[01-0105] Martial Arts(1).pdf

B Y P ETER D ELL ’O RTO AND S EAN P UNCH

ISBN 978-1-55634-762-7

Written by PETER DELL’ORTO and SEAN PUNCH

Additional Material by VOLKER BACH and C.J. CARELLA

Edited by SEAN PUNCH

Cover Art by BOB STEVLIC

Illustrated by ABRAR AJMAL and BOB STEVLIC

1 2 3 4 5 6 7 8 9 10

STEVE JACKSON GAMES

C ONTENTS

Committed Attack . . . . . . . . . . . . . . . . 99

Defensive Attack. . . . . . . . . . . . . . . . . 100

Evaluate . . . . . . . . . . . . . . . . . . . . . . . 100

Feint . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Ready . . . . . . . . . . . . . . . . . . . . . . . . . 101

Who Draws First?. . . . . . . . . . . . . . . . 103

Move . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Move and Attack . . . . . . . . . . . . . . . . 107

Wait . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

A DDITIONAL C OMBAT O PTIONS . . . . . . 109

Melee Attack Options . . . . . . . . . . . . 109

A Matter of Inches . . . . . . . . . . . . . . . 110

Untrained Fighters . . . . . . . . . . . . . . . 113

Close-Combat Options. . . . . . . . . . . . 114

Teeth. . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Grab and Smash! . . . . . . . . . . . . . . . . 118

Ranged Attack Options . . . . . . . . . . . 119

Rapid Fire with Thrown Weapons . . . 120

Active Defense Options . . . . . . . . . . . 121

Harsh Realism for

Unarmed Fighters . . . . . . . . . . . . . 124

C INEMATIC C OMBAT . . . . . . . . . . . . . . 125

Multiple Attacks . . . . . . . . . . . . . . . . . 126

Chambara Fighting . . . . . . . . . . . . . . 128

Mind Games . . . . . . . . . . . . . . . . . . . . 130

Extra Effort in Combat . . . . . . . . . . . 131

More Cinematic Combat Rules . . . . 132

T OURNAMENT C OMBAT . . . . . . . . . . . . 134

Roleplaying Tournaments . . . . . . . . . 134

Competition Types . . . . . . . . . . . . . . . 134

I NJURY AND R ECOVERY . . . . . . . . . . . . 136

Realistic Injury . . . . . . . . . . . . . . . . . . 136

Cinematic Injury . . . . . . . . . . . . . . . . 139

I NTRODUCTION . . . . . . . . . . . . . 4

Publication History . . . . . . . . . . . . . . . . 4

About the Authors . . . . . . . . . . . . . . . . . 4

Realism Level . . . . . . . . . . . . . . . . . . . . 29

Beginning Students as PCs. . . . . . . . . . 30

C HARACTER T EMPLATES . . . . . . . . . . . . 31

Del Duque (350 points) . . . . . . . . . . . . 33

Frauds . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Adrian Froste (200 points) . . . . . . . . . . 37

Kai Lian (250 points) . . . . . . . . . . . . . . 39

A DVANTAGES , D ISADVANTAGES ,

AND S KILLS . . . . . . . . . . . . . . . . . 42

Advantages . . . . . . . . . . . . . . . . . . . . . . 42

Desirable Advantages . . . . . . . . . . . . . . 43

Chi Powers for Martial Artists . . . . . . . 46

Perks . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Disadvantages. . . . . . . . . . . . . . . . . . . . 53

Common Disadvantages. . . . . . . . . . . . 53

Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Combat Skills . . . . . . . . . . . . . . . . . . . . 55

Wildcard Skills for Styles . . . . . . . . . . . 60

New Skills . . . . . . . . . . . . . . . . . . . . . . . 61

1. H ISTORY . . . . . . . . . . . . . . . . 5

T IMELINE . . . . . . . . . . . . . . . . . . . . . . . . 6

A SIA . . . . . . . . . . . . . . . . . . . . . . . . . . 8

China . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Xia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Monks and Martial Arts . . . . . . . . . . . . . 9

India . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Northern vs. Southern Kung Fu . . . . . 10

Religion, Philosophy, and Fists . . . . . . 11

Indonesian Archipelago. . . . . . . . . . . . 12

Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Ryu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Ninja: Legend vs. History . . . . . . . . . . . 13

Korea. . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Other Nations . . . . . . . . . . . . . . . . . . . . 14

E UROPE AND THE M IDDLE E AST . . . . . . 15

Ancient Greece and Rome . . . . . . . . . 15

Gladiators . . . . . . . . . . . . . . . . . . . . . . . 15

Medieval Europe . . . . . . . . . . . . . . . . . 16

Yeomen Archers. . . . . . . . . . . . . . . . . . . 16

Masters of Defence . . . . . . . . . . . . . . . . 17

Fechtbücher and Traveling Masters . . . 17

Renaissance Europe . . . . . . . . . . . . . . 18

Modern Europe . . . . . . . . . . . . . . . . . . 18

Beyond Western Europe . . . . . . . . . . . 18

A FRICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

T HE N EW W ORLD . . . . . . . . . . . . . . . . 20

Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . . 20

United States . . . . . . . . . . . . . . . . . . . . 20

Women in the Martial Arts . . . . . . . . . . 20

S OME F AMOUS M ARTIAL A RTISTS . . . . . 21

M YTHS AND M ISCONCEPTIONS . . . . . . . 25

Boards Don’t Hit Back. . . . . . . . . . . . . 25

Don’t Bring a Fist to a Knife Fight. . . 25

When Do I Learn Weapons? . . . . . . . . 26

Martial Arts and the Law . . . . . . . . . . 26

Bad Reenactments . . . . . . . . . . . . . . . . 26

Style™ . . . . . . . . . . . . . . . . . . . . . . . . . . 27

3. T ECHNIQUES . . . . . . . . . . . . 63

Learning Techniques . . . . . . . . . . . . . . 64

R EALISTIC T ECHNIQUES . . . . . . . . . . . . 65

Techniques That Aren’t . . . . . . . . . . . . . 66

Optional Rule: Targeted Attacks . . . . . . 68

“Go for the eyes!” . . . . . . . . . . . . . . . . . 72

Dirty Tricks . . . . . . . . . . . . . . . . . . . . . . 76

Using Your Legs . . . . . . . . . . . . . . . . . . 79

Optional Rule: Combinations . . . . . . . 80

C INEMATIC T ECHNIQUES . . . . . . . . . . . . 82

Secret Techniques . . . . . . . . . . . . . . . . . 86

Silly Techniques. . . . . . . . . . . . . . . . . . . 88

C REATING N EW T ECHNIQUES . . . . . . . . 89

Designing Realistic Techniques . . . . . 93

Designing Cinematic Techniques . . . . 94

Useless Techniques . . . . . . . . . . . . . . . 95

Designing Techniques

for Nonhumans . . . . . . . . . . . . . . . 95

5. S TYLES . . . . . . . . . . . . . . . . 140

Cinematic Abilities

and Prerequisites . . . . . . . . . . . . . 141

C OMPONENTS OF A S TYLE . . . . . . . . . . 141

Skills . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Techniques . . . . . . . . . . . . . . . . . . . . . 141

Perks . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Optional Traits . . . . . . . . . . . . . . . . . . 142

Style vs. Style. . . . . . . . . . . . . . . . . . . . 143

C HOOSING A S TYLE . . . . . . . . . . . . . . 144

Ultimate Styles . . . . . . . . . . . . . . . . . . 144

Self-Defense . . . . . . . . . . . . . . . . . . . . 145

Styles for Cops . . . . . . . . . . . . . . . . . . 145

Styles for Soldiers . . . . . . . . . . . . . . . 145

Streetfighting . . . . . . . . . . . . . . . . . . . 145

B UYING A S TYLE . . . . . . . . . . . . . . . . . 146

Styles Bought During

Character Creation . . . . . . . . . . . 146

4. C OMBAT . . . . . . . . . . . . . . . 96

E XPANDED C OMBAT M ANEUVERS . . . . . 97

Aim . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

All-Out Attack . . . . . . . . . . . . . . . . . . . . 97

Attack . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Change Posture . . . . . . . . . . . . . . . . . . 98

2. C HARACTERS . . . . . . . . . . . . 28

Power Level . . . . . . . . . . . . . . . . . . . . . 29

GURPS System Design

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STEVE JACKSON

Managing Editor

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PHIL REED

Marketing Director

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PAUL CHAPMAN

GURPS Line Editor

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SEAN PUNCH

Production Manager

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MONICA STEPHENS

Sales Manager

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ROSS JEPSON

Indexer

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NIKOLA VRTIS

WILL SCHOONOVER

Production Artist

❚

ANDY VETROMILE

GURPS FAQ Maintainer

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Page Design

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PHIL REED and ––––

JUSTIN DE WITT

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ALEX FERNANDEZ

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STÉPHANE THÉRIAULT

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Print Buyer

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MONICA STEPHENS

Research Assistance: Kim Bernard, Richard Johnson, Seth Milstein, and Brian Wasson

Lead Playtester: Jeff Wilson

Playtesters: Alex Borghgraef, Dave Brown, Jonathan Carryer, Giuseppe Chiapparino, Ken Clary, Doug Cole, Ciaran Daly, Andy Dokachev, Shawn Fisher,

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Special Thanks: Phil Dunlap, Jin Kazeta, Don Wagner, Old Sensei Don,

Kromm’s Victims (Marc Bourbonnais, Martin Bourque, Bonnie Punch, Mike Ryan, Stéphane Thériault, Robert Thibault),

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C ONTENTS

Art Director

Errata Coordinator

Learning New Styles During Play . . . 146

Creating New Styles . . . . . . . . . . . . . . 146

Combining Styles . . . . . . . . . . . . . . . . 147

The Training Sequence . . . . . . . . . . . . 147

H ISTORICAL AND M ODERN S TYLES . . . 148

Do vs. Jutsu . . . . . . . . . . . . . . . . . . . . 148

Aikijutsu . . . . . . . . . . . . . . . . . . . . . . . 149

Armatura. . . . . . . . . . . . . . . . . . . . . . . 150

Armatura Equestris . . . . . . . . . . . . . . 150

Bajutsu . . . . . . . . . . . . . . . . . . . . . . . . 151

Bando . . . . . . . . . . . . . . . . . . . . . . . . . 151

Bando Animal Forms . . . . . . . . . . . . . 151

Boxing . . . . . . . . . . . . . . . . . . . . . . . . . 152

Capoeira . . . . . . . . . . . . . . . . . . . . . . . 153

The Sweet Science. . . . . . . . . . . . . . . . 153

Chin Na . . . . . . . . . . . . . . . . . . . . . . . . 154

Dagger Fighting . . . . . . . . . . . . . . . . . 155

Escrima. . . . . . . . . . . . . . . . . . . . . . . . 155

“Kung Fu” . . . . . . . . . . . . . . . . . . . . . . 155

Fencing Styles . . . . . . . . . . . . . . . . . . 156

Stickfighting . . . . . . . . . . . . . . . . . . . . 157

Furusiyya . . . . . . . . . . . . . . . . . . . . . . 159

Sport Fencing . . . . . . . . . . . . . . . . . . . 160

Hapkido . . . . . . . . . . . . . . . . . . . . . . . 161

Hoplomachia . . . . . . . . . . . . . . . . . . . 161

Hsing I Chuan . . . . . . . . . . . . . . . . . . 162

External vs. Internal, Hard vs. Soft. . . 162

Hung Gar Kung Fu

(Tiger-Crane Style) . . . . . . . . . . . . 163

Hwa Rang Do . . . . . . . . . . . . . . . . . . . 163

Jeet Kune Do . . . . . . . . . . . . . . . . . . . 164

Martial-Arts Uniforms . . . . . . . . . . . . 165

Judo. . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Jujutsu. . . . . . . . . . . . . . . . . . . . . . . . . 166

Kajukenbo . . . . . . . . . . . . . . . . . . . . . 168

Kalaripayit . . . . . . . . . . . . . . . . . . . . . 168

Karate . . . . . . . . . . . . . . . . . . . . . . . . . 169

Marma . . . . . . . . . . . . . . . . . . . . . . . . . 169

Kempo. . . . . . . . . . . . . . . . . . . . . . . . . 172

Kenjutsu . . . . . . . . . . . . . . . . . . . . . . . 173

Knightly Mounted Combat . . . . . . . . 175

Armed Styles . . . . . . . . . . . . . . . . . . . . 176

Kobujutsu . . . . . . . . . . . . . . . . . . . . . . 178

Kuntao . . . . . . . . . . . . . . . . . . . . . . . . 178

Kusarijutsu . . . . . . . . . . . . . . . . . . . . . 179

Kyujutsu . . . . . . . . . . . . . . . . . . . . . . . 179

Longsword Fighting. . . . . . . . . . . . . . 180

Archery. . . . . . . . . . . . . . . . . . . . . . . . . 181

Masters of Defence

Weapon Training . . . . . . . . . . . . . 182

Military Hand-to-Hand . . . . . . . . . . . 182

The Purpose of Military

Hand-to-Hand. . . . . . . . . . . . . . . . 184

Muay Thai. . . . . . . . . . . . . . . . . . . . . . 185

Naginatajutsu . . . . . . . . . . . . . . . . . . . 186

Pa Kua Chuan . . . . . . . . . . . . . . . . . . 187

Polearm Fighting. . . . . . . . . . . . . . . . . 187

Pak Hok . . . . . . . . . . . . . . . . . . . . . . . 188

Pankration . . . . . . . . . . . . . . . . . . . . . 188

Pentjak Silat . . . . . . . . . . . . . . . . . . . . 189

Mixed Martial Arts . . . . . . . . . . . . . . . 189

Silat Traditions . . . . . . . . . . . . . . . . . . 190

Pollaxe Fighting . . . . . . . . . . . . . . . . . 191

Praying Mantis Kung Fu . . . . . . . . . . 191

Quarterstaff . . . . . . . . . . . . . . . . . . . . 192

Staff Fighting. . . . . . . . . . . . . . . . . . . . 192

Savate . . . . . . . . . . . . . . . . . . . . . . . . . 193

Savate Rankings . . . . . . . . . . . . . . . . . 193

Shaolin Kung Fu . . . . . . . . . . . . . . . . 194

Shortsword Fighting . . . . . . . . . . . . . 195

Shurikenjutsu . . . . . . . . . . . . . . . . . . . 195

Shaolin Traditions . . . . . . . . . . . . . . . 195

Spear Fighting . . . . . . . . . . . . . . . . . . . 196

Sojutsu . . . . . . . . . . . . . . . . . . . . . . . . 197

Sumo . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Sumo Traditions . . . . . . . . . . . . . . . . . 198

Sword-and-Buckler Play . . . . . . . . . . 199

Sword-and-Shield Fighting . . . . . . . . 199

Tae Kwon Do . . . . . . . . . . . . . . . . . . . 200

T’ai Chi Chuan . . . . . . . . . . . . . . . . . . 200

Taihojutsu . . . . . . . . . . . . . . . . . . . . . . 201

Taijutsu . . . . . . . . . . . . . . . . . . . . . . . . 202

Ninja and Ninjutsu. . . . . . . . . . . . . . . 202

Wing Chun . . . . . . . . . . . . . . . . . . . . . 203

Wrestling. . . . . . . . . . . . . . . . . . . . . . . 204

Wushu . . . . . . . . . . . . . . . . . . . . . . . . . 206

F ICTIONAL S TYLES . . . . . . . . . . . . . . . 207

Death Fist . . . . . . . . . . . . . . . . . . . . . . 207

Dragon-Man Kung Fu . . . . . . . . . . . . 208

Force-Swordsmanship. . . . . . . . . . . . 209

Freefighting . . . . . . . . . . . . . . . . . . . . 210

Smasha . . . . . . . . . . . . . . . . . . . . . . . . 210

T RAINING E QUIPMENT . . . . . . . . . . . . 232

Special Arrows . . . . . . . . . . . . . . . . . . 232

Gloves . . . . . . . . . . . . . . . . . . . . . . . . . 233

Targets. . . . . . . . . . . . . . . . . . . . . . . . . 233

Training Weapons . . . . . . . . . . . . . . . 234

Weights . . . . . . . . . . . . . . . . . . . . . . . . 234

Armor . . . . . . . . . . . . . . . . . . . . . . . . . 234

7. C AMPAIGNS . . . . . . . . . . . . 235

C INEMATIC VS . R EALISTIC

C AMPAIGNS . . . . . . . . . . . . . . . . . 236

The Realistic Campaign . . . . . . . . . . 236

The Cinematic Campaign . . . . . . . . . 238

Special-Case NPCs . . . . . . . . . . . . . . . 238

Hybrid Campaigns. . . . . . . . . . . . . . . 239

C AMPAIGN S ETTING . . . . . . . . . . . . . . 241

Classical Greece and Rome. . . . . . . . 241

Historical China . . . . . . . . . . . . . . . . . 242

Historical Japan . . . . . . . . . . . . . . . . . 243

Post-Classical Europe . . . . . . . . . . . . 244

Fantasy . . . . . . . . . . . . . . . . . . . . . . . . 245

Modern Day . . . . . . . . . . . . . . . . . . . . 246

Post-Apocalypse . . . . . . . . . . . . . . . . . 246

Science Fiction. . . . . . . . . . . . . . . . . . 246

C AMPAIGN T HEMES . . . . . . . . . . . . . . . 247

The Quest for the Master . . . . . . . . . . 248

6. W EAPONS AND

E QUIPMENT . . . . . . . . . . . 211

W EAPONS . . . . . . . . . . . . . . . . . . . . . . 212

Cross-Cultural Encounters. . . . . . . . . 212

Combination Weapons . . . . . . . . . . . . 214

Weapons of Quality. . . . . . . . . . . . . . . 216

Hidden Weapons . . . . . . . . . . . . . . . . . 218

Unorthodox Attacks . . . . . . . . . . . . . . 220

Silly Weapons . . . . . . . . . . . . . . . . . . . 223

Improvised Weapons . . . . . . . . . . . . . 224

Melee Weapon Table . . . . . . . . . . . . . 226

Muscle-Powered Ranged

Weapon Table. . . . . . . . . . . . . . . . 231

G LOSSARY . . . . . . . . . . . . . . . . 251

B IBLIOGRAPHY . . . . . . . . . . . . 252

I NDEX . . . . . . . . . . . . . . . . . . 254

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C ONTENTS

I NTRODUCTION

Say “martial arts” and most people start talking about

karate, katanas, and ninja . . . or kung fu (or the old Kung Fu

TV series) . . . or Bruce Lee. Non-Asiaphiles will share their

views on such sports as boxing and fencing . . . or no-holds-

barred fighting . . . or good old rasslin’ (“Pro wrestling is

real!”). And Europhiles will bring up pankra-

tion in ancient Greece, English “Masters of

Defence,” and the deadly truth about the rapi-

er, pausing only to lament that Europe gets

short shrift with martial-arts fans – or to

recruit you as a live-steel reenactor.

Sport vs. combat, unarmed vs. armed,

movies vs. reality, Asia vs. everywhere else –

the truth about the martial arts can be con-

fusing. Who’s right? The answer is “All of the

above.”

GURPS Martial Arts examines the fight-

ing arts of the world, or at least a good-sized

sample chosen from the past three millennia.

It doesn’t let fiction color reality or realism

stand in the way of a good story – such deci-

sions are left to the GM. Of course, because many martial

arts originated with the warriors who carved out the world’s

great empires, and the best-kept records are those of the

Asian and European powers, there is an almost inevitable

bias toward the fighting styles of those regions. But Martial

Arts does its best to venture outside that territory; to bal-

ance the historical with the modern; to give equal time to

combat, sport, and art; and, especially, to dispel myths.

The biggest myth laid to rest is that the martial arts aren’t

appropriate for every genre and setting – that they only

belong in historical games and those based on action

movies. Martial Arts definitely supports cinematic games –

of the Hollywood, Hong Kong, and Tokyo varieties – while

also presenting historically accurate styles, but it doesn’t

assume a genre or a set-

ting. You can use it to give

fantasy warriors the depth

of knowledge and ability

that spells give wizards . . .

or for hand-to-hand com-

bat in a gritty modern

technothriller . . . or for

futuristic swashbuckling

with force swords.

So grab your katana,

rapier, or iklwa – or just

bandage your knuckles.

Say a prayer to Allah,

scream a kiai, or psyche

yourself up with a little

shadowboxing. You won’t know who’s out there until the

arena door opens – but with Martial Arts, you’ll be ready!

Chain Whip

P UBLICATION H ISTORY

This is the third edition of GURPS Martial Arts. It was

inspired by GURPS Martial Arts, Second Edition (1996),

which itself combined GURPS Martial Arts, First Edition

(1990) with GURPS Martial Arts

Adventures (1993). Other important

GURPS Third Edition supplements were

GURPS Japan, Second Edition (1999) for

Japanese fighting styles and equipment;

GURPS Low-Tech (2001) for weapons in

general; and GURPS Swashbucklers,

Third Edition (1999) for European swords

and swordplay. The authors also wish to

thank Volker Bach for access to two arti-

cles originally published in Pyramid mag-

azine: “The Western Way of War” and

“Vechten Unde Schirmen: European

Martial Arts Before The Rapier.”

The current volume is a new work, not

a revision of any of the above – they served

primarily as sources of concepts, references, and terminolo-

gy, not text.

Longsword

A BOUT THE A UTHORS

Peter V. Dell’Orto started roleplaying in 1981, with

Dungeons & Dragons, and has played GURPS since Man

to Man. He has been active as a GURPS playtester, editor,

and contributing author since 1996, and has written many

GURPS articles for Pyramid magazine. Peter is an enthusi-

astic martial artist who has trained in places as varied as a

McDojo, a private instructor’s garage, and a hardcore gym.

He has practiced Goju-ryu and Shorin-ryu Karate, T’ai Chi,

Kali Silat, and Wing Chun, and has trained in at least a

dozen other styles. His most recent studies have been in

Kachin Bando and Kendo, and fighting amateur in Shooto.

His other hobbies include fitness, reading, painting minia-

tures, and music. Born and raised in New Jersey, he present-

ly lives and trains in Niigata, Japan.

Sean “Dr. Kromm” Punch set out to become a particle

physicist and ended up as the GURPS Line Editor. Since

1995, he has compiled the two GURPS Compendium vol-

umes, written GURPS Wizards and GURPS Undead, edit-

ed or revised over 20 other GURPS books, and master-

minded rules for dozens more. Most recently, he created the

GURPS Basic Set, Fourth Edition with coauthor David

Pulver and wrote GURPS Powers with coauthor Phil

Masters. Sean has been a fanatical gamer since 1979. His

non-gaming interests include cinema, computers, and wine.

He lives in Montréal, Québec with his wife, Bonnie. They

have two cats, Banshee and Zephyra, and a noisy parrot,

Circe.

I NTRODUCTION

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