4th Edition - Martial Arts.pdf
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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
❚
STEVE JACKSON
Managing Editor
❚
PHIL REED
Marketing Director
❚
PAUL CHAPMAN
GURPS
Line Editor
❚
SEAN PUNCH
Production Manager
❚
MONICA STEPHENS
Sales Manager
❚
ROSS JEPSON
Indexer
❚
NIKOLA VRTIS
WILL SCHOONOVER
Production Artist
❚
ANDY VETROMILE
GURPS
FAQ Maintainer
❚
Page Design
❚
PHIL REED and
––––
JUSTIN DE WITT
❚
ALEX FERNANDEZ
–––––––
STÉPHANE THÉRIAULT
❚
Print Buyer
❚
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,
Scott Harris, Leonardo Holschuh, Dan Howard, Rob Kamm, Jonathan Lang, Jason Levine, Norman Lorenz, Phil Masters, Antoni Ten Monros, and Emily Smirle
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),
and Peter’s Victims (Andy Dokachev, Jessica Dokachev, Mike Dokachev, Aaron Falken, John Milkewicz, Sean Nealy, and Tom Pluck)
GURPS
, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated.
Pyramid
and the names
of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated,
or used under license.
GURPS Martial Arts
is copyright © 1996, 1998, 2007 by Steve Jackson Games Incorporated. All rights reserved. Printed in Thailand.
The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal,
and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage
the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.
2
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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.
Errata.
Everyone makes mistakes, including us – but we do our best to
fix our errors. Up-to-date errata sheets for all
GURPS
releases, including
this book, are available on our website – see below.
Internet.
Visit us on the World Wide Web at
www.sjgames.com
for errata, updates, Q&A, and much more. To discuss
GURPS
with
SJ Games staff and fellow gamers, come to our forums at
forums.sjgames.com
. The
GURPS Martial Arts
web page is
www.sjgames.com/gurps/books/martialarts
.
Bibliographies.
Many of our books have extensive bibliographies, and
we’re putting them online – with links to let you buy the books that interest
you! Go to the book’s web page and look for the “Bibliography” link.
Rules and statistics in this book are specifically for the
GURPS Basic
Set,
Fourth Edition.
Page references that begin with B refer to that book, not
this one.
C
ONTENTS
3
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.
4
I
NTRODUCTION
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