in other martial arts. Attacks are countered by well-timed stumbles and flailing that are actually skilled dodges and parries. The loose carriage of the body helps resist grappling and joint locks, and strikes often come from unexpected angles and with unexpected strength.
Techniques (top)
Techniques are grouped based on the intended purpose. This is a loose categorization for convenience only – some techniques may fit somewhat into more than one category. Techniques marked with an asterisk (*) are those that are suitable for use with a weapon. Those without an asterisk usually can still be used while the character is holding a weapon (assuming he has the appropriate general weapon style), but are performed in spite of the weapon, not with it. For example, a character armed with a sword might strike with his bare offhand, or kick.
When utilizing a technique that gives variable benefits based on a character's level of martial arts, only levels of the style which granted the technique apply. For example, a character who has Aikido x3 and Karate x2 uses the Iron Hand technique to attempt to break an object. Iron Hand adds a number of levels of damage equal to the attacker's martial arts to strikes against inanimate objects. Since this technique is granted by Karate, the user only adds 2 levels of damage, not 5.
Utility Techniques (techniques)
These techniques are not strictly for attack or defense, but rather improve the general capabilities of the martial artist.
Butterfly Palms
The Martial artist trains the off-hand side of his body and practices complex katas that stress simultaneous attack and defense. This eliminates the off-hand penalty for all actions, from writing to fighting. This technique may be utilized regardless of stance.
Escape Arts
The martial artist learns to defeat locks and knots, and how to dislocate joints painlessly. A student of this technique may automatically escape from bonds tied by an amateur with no challenge. If handcuffed, expertly tied, or otherwise secured by someone with Security, Torture, or similar skills, you can make a challenge of your Physical Traits against your captor's Mental Traits, using Martial Arts as a retest. If you win, you escape. This takes a full minute/conflict. Finally, the flexibility and familiarity with one's body this technique teaches gives a two trait bonus to resist being grappled.
Ground Fighting
Some styles of martial arts stress the need to fight effectively in any terrain, under any conditions. Instead of flailing about aimlessly, a skilled fighter can use prone combat to his advantage. This technique allows you to attack or defend normally while crouched, seated, kneeling or prone, suffering no penalties for such. In addition, you may move and attack in the same round while prone, though you are still limited to a movement of 1 step per turn.
Kiai
Many martial arts teachings emphasize the need to defeat not the opponent's body, but his spirit. A martial artist with this technique may use an action to shout at his opponent, overwhelming his fighting spirit. A successful social challenge causes your opponent to hesitate – for the remainder of the turn and for the entire next turn, his initiative is lowered by ten. If this lowers the opponent's initiative to zero or less, he loses a single action. Kiai may not be used on the same opponent more than once every three turns.
Kip Up
With superior strength and balance, you regain your feet simply by flexing your back and hips, planting your feet, and pulling your weight forward. Once per turn, you may stand up from a prone position as a free action. This technique may be utilized regardless of stance.
Peaceful Way
You apply the focus and dedication of your martial art to a non-martial endeavor. Choose one ability that fits the theme and philosophy of your style (ST gets the final call). You gain a two trait bonus to all challenges with that ability. The other side of this technique is that your focus and dedication show through in your work – you paint like a warrior, you meditate with a fearsome bearing, and even the precise cuts on the stems of your flower arrangements speak of your skill in battle. Another skilled martial artist may even be able to judge your overall skill by observing your work. This technique can also simulate other martial arts ‘abilities,' such as a ninja's legendary stealth skills. This technique is unique in that it may be taken by ANY style, with ST approval.
Plum Flower Blossom
By training while balanced on the top of tree stumps, set higher and farther apart as training progresses, a martial artist learns to perform amazing leaps and acrobatic feats. By making a static physical challenge against 6 traits, you may make a leaping attack, moving up to six steps and still attacking with Martial Arts, though you suffer a two trait resolution penalty on the strike. Out of combat, a static physical challenge allows you to double your jumping distance for a number of turns equal to your martial arts. This technique allows for acrobatic jumps such as bouncing between tree trunks or walls, without touching the ground in between.
River Step
The martial artist utilizes mobility as a weapon in and of itself. Whether by gymnastic flips, leaps or sheer trained speed, his movements are sure and smooth, carrying him across the battlefield with an almost effortless grace. Each turn, the martial artist may move an extra step in movement for every two levels of martial arts he possesses (round up). This movement may be added to any sort of locomotion except while prone. For example, a martial artist with River Step, Plum Flower Blossom, and 3 dots of his style could make a leaping attack at up to 8 steps away. This movement may be split, with up to half of it taken after an attack. This applies only to tactical/combat movement, not overland speed.
Soft Techniques (techniques)
These techniques focus on preventing harm or controlling opponents to remove their ability to harm.
Acrobatic Dodge
Leaps, gyrations, and flips allow a fast martial artist to evade many blows. By accepting a trait penalty to all attacks up to his martial arts skill for the round, the martial artist receives one free retest per trait penalty taken. These retests are a miscellaneous retest that may only be used to help dodge attacks in the same round the technique is used, and only one may be used in a given challenge. Use of this technique must be declared at the beginning of the round.
Arrow Cutting*
The martial artist may deflect or catch missiles with his bare hands, or deflect them with a weapon in which he is skilled. If you are aware of an incoming missile traveling no faster than an arrow (no bullets!) you may make a static physical challenge against seven traits to deflect the missile. You may make a static physical challenge against 9 traits to catch it instead of deflecting it. Failure means you may not dodge the missile (although you may use your Martial Arts to retest catching/deflecting it in the first place).
Cataleptic Grapple
With a proper locking hold, a grappling martial artist can apply pressure to blood vessels, the diaphragm, lungs, or simply against pressure points. In any case, the results are similar – the victim lapses into unconsciousness. A cataleptic grapple requires a successful grapple first. At the beginning of each turn in which the attacker maintains the grapple, the opponent suffers a 1 trait penalty to physical challenges. This penalty then increases by 1 each round – 2 traits in the second round, 3 in the third, and so on. When the penalty equals or exceeds the victim's stamina related traits, he drops unconscious. If the hold is broken, the penalty fades at the end of the following turn, giving the martial artist a single turn to reestablish his hold if he wishes to continue where he left off. A fully unconscious victim remains that way for one minute/conflict after being released.
Counter Throw
The martial artist can punish any opponent who attempts to get in too close, turning the tables on an aggressor. Any time an opponent attempts to grapple or throw the martial artist and fails, the martial artist may reflexively attempt to throw them in response. This does not count as an action.
Deflecting Block
The martial artist, concentrating completely on defense, tries to prevent his opponent from doing any damage, and to throw him off balance in the process. By sacrificing any offensive action for the turn, the martial artist may attempt to throw any number of attackers off balance. If he successfully dodges, parries, or blocks an attack, the attacker must make a reflexive static physical challenge against 8 traits. If he fails, he loses his balance and falls prone. The martial artist may attempt to defend himself from any number of attacks while he concentrates on this solely defensive technique.
Iron Shirt
Iron Shirt involves punishing drills in which the forearms, shins, and torso are repeatedly exposed to strikes with fists, feet, and poles. Even the head is conditioned, though much more carefully and slowly. It also teaches special breathing exercises and postures designed to collect Chi in the bones, muscles, and sinews. The character suffers only half damage from all bashing attacks (round up). If he is struck with an attack that does only one level of bashing, he may attempt a simple test in order to take no damage. The martial artist may also attempt to parry/block weapon attacks barehanded (not including firearms).
Joint Lock
Having successfully grappled her opponent, a martial artist can damage or control him through applying pressure to joints and pressure points. This torsion can result in broken arms, legs, and even necks. At the beginning of the turn, if the martial artist holds an opponent in a grapple, he may make a reflexive static physical challenge against his opponent's physical traits. If he succeeds, he may either inflict a level of bashing or lethal damage, or force the opponent to move on the martial artist's initiative (either to between standing/knees/prone, or move up to three steps within the range of the martial artist's grasp). This is a reflexive ability that takes place at the beginning of the turn and not an action – the grappling martial artist may still use his action for the turn in order to damage the victim as normal.
Lightning Grasp
The martial artist learns the intricacies of leverage and body positioning. He can now throw an opponent without first initiating a grapple.
Push Hands
The martial artist sinks into his Chi and gives a deceptively gentle push – masters may simply shrug or gently bump their adversary with a shoulder or hip. As an attack, the martial artist may shove an enemy away. Success sends the target flying back a disproportionate distance for the apparent strength of the shove – three steps per level of martial arts the attacker possesses. The opponent generally remains standing, but ends up having to backpedal to maintain balance. If the opponent encounters a solid non-hazardous object that stops him, he will take a level of bashing damage. Needless to say, spiked walls, cliffs, and flaming obstacles can make this much more dangerous. Push hands can be used on an opponent you are grappling, and you gain the two trait bonus to your attack.
Spinning Throw
By using momentum against several striking or grappling opponents at once, a master can turn a series of attackers into a mass of flying bodies. This defensive technique pits the weight and motion of each attacker against the others, so that they all assist in the task of flinging the aggressors away from the defending stylist. The martial artist makes no attack and may not move during a round in which he uses spinning throw. A spinning throw is a reactive throw; the martial artist must be the target of a melee attack or grapple attempt to use this ability. Normal mass challenge rules apply, but any opponent against whom the martial artist successfully defends is thrown as per the Throw technique. In addition, because of the gained leverage of motion in the technique, any thrown opponents land up to 6 steps away from the martial artist, in a direction of his choosing. Spinning throw defends against the first melee attacks in a round, up to the user's martial arts – subsequent attacks may be defended against, but do not result in a throw.
Withering Grasp
The martial artist learns to disarm opponents when they attack him with a melee weapon. To do so, he makes a physical challenge against his opponent at a penalty of 3 traits as a defensive action when the opponent attacks. Success means he successfully disarms his foe. If he accepts a penalty of 6 traits, the martial artist may take possession of the foe's weapon in the same action.
Hard Techniques (techniques)
These techniques focus on causing damage to opponents.
Atemi*
The martial artist learns to strike the pressure points and Chi meridians of the body, thus causing significant damage. By focusing and bidding two extra traits in an attack, you may inflict an extra level of damage on a living (or undead) opponent. The focus required for this strike precludes its use with any sort of extra action (Rage, Celerity, etc).
Broken Rhythm*
This technique is developed by training to drums or music, and learning not to follow the beat. The martial artist learns to attack at unpredictable moments, surprising even a trained foe. You must bid two additional traits to make a Broken Rhythm strike. If you hit, the opponent may not use abilities for a retest. This technique is ineffective against another martial artist who also knows Broken Rhythm, or a very few who have a supernaturally accurate sense of time (mages with Time 1 or the equivalent).
Damaging Blocks*
The martial artist's blocks are really strikes aimed at attacking limbs. On a successful block, make a static physical challenge against your opponent (neither risk traits or may retest). If you succeed, your block inflicts 1 damage of the same type as your normal attack. This does not use an action. This may be used a number of times per round equal to your Martial Arts.
Elbow Strike
A quick, vicious blow that takes advantage of an opponent's failure. If you dodge (not block) an opponent's melee (armed or unarmed) attack, you may make an elbow strike on your next attack against them. An elbow strike inflicts an extra level of damage. If your opponent takes more than one action after your dodge and you still have not attacked them, your advantage is lost.
Iron Hand
The counterpart to the Iron Shirt technique, this involves punishing the hands and using herbal treatments to strengthen them as they heal. This allows the martial artist to break freestanding objects (as opposed to the specially braced and prepared bricks and boards you normally see) and strike with enough power to bypass armor and bone. When striking an armored target, a simple test (win or tie) allows one level of damage from the attack to bypass the armor. When striking an inanimate object, the martial artist automatically inflicts a number of extra levels of damage equal to his Martial Arts.
Jou Chuan
This technique allows a skilled martial artist to redirect an unarmed or melee attack to another assailant. If you defeat an attacker in a challenge, you may immediately force the attacker into a physical challenge against any opponent in melee range. Neither side risks traits, but the attacker must declare his full traits. Success means that you have redirected the blow and the new target suffers any and all effects thereof. You may only utilize this technique a number of times per turn equal to your Martial Arts. You may attempt to make an opponent strike himself, but only if he is using an appropriate weapon (things like nunchaku, long blades, and seven section staves are very appropriate). In such a case, you must win (not tie) a simple test against your opponent in order to make them strike themselves.
Killing Blows
A study of anatomy and a careful use of chambering and force allows the martial artist to inflict devastating injury on his opponents, possibly killing them in but a few strikes. Killing blows causes a martial artist's unarmed strikes to inflict lethal damage. No special test or expenditure is required; the martial artist may simply decide to score lethal damage instead of bashing damage with his attacks. Killing blows may not be effective against truly unusual opponents at ST discretion – an amorphous blob may not have vital points to target.
Mantis Strike
This open handed blow targets the opponent's vital organs or (against supernatural opponents) Chi gates and power centers. The martial artist may make an attack at a three trait penalty. If successful, it does normal damage, and causes the target to lose one Chi, Blood Point, Gnosis, or other supernatural energy. If the target is mortal, the strike inflicts one extra level of damage if the martial artist wins (not ties) on a simple test.
Ripping Strike
Used primarily with Tiger Claw and Eagle Claw styles, a ripping strike rakes across the victim with stiffened fingers bent into a claw-like grasp. The martial artist may strike with the palm of his hand and fingers, or even tear into the opponent's flesh. A ripping strike inflicts normal damage, but is quite painful. You must bid an extra trait to use a ripping strike, but if successful, the opponent is down two traits for the remainder of the turn and the entirety of the next turn.' Silent Wind*
The martial artist takes advantage of an opponent's distraction or ignorance. If the opponent is unaware of the martial artist, or is occupied with another opponent and the martial artist can strike from behind, the martial artist may deliver a deadly blow. This attack inflicts one extra level of damage, and causes bleeding or other similar injury that weakens the target. If he survives, the target takes a cumulative 1 trait penalty each round, up to a maximum of the attacker's martial arts. This penalty lasts until the wounds delivered by the attack are healed. This technique cannot be used more than once per target per combat.Spinning Kick
You execute a spinning roundhouse kick that not only looks impressive, but allows you to attack multiple foes. You may attack up to three opponents with a single kick, as long as they are within melee range of you. Normal mass challenge rules apply, and you are considered two traits down for tie resolution.
Thunder Kick
The classic "flying jump kick" of B rated Kung Fu flick fame. You may make an attack on a single opponent up to 6 paces away, gaining 4 bonus traits on the attack. You suffer a 2 trait penalty to defense until your next action.
General Weapon Styles (top)
These are broad families of weapons, and for each level of a Weapon Style one of these may be selected for it to apply to (so long as it is appropriate to the style). Japanese names are used for the weapon families, but feel free to substitute the name with whatever is appropriate for the character's hand-to-hand styles.
Short Blades (Tantoutsu)
One handed blades up to the length of a short sword. This can include daggers, wakizashi, sai, etc.
Long Blades (Kenjutsu/Iaijutsu)
One handed blades longer than a short sword. This can include long swords, katana, Chinese broad swords, etc.
Great Blades (Doshijutsu)
Two handed swords. This can include greatswords, no-dachi, dadao, pudao, etc
Spear/Polearms (Yarijutsu)
Weapons with a blade or other fixture on the end of a long haft. This includes spears, yari, yanyue dao, halberds, pikes, etc
Staves (Bojutsu/Tahib)
Lengths of wood (generally) between three and seven feet in length, either plain, capped or studded with metal or similarly adorned.
Soft Weapons (Chisaijutsu)
Weapons featuring ropes, chains, or otherwise ‘soft' lengths of material. This can include whips, fighting chains, kusari-gama, etc.
Club/Mace (Nofujutsu)
One handed weapons that rely upon bludgeoning force to inflict damage. This includes maces, clubs, batons, escrima fighting sticks, tonfa, etc. Note that nunchaku, despite having a short chain, falls into this category rather than the "soft" category.
Maul/Heavy Weapons (Tsubojutsu)
Large, two handed bludgeoning weapons with a designated haft and "business end." This includes warhammers, tetsubo, die tsuchi, etc.
Weapon Style Techniques (techniques)
For each level of a Weapon style purchased one of these techniques may be chosen to apply to the use of weapon families included in that style.
Herding
The martial artist is skilled at forcing an opponent in a given direction with deliberate strikes, deceptive feints and footwork. At the beginning of a round in which the martial artist is using a skilled weapon, he may make a reflexive physical challenge against one opponent in melee combat. Success forces that opponent to move three steps in the direction chosen by the martial artist (who can select any direction except toward himself). This movement still takes place on the target's normal initiative. If the opponent fails to do so on his initiative, the martial artist gains a three trait bonus to all attacks against that opponent for the remainder of that round and for the entirety of the next round. The martial artist can attempt to force an opponent to move in an "impossible" direction (through a wall adjacent to the opponent, over the edge of a cliff) in order to forcibly gain the 3 trait bonus because the opponent cannot comply.
Precision
Powerful strikes may be impressive, but the true mark of mastery is control. This technique represents an almost supernatural control of weapons, making them an extension of the body. The martial artist may choose to do less than maximum damage. This can be decided after the resolution of a successful strike, and the martial artist may do any amount of damage he chooses that is less than the weapon's listed damage. In addition, he may inflict bashing damage with any weapon without trait penalties, barring supernatural effects (a silver knife is still always going to do aggravated damage to a Garou). Finally, the martial artist may make called shots and perform cosmetic "flair" effects with a normal challenge, suffering no trait penalties except in the most extreme circumstances. For example, he could trim a foe's evil fu-manchu moustache with his sword in the midst of combat, but his eyelashes would still garner a penalty (though the STs may consider allowing the attempt, where they otherwise would say "no way").
Sweeping Strikes
You go on the offensive, pressing multiple foes. You may attack up to three opponents with a single strike, as long as they are within melee range of you. Normal mass challenge rules apply, and you are considered two traits down for tie resolution.
Eye of the Tempest
Whirling in a dazzling display of skill, you keep opponents from closing with you. At the beginning of the turn, you may make a physical challenge against all opponents in melee range. Success pushes them three steps away from you, far enough to stop them from attacking you in melee combat. These foes may not attempt to close with you until the next round. If a new opponent attempts to close with you, you may make a reflexive physical challenge to the same end. Any attack you make this round suffers a trait penalty equal to the number of opponents you are attempting to keep at bay.
Focused Weapon Styles (techniques)
Focused weapon styles are those that base their training on a particular weapon or group of weapons, developing unique skills and techniques. Ultimately, these styles limit the flexibility of the martial artist in exchange for (sometimes eclectic) skills that excel in certain situations. So when in a stance with these styles the character may only use the weapon it trains for, but gets added advantage of techniques.
Chi Hsuan Men (White Jade Fan)
Description: One of the most ancient and strangest martial arts in existence, Chi hsuan men means "Unusual Style." Started in the 5th Century B.C. as a defense system for the bureaucrat class of the ancient Chinese dynasties, all the movements involve the use of "the White Jade Fan," actually a fanlike weapon used for both disarming opponents and poking them. A Master will attempt to calm an enemy with both a relaxed pose and with friendly words. Then, preferably when the enemy is off-guard, the fan can be whipped out of the sleeves and used either to disarm or attack. Masters are extremely rare and usually train only one or two students at a time, treating them as apprentices.
Valid Weapons: White Jade Fan (Melee weapon)
Bonus Traits: 2
Damage: 1 Bashing
Conceal: Pocket
Abilities: Speed
Negative traits: Short
Techniques:
Heaven's Watchful Gaze – Carefully maintaining an inoffensive posture and remaining polite to an attacker, the Chi Hsuan Men practitioner can sometimes forestall hostile action. The practitioner makes a physical challenge against the target's social traits. Success prevents the aggressor from initiating any sort of attack or hostile physical action for one minute. This technique may only be used before combat begins. Most importantly, this can only be used in a relatively public social situation where the prevailing social rules would forbid violence. A mass challenge is possible to forestall multiple aggressors.
Frail Bureaucrat Defense – Panicked flailing with his fan somehow manages to protect the obviously incompetent warrior. The martial artist may not attack or move during a turn in which he uses this ability, but he receives a free retest on any challenge to parry or block with the White Jade Fan, and may specifically block/parry arrows, thrown weapons, and similar ranged attacks (no bullets). In addition, any attack that does manage to penetrate the defense is still slowed and hindered, dealing one less level of damage (minimum 1), providing the martial artist had a chance to parry/block it in the first place.
Feint Praise – The Chi Hsuan Men practitioner uses deception to veil an attack as something nonthreatening and familiar. In the most common application of this, the martial artist slumps as if to faint, then suddenly lashes out and strikes with his fan. The split second gained as the opponent must identify something familiar (a faint) as something dangerous (an attack) allows the martial artist to confuse his foe. A successful strike not only inflicts damage as normal, but startles the opponent and makes him begin second guessing his attacks and defenses. The martial artist may cause the opponent to lose two levels of martial abilities as if they had been spent. Valid abilities that can be ‘burned' from the opponent are: Athletics, Brawl, Dodge, Melee, Martial Arts, and any other ability the ST feels is appropriate. The martial artist may select which two abilities are burned, and the same ability may not be selected twice. This ability may only be attempted once per day on any given opponent.
Red Tape Assault – A variation of the atemi techniques taught in some martial arts, the Chi Hsuan Men practitioner bids an extra trait to attack and pokes seemingly inconsequential places on the targets limbs and torso. If the attack is successful, no damage is inflicted, but the target loses their next action as they find their limbs suddenly slow and unresponsive.
Stern Reprimand – By evaluating opponents' fighting techniques as he is being attacked, the martial artist may detect the flaws in such simple things as grip and hand posture. With a whirl that is half graceful dance and half stern teacher rapping knuckles, his fan lashes out in quick succession, cracking against fingers and prodding at wrists. The practitioner bids only one trait and makes a mass physical challenge against all opponents in striking range that have attacked him this combat. Success against an opponent disarms them, sending the weapon flying six steps away in a direction of the martial artist's choosing.
Iskakku
Description: Iskakku is a distilled set of skills developed by the Children of Gaia over generations. It focuses exclusively on the use of the staff. For a full description of the history of the style, refer to page 81 of Tribebook: Child of Gaia.
Note: This is a rewrite of the Iskakku system presented in the Child of Gaia tribebook. The reasons for this are twofold – the first is to bring it in line with these mechanics rules. The second reason is that the MET mechanics of that system are flawed, tending toward extremes. For example, the technique "Dragon Emerges from Mountain" allows you to thrust your staff at the opponents face once per combat and inflict two damage – which is the normal damage for a staff attack anyway. On the other extreme, the pinnacle technique instantly knocks a target unconscious with two successful physical challenges. The first is obviously useless, the second too powerful. This style is taught by Children of Gaia garou, and while it has spread somewhat to other Garou tribes, it has not left the Garou nation.
Valid weapons: Staff/Bo
Techniques:
Mahasu Qatu (Hand Smite) – By targeting an opponent's wrist during a parry, the martial artist may attempt to dislocated it. After successfully parrying an opponent's blow, you may make a reflexive physical challenge against the attacker. Success inflicts one level of bashing damage and dislocates the wrist, preventing its use in combat until the opponent heals the level of bashing damage. This technique can only be used once per round.
Tammabukku Istu Kur (Dragon Emerges from the Mountain) – Thrusting his staff at an opponent's face, the martial artist harries and partially blinds him, driving an opponent's attention away from those whom you wish to protect. With a successful attack, instead of inflicting damage, you designate a single target which your opponent may not attack for the rest of the round. A given foe may only be steered away from one target at a time.
Tabalu Kur (Take Away the Land) – Learning the balance and reach of his weapon, the martial artist may use its leverage against foes even at the outside of its range. You may attempt to trip an opponent with a physical challenge, and the reach of your weapon allows you to do this to any opponent within three paces of where you stand (meaning if you move 3 paces and utilize this technique, you may trip a target up to 6 paces from your starting position).
Sepu Istu An (Foot from Heaven) – With a running start, you use your staff to vault and launch a devastating kick at an opponent. You must first take an action to gain a running start on line to your target. On your next action, you may launch a flying kick that does two bashing damage (three If in Crinos). Your target must be within eight paces at the time you launch the kick.
Adannu Lukur Daku (Appointed Time of the Enemy's Demise) – This devastating technique strikes the back of an opponent's head. You must first successfully parry your opponent's attack. On your next action, you may move past and strike at the back of your foe's head. A successful attack inflicts double damage – if this damage fails to knock the opponent unconscious, it fades at the end of the round.
Kenjutsu
Description: Perhaps the most famous style of martial art devoted to a weapon, Kenjutsu focuses on the traditional swordmanship of the Samurai. Not to be confused with Kendo (the sport based on actual combat), kenjutsu is rooted in a philosophy of accepting death, and emptiness of being. Despite the nihilistic sound, there is a profound appreciation of the value of nature, beauty, and art. Emptiness of being is not an emptiness of purpose, but an acceptance of the principle of void, of ceasing to impose one's own thoughts and expectations upon the world and simply accepting what is.
Valid Weapons: Katana. The Wakizashi (short sword) and Tanto (dagger) may be used as well, but only for basic attacks and defense, but not for use in techniques except as a second blade with Niten.
Techniques:
Iaido – In recent times, Iaido is sometimes practiced as an art in and of itself. Its roots, however, are in techniques designed to allow a samurai to draw and attack quickly, even from a kneeling or sitting position. Speed and precision are the focus. This allows the martial artist to adjust the initiative for his first attack. When using Iaido, the martial artist's initiative is moved up to one above his nearest opponent. For example, say the martial artist's enemies are acting on 17 traits and 15 traits, and the martial artist's initiative is normally 13. Using this technique would adjust the martial artists initiative to 16. This ability can only be used when the martial artist's sword has been at rest in its sheath for at least one full turn. Drawing the sword is considered part of the attack while utilizing this technique, and does not require an action.
Niten – "Ni-ten ichi-ryu" is the name of the style pioneered by Miyamoto Musashi, perhaps the greatest swordsman Japan has ever seen. Musashi endorses using both the katana and the wakizashi as well as the more traditional method of holding the katana in a two-handed grip. This allows a relentless assault upon the opponent and improved ability to deal with multiple opponents. When wielding two swords, the martial artist may not lose more than one trait per turn on martial arts challenges, no matter how many challenges he engages in. The only exception to this is when the martial artist bids extra traits for called shots, other martial arts abilities, and so on – this ability only protects the single ‘mandatory' bid for entering a challenge.
Reaching into the Abyss – This technique refers to overwhelming an opponent's will to fight with your resolve. Once per combat, immediately after successfully wounding an opponent, the martial artist may make a reflexive social challenge against the opponent. If the martial artist succeeds, the opponent has a choice. The opponent can elect to withdraw from combat, at which point there is no further effect – this must be an honest withdrawal for the rest of the combat. If the opponent does not choose to withdraw, the martial artist does one extra level of damage with all Kenjutsu attacks to that opponent for the rest of the combat.
One Attack Only – Without hesitation or thought of consequence, the warrior strikes his enemy down. The martial artist must declare his use of this technique before attempting his attack. If he succeeds, he inflicts triple damage. Regardless of his success or failure, the martial artist is 10 traits down on all defensive actions until his initiative the next turn, and may not use abilities to retest/cancel in his defense. This ability may only be used once per combat.
Strike Through the Enemy – The blade of the samurai is legendary in its ability to cut through foes. The martial artist may bid extra traits on an attack up to his Kenjutsu level. Each extra trait risked adds one level of damage to the attack that only applies to armor. If more traits are bid than the opponent has armor levels, any levels of damage beyond that are lost.
Klingetanzen
Description: Klingetanzen is a martial art based on an amalgamation of European and Near-east sword techniques. Its focus is almost mercantile in application – a practitioner of Klingetanzen will gladly take a non-fatal wound in order to inflict one twice as grievous on an enemy. Offense reigns supreme in this style. True proficiency requires an understanding of the body, where a wound will do the most damage, and where a wound can be taken with the least detrimental effect. Depending on personal preference, the attitude brought to combat might be that of a screaming Norse berserker with a longsword or something more esoteric such as a silent Turkish assassin with a scimitar. The unifying quality is a supreme commitment to combat, and a determination to make the enemy pay as much as possible.
Valid Weapons: Klingetanzen may be used with any long one handed sword – a blade of 30 inches or more is a good rule of thumb.
Techniques:
Retaliation – Most combat styles presume that an opponent will not harm himself in order to strike a blow. When swinging a weapon at an enemy, one is conditioned to assume that the enemy will either try to move out of the way or try to interpose his own weapon or shield. A Klingetanzenist takes advantage of this presumption. If the martial artist relents to a melee attack against him, his next attack against that same opponent inflicts an extra number of health levels of damage equal to the damage taken. For example, a Klingetanzenist relents to being hit with an axe, taking 2 lethal damage. On his next attack, he may strike at the foe who wounded him with his sword, doing 4 lethal damage (2 base damage for the sword + 2 more for the wound he took). This attack must be the martial artist's next action, and if he misses the advantage is wasted. The extra damage dealt may not exceed the user's martial arts.
Unswerving Juggernaut – The Klingetanzenist focuses his attention on a single foe, to the exclusion of all others. At the beginning of a round, he may declare a single foe. The martial artist gains a two trait bonus to hit that foe, may take one extra step per round as long as it carries him closer to his target, and may spend Willpower as an offensive combat retest (1 per challenge). Anyone but the target attempting to strike the martial artist gains a two trait bonus and receives a free retest if they desire. The practitioner is specifically prohibited from targeting anyone but the foe on which he is focused with any action, and he may take no action that does not immediately relate to harming or chasing his target while he is focused (going around the building to climb through a window after the foe locked the door is OK, calling a locksmith to open the door is not). To cease focusing on a target, the martial artist must remain completely defensive for one round, as if switching stances.
Crimson Palm – The martial artist inures himself to pain and learns to take a minimum of injury for maximum result. This is one of the more defensive moves of the style, and has a few applications. First, if he misses a parry, the Klingetanzenist may take one automatic health level of damage for an immediate retest – this represents slapping away the enemy's weapon barehanded. The type of damage matches the weapon being parried. Similarly, he can gain a retest to prevent himself from being disarmed by grasping his own blade. Finally, in dire situations, he may attempt to disarm an opponent barehanded – a successful disarm means the martial artist takes one level of damage, but failure inflicts the full damage of the weapon on him. Unlike normal, the opponent may not count weapon bonus traits to prevent this particular disarm.
Sheathe the Blade – One of the most impressive and yet potentially deadly techniques of the style, the Klingetanzenist must first spend a Willpower to steel himself and relent to an attack by the enemy, throwing himself upon the enemy's weapon. This attack does double damage. Immediately afterward, the Klingetanzenist may make a disarm attempt as a free action as he twists his body away and pulls the enemy's weapon with it. Wound penalties specifically do not apply to this challenge, the enemy receives no bonus traits for the weapon, and the Klingetanzenist receives a number of bonus traits to disarm equal to the levels of damage he took from the strike, up to a maximum of his martial arts. The more firmly embedded the weapon in the Klingetanzenist's body, the easier it is for him to pull it away from his foe. To add insult to injury (literally), in order to recover his weapon, the enemy must make a successful physical challenge against the Klingetanzenist, who retains the bonus traits for the purpose of keeping the weapon out of his enemy's grasp. Needless to say, this does not work against weapons that inflict bashing damage.
Certain Doom – The Klingetanzenist must declare his intention to use this technique at the beginning of the round, and must designate a target within melee range (3 steps). He may take no other action, not even speech, as he focuses on that one opponent. Any physical attack against the Klingetanzenist automatically hits with no test required during the round, though he may still resist social and mental challenges. At the end of the round, after all other actions have been resolved, the martial artist may make a single, perfect attack as long as the target is still within range. This attack automatically hits and may not be parried, dodged, or soaked. Armor will still absorb damage as normal. This even penetrates some forms of supernatural defense, if the power is simply enhancing a normal defense (ex. Strike the Air, Fortitude short of Aegis) rather than creating a new form of defense (Wall of Granite which physically interposes a wall of rock in front of attacks, force fields, making oneself intangible to metal, etc). This technique cannot be combined with Retaliation.
Escrima
Description: Escrima focuses on dual wielding short weapons. It is a very economical style – training focuses on angles of attack rather than techniques to counter specific weapons or styles. So an overhead attack will be countered similarly whether the attacker wields a sword, a knife, a staff, or no weapon at all. Escrima techniques are generally based on the assumption that both the student and their opponent are very highly trained and well prepared. For this reason, escrima tends to favor extreme caution, always considering the possibility of a failed technique or an unexpected knife. On the other hand, the practitioner is assumed to be able to strike very precisely and quickly. The general principle is that an opponent's ability to attack should be destroyed (rather than trying to hurt them to convince them to stop). Many strikes are aimed at the hands and arms, hoping to break the hand holding the weapon or cut the nerves or tendons controlling it. Strikes to the eyes and legs are also important. A popular mnemonic states that "stick seeks bone, blade seeks flesh".
Escrima can be traced back to the fighting systems used by Filipinos during inter-tribal warfare. Settlers and traders travelling through the Malay Archipelago brought the influence of silat as well as Chinese and Indian martial arts.Among the earliest written records of Filipino martial arts comes from the Spanish conquistadors who fought native tribesmen armed with sticks and knives. Driven back to their ships, the European colonists had to resort to fire-arms to defeat the Filipinos. In 1521, Ferdinand Magellan was killed in Cebu at the Battle of Mactan by the forces of Raja Lapu-Lapu, the Mactan tribal chief. Although escrimadors hold that Lapu-Lapu killed Magellan in a swordfight, Spanish records tell that he was shot by an arrow, yet this information is still uncertain as many Spaniards and Portuguese exaggerated their stories to impress their kings. In western countries, it is common for escrima to be practiced in conjunction with other martial arts, particularly Pencack Silat, and sometimes Wing Chun or Jeet Kune Do. As a result, there is some confusion between styles, systems and lineage because some people cross-train without giving due credit to the founders or principles of their arts. The Chinese and Malay communities of the Philippines have practiced escrima together with kuntaw and silat for centuries, so much so that many North Americans mistakenly believe Penckack silat to have originated in the Philippines.
Valid Weapons: Escrima uses a variety of short weapons. The primary weapon is the yantok, a stick ranging from 24 to 28 inches in length, although there are variations that range from 7 inches (dulo dulo) 36 inches (mano yantok). These are almost universally wielded in pairs. The fact that rattan does not splinter and shreds only under a great deal of stress makes it ideal, especially in defending against blades. Hardwoods are sometimes used after being charred and hardened – the denser wood gives more mass to impact, but has a slight negative effect on speed. These differences have no mechanical effects, simply flavor, and such weapons use the statistic for clubs. Escrima can also be used with short blades (no longer than 36 inches, including hilt) and a small number of short flail-like weapons: tabak-toyok (essentially nunchaku), or a weighted sarong (waist sash holding a number of rocks or similar weights). Finally, Escrima sometimes uses a small shield called a sibat, similar to a European buckler. The shield takes the place of one of the paired weapons.
Techniques:
Abaniko – From the Spanish word for "fan," this is a strike executed by whipping the stick around the wrist in a fanning motion. Not very forceful and not well suited to swords, this strike can be very quick and arrive from an unexpected angle. The martial artist gains four bonus traits on ties after an opponent has used a retest. For example, the martial artist has 10 traits and his opponent has 12. The martial artist wins the initial challenge, and his opponent retests with Melee. If he does not cancel, the martial artist is considered to have 14 traits for the rest of the challenge. This technique may only be used with paired yantok (and its variations).
Punyo – This is a strike delivered with the butt of the weapon. It usually targets a nerve point or other soft spot on the opponent but in skilled hands, the punyo can be used to shatter bones. The martial artist bids two extra traits and declares a targeted limb on his opponent. A successful strike does 1 bashing damage and automatically causes the opponent to drop any weapon being held by that limb (unless it is otherwise fastened to the hand, etc). In addition, the targeted limb cannot be used to attack for a number of rounds equal to the practitioner's levels in Escrima. The limb may still be used to defend or for other tasks that do not require a large degree of strength. The precison required by this attack precludes its use with any sort of extra actions.
Hakbang – Hakbang refers to footwork. By carefully achieving a superior position, the martial artist may force his opponent into a corner – either literal or metaphorical. The martial artist must successfully hit his opponent three times in a row. These attacks do not need to be in the same round, and other non-attack actions may take place in the meantime. If successful, the martial artist gains a single free retest against the opponent. This retest may be used for any offensive or defensive Escrima-based action, may be used in addition to an ability retest, and disappears if not used by the end of the combat.
Sibat – The martial artist learns more intricate techniques with the sibat. Once per round, the martial artist may make a simple test (win or tie) to reduce the damage of an incoming strike by 1 level.
Sumbrada – This is a technique focused on luring the enemy into position for a counterattack. The martial artist must first remain completely defensive for at least one entire round, gaining a three trait bonus on defensive actions. For every two attacks against which he successfully defends, he "banks" one extra action, to a maximum of his levels in Escrima. The martial artist may declare that he is switching to offense at the beginning of any round. He may then attack, and may use the extra actions he banked to make multiple attack actions in the same round. This may only be used with paired weapons.
Klaviskar
Description: Klaviskar is the Garou art of Klaive dueling. It is a specialized combat system that is most often practiced by Silver Fangs, Shadow Lords, and Fianna, though there are talented individuals in most tribes. Klaviskar excels at one-on-one combat, and is somewhat ill suited to facing multiple foes.
Valid Weapons: Klaives and Grand Klaives. May use this ability to retest with short swords/long swords/broadswords, but may not utilize any techniques.
Techniques:
Entwined Blade – The wielder makes a contested physical challenge against an opponent armed with a melee weapon, and must risk a number of extra traits equal to his opponent's weapon bonus traits. If successful, the weapons are locked until the end of the turn. The opponent loses all extra actions unless he voluntarily disarms himself by letting go of the weapon.
Sanguine Vision – The wielder makes a physical challenge against the opponent, risking an extra trait. Success opens a narrow slash across the opponent's brow, which cannot be healed by any means until all other damage is removed. This cut bleeds profusely, blurring the opponents vision and saturating his eyes with blood. This gives the opponent a cumulative 1 trait penalty per round (1 trait penalty on the first round after the cut, 2 traits the next round, etc). This applies to all physical actions that rely on vision, even if the opponent has blindfighting, a gift that allows perception without vision, or other similar things – it is not merely the loss of vision that hampers, but the blood entering the eyes that causes distortion, rapid blinking, and a distracting sting. This trait penalty cannot exceed the wielder's skill in Klaviskar. Taking a full round to wipe one's face and eyes with a cloth or other suitable material will "reset" the penalty to 0, but it will begin accumulating again unless the wound is healed.
One on One – Klaive dueling is primarily that – a one-on-one focused battle system. Success often requires overcoming your opponent's resolve. While engaging with only one opponent, the wielder may make a social challenge against his opponent after a successful attack, flourishing and posturing aggressively. Success prevents an opponent from using willpower to refresh traits for a number of rounds equal to the wielder's Klaviskar.
Tempt the Fool Forward – When fighting one-on-one with an opponent, the wielder may relent to any challenge. If he does so, he automatically learns one negative trait in the same category as the challenge to which he just relented. If he relents to a physical attack that does damage, he learns one negative trait for each level of damage suffered.
Falcon's Stoop – The Silver Fangs are undoubtedly the greatest practitioners of Klaviskar, and the name of this technique reflects that. Facing a prone opponent, the wielder leaps into the air and comes down with the point of the Klaive, driving it through the opponent and into the ground (doing normal damage in the process). Letting go of the Klaive, he pins the opponent as well. This devastating technique creates a "double grapple." Each time the opponent attempts to escape the grapple, he makes two challenges, one against the wielder (a normal grapple challenge) and one against the Klaive itself (a static challenge against 7 traits + the wielder's Klaviskar). These challenges occur in the same action – they do not require a separate action each. Unless the target succeeds at both challenges at the same time, the double grapple is maintained. This is often performed as a sign of contempt for a foe who has shown dishonor in the duel, or on those occasions where Klaviskar is used against a minion of the Wyrm.
Tahib
Description: Traditional stick-fighting martial art originally named fan a'nazaha wa-tahtib ("the art of being straight and honest through the use of stick"). The original martial version of tahtib later evolved into an Egyptian folk dance with a wooden stick. It is commonly described in English as a "stick dance", "cane dance", "stick-dancing game", or as ritual mock combat accompanied by music. Nowadays, the word tahtib encompasses both martial practice and performance art. It is mainly practiced today in Upper Egypt. A Nubian form of tahtib is regularly performed for tourists in Aswan.
Valid Weapons: The stick that's part of this art is called an asaya, or naboot, and measures four feet in length. They are generally used in pairs.
Techniques:
Entangled Weapons – The wielder makes a contested physical challenge against an opponent armed with a melee weapon, and must risk a number of extra traits equal to his opponent's weapon bonus traits. If successful, the weapons are locked until the end of the turn. The opponent loses all extra actions unless he voluntarily disarms himself by letting go of the weapon.
Eye of the Temptest – Whirling in a dazzling display of skill, you keep opponents from closing with you. At the beginning of the turn, you may make a physical challenge against all opponents in melee range. Success pushes them three steps away from you, far enough to stop them from attacking you in melee combat. These foes may not attempt to close with you until the next round. If a new opponent attempts to close with you, you may make a reflexive physical challenge to the same end. Any attack you make this round suffers a trait penalty equal to the number of opponents you are attempting to keep at bay.
Killing Blows – Tahtib teaches a lot of head and spinal blows which allows the martial artist to inflict devastating injury on his opponents, possibly killing them in but a few strikes. Killing blows causes a Tahtib practitioner's stave strikes to inflict lethal damage. No special test or expenditure is required; the martial artist may simply decide to score lethal damage instead of bashing damage with his attacks. Killing blows may not be effective against truly unusual opponents at ST discretion – things that don't have heads or spines, or don't actually use them to function (like a zombie) may not be affected.
Nut's Wind – Prerequisites: Tahtib, Athletics x2
The Weilder makes a running leap and delivers a powerful blow to her opponent's head or upper torso. This does standard damage and the opponent is knocked prone and loses their next action.
Set's Cunning – This is a technique focused on luring the enemy into position for a counterattack. The martial artist must first remain completely defensive for at least one entire round, gaining a three trait bonus on defensive actions. For every two attacks against which he successfully defends, he "banks" one extra action, to a maximum of his levels in Tahib. The martial artist may declare that he is switching to offense at the beginning of any round. He may then attack, and may use the extra actions he banked to make multiple attack actions in the same round. This may only be used with paired weapons.
Special Styles (top)
There are some styles that demand special treatment.
Do
(special styles)Do is a demanding art. It is even more difficult to learn than most martial arts, but it unquestionably the most powerful and versatile personal combat style in the world. Do has a number of unique restrictions and benefits.
Restrictions
- Do is an Enlightened art. It moves understanding the reality of existence. You may not possess a Do rating higher than your Arete.
- Do is the province of the Akashic Brotherhood. Only a handful of non-Aksashics practice it, and they are universally close allies of the Brotherhood.
- You must fulfill explicit skill requirements to purchase more Do. See the "Eight Limbs" description below.
Benefits
- All Do practitioners can choose to inflict lethal damage with their blows against any target.
- All technique difficulties are reduced by 1 trait for Do practitioners. If a technique is a contested challenge, Do practitioners gain an extra bonus trait. This only applies to specific techniques and attacks enhanced by techniques, not standard attacks. This bonus applies to weapon techniques if the student also has General Weapon style paired with his Do.
- A Do practitioner may choose ANY hand-to-hand technique with ST approval.
- At every even level of skill, a Do practitioner gains 2 new techniques instead of 1. Thus, an Askashic with Do 5 would know seven techniques.
- A Do practitioner may replace a technique he possesses with a new one, focusing his training elsewhere. This should take a minimum of a month, and should not be done frequently – no more than once or twice a year at the most. Use ST discretion if things seem to be getting out of hand.
- Upon learning Do the practitioner may use a Language slot for the Hand Sign Language of the Akashics. Only Akashics with Do may learn this method of communication.
The Eight Limbs
In order to advance in understanding of Do, one must cultivate a wide variety of skills. These skills are divided into eight limbs. Both diversity and skill level are key – you must possess an equal number of skills at an equal level, spread among an equal number of limbs. For example, to learn Do 2, a practitioner must know two skills from the below list at level 2, and those skills must be in at two different limbs. Similarly, to learn Do 4, a practitioner must possess at least four of the skills in the below list at level 4, and those skills must be spread across four of the limbs.
- Dhyana, the Way of Meditation: Awareness, Enigmas, Meditation
- Prajna, the Way of Ethics and Philosophy: Academics (Philosophy), Cosmology, Law (Akashic Codes)
- Karma, the Way of Good Living and Productivity: Crafts (Any artistic or professional), Etiquette Sunyakaya, the Way of the Empty Body: Performance, Stealth, Subterfuge
- Dharmamukti, the Way of the Clasped Hand: Alertness, Do, Dodge
- Shastamarga, the Way of Weapons: Crafts (Any weapon-focused), Melee, Strategy/Tactics
- Tricanmarga, the Way of the Triple Struggle: Acrobatics, Athletics, Body Control
- Jivahasta, the Hand of Life: Herbalism, Medicine, Survival
Kalindo (special styles)
Hard Techniques
Forceful Wind
Prerequisites: Kailindo, Athletics x2
The Kailindorani makes a running leap and delivers a powerful kick to her opponent's head or upper torso.
Effect: Standard kick damage, opponent is knocked prone and loses their next action.
Little Cyclone
Prerequisites: Kailindo
The Kailindorani crouches while spinning around with his leg extended, knocking his opponent from her feet. The Garou rolls Dexterity + Kailindo , resisted by his opponent's Dexterity + Athletics ( Diff 6). If the Kailindorani has any net successes, the opponent falls.
Effect: Standard kick damage + 1, opponent is knocked prone.
Soft Techniques
Storm Dance
Prerequisites: KailindoThis maneuver is not an attack, but rather an intimidation technique used to dishearten opponents. The Kailindorani launches into a flurry of maneuvers, coupled with postures of threatening body language. The result is a display that is graceful and predatory at the same time. The player Socially challenges the opponent (bidding variable traits, from 1 to 6) retested with Intimidation, against the opponent's Mentals retested with Brawl; this is a full-round action.
Effect: If the player wins the test, she is up one trait plus one per additional Social trait bid on all combat tests for that scene. This maneuver can be used only once per opponent per combat.
Chakra Strike
Prerequisites: Kailindo, Medicine 2The kailindorani punches an opponent's chakra center with two fingers. In addition to normal strength damage, there are other affects depending upon the chakra center struck that last for a number of turns equal to Mentals spent upon success:
- Solar Plexus diff 7 (+1 difficulty to all Stamina rolls)
- Heart diff 8 (+1 difficulty on all charisma and manipulation rolls)
- Throat diff 9 ( +1 difficulty to all athletics tasks, +1 diff to all tasks involving speech)
- Crown diff 8 ( +1 difficulty to all wits and perception rolls)
Usable by: Homid - Crinos
Damage: Strength + Effect
Difficulty: varies
Deceptive Wind
Prerequisites: Kailindo
Level: 2
Type: Aerial Attack
Description: By leaping towards her opponent the Kailindorani first feints a kick to the front, but instead passes her opponent and strikes from the side or the back while passing. This maneuver can be coupled with a shapechange, and cannot be blocked or parried - only dodged.
Usable by: Homid - Crinos
Damage: Strength
Difficulty: 5
Tornado Kick
Prerequisites: Kailindo
Level: 2
Type: Standard Attack
Description: The Kailindorani spins around at incredible speed, gaining momentum adding bone jarring force to her kick.
Usable by: Homid - Crinos
Damage: Strength + 3
Difficulty: 7
Binding Wind
Prerequisites: Kailindo
Level: 3
Type: Sustained Hold
Description: By catching his opponent's wrist at just the right moment, the Kailindorani immobilizes his foe by forcing the opponent down and around. The Kailindorani must score a number of successes on his attack roll above the opponent's Dexterity rating to accomplish this feat. A held opponent may attempt a contested Dexterity roll (difficulty 8 for both characters) to break free, or a contested Strength roll (difficulty 8 for the bound character, 6 for the Kailindorani, as it's more of a finesse hold). Damage is determined by the Kailindorani's skill, not from Strength as usual, and cannot be aggravated.
Usable by: Homid - Crinos
Difficulty: 6
Damage: Kailindo
Mountaintop
Prerequisites: Kailindo, Athletics 4
Level: 3
Type: Reflexive
Description: The Stargazers teach practitioners the ability to "root" themselves to the ground by sinking their Chi center and sending the energy downward into the ground. It is very difficult to topple a mountain as the name implies. The energy is spread out across the surface of the body and then "anchored" to the ground, creating a rigid stance.
System: When executing Mountaintop, the character adds Martial arts + Dex and the result is added to his strength for the purposes of resisting being moved or knocked down. Like San He, against truly massive moving objects like cars, the ST should have the fighter add their dodge to the effect roll to stand their ground. The bigger the object, the more successes the fighter needs on their roll to keep from being moved (a car might be four successes, a bus, seven). Obviously, truly impressive impacts (for example the 3:15 train to Chicago from Detroit) are technically impossible to resist. A Kailindorani may lower the difficulty by 1 if they are on all fours in Hispo or Lupus. During the use of Mountaintop the kailinorani may not move in the same turn that he roots.
Usable by: All
Damage: None
Difficulty: 6 (5)
Whirlwind
Prerequisites: Kailindo
Level: 3
Type: Reflexive
Description: This defensive technique involves weaving one's arms before oneself like swirling winds. Each success on the Dexterity + Kailindo roll adds one die to each blocking maneuver attempted during the same turn as the Whirlwind technique. The Kailindorani may not attack, run or do anything but block in the same turn he uses Whirlwind
Usable by: Homid - Crinos
Damage: None
Difficulty: 7
Falling Tempest
Prerequisites: Kailindo
Level: 4
Type: Aerial Attack/Sustained Hold
The Kailindorani attempts to catch her opponent's throat with her legs or arms while launching herself directly towards the target, and drive him to the ground while choking him. To pull this off, the Kailindorani must score more successes on her attack roll than the opponent's Strength rating. A character in a chokehold loses one bashing health level per turn, and to escape he must win a contested Strength + Brawl or Martial Arts versus Strength + Brawl or Martial Arts roll at difficulty 6. Choke damage cannot be soaked, but is healed after one hour of rest.
Usable by: Homid - Crinos
Damage: Strength -1; subsequently, one Health Level per turn while hold lasts w/ Knockdown
Difficulty: 8
Shapechanging Maneuvers
Each of these maneuvers requires the standard roll or the expenditure of a Rage point to shapeshift into the appropriate form.
Rising Storm
Prerequisites: Kailindo
Level: 1
Type: Standard Attack
Description: The manuver was developed to fell the strongest opponenets. The Kailindorani changes to a larger stronger form while punching, kicking or clawing an opponent. The roll is a standard Dex + Kailindo roll and requires the expenditure of a Rage point.
Usable by: All but Crinos
Difficulty: 6
Damage: +1 to standard attack damage.
Changing Breeze
Prerequisites: Kailindo
Level: 2
Type: Reactive
Description: The Kailindorani presents a large target to her opponent then changes to a smaller form, dodging the incoming attack. Each success on her Dexterity + Kailindo roll adds 1 to the diff of her opponent's next attack (Maximum difficulty of 10). If the Kailindorani uses Rage to shift, he recieves an automatic success to his roll.
Usable by: All except Homid or Lupus
Damage: None
Difficulty: 7
Growing Tempest
Prerequisites: Kailindo
Level: 2
Type: Sustained Hold
The Kailindorani grabs her opponent and shifts to a larger stronger form while crushing him or twisting his limbs. The opponent is grappled and must win a contested Strength + Brawl or Martial Arts roll versus Strength + Brawl or Martial Arts roll to free himself. The damage is not aggravated unless the Kailindorani shifts to Hispo form in which case he's grappling with his jaws. This action costs 1 Rage to perform.
Usable by : all except Hispo or Crinos
Difficulty: 7
Damage: Strength + 1
Fading Breeze
Prerequisites: Kailindo
Level: 3
Type: Standard Attack
Description: The Kailindorani steps back, changing into a larger form ( with longer reach) while punching, kicking or slashing with claws The difficulties of one foes attacks for the turn increase by one.
Usable by: All except Hispo or Crinos
Difficulty: 7
Damage: Strength
The Hurricane
Prerequisites: Kailindo
Level: 3
Type: Standard Attack
Description: The Kailindorani assumes a larger, stronger form while throwing her opponent, thus gaining the added momentum and change in leverage of the shapeshift. Opponents are thrown 2 meters per success + the Kailindorani's Strength. The damage for this maneuver is usually Strength + the number of successes but may vary depending on what the Garou's opponent hits. This maneuver costs 1 Rage.
Usable by: All but Crinos
Difficulty: 7
Damage: see above.
Melting Wind
Prerequisites: Kailindo
Level: 3
Type: Reflexive
Description: The Kailindorani changes to a smaller form to slip out of a hold. Any successes on the Dexterity + Kailindo roll are then added to her Strength pool for escaping the hold. If she blotches the roll, she suffers additional damage from the hold, as well as a + 1 increase to the difficulty of all future escape attempts.
Usable by: All except Homid or Lupus
Difficulty: 6
Damage: None
Moving Breeze
Prerequisites: Kailindo
Level: 3
Type: Reflexive
Description: The Kailindorani changes to a smaller form ( ideally lupus) while dodging. The Kailindorani makes the standard shapeshifting roll (Stamina + Primal Urge) and each success to her dodge dice pool for the rest of the turn. If the character spends a point of Rage to shift automatically, they are presumed to have 5 successes to add to dodge pools.
Usable by: All except Homid or lupus
Difficulty: 6
Damage: none
Subtle Draft
Prerequisites: Kailindo
Level: 3
Type: Reactive
Description: The Kailindorani charges into an opponent while in lupus form, getting underfoot and tripping her. He then shifts to a larger form to take advantage of the situation. The difficulties of all other attacks made against his opponent this turn are reduced by 1. This manuver is particularly useful when several individuals are attacking a single opponent.
Usable by: Lupus
Difficulty: 6
Damage: none
Striking the Wind
Prerequisites: Kailindo
Level: 4
Type: Reflexive
Description: The Kailindorani allows his opponent to hit him, thus bringing her close as he changes to a larger form, then strikes. The Kailindorani is automatically hit but the difficulty of his soak roll is reduced by two. This maneuver requires the expenditure of a Rage point.
Usable by: All but Crinos
Difficulty: 6
Damage: None, though counterattack does standard.
Sudden Flurry
Prerequisites: Kailindo
Level: 4
Type: Standard Attack
Description: A Kailindorani uses this technique after being grappled or when she wishes to keep her opponent close but off balance. She shifts to a larger form and uses the momentum to throw her opponent ( usually straight down) Opponents are thrown a maximum of one foot per success + the Kailindorani's Strength.
Usable by: All except Crinos or Hispo
Difficulty: 6
Damage: None
The following three Shapechanging Maneuvers can be learned by non-Kailindo Garou, but they require 4 x level xp for a shapeshifter with Brawl only to learn.
Melting
Prerequisites: Shapeshifter
Level: 2
Type: Abort
Description: The fighter shifts into a smaller or different form to slip out of Grabs and similar maneuvers.
System: The fighter rolls Dexterity+ Athletics (difficulty 7), adding the number of successes to his Strength dice pool to escape any Grab. If the roll is botched, the defender suffers an additional damage test from his opponent. This is an Abort maneuver.
Difficulty: 7
Damage: None
Swarm
Prerequisites: Shapeshifter
Level: 3
Type: Standard Attack
Description: The fighter charges into an opponent in beast-form, getting underfoot and tripping him up, then shifting into another form (typically, Crinos) to take advantage of the situation.
System: The Swarm maneuver is used in conjunction with any other maneuver (typically, another Tooth & Claw). It adds the modifiers listed below to that attack's modifiers. Additionally, the victim of this attack suffers a Knockdown.
Difficulty: 8
Damage: +1
Wind Dodge
Prerequisites: Shapeshifter, Athletics 2
Level: 4
Type: Reactive
Description: The fighter rapidly changes shape such that the area of his body being attacked by his opponent is no longer there. Usually, this involves shifting to a smaller shape (e.g., Lupus). The fighter then shifts into a form that will permit him to make an attack taking advantage of any openings.
System: The fighter may use his Dexterity + Athletics pool to avoid his opponent's attack. He then follows up with a counterattack at difficulty 4, using the modifiers listed below.
Cost: 2 Rage
Difficulty: 6/4
Damage: +1