Chen Lisheng Linaje Wudang Xuanwu Pai
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Illusionists: Illusionists Are a Special Class of Magic Light
WARLOCK Rules for the Universe of 1999-2000 Credits Original Rules Robert Cowan; Basic Combat System Dave Clark; Basic Magic System Kenneth M. Dahl; Basic Clerical System Mike Lowry and Pat Shea; Thievish Rules Nick Smith; Other Systems and Rules Previous Version Bart Hibbs Current Version Mike Riley; Editor who actually do things in the world of your referee, but the Introduction players control them. We suggest you have only a small Several years ago, the first copies of a new game called number of player characters per player. In our games we Dungeons and Dragons appeared on the market. Fantasy allow any player to involve any 2 of his characters in any fans and gamers in general were enthralled at the one adventure or expedition. Whether these player possibilities. Most of them became hooked on the game, due characters are Fighters or Elves, Clerics or Dwarves, to its unusual and imaginative nature. You could actually do remember that in their own world, they are people, and treat unusual things: slay dragons, rescue the downtrodden, and them accordingly. just grab loot. Characteristics: There are eight things that are When our group first started playing the game, our determined for each character at his or her creation: overall reaction was that it had great ideas, "but“but maybe Strength, Intelligence, Wisdom, Constitution, Dexterity, we should change the combat system, clarify the Magic, and Agility, Charisma, and Size. These are called redo the monsters".monsters”. Warlock is not intended to ‘characteristics’. See the rules on ‘Creating Player replace D&D, and, indeed would not exist without that Characters’ for more. -
Campus Shorin-Ryu Karate and Kobudo Club and Also Took Part in Some Clinics at the Saratoga Wyoming Dojo
BUSHIDO - THE WAY OF THE WARRIOR SEIYO no SHORIN-RYU KARATE KOBUDO KAI July, 2011 W. Dan Hausel, Soke & Eric J. Hausel, Soke-Dai v.8, no.7 Newsletter of SEIYO SHORIN-RYU CENTRAL HOMBU “You cannot help people permanently by doing for them, what they could and should do for themselves." Abraham Lincoln Training Calendar PUNJAB KARATE TEAM – July 17th – August 1st, 2011. A group of martial artists from India scheduled to train at the Arizona Hombu. Utah Gassuku – August 6th, 2011. East Canyon Resort, Park City, Utah (August 6th, 2011). Anniversary Clinic University of Wyoming, Laramie, Sept 30th to Oct. 2nd. JULY DOJO KUN Karate ni sente nashi - There is no first attack in karate NAGINATA Naginata is one of many weapons taught at the Arizona School of Traditional Karate (Seiyo Hombu). Many of our members have already been introduced to this weapon. The naginata is rarely seen in most martial arts schools, although it was relatively common on the Japanese battlefields during the reign of the samurai. Certifications (menkyo) in naginata are typically given in Koryu dojo, although there are modern Gendai dojo that offer dan ranks in naginata-jutsu. Rich Mendolia prepares to attack Ryan Harden during naginata training. My introduction to naginata (なぎなた, 薙刀) occurred a few decades ago at the JKI Hombu. When I trained at the JKI Hombu in this art, most wore a white or black uwagi (jacket) or keikogi hakama as naginata is a very traditional Japanese art. For those of you who have not trained in hakama, it is a clumsy piece of clothing particularly for men, as it is bloused, pleated pants that is very easy to trip over until one gets use to it. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
So-Jutsu Ou L'art De La Lance
SO-JUTSU OU L'ART DE LA LANCE a lance japonaise est aussi vieille que le Japon lui-même. La légende nous rapporte qu'Izanagi, dieu mâle, lança du haut du ciel sa lance dans la mer, créant ainsi le Japon. Cette lance par- ticulière (Tama-Boko) servit de pilier central dans la maison des dieux. La lance est à l'image du sabre un sym- bole du pouvoir dans la religion snin- to. Probablement d'origine chinoise, la plus ancienne retrouvée sur le terri- toire nippon appartient à la catégorie des hoko dont la plupart des lames étaient embouties sur une perche. Avec l'apparition des guerres à pied durant l'époque sengoku (1330- 1393), on vit apparaître de nombreu- ses écoles d'arts martiaux spécialisées dans le maniement de la lance (yari Ryu, Kenko Ryu, Shimou Ryu. tel: jutsu). A l'époque edo, durant les années - Somashiro Yoshimoto Jion du Durant l'époque Muromachi Genwa (1615-1624) _on vit naître les Nem-Ryû ; (1390-1570) et pendant les années écoles Hikita, Shô O Shinden Muso - Lizara Choisai Yamashiro- Ten Bun (1532-1555) apparaissent le et Betsuden. Durant les années No-Kami lyenao du Tenshin-Seidan- Shizo Ryu, le San Mi Icni Jo Ryu, le Kwan-Heï (1624-1644) ce furent Ta- Ryu ; Hachi Jo Ryu. Pendant les années Ei- neda Ryu, 0 Shima Ryu, Kachi Hara - Aisu Ikyo du In-Ryu ; roku (1558-1570) naît la fameuse Ryu, Kyô Sô Ryu, Muhen Ryu et - Chûjô Hyôgô-No-Suke Naga- école de la « queue du tigre » : Kobi Hozoin Ryu qui eurent une redouta- hide ; Ryu. -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
Estonia 小太刀級合格者 2007
Notification １．About the authorization of the qualification The International Sportschanbara Association approves and issues all qualifications. There is no effect in the qualification which the other organization issued. ① About the qualification of the SENSEI(instructor) The qualification is as follows. SHIHAN SHIHANDAI Instructor ClassA，ClassB，ClassC ② About the qualification of the DAN and KYU The kind to authorize． KIHONDOSA，KODACHI，CHOKEN FREE，CHOKEN MOROTE NITO，YARI，NAGINATA，NAGAMAKI，BO，JYO，TANTO，TATEKODACHI KODACHIGOSONNDO－KATA，TAMESHIGIRI，KODACHI－TOHO etc． ③ About the qualification of the REFEREE The kind to authorize． KIHONDOSA 1kyu referee KODACHI referee CHOKEN referee ISYU(YARI,BO,NAGAMAKI,JYO,NITO Mix) referee INTERNATIONAL referee ２．About the application of the qualification ① DAN and KYU claimant SHIHAN，SHIHANDAI，Instructor ClassA，ClassB They can do the test of their SPOCHA student. Then, they can apply to the International SPOCHAN Association directly. Then, a qualification is authorized when paying a registration fee for the International SPOCHAN Association . Then, an authorization document is sent. ③ The qualification of the SENSEI, too, is the same system. ④ The REFEREE An examination of the International SPOCHAN Association authorization must be taken. When wanting to implement a test, apply beforehand. ３．About the establishment of the branch． The International SPOCHAN Association admits the following branch establishment and makes an authorization branch. ① Country ② The area of the public administration which the country admits EX, State, Prefecture, City, Ward, Village etc. As for each unit, more than one branch doesn't admit. ４．About the application of the branch． ① Country ・Have the qualification of the SENSEI. ・Apply to the International SPOCHAN Association president directly and be approved. -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
(Xv), and (Xix) of the Trademark Act Number of Related Rights, Etc.: Trademark Registration No
Date April 17, 2018 Court Intellectual Property High Court, Case Number 2017(Gyo-Ke)10078 First Division - A case in which the court held, based on the premise that "other person", as stipulated in Article 4, paragraph(1), items(x), (xv), and (xix) of the Trademark Act, applies when said other person is different from the person whose source is shown in a trademark, and the premise that "other person," as stipulated in Article 4, paragraph(1), item(viii) of the same Act, applies when said other person is different from the person who is shown in a trademark, that in the present case, the "other person" as claimed by the plaintiff cannot be acknowledged as being different from the person whose source is shown in the Trademark. References: Article 4, paragraph(1), items(viii), (x), (xv), and (xix) of the Trademark Act Number of related rights, etc.: Trademark Registration No. 5714462, Invalidation Trial No. 2016-890023 Summary of the Judgment The defendant (individual) was granted registration for a trademark consisting of the standard characters, "戸田派武甲流薙刀術 (Toda-ha Buko-ryu Naginatajutsu)" (hereinafter referred to as the "Trademark"). The plaintiff (individual) filed a demand for trial for invalidation of the Trademark by claiming that the registration of the Trademark falls under Article 4, paragraph(1), items(viii), (x), (xv), and (xix) of the Trademark Act, but the JPO rendered a decision not to complete the demand for trial. In the present case, the plaintiff requested for revocation of the above the JPO decision. The court rendered a judgment to the effect that the above the JPO decision is appropriate as per the conclusion, and dismissed, with prejudice, the plaintiffs claim as described below. -
Ritual Formalism and the Intangible Body of the Japanese Koryū Budō Culture
Original scientific paper Received: 27 January 2014 Accepted: 14 March 2014 DOI: 10.15176/vol51no109 UDK 796.8(520) Ritual Formalism and the Intangible Body of the Japanese Koryū Budō Culture LEO RAFOLT Faculty of Humanities and Social Sciences, Zagreb koryū budō gendai budō The paper presents an analysis of the interrelationkoryū bud betweenō the traditional Japanese martial arts culture ( ) and its modern correspondents ( ). The analysis is based on the idea of inscribing on UNESCO's list of intangible cultural heritage, as Japan’s oldest martialkoryū cultural asset. Initial proposals to do so were put forward in the last ten years by some Japanese martial arts organizations, budōe.g. Nippon Budokan, especially by its legacy division. The paper interprets the ritual-like and pattern-like formalism of the Japanese modern and traditional legacy, especially in the context ofbud “Japaneseō nationalist history” after the Meiji Restoration. Emphasis is therefore put on the structures of movements that pre-exist in the ritual practices of the classical culture and are still present in modern martial arts systems, because of their hereditary and pre-formalized performativity. Key words: koryū budō, gendai budō, ritual, kata, Japanese martial arts The Japanese were the most alien enemy the United States had ever fought in an all-out struggle. In no other war with a major foe had it been necessary to take into account such exceedingly different habits of acting and thinking […]. Conventions of war which Western nations had come to accept as facts of human nature obviously did not exist for the Japanese. It made the war in the Pacific more than a series of landings on island beaches, more than an unsurpassed problem of logistics. -
Sengoku Revised Edition E-Book
SENGOKUSENGOKUTM CHANBARA ROLEPLAYING IN FEUDAL JAPAN Revised Edition CREDITS Authors: Anthony J. Bryant and Mark Arsenault Michelle Knight, Charles Landauer, Bill Layman, Greg Lloyd, Fuzion Roleplaying Rules: David Ackerman-Gray, Bruce Paradise Long, Steve Long, Jonathan Luse, Kevin MacGregor, Harlick, Ray Greer, George MacDonald, Steve Peterson, Mike Shari MacGregor, Paul Mason, John Mehrholz, Edwin Pondsmith, Benjamin Wright Millheim, Mike Montesa, Dale Okada, Arcangel Ortiz, Jr., Sengoku-specific Rules: Mark Arsenault Ken Pryde, Mauro Reis, David Ross, Arzhange Safdarzadeh, Project Developer & Revisions: Mark Arsenault Rick Sagely, Janice Sellers, Matt Smith, Susan Stafford, Editorial Contributions: David Carroll, Dorian Davis, Paul Patrick Sweeney, Simon Taylor, Andy Vetromile, Marissa Mason, Andrew Martin, Sakai Naoko Way, Paul Wilcox, Chris Wolf. Cover Illustration: Jason A, Engle Additional Thanks: To Paul Hume, and to everyone on the Interior Illustrations: Paul Abrams, Mark Arsenault, Heather Sengoku mailing list for their suggestions and encouragement, Bruton, Nancy Champion, Storn Cook, Audrey Corman, Steve especially Dorian Davis, Anthony Jackson, Dave Mattingly, Goss, John Grigni, Kraig Horigan, Bryce Nakagawa, J. Scott Mike Montesa, Simon Seah, and Paul Wilcox. Reeves, Greg Smith, Tonya Walden Revised Edition Thanks: To Peter Corless for helping us real- Layout Design & Graphics: Mark Arsenault ize the “new” dream, Sakai Naoko and David Carroll for edi- Cartography: Mark Arsenault & Anthony J. Bryant torial contributions, Kurosawa Akira and Mifune Toshirô for Playtesters: Margaret Arsenault, Mark Arsenault, Andrew feuling the fire, Margaret for continued support, and to all the Bordner, Theron Bretz, Matt Converse-Willson, Josh Conway, fans for keeing Sengoku alive! Mark Craddock, Dorian Davis, Paul Delon, Frank Foulis, Scott Sengoku Mailing List: To join the Sengoku e-mail list just Galliand, Steve B. -
Budo Q&A 2021
Budo Q&A 2021 March/April/May/June By Louis Vitalis Introduction • Budo is more than techniques training; • Shape your character, knowledge, position within (budo)society • A pandemic shouldn’t stop us from training those other aspects • So let’s ask our highest grade European sensei! Louis Vitalis sensei – kyoshi 7th dan kendo, -- kyoshi 7th dan jodo, -- kyoshi 7th dan iaido Guidelines for the Q&A • MUTE! So we can all enjoy Vitalis sensei’s talk • Questions: • Put them in the Google Form so we add them to the list for Vitalis sensei • Slides will be shared after the meeting, please handle with care Enjoy, learn, train! KATEI ENMAN 家庭円満 • Katei = Household, Ones home • Enman = Peaceful • Although this is not specific Budo terminology, it’s the first concept that my Kendo teacher Edo Kokichi taught me in 1979, during my second visit to Japan. • Wether your target in Budo is winning gold medals or obtaining higher dan grades, you will not be successful unless your home situation is stable. Additional stress will make it more difficult to focus on Budo. GEI NI ASOBU 藝於游 Kodokan building in Mito City, Ibaraki Ken GEI NI ASOBU 藝於游 • Gei = Art (as in Martial Art) • Asobu = Enjoy • The Kodokan was a kind of General University, where Samurai of the Region received Education in both Martial Arts and other arts and sciences. This saying was favoured by the 9th Daimyo of the Mito Han, Tokugawa Nariaki (1800-1860). • By this time, Martial Arts were no longer needed to kill an enemy, but it was already shifting from Jutsu to Do as we now know it.