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Dark Rhodes / Sept of the Hidden Flame Martial Arts System Redux

Table of Contents Introduction ....................................................... 1

Administrative Rules .......................................... 2

General Concepts ............................................... 2

Training .............................................................. 3

Martial Arts in Combat ....................................... 4

Martial Arts Styles .............................................. 5

Hand to Hand Styles ....................................... 5

Aikido ......................................................... 6

Bai He Quan (White Crane style Kung Fu) . 6

Capoeria ..................................................... 7

Ch'a Ch'uan ................................................ 7

Fu Jow Pai (Black Tiger Kung Fu) ................ 7

Hwa Rang Do .............................................. 8

Houquan (Monkey style kung fu) ............... 8

Jeet Kune Do .............................................. 9

Jiujutsu ....................................................... 9

Karate ....................................................... 10

Krav Maga ................................................ 10

Muay Thai................................................. 11

Ninjutsu .................................................... 11

Sambo ...................................................... 12

Savate ....................................................... 12

Tae Kwon Do ............................................ 13

Taijiquan .................................................. 13

Xingyiquan (Hsing I Chuan) ...................... 14

Yingzhaoquan (Eagle Claw kung fu) ......... 14

Zuijiuquan (Drunken Kung-fu) ................. 15

Techniques ................................................... 15

Utility Techniques .................................... 16

Defensive Techniques .............................. 17

Offensive Techniques .............................. 19

General Weapon Style Techniques .......... 21

Focused Weapon Styles ............................... 23

Chi Hsuan Men (White Jade Fan)............. 23

Iskakku ..................................................... 24

Kenjutsu ................................................... 25

Klingetanzen ............................................ 26

Escrima ..................................................... 28

Klaviskar ................................................... 30

Special Styles ............................................... 31

Do ............................................................. 31

Afterword ........................................................ 32

Change Log ...................................................... 32

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

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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.

1) A character may not double up on combat abilities to gain a number of retests in combat beyond

which he normally would be entitled. Put simply, you cannot purchase more than 5 total levels in

armed combat abilities, and no more than 5 total levels in unarmed combat abilities. Of course, a

character who can purchase level 6 abilities may purchase 6 total levels in each, etc.

2) Martial Arts require two experience per level, rather than one.

3) 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.

4) 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

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.

To help differentiate one style from another, a general list of techniques is provided. A hand-to-

hand martial art should be given access to seven or eight of these techniques overall. With each level in

the style a person learns, he gains access to one of those techniques listed for his style. Martial arts

styles that are not included in this packet can easily be generated by choosing a number of techniques

that fit the feel of that particular martial art. Just be sure that all people using a style have access to the

same pool of techniques – one person’s Tae Kwon Do should be equal to another’s, at least in potential.

All of these styles are considered “unarmed” martial arts, even if the style teaches the use of weapons in

conjunction with its unarmed base.

Weapon styles remain somewhat problematic in that the division between “armed” and “unarmed”

combat that exists in MET abilities is not reflected in reality – most martial arts teach weapons as part and

parcel of their makeup, unless the style itself is particularly focused on weapons (Iaido/Kendo or Escrima

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for example) or is particularly adverse to their use (Karate or Sumo, etc). Therefore, two types of ‘armed’

martial arts exist.

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

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.

Requiring supplemental ability purchases as a prerequisite to raising martial arts is encouraged,

and should be required in situations where the character is trying to develop a new martial art.

Meditation, Enigmas, Performance (Dance), Medicine, Dodge, Athletics, and any other ability the ST

thinks is appropriate can be used to build a foundation for an increase in martial arts. The important thing

is that it should mesh with the flavor of the style being learned – Meditation is mostly inappropriate for

someone learning Savate, but Athletics would fit perfectly. Requiring general weapon martial arts in

addition to an unarmed style may be appropriate as well.

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Maintaining martial arts requires a great deal of focus. A character should expect to practice a

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’s

habits 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. To help mechanically

reflect this, the amount of influence a character can maintain is reduced – each level of martial arts

counts as 3 levels of influence when determining influence total (which normally cannot exceed the sum

of a character’s traits).

If a character already has reached the cap on unarmed or armed combat abilities, STs should

allow them to transfer abilities over the course of time. For example, a character with Melee 4 becomes

interested in Kendo, and over the course of a few months finds a teacher and learns Kendo 1. This caps

his armed combat abilities, so if he wishes to advance in Kendo to level 2, he can ‘trade in’ a level of

Melee for a level of Kendo. It should still cost the full experience and training time – unlearning habits

takes as much effort as learning new skills. Similarly, a character could gradually transfer from one style

of martial arts to another in the same way.

Martial Arts in Combat

There are a few universal rules that should be applied to the use of martial arts in combat

situations.

1) Martial arts techniques may not be used in frenzy. Martial arts MAY be used as a retest while

in frenzy, but it provides no benefits beyond the retest. For all intents and purposes, martial

arts is no different from Brawl when one loses focus.

2) Only one martial art style may be used at a time. For example, a character with Tae Kwon

Do x3 and Aikido x2 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. Utilizing general weapon style along with an unarmed style is

the only exception to this rule – general weapon styles are designed to harmonize with

whatever hand to hand styles the user possesses.

3) 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.

4) Spending martial arts for retests does not reduce one’s combat capabilities. When

techniques refer to a character’s martial arts rating, always use the permanent rating. A

character who spends all his martial arts may still use all his techniques, he will simply have

no retests.

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.

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1) 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.

2) 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)

3) 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.

4) 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 Styles

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

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Aikido

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)

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).

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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

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

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)

Techniques: Kip Up, Dragon Tail Sweep, Iron Shirt, Atemi, Damaging Blocks*, Iron Hand, Killing Blows,

Ripping Strike

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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

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)

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 the

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movements 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

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

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).

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Karate

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

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.

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Muay Thai

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

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

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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

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

Techniques: Kip Up, Acrobatic Dodge, Dragon Tail Sweep, Broken Rhythm*, Ripping Strike, Spinning

Kick

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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

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

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

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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)

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)

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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

representative 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)

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

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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

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

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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.

Defensive 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

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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.

Dragon Tail Sweep

This spinning leg sweep can knock the martial artist’s opponent to the ground. You are two traits down

on tie resolution when attempting this technique, but if you succeed your foe is knocked down and may

not take offensive action until he stands up (an action). The tripped character may be dazed as per the

Throw rules.

Eagle and Mouse

Just as an eagle seizes a mouse in one talon, so the martial artist learns to control a grappled foe

effortlessly. After establishing a grapple, the martial artist may maintain it using only one hand, though if

he chooses to use both he receives a 2 trait bonus to maintain the hold. While maintaining a hold with

one hand, he may initiate normal attack actions against any opponent within range of the grappled

opponent.

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).

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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.

Offensive Techniques

These techniques focus on causing damage to opponents.

Atemi*

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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.

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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 Style Techniques

These techniques include the weapon families that may be learned for conjunctional use with hand-to-

hand styles, and a small number of generalized techniques for use with weapons only. 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.

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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)

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.

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

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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

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.

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

The White Jade Fan appears like a typical decorative fan when folded. When spread, it is apparent that

the ribs have been reinforced with metal, and the tips capped and hardened. A normal bamboo or

hardwood fan can be used for the martial art, but it must win (not tie) a simple test after every strike or

break and become useless. The basic stats of the fan are as follows:

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

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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 maneuver

“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 maneuver instantly knocks a target unconscious with two successful physical challenges.

The first is obviously useless, the second too powerful.

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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:

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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

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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

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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.

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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

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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 maneuver 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

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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.

Special Styles

There are a some styles that demand special treatment.

Do

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

1. Do is an Enlightened art. It moves understanding the reality of existence. You may not possess

a Do rating higher than your Arete.

2. 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.

3. You must fulfill explicit skill requirements to purchase more Do. See the “Eight Limbs”

description below.

Benefits

1. All Do practitioners can choose to inflict lethal damage with their blows against any target.

2. 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.

3. A Do practitioner may choose ANY hand-to-hand technique with ST approval.

4. 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.

5. 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.

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)

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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

Afterword

Revisions will be made to these rules. The following additions are planned:

Special rules will be developed for the following:

Kailindo

Change Log

V1.0 – Initial Publication

V1.1 – Added Klingetanzen, minor spelling and grammar corrections

V1.2 – Expansion of learning/teaching rules to mention Mentor

Clarification of Sheathe the Blade (Klingetanzen)

Specified that River Step applies only in combat

V1.3 – Grammar clarification for Kenjutsu

Added Escrima

V1.4 – Added Klaviskar

V1.5 – Added Do