system of fighting techniques; the phrase is not limited to styles which contain high kicks or purely Oriental fighting tech- niques. With the introduction of Oriental Adven- tures and its new martial arts system, a new vista was opened to the character who wanted to do more than swing a sword. PCs now have the option of not only choosing their weapon, but also deciding how to use it. Likewise, PCs are now able to choose not only which martial arts maneuvers they wish to practice and develop — they are also able to decide which formalized style they wish to learn. Unfortunately, Oriental Adventures only gives four examples of martial arts styles to use (page 101). Admittedly, it is simple enough for a player or DM to generate his own style, but these styles often have the same con- sistency as demons have when created from random generation charts. Also, what if a player wants to base a martial art on a style already in existence and has no idea what the style consists of? To alleviate this problem, the following article lists several martial arts still in practice today. A number of styles listed herein have developed variant or synonymous arts under different names. As these differ- ences are minor in most cases, the statis- tics for these styles are listed insofar as they relate to the mother art in its basic form. Of course, there are as many styles of martial arts in the world as there are grains of sand in a sand castle. Conse- quently, other existing styles can be applied to the AD&D® game as well. This article describes a dozen common martial arts styles for monks and other charac- ters. Despite the fact that some of the styles were developed by different civilizations, at different times, and for different pur- poses, many share a number of similar maneuvers (which only goes to show that there are only so many ways in which a body can move). Thus, if a player happens to like savate but is discouraged because it was developed in France, there is no rea- son that a martial artist could not have developed the same style in an Oriental campaign region. Also, if something about the art bothers the player (for example, the player prefers weapon use with his PC’s martial art), feel free to add that particular item to the art. These descrip- tions provide only the basic styles. It is up to the DM to flesh them out to meet spe- cific needs.

by Wayne Goldsmith plateaus, French sailors brawling on foggy Aikido (eye-kee'-doe) European wharfs. and Dan Salas One of the few soft, Japanese martial Qu’avez-vous dit? arts, aikido is a non-combative art which Contrary to common belief, martial arts relies on defense and flexibility. The roots Martial arts: The phrase conjures up are not the sole property of the Orient. of aikido are founded in Zen Buddhism, images of swirling combatants in flowing Nearly every civilization has developed its which teaches a philosophy of nonvio- robes, black belts smashing boards with own brand of martial arts. As a term, lence. Aikido bases its maneuvers on the their bare fists, monks meditating on “martial art” applies to any formalized ultimate goal of neutralizing — not

46 J UNE 1987 1 destroying — the opposing force. Aikido who had a need for protection but were Shotokan (sho'-to-kahn) specialists use circular techniques to redi- not allowed to carry weapons. Since they This style of karate uses linear attacks rect the opponent’s maneuvers and turn could legitimately carry farming tools in more than circular motions. Strong his own force against him. To accomplish public, farmers created a style that made stances are learned (see Movement 3, this, an aikido practitioner is trained to use of these tools in a combative form. Oriental Adventures, page 103), whereas move in the direction of a push and to give The walking stick became the bo stick, the flashy, high kicks are discouraged. Other- in to a pull. Fighting an aikido expert has grain flail became the nunchaku, the wise, this style is similar to karate as been likened to fighting water, which gives churn handle became the tui-fa, and the detailed in Oriental Adventures. in to an opponent’s strikes, then surrounds hay blade became the kama. The sai, him from the sides. which resembles several blacksmith tools, Sumai (soo'-my or s’my) Aikidoists extend the art into their life was specifically designed to catch and lock Sumai, or sumo wrestling, is the national philosophy. Their behavior is flexible, a sword. There were originally no schools sport of Japan. An ancient wrestling art, easy-going, and generally nonviolent. of kobu-jutsu; instead, the peasants would sumai is practiced by men of large size gather together at night to practice their (rikishi) who use their bodies to push and Escrima (es-kree’-ma) art and trade hard-won knowledge of throw their opponents. As a sport, sumai This ancient and incredibly vast Filipino proper combat techniques. Needless to requires a rikishi to force an opponent art, also known as kali or arnis, stresses say, the disclosure of this art would mean onto the mat or out of the ring. Sport weapons use as much as unarmed combat. the further restriction of the meager wrestlers are not taught the punches and Together, these techniques make an effec- weapons the farmers carried. As a result, kicks which were originally included in tive combination of attacks. An escrima kobu-jutsu practitioners operate in a high- ancient sumai. student initially trains with jo sticks to ly clandestine manner and do not openly Combatant sumai in its ancient form, achieve the intricate striking patterns on display their art except in a life-or-death however, relies on sweeps, stunning slaps, which the style is founded. As the stu- situation. and throws to crush opponents. Combat- dent’s skill grows, the sticks are replaced ive sumai also allows iron fist and crush- with short swords and daggers. Only after ing blow maneuvers (Strike 1 and 2) as mastering these weapons is the student Ninjutsu (nin-joot'soo) shown on page 103 of Oriental Adven- taught how to apply the same techniques This is the unarmed combat art of ninja tures. This combination of fighting tech- with empty hands and feet. characters. It is commonly employed as a nique with such sheer mass results in a Though the principal unarmed attack last resort, however, since ninjas prefer to lethal and often underrated martial arts method is the strike, escrima uses palm fight with weapons. style. Although sumai was traditionally strikes, finger jabs, and elbow strikes The art is usually used to get an oppo- limited to male practitioners, there is no more than closed-fist punches. The art nent out of the way so the ninja can pass reason that women rikishi could not exist also mixes these hand and arm attacks by or escape. Throws and nerve strikes in an AD&D game campaign. with a variety of low kicks and grappling are more effective for this purpose than Sumo wrestlers are unusually tall and techniques. The end result is a remarkably regular kicks and punches. Maneuvers powerfully built, and are selected for their adaptive combat skill. Accomplished escri- from Movement and Mental and Physical size and physique. They are trained and madors should be allowed to use the jo, Training (Table 70, page 103, Oriental conditioned to reach gargantuan propor- stick, dagger, and short sword in any Adventures) also show the need for practi- tions in stature and power. Rikishi are not combination without any penalty to hit or cal applications in tight situations. the fat slobs so often portrayed in modern damage (i.e., single dagger, double stick, media; rather, they are highly skilled war- sword and dagger, etc.). They should also Pentjak-silat (pent-zhok see'-lot) riors practicing a devastating style. be permitted to perform the special The national defense sport of Indonesia Because of the art’s emphasis on weight maneuver “weapon catch” with any of the has its base in combat forms of the 6th and size, sumo wrestlers increase in style’s weapons. century A.D. Most schools train their stu- strength and constitution as cavaliers do Escrima is commonly known as a stick- dents (pandeka) to be proficient with both (see Unearthed Arcana). Bushi characters fighting art. Experts skilled in speed the scimitar and whip. The pandeka do are the most common practitioners of this (Movement 6) are able to use this maneu- not need weapons to be formidable, how- style. ver while wielding a jo stick in each hand. ever. Their flowery, leaping art can send devastating blows to an opponent from Hwarang-do (wa-rang’ do) any angle and from any position. Pandeka Thai kick boxing (tie) This style combines a wide variety of have developed ground fighting to deadly Thai kick boxing (muay thai) was devel- techniques into a complete and diversified levels; they actually prefer taking an oppo- oped in Thailand to supplement the pike system. For this reason, there is no princi- nent to the ground (usually landing on top and sword in close-range fighting. There pal method or attack; likewise, there are of them) and finish the fight from that are no set forms (kata) to muay thai, and 15 special maneuvers to be learned. position. Pandeka do not need to be stand- training consists of constant sparring and Hwarang-do developed in a warring ing to perform any of their special abilities heavy bag work. Muay thai is a brutal but nation and was used by warriors in com- and can leap from a prone position. highly effective art. Thai boxers use their bat situations. The style’s philosophy feet and hands to block and push, but the stresses loyalty, courage, and willpower. Savate (sah-vat') real power lies in their shin and elbow Specialists are proud (though not always The national sport of France, savate is strikes (which slam into opponents with arrogant) in daily life and fierce in combat. the only martial arts style native to Europe devastating force). Thai kick boxing is not Monks do not like this style because of that still exists in both sport and combat- a pretty style, but it has become the single its emphasis on violent behavior. Hwarang- ive form. Savate was created by street most popular spectator sport in Thailand. do is practiced mainly by bushi characters brawlers in the 17th century and was Furthermore, its champions are seen as of high social rank. This aristocratic nat- systematized in post-Napoleonic France. national heroes. ure allows hwarang-do practitioners to Classic savateurs studied with the fencing gain honor points for having court profi- foil or, when weapons were legally barred, White crane ciencies as samurai characters do. the walking cane. These weapons were This style of kung-fu was inspired by the used to supplement close melee combat, behavior of cranes and apes. Pressure Kobu-jutsu (ko'-boo joot'-soo) but after using their long-range kicks to points are the main targets of the foot and This Okinawan art specializes in weap- close the gap, there was usually no need hand strikes, making this art highly effec- ons. It was developed by local farmers for the savateurs to continue the fight. tive against humans and humanoids. 2 D RAGON 47 Wing chun (ing joon) arms allow practitioners to employ the Oriental Adventures. The main weapons This style of kung-fu concentrates on locking block. Also, the martial artist’s AC of wing chun are the bo stick and the hand and arm maneuvers. Basically a soft becomes one point lower per two levels dagger. martial arts style, wing chun allows two gained by the practitioner (to a minimum attacks per round due to its double usage AC of 2). Thus, a monk has AC 6 at 1st and of these maneuvers; attacks double as 2nd level, AC 5 at 3rd and 4th level, and so defensive motions and defensive motions on, until the monk’s AC reaches 2 at 8th [Detailed and variant versions of some of double as attacks. and 9th level. Afterwards, the monk’s AC these martial arts will appear in future ® The intricate weaving patterns of the is determined by Table 21 on page 18 in articles in DRAGON Magazine. — Editor]

Table of Common Martial Arts Styles

Number Principal Special Name of attacks Damage AC attack maneuvers Weapons Aikido 1/1 1-4 6 Body Lock 1,2,3,4 None Move 3 Throw 1,2,3,4 Mental 1,3 Escrima 2/1 1-8 5 Body Kick 3 Short sword Lock 1,2,3,4 Dagger Movement 2,6 Jo stick Push 2 Throw 1,3 Weapon 1 Mental 2,3,4 Hwarang-do 2/1 1-6 None Kick 1 None Lock 1,2,3 Push 1,2 Strike 1 Throw 1,3 Vital area 1,2,3 Mental 1,2,4 Kobu-jutsu 2/1 Weapon +4 8 Weapon Weapon 1,2 Bo stick. Mental 1 Sai, Kama Nunchaku Tuifa Ninjutsu 2/1 1-8 7 Hand Lock 3 None Movement 2,5 Strike 1 Throw 1,3 Vital area 1,2 Mental 2,4 Pentjak-silat 2/1 1-8 6 Hand and Kick 1 Scimitar foot Lock1 Whip Move 1,2,5 Throw 1,2,3,4 Mental 4 Savate 2/1 1-8 8 Foot Kick 1,2,3 None Shotokan 2/1 1-8 8 Hand Kick 1 None Movement 1,3 Strike 1,2,3 Mental 1 Sumai 2/l l-6 7 Body or hand Movement 3 Push 1,2 Strike 1,2 Throw 1,3,4 Mental 1,5 Thai kick boxing 2/1 1-8 7 Legs and Kick 1,2,3 None arms Move 1 Strike 1 White crane 1/1 1-6 5 Hand or Kick 1 None foot Movement 6 Strike 1 Vital area 1,2,3,4 Mental 1 Wing chun 2/1 1-6 6 Hand Lock 2 Movement 6 Strike 1,2,3 Mental 1

48 JUNE 1987 3 area; to parallel the real-world Philippines, by Joseph R. Ravitts this should be a tropical archipelago adjoining the continent of Kara-Tur. There Kicks On the outskirts of the known world of are four subdivisions of the class; first, the Japanese samurai and Chinese monks however, a description of the characteris- of history lived the less-sophisticated peo- tics common to all members of the class is ples of the Orient (yet more civilized than in order. and the steppe barbarians). These civilizations had their own versions of Oriental culture and the martial arts. In the islands now The escrimador known as the Philippines, a cluster of The escrimador in an Oriental campaign Sticks related tribes did so well at developing is much like a cross between a bushi and a independent systems of self-defense that, monk. Escrimadores are always human. to this day, many practitioners of kung-fu They have 6-sided hit dice and use the and karate incorporate elements of Filipi- same attack rate and combat tables as Introducing no combat into their styles. Filipino mar- bushi (apart from special attacks, which tial arts have many sub-styles and many are described later). Escrimadores also escrima to names. For simplicity’s sake, all references resemble monks in unarmed combat and made herein are to one of the better- in their restrictions on wearing armor. Oriental known styles: the art of escrima. Because escrimadores are more dependent In the rush to start new campaigns on the use of weapons than monks are, Adventures based on the Oriental Adventures AD&D® they gain an open-handed prowess only game supplement, many DMs may have all half as quickly as a monk does. Thus, a of the civilized character classes present in 1st or 2nd-level escrimador has the innate all of the civilized nations of Kara-Tur. armor class, alertness against surprise, Here, then, is a character class that helps and open-hand damage potential of a 1st- restore a sense of regional differences. level monk, while a 3rd- or 4th-level escri- This class should exist only in a limited mador equals a 2nd-level monk in these aspects. Escrimadores do not have the spell-like abilities of monks (except for self- healing) and can never possess powers such as the quivering palm or distance death. Furthermore, they do not have the monks saving-throw benefits nor the ability to dodge missiles. In compensation, however, escrimadores do enjoy defensive benefits due to their dexterity, and have offensive benefits due to their dexterity and strength. Escrimadores also have skills and ki powers unique to their class. An escrimador’s initial honor score is 12. First-level escrimadores have six proficien- cies and gain new proficiencies at a rate of one for every two levels of experience gained. Those who wish to practice escri- ma must have a minimum intelligence of 7, constitution of 10, strength of 8, and cha- risma of 5. A score of 15 or better is required in either dexterity or wisdom (the prime requisites of this class), with the other score being not less than 9. An escrimador with a wisdom score of 17 or better gains a 10% bonus on experience points. Escrimadores function best in their native environment — in jungles and on islands. The first proficiencies possessed by any escrimador always include survival and tracking, which are equivalent to a barbarian’s proficiencies. Like the barbari- an, the escrimador’s environment serves as an ally in adventures. When in a jungle or forest setting, escri- madores can hide in shadows, hear noises, and move silently as ninjas of equivalent levels (the last two skills apply in all other settings as well). When fighting in the jungle against any opponent except another escrimador, they gain a +2 bonus to armor class due to their expert timing in ducking behind trees and branches. When traveling in jungles, they can main-

40 AUGUST 1987 4 tain normal movement speed when others are slowed by the foliage. Escrimador Table In water, escrimadores can swim 10% 6-side dice for faster than other human characters of Experience Experience accumulated equal strength. When fighting on foot in points level hit points Level title water between ankle-depth and shoulder- 0-2,250 1 1 Bastonero depth, they gain automatic initiative for 2,251-4,750 2 2 Bastonero the first round against those who are not 4,751-10,000 33Bastonero escrimadores (unless the escrimador was 10,001-22,500 4 4 Bastonero totally surprised). If the escrimador is 22,501-47,500 5 5 Jurimentado already on his guard at the start of melee, 47,501-98,000 6 6 Jurimentado in water at least waist-deep and with a 98,001-200,000 77Jurimentado weapon in his hand, he gains a + 3 bonus 200,001-350,000 8 8 Jurimentado to hit with his first attack by concealing 350,001-500,000 9 9 Jurimentado the weapon’s initial position just under the 500,001-700,000 10 10 Escrima Master surface of the water. (All these aquatic 700,001-950,000 11 10+2 Escrima Master advantages, however, are negated if the 950,001-1,250,000 12 10+4 Escrima Master water is extremely cold — a condition to 1,250,001-1,750,000 13 10+6 Escrima Master which escrimadores are unaccustomed.) 1,750,001-2,250,000 14 10+8 Escrima Master Because metal is harder to find in the 2,250,001-2,750,000 15 10+10 Escrima Master jungle than in other environments, escri- 2,750,001-3,250,000 16 10+12 Escrima Master madores often use weapons made partly 3,250,001+ 17 10+14 Escrima Grand Master or entirely of wood. The vulnerability of these weapons to breaking is offset by the Escrimadores do not advance beyond 17th level. escrima method of parrying, which is to contact the enemy’s hand and arm rather than the enemy’s blade. This gives the escrimador a chance against such weapons as katana swords and even grants a special melee, once per day. The sinawali is only character (if zero-level) is capable of advantage: If a nonescrimador who is not performed against humanoid foes and is a becoming one later. The 10th-level escri- wearing hand or arm protection misses rapid sequence of whirling, weaving move- mador is also immune to all enchantment/ three consecutive attacks against a ments with the escrima stick, having an charm spell effects such as charm person, weapon-wielding escrimador, the nonescri- intimidating, quasi-hypnotic effect. This is finger of death, suggestion, geas, and the mador must save vs. paralysis or lose the ineffective against fellow escrimadores like. use of his weapon arm for a number of unless they are more than one experience 8. At 12th level, an escrimador who is rounds equal to the escrimador’s strength level lower than the user, and ineffective not directly engaged in combat and has (the escrimador has successfully struck against those who are not escrimadores if the opportunity to observe any nonescri- the opponent’s arm). they outrank the user by more than one mador in at least one round of melee The “signature” weapon of all escrima- level or if they have ever previously won a action gains an intuitive feel for that per- dores is the escrima stick, a simple wood- fight against an escrimador who used son’s reactions in combat. Consequently, en rod 2-3’ long, similar to the jo stick that sinawali. Other opponents, however, must the escrimador gains a +2 bonus to his a monk might use. All escrimadores are save vs. spells or retreat in alarm for one armor class if he fights the individual thus proficient with this weapon (in varying round (or, if retreat is impossible, the studied. (This advantage does not apply to applications for the three different styles) opponent suffers — 1 penalties on “to hit” a future encounter with the same foe, from the beginnings of their careers. and armor-class scores for the first melee since the foe may have gained new skills Other weapons typically used are spears, round). Even if the save is made, the oppo- in the interval.) At the referee’s discretion, staves, nunchaku, daggers, hand axes, nent’s momentary confusion (lasting one the escrimador may employ this benefit parangs, and rope-weapons similar to the segment) gives the escrimador + 3 on his against nonhumanoid beings. ninja kawanaga. Escrimadores can never initiative roll, allowing him to make the An escrimador’s alignment is usually be proficient with long swords, nor with first attack or run away. A 10th- or higher- lawful or good (or both), since loyalty to any missile weapons except pellet bows, level escrimador can use sinawali twice a family and tribe is built into his training. blowguns, and hand-thrown weapons. day. Unlike monks, escrimadores do not prac- The ki powers of the escrimador are as 3. At 4th level, the escrimador saves vs. tice any sort of monastic withdrawal from follows: all fear attacks at + 1 ( + 2 after reaching their society. Martial instruction is part of 1. For every experience level possessed, 10th level). their family life and is aimed at the protec- the escrimador has a cumulative 5% 4. At 5th level, the escrimador can fight tion of the community from enemies. (It is chance of knowing if he is being watched on after being mortally wounded, just as a up to the DM to decide if greater enmity is by a hidden observer (assuming the escri- sohei can (Oriental Adventures, page 24). felt toward peoples altogether outside mador is conscious and not completely 5. At 7th level, the escrimador can heal their homeland or toward rival tribes preoccupied with combat or other physical damage to himself as monks do within the region.) The close bonds of demanding activity). This is separate from (Oriental Adventures, page 181, with the family loyalty give escrimadores one ki his monklike surprise chances, giving the same increase in self-healing ability ( + 1 power that extends beyond death. If an escrimador double opportunities to thwart hp per level after the 7th). escrimador is turned into any kind of surprise. If the escrimador’s intelligence is 6. At 8th level, the escrimador can stay undead monster that is not utterly mind- 12 or better, he can even be aware of awake for two days without ill effect (or less, and if he encounters someone who being magically or psionically observed (as three days if his constitution is 18). Normal was especially beloved from his former through a crystal ball or similar device), sleep is required afterwards. life (a parent, spouse, child, etc.), there is a but the probability of this sense’s success 7. At 10th level (the rank at which escri- base 50% chance, plus 2% for every point is but 2% per level, plus 1% per point of madores first become qualified to teach of the transformed escrimador’s original intelligence. others), the character can discern whether wisdom score, that he is able to restrain all 2. At 3rd level, the escrimador can per- any character he meets is also an escrima- monstrous instincts and avoid harming the form the sinawali prior to the start of a dor — and if not, whether or not that loved one. (This also applies if the escrima-

D RAGON 41 5 dor is turned into a lycanthrope.) allied but of different styles are called in, (e.g., cause paralysis, repulsion or slow). Any Escrima Master who teaches his two points are lost. Above the rank of This resistance increases 2% with each tribe’s style to an outsider who is not a Master is that of Datu (meaning “chief”), of subsequent level gained. This ki power is formally recognized friend of the tribe which there may be only one per tribe. In called “The Wild Boar Charge.” forfeits five honor points — and may for- a psychic duel, a Datu’s strength is treated The Humabon style parallels kung-fu feit his life if this unsanctioned teaching as 50% higher than actual. in open-handed combat. Its primary weap- causes harmful results to the tribe. If the The Lapulapu style of unarmed com- on choice is also a pair of weapons with no son or daughter of any escrimador bat parallels the tae kwon do style for penalty on simultaneous use — two escri- becomes a different fighting class (monk, monks. The first weapon choice for a ma sticks, in this case. Whether using two samurai, etc.), he or she loses three honor Lapulapu stylist is an escrima stick in one sticks or one, the Humabon stylist has this points and the parent loses one. No such hand and a dagger in the other. Both special technique: On one of every three disgrace occurs if the child enters a spell- weapons can be used simultaneously with stick-attacks made, if the Humabon stylist casting character class, provided such no penalty on hit probability, with both misses by only one point on the “to hit” powers are used for the tribe’s benefit; weapons attacking, both parrying, or one roll, he can make an extra attack in the also, the dishonor is avoided if the child performing each function. If, at the start same round with the butt end of the stick becomes a kensai, and uses a weapon that of an encounter with humanoid foes not with which he attacked. The Humabon escrimadores can use. practicing this style, the Lapulapu escrima- stylist can do this on one of every two dor can keep foes unaware of his dagger stick-attacks from the 10th level onward, Escrima styles (e.g., by hiding it behind his forearm), he as well as when using any similar weapon The four escrimador schools are Lapula- adds a + 3 bonus to his attack roll with the (e.g., the handle of an axe). pu style, Humabon style, Kuntaw style, dagger on its first use in combat. Once The distinctive Humabon ki power, also and Alipang style. Each style may be prac- engaged in combat taking place on sandy gained at 10th level, is “Liquid Body.” This ticed by more than one tribe. As long as ground or in water less than knee-deep, a power allows the Humabon Master to there is no cause for serious hostility Lapulapu stylist of any level can kick sand “flow away” from melee attacks. Liquid between different tribes sharing one style, or water into an enemy’s face without Body is usable once a day for a duration of there can be any number of Masters. If, using up one of his attacks. The impair- three rounds, with an added round for however, there are incompatible moral ment of vision (assuming that the enemy each subsequent level gained, but never alignments within one style, or other operates by sight) causes the enemy to exceeding 12 rounds. The user of this powerful causes for strife, each Master is suffer a one-time —2 penalty on either his power adds + 3 to his armor class against bound by honor to slay all hostile Masters “to hit” probability or armor class, depend- close-range attacks and + 1 against mis- of his same style. Failure to attempt this ing on who makes the next attack. siles; he also takes only half damage from results in losing nine honor points; if non- One ki power peculiar to this style is blunt-weapon or open-handed attacks, and escrimador allies are called in, four honor gained at 10th level: a 10% magic resist- subtracts one-third of all damage done by points are lost; if escrimadores who are ance against spells that thwart movement sharp weapons. If the Liquid Body user is immobilized or grasped by an attacker, sharp weapons do normal damage against him. (This ki power also reduces by half the damage received in a fall.) The Kuntaw style parallels jujutsu in unarmed combat. A Kuntaw stylist’s feet are never used for kicking, but are used instead for other maneuvers, particularly sweeping the opponent’s legs from under him, which can be performed even if the Kuntaw stylist is lying on the ground. In fights with non-Kuntaw opponents, leg- sweeping may occur without using up any of the Kuntaw stylist’s regular attacks; leg- sweeping is usually used if a solitary oppo- nent misses on his first attack, or if the Kuntaw stylist falls to the ground (inten- tionally or not) and the opponent tries to make a follow-up attack. In those cases, a leg-sweep occurs, knocking down the opponent if the opponent fails to make a saving throw vs. paralysis. (Monks, ninja, and other escrimadores get + 1 on this saving throw, or +2 if their dexterity is greater than the Kuntaw stylist’s) Another Kuntaw foot technique, usable only once in any particular combat, is to step on and trap one of the opponent’s feet; this is treated as a part of the Kuntaw stylist’s attack in that round, and a successful foot- trap (rolled as an attack vs. AC 10, with the opponent’s magical-defensive and dexterity bonuses added) gives the accom- panying main attack a + 2 chance to hit and +2 hp on damage. There are no unpenalized double- weapon proficiencies in the Kuntaw style. The Kuntaw stylist’s favored weapon is a

42 AUGUST 1987 6 simple escrima stick; however, the Kuntaw this ki power to resist, the Kuntaw Master bility in any combat (which becomes +2 at stylist can keep this one stick shifting can stop resisting at will by dispelling the the rank of Escrima Master). This advan- between one hand and the other, moving power or merely by moving, thus causing tage, once activated, cannot be saved for so unpredictably that a shield carried by a the enemy to topple as if from a released later use, but if an Alipang stylist has no foe is rendered useless against the stick. rope in tug-of-war. Sinking the Roots can reason to expect further combat soon At 6th level, a Kuntaw stylist enjoys the also be helpful in other situations, such as after one particular victory, it can be ruled same advantage with a nunchaku. A Kun- in walking against a powerful wind. that the ki power was not activated. taw stylist of 4th level or higher can jam The Alipang style uses unarmed com- If an Alipang stylist of 5th level or higher the stick against an enemy’s neck and bat techniques resembling karate in Orien- wounds an opponent with an edged weap- armpit, levering the foe into a helpless, tal Adventures. Practitioners use a single on, the opponent must save vs. spells (at prone position. This, again, is rolled for as stick for sinawali, exactly as in the Kuntaw +1 if the victim is an escrimador or +3 if if the enemy was unarmored, but it can style; however, when an Alipang stylist he is a fellow Alipang stylist) or suffer a only be used if the Kuntaw stylist has only attains the rank of Escrima Master, he is delusion that he has sustained double the one foe before him. Also, this technique also able to perform sinawali with a actual damage. (After one successful save, fails if the intended victim excels the Kun- parang or similar short sword. no additional saving throw is needed for taw stylist in strength, dexterity, and expe- Every Alipang escrimador is able to that combat.) If such imaginary damage rience level. All Kuntaw stylists learn the detect outdoor traps and snares as a thief causes the victim to fall to zero hit points “Instant Stand” technique before reaching of equal level can, and each will, at some or below, though the actually hit-point loss 5th level (Oriental Adventures, page 104). time before Master level, acquire a profi- leaves the victim with 1 hp or more, he A 10th-level Kuntaw stylist gains a ki ciency in constructing such traps. Another falls unconscious for 1-3 melee rounds. power called “Sinking the Roots.” This skill usual for Alipang stylists is the con- If PC monks make contact with escrima- power is usable once daily for a duration struction of temporary camouflaged shel- dores, a DM could allow them to learn of five rounds, with an added round for ters like hunters’ blinds. Concealment some escrima techniques, just as the each further experience level, but never inside these structures gives benefits famed movie martial artist Bruce Lee exceeding 15 rounds. When using this equivalent to magical invisibility. learned Filipino fighting in addition to power, the Kuntaw Master effectively Distinctive ki powers are as follows: Chinese kung-fu. The real value of escri- becomes four times as heavy as his normal Once a day, if an Alipang stylist succeeds madores, however, is as NPCs. After all, weight with regard to being pushed or in killing, putting to flight, or rendering the spirit of fantasy involves not only pulled by any outside force. Armor class is helpless an opponent of equal or higher being different sorts of people, but meet- unchanged, but overbearing attacks and level, without assistance and without ing different sorts of people. The escrima- leg sweeps are rendered ineffective. The suffering any damage, he enjoys a boost in dor class is sufficiently monklike to fit into user of this power can still move, though confidence. Thus, for a period equal to the the Oriental campaign, but different not at a top-speed run. If someone is try- character’s charisma score in melee enough to give a unique flavor to part of ing to move a Kuntaw Master who is using rounds, he gains +1 on his “to hit” proba- the world of Kara-Tur.

D RAGON 43 7 Twenty martial arts styles based on man,

these styles, as a whole, these styles are by Len Carpenter unique to my campaign. Accurate compar- isons cannot always be drawn between The martial arts system of Oriental actual martial arts systems and styles Adventures is among the best new addi- created for a fantasy world. The tiger style tions to the AD&D® game in years. With presented here is not a depiction of tiger- the many martial style combinations and claw kung fu, but is simply my version of special maneuvers provided on pp. 102-5, how the holy monks and nuns of ancient the DM can design a number of novel times were advised by the gods to study fighting styles for an Oriental campaign. the tiger to become great fighters. But not every DM has the time to experi- The 12 animal styles are but a few of the ment with the system until a good selection many martial arts systems founded after of martial arts styles is finally put together. long, patient study of the combat methods Also, few DMs want to be limited to the of animals. A person might spend years or four real-world martial styles on p. 101. even decades in the wild, observing an Presented here is a collection of 20 differ- animal to master every attack, defense, ent styles for use in the campaign. movement, and tactic of the creature. The 20 styles presented are divided into From this single-minded study, ancient two groups. The first 12 styles, named for ascetics developed the first known martial assorted animals, are among the most arts systems. ancient styles known in my campaign. The early monks studied many types of These styles are studied by members of animals – mammals, birds, insects, rep most Oriental character classes, although tiles, and even rare magical beasts. Conse- monks constitute the majority of the stu- quently, a wide variety of maneuvers and dents. The second group consists of eight styles evolved. Radically different systems newer styles created to address the spe- often arose from studying the same ani- cific self-defense needs or martial philoso- mal, since an animal may teach many phy of a given class. The origins, ideals, lessons to different students. The tiger and techniques of these 20 styles are dis- system of one school might concentrate on cussed later. the tiger’s stealthy moves and grand leaps, Some martial arts styles given here while another tiger style might focus on include maneuvers that vary from the the great cat’s powerful claws and bite. official rules. These are noted in the style Historically speaking, a bewildering descriptions below. The DM may wish to variety of styles arose to compete for the consider how these changes affect play attention of potential students. Rivalry before including them in the campaign. between teachers was fierce. Arguments One rule change recommended heartily often flared over varying interpretations is that the naginata be included in the list of the same style, and bloody feuds were of weapons able to perform the martial fought between promoters of different arts weapon style maneuvers (see footnote styles. “f” on p. 42 of Oriental Adventures). The Eventually, these many styles coalesced naginata is viewed as not just another pole into major schools with large followings. A arm in the Orient; it is an important close pupil would identify their school by relative of the spear. The spear and nagi- describing themselves as a student of a nata are often taught side by side within a particular animal. These major schools school or style. Both weapons are wielded gave birth to many variations and sub- in similar ways and are used to play simi- styles, but most martial artists could find lar roles. If the spear may be used to per- common roots in one or more of the great form the weapon style special maneuvers, animal styles. Many lesser styles passed then so should the naginata. The nagimaki, into obscurity with the major schools or a weapon intermediate between the spear the petty secrecy of teachers who refused and naginata, may also be used to perform to pass on hidden knowledge. weapon style maneuvers, although the A number of important new styles nagimaki is not nearly as popular as the evolved out of the great animal schools. spear or naginata. Some styles combined the attacks and The martial styles presented in this maneuvers of older animal styles to create article are not intended as detailed simula- hybrid systems. Others were created to tions of real-world martial arts systems. best exploit the strengths of newly devised Although a few bits and pieces of martial weapons, such as the nunchaku, tonfa (tui- arts history and tradition are included in fa), or sai.

48 N OVEMBER 1987 8 nature, and animal.

Some styles were designed to suit the as the civet, lynx, and even the common opponent’s attack, then responds with a needs of a specific group. Ninja cultivated domestic cat. This style promotes speed, swift cutting blow to a vital point. the secret martial arts systems of ninjutsu. active defense, and deft footwork instead The student of the crane seeks to use all Women of the court practiced with spear of the crushing power of those styles of his natural weapons with equal skill. and naginata, and learned to use many based on the great cats. The student of the The martial artist can strike vital areas unobtrusive weapons to defend them- cat learns to attack with speed and sur- with both foot and fist. On defense, the selves. Holy pilgrims perfected styles that prise, overwhelming the foe with a flurry student must be able to dodge an attack or provide the gentle strength to overcome of well-placed blows. The student must be deflect a missile through superb footwork. any aggressor. Of the many specialized swift on defense, relying on footwork and His mind must be alert and strong. styles to command specialized followings, deceptive moves to avoid attacks. Just as the crane uses many natural eight are described below, after the 12 The martial artist learns to survive great weapons to best effect, so, too, must the animal styles are discussed. falls and regain his feet instantly, and student of the crane master different The tables below list the important data aspires to become as adept at leaping and weapon combinations to give the student of the 20 martial styles, reflecting the springing as the felines he studies. The the most effective mode of attack. A num- format of Table 68 on p. 101 of Oriental student trains hard with a partner to learn ber of weapon sets are taught in the crane Adventures. The tables also note what to follow and counter any motion made by style. The weapons studied depends upon weapons, if any, are taught in a given the opponent. He also works with his the student’s teacher or school. Weapons style. Other weapons that are sometimes teacher to gain total awareness of his are combined in two-hand styles to give favored by a given style are discussed in surroundings, and to move and fight in the fighter a broad range of attacks. Com- the style descriptions following the tables. the dark as easily as any cat. Through this mon weapon pairs are: two jo sticks, two Some weapons are forbidden to certain great awareness, the practitioner is able to nunchaku, two sai, sword and jitte, sword character classes, of course, so schools kick an opponent behind him by perform- and war-fan (gunsen), and sai and chain. should be flexible enough to accommodate ing an agile body twist. Other, stranger combinations are taught the requirements or limitations of a stu- Students of the cat favor knife fighting, by some schools. dent’s character class. slashing with twin daggers just as the cat Dragon. The student of the dragon Footnotes indicate special features of or uses its claws. This style is popular with studies one of the most exciting of all changes in a particular special maneuver. women, who also train with the naginata. styles. The dragon teaches his students the These changes are discussed in greater The cat style is examined by certain ninja use of powerful kicks by the example of detail in the style descriptions. Those to adapt the Blind Fighting maneuver to his sweeping tail. The dragon’s great changes deemed unacceptable by the DM many ninja styles. strength and claw strikes inspire the stu- may be ignored or replaced by other offi- Cobra. The student of this style must dent to use his fists with overpowering cial special maneuvers. spend years in intense study of this deadly, force. The dragon’s crushing jaws instruct yet shy creature. The cobra picks its the martial artist in the use of an immobi- The 12 animal styles moment of attack with great care, then lizing lock. The student duplicates the Bear. The bear is a fitting teacher for strikes with exquisite precision and power. dragon’s natural armor by developing the student of the wrestling art. The bear The cobra hits its prey where it is most iron-hard skin of his own. strikes hard, grapples a foe with crushing vulnerable, then locks onto the victim with Students of the dragon favor weapons of locks, and cannot be moved if he does not an unbreakable death grip. The cobra high damage potential, such as the slash- wish to move. The bear never yields or style employs pure, offensive power, trust- ing naginata or halberd. The kau sin ke is weakens. The bear thinks only of attack, ing deadly skill to gain victory before its taught in all schools of the dragon style in never of defense. foe strikes back. order to emulate the sweeping smash of The student of the bear must emulate The student of the cobra must study the dragon’s tail. The chain is occasionally the ferocity and indomitable will of the anatomy to be able to hit hard at the oppo- taught for the same reason. The dragon bear to master this wrestling style. The nent’s vital points. The jaws of the cobra style is popular with all types of warriors. student learns to strike with crushing or inspire this style’s powerful locks. Ulti- Dragonfly. The dragonfly style is per- stunning blows and to resist being moved mately, the student aims to learn the diffi- haps the most mysterious and rarest of all or thrown. But most important, the stu- cult Distance Death maneuver, striking the animal styles. The student of the dragonfly dent of the bear masters the use of all foe at range just as the cobra may spit strives to become as light and agile as the locks and holds. death at its prey. flitting insect he observes. The dragonfly No particular weapons are favored in No particular weapons are preferred in moves quickly, strikes precisely, and has this style, and none are commonly taught this style. The cobra system is a favorite of total control over its motion and energy. to the student. The student uses whatever ninja and highly aggressive warriors. The student must train hard to master weapons are common to his class, Crane. The crane fights with a broad both his physical and spiritual energies so although the student usually prefers pow- array of weapons. It can strike vital points that he may master the energies of others. erful weapons that require great strength with its beak, kick with its long, slender The student allows his ki to flow and to wield, such as the tetsubo, or two- legs, and smash with its great, sweeping merge with his opponent’s energies, then handed sword. This style is popular with wings. The crane is a canny fighter, takes control of his opponent’s ki so that bushi and yakuza. retreating when necessary to study an he may direct his opponent’s motion and Cat. The cat style was designed after opponent, then returning to strike again. energy wherever he wills. In this way, the long study of the small, quick felines such The crane wisely avoids or deflects an student may deflect any attack, follow and

D RAGON 49 9 Table 1 The Twelve Animals

Martial arts Number of Principle Special style attacks Damage AC attack maneuvers Weapons Bear 2/1 1-6 8 Hand Lock 1,2,3,4 None Strike 1,2 Vital area 2 Movement 3 Mental 3 Cat 3/1 1-4 6 Hand Movement 1,5 None Throw 1,2 Push 2 Kick 3 Mental 2,4 Cobra 1/1 1-8 8 Hand Vital area 1,2,3,4 None Strike 1,2 Lock 1,3 Crane l/l 1-6 5 Hand & Vital area 1,2,3 Varies foot Weapon 1,2 Strike 2 Movement 4 Mental 1,3 Dragon 1/1 1-8 8 Foot Kick 1,2,3 Kau sin ke Strike 1,2 Lock 4 Mental 5 Dragonfly 1/1 1-4 5 Hand Push 1,2,3 None Vital area 3 Movement 4 Mental 1,2,5,6 Hawk 3/l 1-6 8 Hand Strike 2,3 None Lock 1 Vital area 1 Kick 2 Leopard 2/1 1-6 7 Hand Movement 1,5,6 None Strike 1,3 Kick 2 Lock 2 Mental 2 Mantis 2/1 1-6 7 Foot Kick 1,2,3 None Lock 1,2 Movement 4,5 Mental 1 Monkey 2/1 1-6 6 Hand Throw 1,2,3,4 Bo stick, Weapon 1 jo sticks Movement 2 Lock 1,3 Snake 2/1 1-4 6 Hand Movement 1,2,4,7 None Lock 1 Vital area 1,3 Throw 2 Tiger 2/1 1-8 8 Hand Strike 1,2,3 None Lock 1 Kick 2 Mental 2

counter any move, or send any opponent student’s Armor Class by 2 through swift, Weapons are almost always ignored by reeling with but the slightest and most defensive moves. The Flowing Water state the students of the dragonfly in favor of gentle touch. can only be achieved when the student the ability to master one’s inner energy. The student’s mastery of his own body wears no armor and is unencumbered by This style is rarely studied by anyone provides him with superior defense. The heavy gear (see Table 2 footnotes). other than monks or shukenja. student learns the special Mental 51maneu- The ultimate achievement of the dragon- Hawk. The hawk is a hunter greatly ver, Flowing Water, which allows the mar- fly style is the ability to levitate. Levitation revered for its swift attack and infallible tial artist to become as evasive and agile is taught only to those students who are aim. The student of the hawk emulates the on defense as the flitting dragonfly. The most dedicated and who prove worthy of birds talons through powerful fist blows, Flowing Water maneuver improves the this secret teaching. choking locks, and accurate finger strikes

50 N OVEMBER 1987 10 Table 2 The Eight Specialized Styles

Martial arts Number of Principle Special style attacks Damage AC attack maneuvers Weapons Bone 2/1 1-6 7 Hand Strike 1,2 Ninja- Breaker Vital area 1 favored Weapon 2 weapons Lock 3 Mental 2,4,5 Dark Hand 2/1 1-6 6 Hand Vital area 1,2,3 Ninja- Strike 1 favored Weapon 1,2 weapons Throw 3 Mental 2,4 Eight-Legged 3/l 1-4 8 Foot Movement 1,2,4,5 None Man Kick 1,3 Throw 2 Mental 2 Eye of the 1/1 1-4 5 Hand Throw 1,2,4 None Hurricane Push 1 Movement 3,6 Mental 1,2,3,5¹ Fist within 1/1 1-4 6 Hand Lock 2,3,4 Varies Glove Weapon 1,2 Push 1 Throw 4 Mental 1,2,3 Oaken Grip 2/1 1-6 7 Foot Kick 1,2,3 Varies Weapon 1 Lock² 2,3 Movement 4 Mental 5 Silken Spear 1/1 1-4 6 Hand Weapon 1,2,3 Spear, Vital area 1 naginata Movement 2,43 Throw 4 Mental 1,2,3 Sword Breaker 2/1 1-6 8 Hand Lock 1,2,3 Sai, Weapon 1,2 jitte Strike 2 Throw 3

1 The Mental 5 maneuver in this style is not the Ironskin maneuver, but is instead the Flowing Water state that improves Armor Class by 2 through speed and agility. ² The Lock maneuvers of this style require the use of a special weapon. 3 This Movement 4 is the Arrow Cutting special maneuver that allows a character to deflect missiles when using a weapon.

to nerve centers. The student’s flying kick body to move with grace and rhythm, and who want to combine speed with power in is inspired by the hawks diving attack. to make deceptive feints to produce an a combat system. Students of the hawk usually disdain the opening. The student copies the leopards Mantis. Although the mantis is a small use of weapons, preferring to rely on their pounce through mighty leaps and flying insect, its great skill enables it to defeat own natural weapons instead. The hawk kicks. The leopards trick of trapping its insects much larger than itself. The stu- style is advanced by those who consider prey with jaws and foreclaws to rake with dent of the mantis copies the insect’s offense vastly more important than its rear claws is studied closely, so that the grasping forelegs by using a hooked hand defense. student may trap his foe with a Locking position that allows the martial artist to Leopard. The leopard provides lessons Block maneuver, followed by sharp kicks score blows and make strong arm locks. in the importance of speed, cunning, and to the body. The final goal of the student is The hopping movements and footwork of awareness of one’s surroundings. The to copy the leopards sudden attack by the mantis are duplicated by the many leopard stalks silently, seeks an opening, mastering the Speed (Movement 6) special kicks and great leaps of the student. The and strikes with a burst of blinding speed. maneuver. importance of fluid footwork is constantly The great cat’s moves are subtle and Students of the leopard prefer weapons stressed by the teacher, since footwork is deceptive. The rake of its rear claws is its that simulate the leopards slashing claws, the key to the defensive moves of this deadliest attack. such as the dagger, short sword, or kama. system. The student of the leopard trains his The leopard style is popular with those Weapons are occasionally taught to the

52 N OVEMBER 1987 11 students of the mantis, though no specific body control that it cannot be held or The ninja trains in the use of weapons to weapon is universally favored. Weapon hindered. catch or shatter an opponent’s weapons. choice is a matter of character class or the The student of the snake aims to master The weapons taught in this style include teacher’s personal preference. every aspect of his body’s motion. The all martial arts weapons favored by ninja. Monkey. The monkey is an agile, acro- student must be able to avoid any attack To teach this style to an outsider means batic fighter who defeats his enemy through deceptive turns and twists, and to certain death. through trickery and cunning. His decep- return to attack suddenly. Ultimately, the Eight-Legged Man. This style finds its tive moves lure a foe into making mistakes student achieves such great physical con- origin in the footwork and kicks of the that the monkey takes advantage of. The trol that he cannot be magically slowed. mantis combined with the offensive speed monkey uses his environment to the full- The student learns to strike an oppo- promoted by certain feline styles. The est. Trees and foliage may be used to nent’s vital points and to capture his foe student of this style relies heavily on fast, escape a foe, swinging vines to maneuver with a, choking constriction. The student precise footwork to place himself in a into good position, and sticks to smash an can attack and defend in any position position to attack with as many kicks as opponent at range. without hindrance, even when forced to a possible. A master of this rare art moves The student of the monkey must master prone position. He can regain his feet as in the manner of a spinning top, delivering the rolls and falls of his simian teacher. swiftly as the snake rises to strike. a flurry of kicks to targets in every direc- The monkey’s grasping hands are studied No particular weapons are favored in tion. Variations of this style are likened to for the student to learn strong throws and this style, though a variety are taught by the spider or octopus because of the many crushing locks. The monkey, stylist often different schools. The weapons taught foot strikes of this system. battles from a low, crouched position, and vary from region to region. The snake The practitioner of this style trusts his learns to fight even when forced to the style is sought out by martial artists who offensive speed and footwork to overcome ground. wish to combine an evasive defense with a any foe, rather than the crushing power The monkey’s use of sticks and tree solid offense. or active defense of other systems. The limbs as weapons inspires the student to Tiger. The tiger is the most respected student must develop strong, willowy legs master the bo and jo sticks, and occasion- and feared of all hunters. The tiger stylist to accomplish the difficult kicks and ally other stick- or staff-like weapons such is taught to overwhelm his opponent with bounding leaps that are taught. Since as the tonfa, kiseru, or tetsubo. But the crushing blows and kicks before the foe footwork is all important, a downed fight- student must thoroughly understand that can return the attack. The tiger’s jaws er must regain his feet without hesitation a cunning mind is always the best weapon. instruct the martial artist in the use of a to remain in the battle. An awareness of A few students of this style study a choking lock. The tiger’s pounce inspires everything around the martial artist allows variation called the “horse-monkey,” which this style’s flying kick. him to lash out in all directions with furi- is based on the observation of the strong Students of the tiger often employ great, ous kicks. great apes. Students of the horse-monkey slashing weapons in combat, such as the Weapons are totally ignored in this style. learn the Strike 3 (Eagle Claw) maneuver naginata or halberd. Weapons are often This style is aggressive and physically instead of the Movement 2 (Prone Fight- disdained by students, however, as this demanding, and is not popular with gentle ing) maneuver learned by those who style does not lack power. pilgrims or those lacking the will to prac- observe the smaller monkeys. The horse- tice constantly. monkey style has a base AC 7 instead of The eight specialized styles Eye of the Hurricane. This difficult the AC 6 of the monkey style. Bone Breaker. The bone breaker art is system finds its origin in the dragonfly Snake. The snake stylist studies not one of two specialized styles studied exclu- style, with important techniques borrowed only the cobra, but a variety of snakes to sively within ninja clans. This style com- from the monkey and feline styles. The learn a great many lessons. Some snakes bines the power of the tiger and cobra student of this art strives to unite body bite and lock onto their prey, while others styles with the speed and awareness of the and mind to achieve a state of spiritual use a constricting attack, using their entire cat style. Masters of the art of bone break- perfection and tranquility. In addition to body as a weapon. The snake has control ing learn to score hard fist blows, strike the necessary physical skills, the student over every fiber of its body. The snake vital nerve points, and disable a limb with of this art must learn patience, clear strikes swiftly on attack, twists away to a sudden attack. The ninja also trains to thought, and an understanding of the avoid counterattack, and curls back to smash an opponent’s weapons with his minds of others. While all else may be strike again. So superior is the snake’s own. chaos and confusion, the student of this The ability to fight at night is crucial to a art remains calm and serene within the ninja, so the student must master the cat’s eye of the hurricane. ability of blind fighting. The ninja also This system stresses defensive speed and GAMMARAUDERS™ trains to toughen his flesh to avoid injury. control of the opponent’s actions above all Game Errata This Ironskin maneuver seems to be based else. The student cannot be harmed by the on the mystic ki training of ninjutsu rather violent forces around him. Any attack is than the study of the noble dragon. deflected away harmlessly, followed by a If you have the GAMMARAUDERS The ninja always learns to perform the gentle strength that subdues the foe rath- game, by TSR, Inc., please be aware weapon breaker maneuver with two er than injures him. Any attempt to move that some of the game boxes were weapons typically taught within the ninja the student is met by a mystic ki power shipped with the wrong mixture of play- clan. Popular ninjutsu weapons include that roots the martial artist to the ground. ing cards. To ensure that your set has the sai, jitte, spear (shakujo yari), bo stick, The student can push himself to achieve the proper playing-card set, send for and chain. bursts of sudden offensive speed, but his our free checklist. Write to: To teach the bone breaker art to one primary goal is to always remain swift on GAMMARAUDERS Game Card who is not a member of the ninja clan is defense. Like the student of the dragonfly, Deck an offense against the clan — one that the master of this style learns the Flowing Mail Order Hobby Shop carries a mandatory death sentence. Water maneuver (Mental 5¹), which allows TSR, Inc. Dark Hand. The dark hand is also a him to improve his Armor Class by 2 when P.O. Box 756 secret system closely guarded by a ninja unarmored (see Table 2 footnotes). Lake Geneva WI 53147 clan. Its origins are similar to that of the Weapons are uniformly ignored in this We will quickly replace any missing or bone breaker style, save that this style style. The eye of the hurricane system is defective cards from GAMMARAUDERS relies more on the attacks of the cobra popular with monks, shukenja, some wu games — free of charge. style and the defensive speed of the cat. jen sorcerers, and other martial artists of a

54 NOVEMBER 1987 12 spiritual or mystical mind. form the weapon-style special maneuvers. guards in order to disarm and subdue a Fist within Glove. This style is popu- The woman also learns the art of Arrow foe without wounding him. To spill blood lar with mendicant pilgrims, monks, nuns, Cutting, which allows her to deflect mis- on sacred palace grounds or within a holy and other peaceful folk who require a self- siles with the spear or naginata. In the temple is sacrilegious in some lands. defense system that provides good protec- Arrow Cutting maneuver, the martial tion without obvious armament. This style artist uses the weapon to knock arrows Concluding thoughts teaches restraint and discipline in all and other missiles aside, rather than dodg- In designing a new martial arts style, the things, with violence used only as a last ing or deflecting missiles with the hands. DM should strive to create something resort. An aggressor should be subdued The woman may use the steel cloth special while keeping the power of the with as little fuss and harm as possible in spear (Weapon 3) to perform the other style within reasonable limits. Try linking this style. The student always tries to weapon special maneuvers; she may also different special maneuvers into logical, avoid, or even run from, a potential con- use it to knock aside missiles with the yet imaginative styles that center around a flict; if necessary, though, he can defend arrow cutting art. If the woman does not solid idea. An intriguing animal, a colorful himself or others with his simple pilgrim’s have a spear, naginata, or steel cloth spear, phrase, an informative martial arts book, staff or bare hands. she may still attempt to deflect missiles, or a flamboyant movie stunt may provide The student practices with unobtrusive but at –4 on her saving throw (this a good starting point for a novel martial weapons, such as the bo stick, jo sticks, allowed due to the heavily stressed train- arts style. Try giving a special maneuver a kiseru, tonfa, or other weapons that ing with the weapon). unique twist to make it more original. appear as simple agricultural tools or A woman trained in the silken spear Look for a new way to use a martial arts common items of the traveler. Peace is may fight unarmed if need be, though she weapon or play with various martial style maintained by a gentle and harmless prefers to use or improvise weapons if she combinations to see what new combina- demeanor – not by open displays of force. can (she can turn a simple piece of silken tions fall out of Table 69. A pilgrim can handle any bandit or merce- cloth into a flashing spear, if necessary). Don’t be afraid to experiment with radi- nary he encounters, but never displays Some women even learn to use a simple cal ideas outside the regular campaign. any hint of aggression or challenge that stool or bench as an effective weapon Within the campaign, limit the more unor- might invite attack. His true power is (treat such a weapon as a tonfa with a thodox martial styles to NPCs until you are always well-cloaked, like a fist concealed speed factor of 6-8). sure such styles are suitable for PCs. Err within a silken glove. Occasionally, noblewomen are taught to on the side of caution. Novelty is fun and Another common weapon of the pilgrim conceal weapons on their person in case desirable, but becomes an aggravation if is a hardwood flute about 2-3’ in length. of emergency. They may hide a dart or martial artists become too powerful. Mar- This flute is treated as a jo stick in combat, dagger in the sleeve or carry an elegant tial arts combat benefits the game only but whistles a swirling tune as it is swung fan that conceals a rigid set of steel ribs when it is fair and well-balanced, not about in battle. Some monks and shukenja (treat as a gunsen). Small razors may be when it produces inhuman killing are reputed to carry magical flutes that hidden under long fingernails; these machines who ruin the campaign. allow the owner to transform his ki power razors may also be poisoned (treat as a into spell-like songs, similar to the instru- nekode with a speed factor of 1 for pur- ments of the bards. Each flute’s set of pose of damage). The kanzashi, a sharp- spell-songs is unique. pointed, ornamental hairpin that often Oaken Grip. This style is inspired by contains a lethal poison, is commonly the kicking and footwork of the dragon worn. Treat the kanzashi as a nekode that and mantis, but promotes the use of pow- inflicts l-3 damage to small- or man-sized erful hardwood weapons. The student opponents and 1-2 damage to large foes. learns solid footwork for defense and Female ninja, or kunoichi, often learn flamboyant kicks for offense. He trains his this style so they may more easily infiltrate body to be resilient and resistant to injury. a royal court and play the role of a hand- The practitioner of this style uses the maiden or lady’s bodyguard. A kunoichi three-piece rod, nunchaku, or tonfa to spy will, of course, conceal a vast arsenal deliver crushing blows. These weapons in her clothing or costume. are also used to catch an opponent’s weap- Sword Breaker. The sword breaker on or to grab an arm or disable a limb style was developed by local police forces with a lock of oaken strength. When using to deal with unruly swordsmen. Consta- one of the weapons of this style, the stu- bles or community defenders of the bushi dent may perform a Locking Blow maneu- or yakuza class often study this art to ver or an Incapacitator maneuver. If defend themselves and their towns from attempting a lock maneuver without one drunken samurai or other lawbreakers. of the aforementioned weapons, the The sword breaker style combines attempt is made at –2 on the “to hit” roll, strong wrestling moves with the skills of since the student is specifically trained to catching and breaking a samurai’s blades. use a weapon. No weapons other than The student usually learns the use of the those mentioned above may be used to sai or jitte to catch and shatter a criminals perform an oaken lock. weapon. The jitte is learned by most con- Silken Spear. This style is commonly stables, while elite police officers favor the taught to women of the court, from an sai as a symbol of rank. Other weapons exalted empress to an ordinary handmaid- are studied, including the bo stick, jo en. A noblewoman is expected to fight sticks, tonfa, or chain. These weapons are when necessary to defend herself or her favored by poorer communities, since they clan. She must learn to employ weapons, may be easily made or adapted from agri- common implements, and her environ- cultural tools. The sode garami is also a ment to defeat any foe. popular weapon with police since it may The use of weapons is essential to this be used to entangle and subdue a criminal. style. The woman is expected to master This style, or a variation thereof, is the spear and naginata together to per- occasionally studied by sohei or palace

13 D RAGON 55 erful. The table also lacks any way to by Len Carpenter create a powerful offensive style like karate, with its three attacks per round. To help the DM create novel martial-arts styles, the following guide table (Table 1) is presented. There are eight possible offen- sive combinations linking a base number of attacks with a base damage. The combi- nations are ranked from most to least powerful on offense. There are two possi- ble combinations that link three attacks New per round with a base 1d6 or 1d4 hp damage, which are offensive combinations not possible to generate using Table 69. The second column also shows the maxi- mum possible damage that can be done per round by the martial artist. Kicks in The more powerful a style is on offense, the less powerful it should be in other respects. The third column in the table gives the best possible armor class for the style. The most powerful offensive combi- nation has at best an AC 8, while the two Martial Arts weakest combinations on offense may convey up to AC 5 on defense. Next on the table is the highest possible special maneuver difficulty rank for the combination. Karate’s most difficult maneuver is Strike 3, while the weaker styles on offense may go up to a difficulty rank of 6 or 7 (as is the case with Levita- A guide table for creating martial-arts styles tion or Slow Resistance). The maximum number of special maneu- vers in the style is given in the fifth The martial style combinations table for the Dungeon Master’s campaign, but it column. Most combinations may carry up (Table 69) on page 102 of the AD&D® has its flaws. Without proper guidance, a to 11 special maneuvers, while the more Oriental Adventures is a fine and easy way novice DM may create martial-arts styles powerful combinations on offense have a to come up with original martial-arts styles that are too weak or, worse yet, too pow- lesser maximum. Generally, the more maneuvers a style has, the lower its high- est difficulty-rank maneuver. Kung-fu and tae kwan do, on page 101 of Oriental Adventures, each has one difficulty rank 5 Table 1 maneuver, while jujutsu, with its 11 Martial-Arts Guide Table maneuvers, has no special maneuver more difficult than Throw 4. Thus, the DM Special maneuvers should avoid maximizing both difficulty Offense Defense Highest Maximum Maximum rank and number of maneuvers for the No. of Damage Best difficulty no. of no. of same martial-arts style. attacks (max./round) AC rank maneuvers rank points To balance the number of special maneu- 3/1 1-6 (18) 8 36 10 vers in a style with its difficulty ranks, the 2/1 1-8 (16) 7 4 712last column introduces the idea of “rank 3/1 1-4 (12) 6 5 9 18 points,” where the difficulty ranks for all 2/1 1-6 (12) 6 5 11 24 the maneuvers in the style are added 1/1 1-8 (8) 6 5 11 26 together. For example, karate has 1 + 2 + 2/1 1-4 (8) 6 7 11 28 3+1+1+1= 9 rank points, or just under 1/1 1-6 (6) 5 7 11 30 the recommended 10 rank-point maximum 1/1 1-4 (4) 5 7 11 32 for this powerful martial style. Jujutsu has a total of 23 rank points, just under the suggested 24 rank-point limit. Similarly, kung-fu is not too powerful with 20 rank points. Table 2 Tae kwan do seems underpowered with Example of a New Martial-Arts Style just an AC 8 and only 16 rank points. The style could do with one or two more spe- No. of Principle Special cial maneuvers, such as Strike 2 or 3, to attacks Damage AC attack maneuvers make it stronger. A revised version of tae Example style 3/1 1-4 7 Hand Vital 1,2,3 kwan do may look like this: Movement 1,3 Push 2 Kick 1,2,3 Lock 3 Strike 1,2,3 Mental 1,2 Throw 3 Movement 5

66 AUGUST 1988 14 The guide table presented herein is not special maneuvers. A style that attains the For example, let’s start with the offen- intended to replace Table 69; it is meant to maximum in three or all four categories sive combination of 3/1 attacks and 1d4 hp augment it. Table 69 should still be used to will likely be overpowered, and a style damage to create a hard/soft vital-area create the foundation of a martial-arts that exceeds the maximum in any category style. We’ll limit the style to AC 7 and build style. When rolling up the number of by a great degree is definitely unbalanced up the special maneuvers toward the special maneuvers in a style, the DM could for any reasonable campaign. maximums in the number of maneuvers instead roll for 1-4 special maneuvers Some martial styles created by Table 69 and number of rank points. This style has outside the principle method of the style, may be overruled by the guide table as nine special maneuvers for 18 rank points, but the total number of maneuvers in the being too powerful. For instance, it is which fits in fairly well with the maxi- style still cannot exceed 11. When the style possible to create a hard/soft vital area mums set. This new style is shown in is finally created, the DM can compare the style with 2/1 attacks, a base 1d8 hp dam- Table 2. new style to the figures in the guide table age, and an AC 6. Still, such a combination By keeping the martial-arts styles of a to see if the new style is underpowered or is too powerful and will rapidly overshad- campaign world within reasonable limits, overpowered. ow other styles in the campaign. the DM prevents one or two styles from An underpowered style can often bene- Optionally, the DM may choose to start standing out as being substantially more fit from a slightly better armor class or with the guide table in creating a new powerful or effective than all other self- one or two more special maneuvers. Some- style. The DM first decides on the princi- defense systems. This encourages players times, however, the DM may wish to inten- ple method and hardness or softness of to explore a diversity of martial-arts sys- tionally create an underpowered style that the style, then picks a proper offensive tems before choosing the style to be stud- is quick for characters to learn and serves combination from the guide table and ied by the player’s character. Characters a specific function, rather than providing builds up the style. An advantage with this who learn different martial-arts styles add an all-purpose self-defense system. method is that the table provides for two greater variety to the campaign and keep A style that is overpowered can cause offensive combinations not allowed by martial-arts combat from becoming too real problems in the campaign. A style Table 69. The combination of 3/1 attacks repetitive or predictable. that mixes a powerful offense with a num- and a base 1d6 hp damage is definitely a Not only does the guide table help keep ber of high-difficulty special maneuvers hard style with a low armor class, and it martial-arts systems balanced in the cam- will overshadow other martial styles in the should have few special maneuvers, as paign, it also expands the range of possibil- campaign, make the students of the style with karate on page 101 of Oriental ities by allowing for two new offensive too powerful in relation to other martial Adventures. The combination of 3/1 combinations. In all, balance and diversity artists, and limit the number of PCs who attacks and 1d4 hp damage is a hard/soft both benefit, helping to keep the martial are drawn to other styles. To keep a style style that may carry a better armor class arts an ever-interesting part of an AD&D from becoming too strong, the style and more advanced special maneuvers. Oriental Adventures campaign. should push toward the maximum in no This combination creates fast, exciting more than two categories of defense or styles that aren’t too hard-hitting.

15 DRAGON 67 by Vince Garcia while appearing to be a reasonable idea, conflicts with the structure of at least one class with a right to martial-arts abilities — the shukenja, which may be played with a 3 dexterity. The following article offers a few guidelines and observations to clarify the subject of martial arts in an Oriental Hand-to-Hand AD&D game campaign. Who may learn martial arts? The section in Oriental Adventures entitled “Learning Martial Arts” (page 105) appears to suggest that any character with Against the an open proficiency slot may acquire martial-arts ability if he can find a master to study under. Of all character classes, only two have an inalienable right to mar- tial arts — the monk and shukenja, both of whom begin at 1st level with martial-arts abilities. The DM retains the final ruling Rules on whether game balance is best main- tained by allowing other classes to use these skills, and one of the factors he should consider when making this deter- mination is how well martial-arts skills fit the character class in question. Barbarians: Oriental barbarians are granted a large selection of skills and allowable proficiency slots to cover their many useful abilities acquired while grow- ing up in a harsh and demanding environ- ment. Nowhere are martial arts mentioned in the description of the class, and it is reasonable to assume that the barbarian’s exposure to the subject during childhood was minimal at best. Because of this, it is likely the barbarian would have little motivation to invest time in such a demanding regimen of training in a field so foreign to his background. Certainly nothing exists to prevent him from making the attempt, but the DM must decide whether commitment to learning and practicing martial arts is done to the detri- ment of the barbarian’s other talents. Bushi: The rules for weapon specializa- tion do not specifically leave the bushi with the option of choosing an unarmed fighting style as a specialty. But since unarmed fighting styles are listed as weap- on proficiencies, it is possible to allow the bushi to specialize in one instead of in a melee or missile weapon. To do this, how- ever, requires some rule modifications, for the listed benefits of weapon specialization Modifying the martial arts of Oriental function adequately when applied to mis- sile or melee weapons but bear no practi- Adventures cal tie to unarmed fighting styles. In developing guidelines to cover the bushi, two facts listed in Oriental Adven- The unarmed fighting guidelines in character wanting to learn martial arts tures must be considered. First, the bushi AD&D® Oriental Adventures, while martial- shouldn’t have to meet one or more ability must study under a master in order to arts styles, leave a few gray areas open to score minimums (one has a difficult time learn martial arts. Second, the character’s subjective interpretation. For example, the imagining a martial artist with a dexterity of specialty must be declared upon his initial kensai has the option of specializing in an 3 gracefully executing a circle kick maneu- creation. unarmed fighting style, yet the table provid- ver!). At the DM’s discretion, the bushi may ed with the class description is based entire- Unfortunately, the lack of integration in have the privilege of entering the game ly on the premise that the character decides the martial-arts rules causes problems if an with an already chosen master, foregoing on perfecting the use of a melee weapon. It attempt is made to clarify and elaborate on the cumbersome process normally isn’t clear if it is possible for a bushi to some of these gray areas. Suggesting, for entailed in finding such a tutor. To balance choose an unarmed fighting style as a form instance, that a prospective martial artist this, the character should undergo a proc- of weapon specialization, nor is it clear if a possess at least a 10 or 12 dexterity, ess of training prior to embarking upon

58 NOVEMBER 1988 16 the road of adventure, which would reflect a childhood or adolescence during Table 1 which the bushi acquired the basics of his Alternate Bushi Experience and Hit Dice chosen style from a relative or acquaint- ance functioning as the character’s master. Experience Experience 10-sided dice for In game terms, this could be done by points level accumulated hit points allowing a period of zero-level adventuring - 750-0 0 1d6* not unlike that of the Unearthed Arcana’s 1-1,500 1 1d4 cavalier. During this time, the bushi earns 1,501-3,000 2 1 his “free” master by working through 3,001-6,000 3 2 experience- and hit-point penalties as 6,001-14,000 4 3 shown in Table 1. At the beginning of this 14,001-30,000 5 4 period of zero-level adventuring, the bushi 30,001-60,000 6 5 receives three proficiency slots, two of 60,001-120,000 7 6 which must be expended to acquire the 120,001-240,000 8 7 basics of his style. Upon attaining 1st level, 240,001-480,000 9 8 the bushi receives his fourth proficiency 480,001-710,000 10 8+2 slot which can be used for the acquisition 710,001-1,000,000 11 8+4 of a special maneuver or martial-arts 1,000,001-1,250,000 12 8+6 weapon taught under the style. In addi- tion, if the bushi either then or at a later 250,000 points per level beyond 12. time gains proficiency with a martial-arts * Constitution adjustments are made at zero level. None are made at 1st level. weapon, he will be entitled to a bonus of + 1 to hit and damage when employing it. Table 2 (This bonus does not apply to any addi- Martial-Arts Specialist Bonuses for Bushi tional weapons in which the bushi later gains proficiency, nor to weapons not used Experience Additional martial Additional martial Special in martial arts.) level attacks damage bonus Table 2 outlines other bonuses that could 1 00A be granted to the bushi. They include the 2 1/3 0 — automatic acquisition of a special maneu- 3 1/3 0 — ver every six levels (which doesn’t affect 4 1/3 +1 — his option of obtaining more through 5 1/3 +1 — expending proficiency slots) and a mental 6 1/2 +1 B and physical training maneuver of the 7 1/2 +1 C DM’s choice every seven levels. 8 1/2 +2 — As a final note, the DM must consider 9 1/2 +2 — carefully whether to allow a bushi special- 10 1/1 +2 — ized with a weapon to gain martial-arts 11 1/1 +2 — abilities at some later point. Weapon spe- 12 1/1 +3 B cialization entails far more than merely 13 1/1 +3 — expending extra proficiency slots to gain a 14 2/1 +3 C bonus; the character is presumed to spend quite a bit of time practicing with his Special bonus key chosen weapon, sparring and developing a A. +1 to hit and damage with a single martial-arts weapon. confidence with it as he learns its various B. Gain special maneuver within style. nuances and the most effective means of C. Gain mental and physical training maneuver of DM’s choice. employing it. No less a dedication is required to perfect any of the martial arts, and it is reasonable to consider whether the character may have the time to pursue Table 3 both weapon and martial-arts practice — Alternate Kensai Experience and Hit Dice especially in the case of a bushi who spends much of his time adventuring. Experience Experience 10-sided dice for Kensai: The kensai who chooses an points level accumulated hit points unarmed fighting style as his forte brings - 1,500-0 0 1d6* up the same question as the bushi regard- 1-3,000 1 1d4 ing whether he should enter the game 3,001-5,500 2 1 with a previously chosen master. Unlike 5,501-10,000 32 the bushi, however, the kensai’s character 10,001-22,000 4 3 description does not require him to be, 22,001-44,000 5 4 under the tutelage of an instructor to 44,001-88,000 6 5 begin play with martial-arts proficiency. 88,001-150,000 7 6 Thus, the kensai character need not 150,001-250,000 8 7 undergo a period of zero-level adventuring 250,000-500,000 9 8 for a bonus that isn’t necessary. However, 500,001-750,000 10 8+2 the player and DM may favor zero-level 750,001-1,000,000 11 8+4 adventuring anyway, for certainly the 1,000,001-1,250,000 12 8+6 kensai requires supervised training to gain any special maneuvers taught within his 250,000 points per level beyond 12. particular style. Table 3 outlines an * Constitution adjustments are made at zero level. None are made at 1st level. experience-level modifier similar to the 17 DRAGON 59 bushi’s in the event this method of acquir- taught within the style, this bonus is lost.) requisite and so never gains the 10 per- ing a master is used. When the character at last gains the abili- cent bonus to earned experience” (page Whether or not the kensai begins play at ty of whirlwind attack, he may make 19). This writer has the impression the zero or 1st level, he receives the basics of either a hand-to-hand or melee weapon ninja is not entitled to the experience his style without cost along with three attack on each enemy within 10' of him. bonus, although the class requires so proficiency slots, one of which may be This does not mean a full hand-to-hand much experience to advance in level that I expended for martial-arts purposes if the attack sequence, but only a single hand-to- allow ninja characters in my own game kensai is determined to have a master. hand attack per foe. In addition, should the bonus. [The passage from page 8 is (This does not include martial-arts weap- the kensai use his ki power to cause maxi- incorrect, according to David "Zeb" Cook.] ons taught within the style, for the kensai mum damage during an attack, the bonus Putting aside other arguments with the should realistically be able to self-train in will apply only to one attack, not to an class, such as whether it was a good idea these weapons if he desires. Further, from attack sequence — although the character to make it a split-class rather than its own 2nd level on, the kensai may expend up to may expend multiple ki uses to cover his separate class, one might wonder whether two slots per level in martial arts.) Other full allotment of attacks during the round. the ninja should be able to use his ninja slots may be expended for peaceful profi- The kensai’s armor class is equal to the proficiency slots on martial arts rather ciencies, but it is suggested that until the base of his style plus the indicated bonus than relying on the other half of his class kensai has mastered all special maneuvers from the table. The formula offered for for this. The martial art of ninjutsu in our and martial-arts weapons taught within other kensai does not apply. own world certainly embodies various the style, he may not gain proficiency in Kensai not dedicated to perfecting a unarmed fighting movements; while this other weapons or martial-arts styles. martial-arts style may also, at the discre- fact does not require translation to a ninja Table 4 outlines martial-arts bonuses for tion of the DM, be prohibited from learn- character class placed in a particular DM’s a kensai perfecting an unarmed fighting ing martial arts as a bushi weapon fantasy world, the potential probably style. Some modifications have been made specialist. The kensai has even less time to should at least exist. Thus, the DM can between this table and the character spend on other pursuits than a bushi; and create a martial-arts style particular to the description as written, particularly regard- thus may not have time to learn an unarm- ninja, such as the following (as per Orien- ing the levels at which certain kensai ed fighting style. tal Adventures, page 101, Table 68): abilities are normally gained. Other Monk: Fortunately, the monk is ade- bonuses granted the kensai include a quately dealt with in the Oriental Adven- Name: Ninjutsu periodic bonus of +1 to hit and damage tures rules. No major problems exist # of At.: 2/1 with a martial-arts weapon of his choice within the class regarding martial arts. Damage: 1-6 taught within his style; at the option of the Ninja: Unfortunately, the ninja is not as AC: 8 kensai, this bonus is cumulative and may well defined in the area of martial arts as Principal Attack: Hand be taken more than once with a single the monk. The first problem presented by Special Maneuvers: weapon. Further, the kensai periodically the class is that two passages in Oriental Lock 1, 3 gains special maneuvers, mental and phys- Adventures contradict each other: “Ninja Movement 1, 5 ical maneuvers, and a free weapon profi- with a dexterity score of 16 or higher gain Throw 2 ciency. (If the kensai has already gained a bonus of 10% on earned experience” Vital area 3 proficiency in all martial-arts weapons (page 8), and “The ninja has no prime Weapons: Nunchaku, Kusari-gama (the

Table 4 Alternate Bonuses for Kensai

Additional Additional Experience Initiative Armor class martial-arts martial-arts Special level bonus bonus attacks damage’ bonus 0-1 0 1 0 0 A 2 0 1 1/3 0 — 32 111/3 ½ die — 4 1 2 1/3 ½ die B 53 1 2 1/3 ½ die C 6 1 2 1/2 ½ die A,D,E 7 1 3 1/2 ½ die F 84 2 3 1/2 1 die G 9 2 3 1/2 1 die D 5 10 2 4 1/1 1 die C,H 11 2 4 1/1 1 die A,D 126 2 4 1/1 1 die I

Special bonus key A. +1 to hit and damage with a single martial-arts weapon. B. May meditate like a shukenja. C. Gain special maneuver within style. D. Gain mental and physical maneuver of DM’s choice. 1 Using the type of damage die appropriate to the martial-arts style. E. Only surprised on a 1. 2 May strike creatures requiring +1 weapon to hit. F. Cause fear; use two weapons. 3 May strike creatures requiring +2 weapon to hit. G. Gain proficiency in martial-arts weapon. 4 May strike creatures requiring +3 weapon to hit. H. Attract 1-6 pupils. 5 May strike creatures requiring +4 weapon to hit. I. Whirlwind attack. 6 May strike creatures requiring +5 weapon to hit.

60 NOVEMBER 1988 18 DM might allow ninja weapons to be gain the basics of a style taught by his be allowed to begin play with an already taught within the style for ninja) superiors. chosen master or with martial-arts abili- Once the DM has created a style of Wu jen: Each class in the AD&D game is ties, but may acquire them through the ninjutsu for a given clan (as different clans given various strengths and weaknesses to normal process. would likely make use of different special keep it in balance with other classes. Magic-users in particular have tradition- maneuvers), the character must locate a Learning martial arts ninja master to study under, receiving the ally been singled out as having to rely “Master is an honorary title, not a char- basics of the style after expending a profi- upon their arsenals of spells to survive — acter class. Students refer to their teacher ciency slot. From that point, he advances which is one of the reasons they may not as master. Unarmed fighters who have like anyone learning martial arts, but may use swords or wear armor. In the case of gained a reputation are respectfully called only allot proficiency slots from the ninja the wu jen, though, not only is he granted master. A wanderer may enter a town, class to improve his skill at ninjutsu. a potent and respectable selection of proclaiming himself to be a master. The Samurai: It seems odd that the samurai spells, but he is given a hit-point bonus as title is not a measure of skill or level!” class may be played with as little as a 3 well as allowed the use of certain weapons No statement in Oriental Adventures dexterity. Other fighter classes like the (such as a short sword and bow) which his opens the door to more potential abuse barbarian, bushi, and kensai must each Western counterpart has always been than that just quoted, from page 105. If a meet a minimum dexterity requirement, denied in the name of “game balance." master may theoretically know and impart but the samurai does not have this restric- Further allowing the wu jen to acquire the nothing more than the basic movements of tion. This brings up an earlier question as art of karate, for instance, essentially a style, what is the difference between to whether a prospective martial artist grants a magic-user a three-attack round studying under an NPC master of little should meet a dexterity minimum. I per- at 1-6 hp damage per hit! If one adds the ability and a kensai PC who volunteers to sonally feel that he should, and so would special abilities of those nonhuman races instruct a wu jen PC in the art of jujutsu? not allow a samurai with less than a 12 allowed to become wu jen, all these talents Immediately, this important aspect of the dexterity to learn martial arts. But it is for in concert with one another may result in game is removed from the control of the each individual DM to determine his own a character so versatile that game balance DM and handed over to the players. The guidelines in the matter. An argument — starts to suffer. long, involved process for the PC to locate albeit not a strong one — could be made Almost certainly, any wu jen character a master to study under is not only unnec- that the martial artist may actually rely will, if possible, learn martial arts for a essary but ludicrous. less on his dexterity and more on his ki for back-up in the event he is forced into To retain control over the issue, the DM fluid performance of movement, and in melee. The wu jen begins at 1st level with must insist that a PC may receive instruc- this case could be the basis for allowing a six proficiency slots, which is more than tion in martial arts only from an NPC — 3 dexterity samurai to perform tae kwon most classes receive. He gains another never from another PC. Some rationaliza- do, as his dexterity plays little part in the every other round. Why so many? The tion exists for this statement. The monas- scheme of things. answer is found on page 55: “[The calligra- tic classes of monk, shukenja, and sohei However the DM chooses to handle the phy proficiency] is needed to inscribe would jealously guard the secrets of their matter, the samurai — because of his magical scrolls. . . ." As the wu jen has no unarmed fighting styles from outsiders. A weapon-specialization requirements — write spell, he relies on his calligraphy bushi PC approaching a shukenja PC with should not be allowed the option of begin- skill to perform essentially the same func- a request to learn tae kwon do should ning play with a martial-arts proficiency. tion, as well as assisting in the creation of receive a polite but firm refusal. Even in Instead, he should at some point after magical scrolls. Clearly, a wu jen must the case of two adventurers from the entering the campaign search out and expend two of his six proficiency slots to same monastery, the ultimate determina- locate a master to study under. acquire calligraphy. If one wishes to give tion of a student’s right to learn a martial- In contrast to the bushi weapon special- the wu jen the benefit of assuming callig- arts style or special maneuver should ist and the kensai, the samurai has an raphy is automatically known, the charac- come from a temple superior with author- intense training in his weapons from his ter must still make a proficiency check (at ity over both characters; the choice would youth, and so he requires a less-constant base 18 or higher) to inscribe a scroll — not be the PCs’ to make. regimen of practice to maintain his and probably to transfer a spell from a In the same way, a ninja would never bonuses. Certainly, the samurai will spend scroll to his equivalent of a spell book. instruct an outsider in the art of ninjutsu, a significant portion of his time in practice Thus, the wu jen has a good use for all his nor would a yakuza reveal clan fighting with katana and daikyu, but probably not proficiency slots apart from learning mar- techniques to those not under the author- to the extent that training in the martial tial arts or the use of extra weapons. ity of his oyabun. The fanatical training arts is automatically prohibited. Of course, Given this, the wu jen character may not regimen of the kensai would be more than the properly played samurai should be be quite so anxious to put proficiency slots a nonkensai could endure, and a samurai more interested in improving his calligra- into martial arts. might think it beneath his dignity to be phy skill than his karate skill, but that is Lastly, the overall power of the adven- instructed by a PC who is a mere bushi. the character’s choice. turing group’s typical opponents can pro- All these justifications cannot cover Finally, the samurai’s damage bonus vide an indicator of whether the wu jen every circumstance, but they do offer should not apply to martial-arts attacks, should be allowed to learn martial arts. grounds for ruling martial arts can only be except at the DM’s discretion. Some of the Oriental monsters are so learned from NPCs. In addition, they bring Shukenja: Like the monk, the shukenja is powerful that it behooves the wu jen to up a point that the DM should consider: In adequately handled. Given the shukenja’s take advantage of every possible benefit; if many cases, the greatest likelihood is that monastic ties, it is reasonable to presume these monsters regularly appear in the the PC’s tutor in the martial arts will come the character has access to martial-arts campaign, game balance isn’t necessarily from his governing superiors. Those class- training at all times without the need to compromised by permitting the wu jen the es in which this is a virtual certainty are actively hunt out a tutor. This should also option of unarmed fighting. In the same the monk, ninja, samurai, shukenja, sohei, hold true for the monk and the sohei. way, if every group of bandits the party and yakuza. Sohei: Unlike the shukenja, the sohei encounters are evil monks or masters of While the above suggestion is not does not automatically begin play with kung fu, then the wu jen may as well be engraved in stone, in game terms it may martial-arts abilities. Yet because he is allowed to pick up karate if he wants. be the most practical way of handling the similarly tied to a monastery, it is not Yakuza: Nothing in the yakuza’s charac- matter. Other classes might well resort to gratuitous for a DM to allow him to ter description reveals martial arts to be expend a proficiency slot upon creation to natural to the class. Thus, he should not Continued on page 64 DRAGON 61 19 Good question. Unless the intruder masters wishing to use these attributes if the character is carrying over half his happens to slip on a convenient banana must create their own modifiers for them. Strength score in kilograms. peel or other unforeseen obstacle, the To use the MRM, the player must find For example: Rufinkel, a Yazirian, has a poor security guard may never get his his character’s Base Movement Value for Strength score of 55 and a Reaction Speed man. Here we see evidence of a flaw in the the type of movement desired. The Base score of 60. His MRM would then be 5 (the STAR FRONTIERS® game, in that all beings Movement Values are listed in Table 1 average of 55 and 60 is 57.5; dividing by of the same race run at the same rate of herein and are found by cross indexing 10 gives 5.75, rounded down to 5). Con- speed. The problem, however, is not just the character’s race with the type of move- sulting Table 1, Rufinkel walks at the rate limited to running or walking; it also ment needed, such as running or walking. of 12.5 meters per turn, runs at 37.5 applies to swimming, climbing, and just The player then multiplies the number meters per turn, and hikes at the rate of 5 about every other movement task that a found by his character’s MRM to find his kilometers per hour. In addition, the table character might attempt. character’s movement rate using that also gives Rufinkel’s “standardized” move- In the STAR FRONTIERS game, all crea- particular type of movement. Even though ment rates. Rufi now climbs at the rate of tures are given a set of movement rates encumbrance has no effect on the MRM, it 2 meters per turn, and he makes running which are dependent only upon the races still plays a role in reducing the movement jumps up to 6 meters long and standing of the creatures involved. Thus, every rates of an encumbered character by half jumps up to 3 meters. Human in the Frontier runs just as fast as every other Human. The same can be said for Yazirians, Dralasites, and every other known race. Obviously, this just isn’t the Table 1a case. Any decent member of an Olympic Base Movement Values by Race track team could beat the socks off the average person on Earth in a foot race, yet Race Walking Running Hiking Climbing Crawling the current movement system would not Dralasite 1.250 5.000 0.750 0.375 0.500 allow this. Human 2.500 7.500 1.250 0.500 0.500 Since all characters are not created Humma* 2.000 7.000 1.200 0.300 0.200 equal in the STAR FRONTIERS game sys- Ifshnit* 1.000 3.750 0.500 0.250 0.250 tem, all speeds should not be equal. Speed Osakar* 5.000 12.000 2.000 0.400 0.600 should be based upon the basic attribute Vrusk 3.750 8.750 1.500 0.375 0.250 scores of a character and the character’s Yazirian 2.500 7.500 1.000 0.500 0.500 race. (Obviously, a Dralasite cannot run as Sathar * * 2.500 5.000 0.750 0.500 0.500 fast as a Vrusk.) This article describes a diversified movement rate system in which only the characters who are physi- cally alike have the same movement rates. In addition, the “standardized” movement rates, such as climbing, jumping, and the Table 1b Base Movement Values by Race rest, are also covered. The main advantage of this system is that it allows each charac- ter to be different from his peers. As an Race Running Standing Running Standing leap leap vertical leap vertical leap added bonus, the system is flexible, per- Dralasite 1.000 0.375 0.375 0.250 mitting a character to improve his speed Human 1.250 0.500 0.500 0.375 as he improves his physical fitness. Humma* 10.000 5.000 1.500 1.000 Ifshnit * 0.750 0.250 0.375 0.250 Movement Rate Multiplier (MRM) Osakar * 1.200 0.500 0.400 0.300 This system requires that each character Vrusk 1.250 0.625 0.375 0.250 have a new statistic defined: the Move- Yazirian 1.250 0.500 0.500 0.375 ment Rate Multiplier (MRM). The MRM is Sathar * * 1.000 0.500 0.375 0.250 simply a number from 1 to 10, indicating how fast a character is — but only as compared to other members of the same race. High MRMs represent fast charac- ters, while low scores represent slow characters. This score is used extensively Table 1c in generating the movement rates, so it is Base Movement Values by Race recommended that this score be recorded on each character sheet near the Initiative Race Swimming Swimming Modifier score or the movement rates. To Flying per turn per hour create the MRM, simply take the average Dralasite — 2.000 0.250 of the character’s Strength and Reaction Human — 2.500 0.250 Speed scores, then divide by 10, rounding Humma* — 1.600 0.200 all fractions down. This value is the MRM. Osakar * — 1.000 0.125 The Strength score is used in the MRM Ifshnit * — 2.400 0.200 because a character’s speed and quickness Vrusk — 2.500 0.250 are based upon the strength of the mus- Yazirian — 2.500 0.250 cles within that character’s limbs. The Sathar * * — 2.500 0.375 Reaction Speed score is used because, by definition, it is a measure of a person’s * See SFAC3 Zebulon’s Guide to Frontier Space for details on this race. quickness. Excessive body weight and * * Sathar are used as NPCs only. However, this information also applies to the Sathar- equipment encumbrance do not play a related S’sessu race (which may be used as PCs), as described in DRAGON® issue #96. part in the creation of the MRM because of their difficulty to implement; game 20 DRAGON 63 Movement types Table 1 also gives new movement types that are available to the characters. These Table 2 are more fully explained below, along with Average STR, RS, and MRM Scores the old movement types from the Alpha Dawn expanded game rules to reduce Race Average Average Average cross referencing between the book and strength reaction speed MRM this article. Dralasite 50 40 4 Walking: This is the rate at which a Human 45 45 4 character can walk, expressed in meters Humma* 55 45 5 per turn. This is also the rate at which a Ifshnit * 40 45 4 character can climb a ladder or staircase. Osakar * 50 50 5 Running: This is the rate at which a Vrusk 40 50 4 character can run, expressed in meters Yazirian 35 50 4 per turn. Sathar * * 45 40 4 Hiking: This is the rate at which a char- acter can walk (with appropriate rests) * See SFAC3 Zebulon’s Guide to Frontier Space for details on this race. over long periods of time, expressed in * * Sathar are used as NPCs only. However, this information also applies to the kilometers per hour. (This is known as Sathar-related S’sessu race (which may be used as PCs), as described in DRAGON “Per Hour” in the Alpha Dawn expanded issue #96. game rules.) Climbing: This is the rate at which a character can climb a rope, expressed in winged character may fly, expressed in cle. Finally, new figures for Table 1 are meters per turn. A character can climb a meters per turn. Note the difference found simply by dividing the average vertical surface at half this speed, provid- between flying and gliding: Gliding is movement rates for the race by the aver- ed there are handholds and footholds. merely coasting through the air on steady age MRM, rounding results to the third Crawling: This is the rate at which a wings, but flying is the act of physically decimal place. The results should be character can crawl along the floor or propelling oneself through the air by recorded in the appropriate columns on ground in a semiprone position, expressed flapping wings. Table 1. in meters per turn. Swimming per turn: This is the rate at There may be some confusion as to what Running Leap: This is the distance in which a character may swim, expressed in a race’s average ability scores are. Note meters that a character can leap horizon- meters per turn. that when rolling on the Ability Score tally, allowing a straight-line run for 15 Long-Distance Swimming: This is the Table in the Alpha Dawn expanded game meters before leaping. rate at which a character may swim (with rules (page 4), the most commonly gener- Standing Leap: This is the distance in brief floating rests) over long periods of ated base score will be a 45, simply meters that a character can leap horizon- time, expressed in kilometers per hour. because the table assigns a 20% chance for tally from a standing start. it to occur. No other base score has as Running Vertical Leap: This is the height great a chance, though 45 is not the aver- Expanding Table 1 in meters that a character can leap, allow- age score. The average score is actually ing a straight-line run of at least 5 meters Expanding the table of Base Movement the sum of 45 and the appropriate value before leaping. This height is measured Values for new races can be accomplished from the Ability Modifier Table (Alpha from the ground to the lowest point on in four easy steps. First, each new race Dawn expanded game rules, page 4). Thus, the character’s body at the highest point of must have a table of average movement for a Dralasite, the average Strength score the jump. The sum of this distance and the rates defined for it; the creation of this would be 50 (45 and a +5 modifier equals character’s height (with arm extended) table is left to the designer of the race. 50), while its average Reaction Speed score used when the character is attempting to Second, the new race’s average Strength would be 40 (45 and a - 5 modifier). This reach a high object. and Reaction Speed scores must be found, gives Dralasites an average MRM of 4 (the Standing Vertical Leap: This is the height using the method in the following section. average of 50 and 40, divided by 10 and in meters that a character can leap from a Third, using the average Strength and rounded down). The average MRMs for standing start. Reaction Speed scores, the average MRM typical races are given in Table 2. Flying: This is the rate at which a is computed, as per the rules in this arti- When the numbers in Table 1 are multi- plied by the average MRM score for a race, the results are the regular movement rates for the race in question. This system Continued from page 61 works on the assumption that the rates We Moved! finding a master entirely apart from their given in the Movement Table on page 19 of acquaintances or present superiors. the Alpha Dawn expanded game rules Well, actually, our mailing address Once the master has been established, were created with the average character has changed slightly. The new the DM can then use the formula in Orien- in mind. The average character’s statistics address is now: DRAGON® Maga- tal Adventures for detailing what martial- are the same as those of an average NPC, arts abilities the particular master is as shown on the table in the Alpha Dawn zine, P.O. Box 111, Lake Geneva expanded game rules on page 59. WI 53147, U.S.A. See the differ- familiar with. In the case of the monastic classes (monks, shukenja, and sohei) and ence? Our street address for UPS the ninja and yakuza, even if the charac- shipments is still: DRAGON Maga- ter’s present master is limited in martial- zine, TSR, Inc., 201 Sheridan arts ability, it should not be difficult for Springs Road, Lake Geneva WI the character to locate a more experienced 53147, U.S.A. master later — through the process listed. DRAGON is a trademark of TSR, Inc. ©1988 TSR, Inc. All Rights Reserved.

64 NOVEMBER 1988 21 Martial-arts styles from the ancient Greeks

by Janne Järvinen

Up they stood, huge Aias Telamonius, The martial-arts system used in this Boxing then Odysseus the calculating and re- article was originally presented in the Boxing is one of the most ancient forms sourceful man. Wearing their belts, the AD&D® Oriental Adventures tome. How- of unarmed combat. It was first institu- two men leaned toward each other in the ever, the Dungeoneer’s Survival Guide and tionalized as a sport in ancient Greece, and arena, and with oaken hands gripped one Wilderness Survival Guide, with their new it was later adopted by the Romans. The another’s elbows. . . . The bones in each nonweapon proficiency system that was Iliad describes boxing both lyrically and in man’s back creaked at the strain put on later incorporated into the 2nd Edition great detail, making it evident that boxers him by their corded thews, and sweat ran Player’s Handbook, make it possible for wore so-called fighting straps usually down in rills. Without pause they non-Oriental characters to learn martial made of ox hide. At first, the function of strove to win the tripod: neither could arts, too. If you want to introduce un- the rawhide straps was to protect the Odysseus throw his man and pin him, nor armed combat to your campaign, player boxer’s fists and, to some extent, to protect could Aias countered by Odysseus’ brawn. characters should be able to use both the opponent’s face. But in the passing of The Iliad, by Homer weapon and nonweapon proficiencies to time, the fighters wore straps made of translated by Robert Fitzgerald learn martial arts. Alternately, the initial harder leather to ensure that the oppo- proficiency would have to be a weapon nent’s skin would break more easily. Later In DRAGON® issue #122, Wayne Gold- proficiency, while both weapon and non- on, steel studs and rivets were added to smith and Dan Salas revealed that martial weapon proficiencies could be used to the straps until, during the reign of the arts are not the sole property of the Ori- gain special maneuvers. Likewise, the Roman emperor Nero, fighters wore brass ent. But many readers know that some special maneuvers of various styles in- knuckles and spiked “boxing gloves.” These sports practiced today are merely safer cluded herein (especially in the case of bloody fights often took place at the Colos- and relatively less violent forms of ancient pankration) are only suggestions, and the seum of Rome. One poet sarcastically styles of unarmed combat-or should I say, DM should feel free to change them or mentions a boxer who was so badly martial arts? even invent his own special maneuvers. beaten during a fight that his own dog

50 APRIL 1990 22 didn’t recognize him when he came home. (biting and eye gouging were usually for- above-waist holds, as described by the At its best, however, ancient boxing was bidden, though). Strikes below the belt poet Homer. Wrestling’s rules weren’t very a style of unarmed combat in which the and low-aimed kicks were common. strict. In The Iliad, Odysseus is said to boxer’s mental qualities were as critical as It was little wonder that a fight like this have kicked one opponent behind the his physical condition. Stories tell of box- often resulted in the death of one of the knee, knocking the man (Aias) backward; ers who won fights without giving or combatants. More often, however, the Odysseus then dropped on his chest. receiving a punch, yet left their opponents paidotrib (assuming there was one) called In the course of centuries, Greek wres- exhausted. Boxers are trained to have an end to the fight after one of the fight- tling was influenced by Egyptians and lightning-quick reflexes and are allowed ers was completely exhausted, seriously became even more loosely regulated. three attacks per melee round. injured, unconscious, or suffering unbear- Various strangleholds and finger, elbow, Otherwise, ancient boxers were trained able pain. The fights were so violent that and knee locks were introduced to the pretty much the same way as they are when pankration for boys was introduced style. Wrestlers wore leather caps to keep today. The Greeks had already noticed the to the 145th ancient Olympics in 200 B.C., their opponents from grabbing their hair importance of a sandbag in practice. the paidotribs didn’t let the weaker- or tearing off their ears. Illustrations in looking boys compete at all. Basically a Egyptian tombs indicate that the Egyptians Pankration (classical) hard style, freefight can include almost mastered over 70 different throws, holds, Pankration (Greek for “all powers”) was any maneuver. More often, however, a and locks; the Greeks must have mastered a combination of boxing and wrestling. In freefighter sought to learn maneuvers even more! 648 B.C., it was included in the list of from a wide variety of combative styles sports in the ancient Olympic games. The rather than concentrate on one particular Bibliography winner of each two-man fight was the one style, such as kicks. Of course, masters of Homer. The Iliad. Translated by Robert who first brought his opponent to the any style can compete in a freefight, too! Fitzgerald. New York: Doubleday & Co., ground. This could be accomplished by In its freestyle form, pankration was not a 1974. various punches or above-waist throws. sport but a deadly martial art. The matches were fought under the close supervision of a referee (called a paido- Wrestling trib). Strongly grounded stances were Wrestling is probably the most ancient learned. When the Hellenic culture fell of all sports. Although it requires a great into decay, classical pankration soon gave deal of strength, wrestling is basically a way to a wilder version of the sport. soft style as it aims in neutralizing, rather Out of Supplies? than destroying, the opponent. There are Pankration (freestyle) scores of wrestling styles, and this article Write for a free catalog from the Classical pankration is about as old a gives an overall view of only one of them. Mail Order Hobby Shop, c/o TSR, sport as boxing and wrestling are, but the Wrestling was very popular in ancient Inc., P.O. Box 756, Lake Geneva WI same cannot be said about its wilder coun- Greece. It was included in the ancient 53147 U.S.A. If you need special terpart, freestyle pankration (also known Olympics both as a sport by itself and as as freefight). While the rules of wrestling the culmination of the pentathlon event. supplies for your role-playing ad- and boxing were much more looser than Special halls, called palaistrons, were built ventures, the Mail Order Hobby they are nowadays, pankration allowed for wrestling practice. The philosopher Shop has them — from all parts of nearly any imaginable punch, kick, throw, Platon was a famous wrestler in his own the gaming universe! or hold that could harm the opponent time. In the beginning, wrestling involved

Table of Greek Martial-Arts Styles

Number Principal Special Name of attacks Damage AC attack maneuvers Weapons Boxing 3/1 1-8 7 Hand Strike 1 see below Move 1,6 Mental 2,5 Pankration, classical 2/1 1-6 7 Body or hand Strike 1 None Throw 3,4 Move 1,3 Pankration, freestyle 2/1 1-8 8 None Strike 1 None Kick 1,2 Throw 3 Lock 1,3 Move 2 Vital area 1,2 Wrestling 1/1 1-4 6 Body Lock 1,3,4 None Throw 3,4 Move 2,3 Vital area 1

Boxing notes Studded straps add + 1 hp to damage, and opponents have -1 to their saves when stunning or incapacitation is considered. Brass knuckles and spiked gloves add +2 hp to damage, and opponents save at -2 against stunning or incapacitating effects.

DRAGON 51 23 74 JULY 1990 24 Artwork by Ronald Wilber Many players brought into an AD&D® battle-dancer character is outrageously for every two levels after the 1st. 1st Edition Oriental Adventures campaign unbeatable. The majority of battle dancers are of will never again accept a game world When creating the tropical territory in neutral-good alignment: morally good without martial arts. After playing a monk which far-traveling PCs can encounter because the survival value of cooperation or a kensai, players see combat without battle dancers, it is suggested that any one has taught them to cherish love and loy- consideration for sophisticated techniques battle-dancer village be part of a confeder- alty; philosophically neutral because, while as stumble-bum affairs. As a result, some ation of three or more such villages, and a hatred for slavery inclines them away DMs use all of the Oriental Adventures that there be several separate confedera- from excessive lawfulness, the discipline character classes in every imagined world tions in the region. If there are cities in the of capoeira equally inclines them away and country, not merely the Kara-Tur area, there could be some urbanized battle from chaos. No battle dancer can be of an setting or its equivalent. However, there is dancers as well. evil alignment, as slavery, woe, and treach- an alternative. Characters can go to a Note that battle dancers can serve both ery are opposed to all of a battle dancer’s wholly different continent having nothing as warriors and spell-casters, but they are beliefs. of an Oriental nature, yet still having not as flexible as the specialized classes Just as monks gain special abilities with martial arts—but martial arts of a unique can be. In a capoeira culture, almost no advances in rank, so do battle dancers nature. A study of real-world history other classes will be found. It is possible acquire abilities relating to the power of yields examples of systematized fighting that a capoeira culture having contact music. They improve in movement speed styles worthy of comparison to the Asian with other parts of the world might find and inherent armor class much as monks methods yet completely independent in its old ways eroding under the influence do, and they inflict increasing amounts of origin. Perhaps the best example comes of the outside world, with some hostility damage (to human-size foes only) with out of Africa, by way of South America. between the generations that practice their fists and feet. Because capoeira dif- During the colonial era, many black either the battle-dancing ways or the fers from any fighting method that most slaves escaped from Portuguese masters in “new” and more specialized ways. characters will have ever seen, its practi- Brazil to form communities hidden in the tioners have a chance to completely sur- jungle. To defend themselves against white Battle dancer statistics prise opponents with their handspringing pursuers or hostile Indians, the former A battle dancer must have a strength of kicks, flying takedowns, and other move- slaves developed a style of fighting based not less than 14, a dexterity not less than ments (see Table 2). Monks, ninja, and on the combat methods of their African 14, a constitution not less than 12, and a sohei have less chance than others of ancestors. This came to be known as combined intelligence and wisdom not less being thus surprised, and no such person capoeira (pronounced cop-WAY-rah), and than 17. Any charisma score is allowable, will be caught off-guard by battle dancers its practitioners are capoeiristas. A new but an individual with charisma lower more than once. NPC class is offered here, based on the than 8 will never rise above 9th level. A The surprise attack against a non-battle capoeiristas (whose art is still practiced battle dancer gains no bonus for excep- dancer foe is rolled for at the start of today) but using the simpler name of bat- tional ability scores, nor can he ever have combat, regardless of which antagonist is tle dancer. a second class. Table 1 shows most of the the aggressor—unless the combat began The most distinctive features of capoeira relevant information on the class’s abili- with a successful surprise attack by the are its highly acrobatic nature (including ties. This class is patterned after the monk non-battle dancer foe. In that case, the handsprings and spinning like a top on of the 1st Edition Players Handbook. battle dancer will get his chance at the one’s head) and the fact that all its tech- Battle dancers have six-sided hit dice, very start of the second round. A success- niques are learned and practiced to with two dice at 1st level. Those of this ful attack for the battle dancer means that music—music that has served to pass along class must be human, and they use the his opponent automatically suffers the the oral traditions of the displaced Afri- combat and saving-throw tables of fight- maximum damage that the battle dancer is cans who devised the system. Regardless ers. Weapons usable by them are axes able to deliver by kick or punch (unless of whether or not battle dancers are con- (hand), blowguns, clubs, daggers, darts, the opponent’s armor class is 4 or. better, ceived of as living anything like the javelins, knives, spears, swords (one- in which case a normal damage roll is fugitive-slave existence of the original handed), and any sort of stick (bo or jo) or made). Thereafter, the battle dancer can capoeiristas, this cultural flavor and a staff. Oil and poison cannot be used as either break off and retreat, or else make strong sense of community solidarity are weapons. One weapon is learned at 1st a regular attack at + 1 to hit probability essential to the class. level (with a new weapon gained every before the opponent can act again. To make a quasi-African zero-level NPC two levels thereafter), and a nonprofi- Battle dancers have many special abili- into a battle dancer, there must be a ca- ciency penalty of - 3 applies to the use of ties. These include the following: poeira circle for his training. This circle unfamiliar weapons. Though they do not They can perform the martial-arts spe- consists of five or more battle dancers use armor, they can use shields, but while cial maneuver Instant Stand automatically, standing in a ring, simultaneously demon- doing so they forfeit the use of their spe- a talent that takes up no special-maneuver strating movements and singing capoeira cial unarmed attacks. Any magical weapon slot and can be performed at any level (see songs, while close at hand are two or or shield can be used by a battle dancer Oriental Adventures, page 104). more other persons (who can; at need, be within the above restrictions, as well as They can each sing, dance, and play 1-2 noncombatant members of their commu- any magical item that can be used by any musical instruments, as per the appropri- nity) playing musical instruments. The character class and (as is described later) ate nonweapon proficiencies, well enough capoeira circle not only provides training certain magical musical instruments. to earn a modest living as an entertainer but can (as will be described later) confer Due to their wilderness life, these char- in a city. on its participants a sort of collective acters must choose their first four non- In brawls involving no weapons, a battle magical-clerical ability. This gives the weapon proficiencies gained at 1st level dancer’s adversary does not gain attack battle dancers’ villages a fighting chance of from the lists in either Oriental Adven- initiative if he charges to attack. Also, survival in a world that ruthlessly de- tures (page 15, under “jungle barbarians,” while brawling, the battle dancer gains a mands the use of spells to deal with some excluding armorer, chanting, dancing, and + 2 bonus to his armor class against un- perils, yet without having any of the famil- music) or the Wilderness Survival Guide armed combatants, thanks to acrobatics. iar spell-casting types present. In this way, (page 12, excluding charioteering, moun- The traditional songs of the capoeira normal PC types are just as strange to the taineering, riding, and cold or desert sur- culture, describing the exploits of gods, battle dancers as the battle dancers are to vival). All proficiencies chosen must be goddesses, and heroes, have beneficial the PCs. At the same time, though their appropriate to the campaign environment. effects on members of this class. Any survival as a group is promoted, no single One new nonweapon proficiency is earned battle dancer hearing these songs sung by

DRAGON 75 25 a colleague of 6th level or higher will be the passage to 6th level, he must spend a Battle Weapon immune to all fear for the duration of the day having his musical skills examined by dancer’s attacks per singing. a 9th- or higher-level battle dancer. There level melee round The radius in which a battle dancer’s is a 10% chance for every wisdom point of 1-5 1/1 singing or instrument playing has a benefi- the candidate less than 18 that the Music 6-10 3/2 cial effect on others of this class equals 10’ Warrior will have to give an extra 1-8 days 11+ 11+ 2/1 per level of the singer or musician. The of musical coaching before the candidate battle dancer’s voice will carry beyond this is promoted. When armed but shieldless, the character radius, but special abilities such as those The Contra-Master, level 10, acquires an can choose how many of his attacks will listed here are more limited in effect. added point of charisma upon reaching employ his weapon and how many will A 2nd-level battle dancer (Handstander), this rank. He cannot now be surprised employ a foot, fist, or elbow. If an armed while hearing the singing of a 6th- or except by opponent using magical spells or but shieldless battle dancer is fighting higher-level colleague, gains a +2 on sav- powers such as teleportation or ethereal- humanoid foes only, then once in any ing throws against psionic blasts and all ness. Also, any 1st- or 2nd-level battle combat, after two rounds of using only enchantment/charm spells and those dancer who observes a Contra-Master unarmed attacks, the battle dancer can powers involving mental control. serving as a practice sparring-partner for make a feint with his weapon (causing no A 3rd-level Handwalker, hearing ca- a Master (10th-level or above) will enjoy a damage), followed by an unarmed attack poeira songs sung by a 6th-level battle 10% bonus on any experience points he that enjoys a +4 bonus to hit because of dancer, gains the same benefits he would may earn in the following week. the feint, If this sneak attack succeeds, it gain from a chant spell. The chant spell The 11th-level Master of Equilibrium is does double normal damage and can be can work cumulatively with the capoeira immune to all mental attacks (including all followed up with a weapon attack at +2 song after a one-round delay in which the enchantment/charm spells, possessions, to hit against the foe. Monks, ninja, and battle dancer who is singing adapts his and attempts at mind reading, mind con- sohei are less susceptible to this strategy, song to blend with the cleric’s chanting. trol, and psionic assault), as long as he or so the unarmed portion of the above tactic A 4th level Handspringer is immune to another Master is singing. If another battle has a +2 to-hit bonus and does only nor- harpy songs and the bards musical charm. dancer or a noncombatant member of mal damage, while the armed follow-up Also (due to their skills at team actions), if their community has been charmed, hyp- has but a + 1 bonus to hit. two or more 4th- or higher-level battle notized, etc., the Master’s song will act as a Rising in rank: There is less exclusiv- dancers fight side by side, each gets a + 1 dispel magic against this influence. Fur- ity and conflict involved in battle-dancer bonus in armor class. thermore, the Master can know alignment level gains than in those for monks. Up At 5th level, a Headspinner can move of any being heard singing—regardless of through level 9, there is no limit on how silently, hide in shadows, and hear noises such disguising powers as misdirection or many characters may hold each rank. The as a 1st-level thief; these abilities progress aura alteration. only limit on the number of Contra- with rank. Also, if two or three battle The 12th-level Uncle of Masters (a fe- Masters (level 10) is that, in any one ca- dancers of this level or higher team up male holding this rank would be called poeira culture, the number of Masters of against a single opponent (which battle Mother, not Aunt, since these titles derive Equilibrium (level 11) cannot exceed the dancers of good alignment will not do from the matrilineal system of many Afri- number of Contra-Masters, lest a Master unless the necessity is great), one member can cultures) is immune to all death magic be without a Contra-Master sparring part- of this team per round (selected randomly) (including the monk’s quivering palm) as ner to keep him in practice. This is impor- gains an extra attack. long as he or a colleague of Master rank is tant, because a major function of Contra- A 6th-level Rhythm Warrior is able to singing. Also, the Uncle of Masters is able Masters in the capoeira culture is to keep benefit lower-level brethren by his sing- to teach allied non-battle dancers to sing Masters in mental and physical condition. ing, as previously noted; however, he capoeira songs well enough to confer Any Master who fails to work out with a cannot do so while personally engaged in benefits on battle-dancer listeners. Such Contra-Master at least one a week while melee. It is also at 6th level that he be- teaching takes a number of weeks equal to not adventuring will gain only one-half comes able to give qualified zero-level 30 minus the student’s wisdom score. normal experience credit for the next characters the instruction in music and The Great-Uncle (or Grandmother) of adventure he undertakes. A Master who movement that will turn them into 1st- Masters, level 13, gains an overall 25% passes a full year without working out or level battle dancers. Moreover, the magic resistance from sheer will-force as adventuring—not counting the ordinary Rhythm Warrior can handle a magical long as any battle dancer can be heard hunting of common game—will drop a bardic instrument without suffering harm singing or playing a musical instrument. level in rank. and, given 2-7 days to study such an in- Moreover, if any mortal character of evil Thus, if a community has Masters and strument, has a 15% chance of being able alignment uses ESP or telepathy on the Contra-Masters in equal number, any to use it as a bard might. (This chance goes Great-Uncle of Masters, the innate grace- promotion-eligible Contra-Masters will just up another 15% with each level gained, so fulness and beauty of the mind being read have to wait until two or more Music that a 9th-level battle dancer is 60% likely will require the mind-reader to save vs. Warriors climb to Contra-Master rank, to master any musical magic item he ac- spells or change alignment to that of the unless there exists another capoeira com- quires.) Finally, the Rhythm Warrior is Great-Uncle. (Evil extraplanar creatures munity of friendly alignment that has an surprised only on a 1 in 6. reading a Great-Uncle’s mind will not extra Contra-Master available for transfer. The Dancing Warrior, level 7, receives change alignment, but they will temporar- For this reason, many Contra-Masters will chant spell benefits when he hears any ily forget their evil intentions, initiating no take Music Warriors out on frequent ad- music not of a definitely hostile nature. If hostilities for 2-5 rounds.) ventures so that one Music Warrior, rising his fellows are singing, regardless of their Combat skills: When a battle dancer to fill a Contra-Master’s post, will free that levels, the Dancing Warrior gains double ranks high enough to make more than one Contra-Master to seek his own promotion the chant benefit from hearing them. attack per round, the number of attacks to Master. In such a case, the former Mu- The Singing Warrior, level 8, is able to made is the same whether he uses a sic Warrior usually becomes the sparring sing with benefit to all colleagues while he weapon or not. If a shield is also used, no partner of the former Contra-Master who is fighting, and he can be heard even unarmed techniques can be used and the helped him to rise in rank. through a magical silence spell or effect. battle dancer’s number of attacks must be The promotion from Contra-Master to The 9th-level Music Warrior enjoys a referenced on the table at the top of the Master involves combat, but no one is special importance in the capoeira hierar- next column: demoted thereby. In fact, it is not against chy. For a 5th-level battle dancer to make the Master of Equilibrium that the Contra- 76 JULY 1990 26 Master fights, but against any of these The promotion to Uncle/Mother of Mas- years old, can resume normal activity and combinations of opponents, in order of ters is conducted in a somewhat more work upward in level again). Second, he preference: two fellow Contra-Masters, in monklike fashion. There can be only one can leave the community, accompanied immediate succession; one fellow Contra- active Uncle of Masters in any capoeira only by two or three high-level followers Master, followed by fighting two Singing community. The eligible Master fights the and their families, to found a new settle- Warriors simultaneously after a brief rest; reigning Uncle (as with monkish promo- ment not less than two days’ travel away. or a Singing Warrior and two Dancing tion, the challenger here temporarily Third, he can remain in the old settlement Warriors simultaneously on one day, fol- acquires powers equal to the incumbent). with a similar handful of companions (plus lowed by fighting two Music Warriors in If the challenger loses, he drops in experi- anyone unfit for travel), while the new immediate succession the next day. These ence points to the minimum number for a Uncle of Masters leads the majority of the combats are fought unarmed and to the Master of Equilibrium. If the challenger villagers away to found a new community accompaniment of capoeira music (per- defeats the Uncle of Masters, the loser in some desirable location. formed by Masters where possible) from does not drop in rank, but the defeated The Great-Uncle/Grandmother of Mas- which both sides draw benefit. Damage is Uncle of Master must do one of three ters is like the monkish Grand Master of treated as subdual damage, not killing things, as decided by the victorious new Flowers in that there can be only one damage. Once the would-be Master has Uncle of Masters. First, he can go into holder of this title per region. However, passed the trial by combat, he spends 2-5 semi-retirement, occupied mainly with the highly artistic and fraternal nature of days composing an original capoeira song noncombatant activities like song compos- capoeira makes it feel inappropriate to (a creative opportunity for any DM with ing. (In this case, the defeated Uncle’s decide possession of the top rank merely musical or poetic talent). Upon performing fighting ability will drop one level after a by the outcome of a slugfest. Two alter- this song for the community and teaching year, and another level every six months nate methods of filling the position are it to enough people to use it in a capoeira thereafter; but if and when the successor suggested, both operating on the assump- circle, the character is initiated as a Mas- Uncle goes on to achieve the topmost rank tion that the Great-Uncle holds lifetime ter of Equilibrium. in capoeira, the ex-Uncle, if less than 60 tenure and that a contest for this rank can

Table 1 Battle Dancer Experience and Skills

6-sided Inherent No. of Unarmed Experience Level Title hit dice AC Move attacks damage points 1 Tumbler 2914" 1 1-3 0-2,500 2 Handstander 3915" 1 1-4 2,501-4,750 3 Handwalker 4 8 16" 1 1-6 4,751-9,000 4 Handspringer 5817" 5/4 2-8 9,001-17,500 5 Headspinner 6 7 18" 5/4 2-12 17,501-40,000 6 Rhythm Warrior 7719" 4/3 2-16 40,001-80,000 7 Dancing Warrior 8 6 20" 4/3 4-16 80,001-160,000 8 Singing Warrior 9 6 21" 3/2 3-18 160,001-320,000 9 Music Warrior 10 5 22" 2 2-20 320,001-600,000 10 Contra-Master 11 4 24" 5/2 3-24 600,001-900,000 11 Master of 12 3 25" 3 4-24 900,001-1,200,000 Equilibrium 12 Uncle/Mother 13 2 26" 4 3-20 1,200,001-2,000,000 of Masters 13 Great-Uncle/ 14 1 27" 9/2 4-32 2,000,001+ Grandmother of Masters

Table 2 Surprise Attack Success Probability

vs. non-martial- vs. non-martial- vs. ninja, sohei, vs. ninja, sohei, artist who never artist who has or monk of or monk of Level of saw capoeira seen capoeira same or of higher battle dancer combat before once before lower level level 1 2% 0% 0% 0% 2 5% 0% 0% 0% 3 10% 1% 0% 0% 4 15% 5% 0% 0% 5 25% 10% 1% 0% 6 35% 20% 5% 0% 7 45% 30% 10% 1% 8 55% 40% 15% 5% 9 65% 50% 20% 10% 10 80% 65% 25% 15% 11 90% 75% 30% 20% 12 95% 85% 35% 25% 13 99% 90% 40% 30%

27 DRAGON 77 occur only when he dies or retires: gardless of the magical bonuses usually can be cast on all in the circle. 1. All candidates are told by their gods in required to hit them. The duration of this With a Master leading, dispel evil, exor- a vision to undertake some quest benefi- power in combat is a number of rounds cise, heal, and tongues spells can be cast. cial to the order of battle dancers as a equal to the experience level of the circle’s Once a year, with an Uncle of Masters whole. The one who best fulfills the mis- leader, plus the number of other battle leading, the circle can invoke the direct sion becomes the Great-Uncle/Grand- dancers who joined in singing over the aid of some powerful creature such as a mother of Masters. As all battle dancers weapon. If not used immediately, the lammasu or baku. With a Great-Uncle of are NPCs, the DM can decide the winner weapon will hold its special power for a Masters, the ceremony can be done twice of this contest with a single die roll. Sim- time equal to the circle leader’s charisma a year. pler yet, just arbitrarily create a character times 12 hours. A circle with a Master who is assumed to have accomplished the leading can empower two weapons per Battle dancers and others quest or will meet the PCs as he is pursu- day; with an Uncle of Masters, a weapon If player characters of non-Oriental ing it. can remain empowered for twice as long types happen upon battle dancers, they 2. All candidates must compose new as usual; and a Great-Uncle of Masters can, should not find these NPCs too terribly capoeira songs, to be judged by the old over his lifetime, permanently empower a astonishing—at least, not if they’ve ever Great-Uncle (if living) or by an assembly of number of weapons equal to his wisdom seen thief-acrobats before. But Oriental all Masters of Equilibrium; the best song score. (The DM can decide whether the Adventure types may be very taken aback earns the promotion. This would be very song-enchanted weapons will work by them—not because of their surprise much in the capoeira spirit. Again, if com- equally well for all wielders or for only attacks or techniques, but because— pressing the process is desirable, one die battle dancers.) realizing battle dancers to be a kind of roll or DM’s fiat would settle the contest. With a Dancing Warrior or above as martial artist—Oriental-type characters leader, the circle can cast (once each per will expect battle dancers to act like deni- The capoeira circle day) a “half-strength” version of cure zens of Kara-Tur . . . and the battle What follows is a typical set of capoeira- disease and neutralize poison spells—that dancers will not do so. circle spell-like powers, which the DM is, the victim’s life will be saved, but he Members of the capoeira culture, even may modify from one confederation or will need time to recuperate. With a ones of lawful alignment, are cheerfully alignment to another: Contra-Master or above as leader, these indifferent to many of an Oriental charac- If the leader of a capoeira circle is of spell effects will be of full clerical quality. ter’s concerns for honor and “face.” In Rhythm Warrior level or above, the songs With a Singing Warrior or above as particular, a samurai’s readiness to commit of that circle can, once a day, render a leader, the circle can cast remove curse seppuku will strike battle dancers as ridicu- nonmagical weapon temporarily able to and control weather. lous, since a man who throws away his damage weapon-resistant monsters. This With a Music Warrior or above as leader, own life is depriving family and friends of weapon will gain no to-hit or damage dispel magic can be cast. his help and protection. And an Oriental bonuses, but it can hurt all monsters re- With a Contra-Master or above, strength character who tries to engage a battle dancer in a psychic duel is likely to achieve no greater result than having the battle dancer ask him, “Are you feeling ill?” Whether visited by “Eastern” or “West- ern” player characters, these “Third World” martial artists should serve to lend color to a far-ranging campaign—and force adventuring parties to stay on their toes, or else land on their backs.

Pulling a “Con” Job Continued from page 70 As a final note, naming conventions is actually a form of poetry. Like the sonnet and haiku, convention names are wonder- ful because of the information which can be expressed within such strict limitations. I personally admire names such as PELI- CON, CON-FUSION, CON-TEMPLATION, and especially GENGHIS-CON. Our Table Gaming Club decided to flatter the Powers That Be and name our convention UMF- CON, for the University of Maine in Far- mington. Function triumphs over form once more. I want to thank Lori Buck, Michael Grif- fen, Elizabeth Mauzy, Michael McDonald, Randy Carsten, Martin Meader, Linda White, Jeannine Petriel, and the rest of the Table Gaming Club for figuring all this out, and Peter Rice’s Maine Wargamers Associ- ation for bringing MAINE-CON to UMF. Thanks also to Lonnie Barnett of TRI- STATE-CON and to Keith Polster of BOARSHEAD MID-SUMMER REVEL for outside advice.

78 JULY 1990 28 29 Special maneuvers for Oriental Adventures martial arts by Len Carpenter These new special maneuvers should be ver. The list continues the information introduced into the campaign gradually, given in Table 70, on page 103 of Oriental The martial-arts system is one of the especially the more advanced maneuvers. Adventures. finest features of the AD&D® 1st Edition Some of these new maneuvers may be Oriental Adventures book, but it can still tacked onto existing styles, and others may Kick benefit from more variety. Presented be used to form new martial styles in the 4. Scissors Kick (hard/soft) herein are new special maneuvers that campaign. Others might be cherished Lock may be introduced into martial-arts styles techniques jealously guarded by martial- 5. Crushing Hug (hard) in the campaign. arts masters who are reluctant to pass Strike Some of these new maneuvers expand them on to player-character students. 4. Double-fist Punch (hard/soft) existing categories into more advanced Sumo wrestlers will certainly not be keen Throw special maneuvers, such as the Scissors on teaching the Crushing Hug maneuver 5. Crushing Drop (hard) Kick and Crushing Drop. A second mental to non-sumotori. Weapon and physical training category is added to New special maneuvers should not be 4. Arrow Cutting (soft) give the DM more choices in the maneu- made available to PCs without careful 5. Throwing Mastery (hard/soft) vers that may make up a martial style. consideration by the DM. Some special Mental and Physical Training Three of the new special maneuvers pre- maneuvers are best suited for NPC martial 7. Slowed Aging (soft) sented here were mentioned in previous artists. A PC’s first experience with a new Mental and Physical Training II (new) articles on the sumo wrestler and new maneuver should often be at the hands— 1. Light Step (soft) martial-arts styles for the AD&D game: or feet—of an NPC antagonist. These ma- 2. Controlled Breathing (soft) Crushing Hug (issue #157, page 351, Arrow neuvers may add new thrills to an Oriental 3. Pause and Silence (hard/soft) Cutting (issue #127, page 55), and Flowing campaign without being toys for player 4. Quick Strike (hard/soft) Water (issue #127, page 50). They are characters to exploit. 5. Flowing Water (soft) repeated here in the list of new special Below are the new special maneuvers, 6. Resuscitation (soft) maneuvers for easy reference. followed by an explanation of each maneu- 7. Suppressed Desire (soft)

30 DRAGON 11 Scissors Kick: This extremely difficult certain distance, the opponent is dropped a pass without trace spell. kick enables a martial artist to leap up- to the ground, head and shoulders first, Controlled Breathing: The martial ward and deliver powerful head or upper- with crushing force. On a successful at- artist has studied intensive breathing body kicks to two separate targets tack roll, the foe is thrown 1-2’ away from exercises that allow him to relax his mind simultaneously. The two targets must be the thrower. The thrown character suffers and body and moderate his body’s other within 6’ of each other for both targets to double damage from the drop, and, unless functions. The martial artist gains a +2 be attacked. Each attack is made at -2 to a save vs. paralyzation roll is made, the bonus to save vs. all forms of fear. The hit. A successful kick does normal martial- character is knocked unconscious for 2-8 martial artist also acts as if under the arts damage. If the attacker misses both rounds. If the attack is unsuccessful, the effect of a permanent endure cold/heat targets, he loses his next melee attack attacker is instead thrown to the ground spell because the technique enables him to while he tries to regain his footing and and automatically loses initiative for the moderate his body temperature. balance. This maneuver works well with next round while he regains his feet. Pause and Silence: When using this styles similar to tae kwan do. Arrow Cutting: This maneuver is skill, the martial artist gives up one Crushing Hug: This maneuver is used similar to the Missile Deflection (Move- martial-arts attack to pause and study his primarily by sumo wrestlers but may be ment 4) maneuver, but the art of Arrow opponent. The martial artist makes an permitted for other martial-arts styles if Cutting requires the use of a martial-arts ordinary attack roll; success indicates the the DM so decides. This maneuver is a weapon to block or deflect missile attacks. martial artist has found a weakness in his powerful bear-hug hold that inflicts 3-30 If the martial artist attempts to block a opponent’s style and thus gains a +1 hp damage per round until the victim is missile attack without the use of a martial- bonus on all attack rolls against that par- slain or breaks free. The held character arts weapon he has studied, the attempt is ticular opponent for the duration of the may break the hold by making a success- made at -4 on the saving throw. Monks melee. Failing the Pause and Silence attack ful to-hit roll at -4. An unsuccessful automatically possess this skill as part of roll bestows no penalty other than the loss Crushing Hug results in a -4 penalty to their Missile Deflection ability. of a melee attack. The character may the martial artist’s next attack roll. The Missile weapons caught or trapped by perform this maneuver as many times as martial artist employing the hold must be the martial artist’s weapon may often be he wishes, but once the weakness is found strong and massive, having a minimum used by the character. A blocked shuriken in the opponent’s style, repeated attempts strength of 16 and a minimum weight of may be pried free from a bo stick and do not improve the attack bonus above 250 lbs. thrown back at the attacker, or a spear +1. If the same opponent is fought again Double-Fist Punch: This strike is a may be caught in the chain of a nunchaku in a different melee, the +1 bonus is not two-fisted attack aimed to land simultane- and saved for future use. One melee gained automatically. The Pause and Si- ous blows to two separate targets on a round must be spent in prying free any lence maneuver must be tried anew to single opponent. Each such punch is deliv- missile weapon caught in the martial-arts find an opponent’s weakness. ered at -1 to hit on its attack roll. Each weapon. Quick Strike: This maneuver bestows a punch that lands scores normal damage. If Throwing Mastery: This demanding +1 bonus to all initiative rolls made by the both blows land, then the defender must skill enables the character to throw a martial artist. Since kensai already possess save vs. paralyzation roll at -4 or else martial-arts weapon not normally consid- this ability at 1st level, they are unable to suffer a stun or incapacitation result as ered a missile weapon. The weapons that improve their initiative bonus any further explained on page 105 of Oriental Adven- may be thrown with this skill are: fang, by taking this special maneuver. tures, as if the martial artist rolled a natu- jitte, jo stick, kiseru, nunchaku, sai, Flowing Water: This maneuver was ral 20 on an attack. After the -4 penalty siangkam, and tonfa. All such weapons presented as a variation of the Ironskin is applied to the saving throw, the result is have the same range as a thrown dagger. maneuver in issue #127, but is repeated compared to the hit dice or level of the The weapon does normal damage when it here as a new maneuver unto itself. This defender to see if a stun or incapacitation strikes. A master of this art may throw a maneuver improves the martial artist’s is the result of the failed save. If the result sai with the ability of a skilled knife- armor class by +2 through great speed, is a stun, the defender is stunned for 2-12 thrower, or toss a bo stick like a light club. agility, and evasion techniques. rounds. If the result is incapacitation, the Slowed Aging: Through various exer- Resuscitation: The martial artist with character is incapacitated for 1-3 hours. cises and exotic breathing techniques, the this skill is able to resuscitate a semicon- If the Double-Fist Punch is aimed at the character slows down his own aging proc- scious or unconscious person by stimulat- opponent’s head and torso, the maneuver ess as if he were wearing a phylactery of ing the body with gentle taps to spinal is called a U-Punch or Parallel Punch. If long years. nerve centers. The martial artist is able to the blows are aimed at the front and back Light Step: The martial artist possess- awaken a person who is stunned or para- of the opponent, the maneuver is known ing this ability is able to walk with a lyzed by a martial-arts attack if the martial as a Scissors Punch. feather-light step. When moving at one- artist makes a successful dexterity check Crushing Drop: With this throw, half his normal movement rate, the mar- on 1d20. The martial artist can also revive instead of just throwing the opponent a tial artist is able to walk with the effect of an unconscious or incapacitated person by making a dexterity check on 1d20 with a + 2 penalty. This maneuver requires one melee round to perform on a single per- son. This martial skill is sometimes known in the Orient as katsu. Suppressed Desire: This special ma- neuver is similar to a minor psionic disci- pline in the AD&D 1st Edition game, mind over body (Players Handbook, page 113). The martial artist is able to suppress the need for food, water, rest, or sleep for a period of time of two consecutive days for every level of experience of the martial artist. After using this ability, the charac- ter must spend an equal number of days in rest and peaceful meditation to recover the ability to use this maneuver again. 31 Add some kick to Oriental Adventures martial arts

by Rudy Thauberger

Creating martial-arts styles for AD&D® martial arts, don’t worry too much about their aesthetic qualities as for their practi- 1st Edition Oriental Adventures campaigns specific visual details. Concentrate on the cal applications. can be tricky. Too often, created styles are feelings the style evokes. Is it an extrava- Character classes as well as social classes bland, one-dimensional shopping lists of gant and showy style, or is it simple and may develop their own styles. Yakuza and special maneuvers. Ideally, a style should ruthlessly efficient? Is it fast-paced and ninja would almost certainly have their have a life of its own, some qualities that reckless, or slow and deliberate? Is the own special, secret styles. Certain styles make it unique and allow it to fit into the style well-respected for its beauty and its might be preferred by wu jen or by samu- social and historical context from which it simplicity, or is it considered ugly and rai. Geisha, archers, actors, carpenters— developed. This article provides a few crude? Keep in mind that the popularity of any of these groups might develop its own suggestions for rounding out created a style varies from region to region and martial-arts style. styles, including a number of new special from era to era. A style can be considered Defining the background of a style nec- maneuvers. old fashioned in one province and be essarily involves putting restrictions on Fleshing out a style is not as difficult as revered for its tradition in another. the degree of access characters have to it sounds. There is no need to detail centu- To add character to a style, decide what specific styles. Commoners will have diffi- ries of history and tradition in order to social class it originates from. Since the culty finding teachers of noble styles, just create an interesting style. A few notes on average peasant would have little time to as nobles resist learning styles favored by the aesthetics, social background, and devote to martial arts, common peasant peasants. In addition, styles will tend to availability of the style will do. styles would be simple and practical, with vary in availability within a social class, Start by imagining what the style looks few special maneuvers. Noble or courtly depending upon a character’s location and like. Picture the style in general aesthetic styles, on the other hand, would be more the fashion of the times. Some styles will terms. Unless you are very familiar with complex and artistic, valued as much for be common, with several masters in every 14 DECEMBER 1990 32 33 province. Other styles will be rare, with Howling Monkey Double Kick: With a single movement perhaps only one or two living masters Appearance: Outrageous, humorous using one foot, the attacker may strike who are usually difficult to find. A few Social background: Developed by traveling two opponents at once, providing that styles may even be legends or myths. entertainers both are within range at the same time. To further clarify the background of a Availability: Rare in all areas One to-hit roll is made and must be suffi- created style, attach to it a common, arti- Mental discipline: Juggling (coordination, cient to strike the opponent with the low- san, or (in the case of noble style) court quickness) est (best) armor class. If the attack roll proficiency. These proficiencies should misses either opponent, the kick fails involve mechanical skills that require New special maneuvers utterly and the attacker loses all his discipline, such as weaving, pottery, dance, A note of caution: Some of these maneu- actions in the next round. This attack does or origami. Practice of these skills helps to vers, particularly those under the catego- normal damage to both opponents. focus and discipline the mind and body of ries of Blunt and Slash, are very powerful. Featherwalk: A character using the character, preparing him to learn the DMs may wish to restrict access to these Featherwalk is able to cross any surface martial art itself. The proficiency can be maneuvers if they decide to allow their capable of supporting his weight, moving in considered a prerequisite for learning the use at all. complete silence. He also subtracts 25% style, or it can be acquired as a part of the Slash maneuvers are a subclass of from an opponent’s ability to track him. This martial-arts training, free of charge. This weapon maneuvers. They can be per- maneuver requires concentration and allows procedure has the added benefit of forc- formed only with hand-held edged weap- only half the normal rate of movement. ing those players solely interested in ons, such as daggers or swords. The Great Shield: When using Great Shield, spending their proficiency slots on martial character must select a specific weapon the martial artist bursts into a frenzy of arts to acquire more practical skills. for his slash maneuvers and can perform activity, blocking or deflecting blows and To keep things interesting, make some of the maneuvers with that weapon only. If missiles with complete success. Up to three your martial-arts styles unique by includ- the character wishes to perform Slash attacks per round can be deflected, plus an ing your own special maneuvers. This maneuvers with other weapons, the ma- additional attack per level of mastery. This should be done with care. A good special neuvers must be studied again. maneuver lasts one round per level of mas- maneuver should not be more powerful Blunt maneuvers are designed for tery, during which the character can neither than a good first- or second-level spell. staves, clubs, and blunt martial-arts weap- attack nor move from the spot where he is Saving throws should be plentiful, and ons, such as the tui-fa (hands and feet do standing. Great Shield works only against particularly powerful maneuvers should not count). These maneuvers can be ap- blows from bipedal creatures less than 10’ in have bad or at least awkward conse- plied to only one weapon at a time, as per height (e.g., snakes, giants, and dragons are quences if they fail, although nothing too Slash maneuvers. not affected). severe. Maneuvers placed in already existing Reflection: This maneuver, which must Finally, you have to choose a name for categories are listed according to the num- be declared at the start of a combat round, the style. This name naturally should be ber they would receive if added to the allows the martial artist to turn the force tied to some aspect of the style’s back- existing maneuvers described in Oriental of a blow back upon his opponent, pro- ground, evoking its appearance, social Adventures, page 103, Table 70. (This vided the opponent’s blow is delivered class, or both. A name should be descrip- system is also used in the article “Flying with a blunt weapon (this includes hands tive. Oriental Adventures suggests animals Feet and Lightning Hands,” in this issue, as and feet, of course). The opponent’s attack as role models for styles. Other possible well as in previous articles; thus some roll is automatically successful, and he role models include mythical beasts (like maneuvers will have the same number.) rolls damage normally. If the martial artist dragons), forces of nature (e.g., wind, rain, using Reflection then makes a successful lightning), or even articles of clothing Kick attack roll in return, all damage is redi- (imagine a “kimono” style). 4. Double Kick (hard/soft) rected away from the martial artist back Once the style has been named and its Movement to the opponent, or even toward another background created, list the details in 8. Featherwalk (soft) adversary within striking distance. An rough form alongside the style’s special 9. Great Shield (hard/soft) unsuccessful attack roll results in the maneuvers and weapons, using categories Push martial artist taking normal damage from like appearance, social background, avail- 4. Reflection (soft) the blow. ability, and so on. List the mental discipline Strike Thunderpunch: This strike, which is (proficiency) that has been assigned to the 4. Thunderpunch (hard) the only action possible in the round in style as well. Here are three examples to 5. Thunderclap (hard/soft) which it is used, does triple normal dam- show how this system works. Vital Area age and forces the opponent to save vs. 5. Shattertouch (soft) breath weapon or be stunned for 1-6 Tin Hat Mental and Physical Training rounds. A miss leaves the attacker unable Appearance: Rough, simple, practical 7. Stillness (soft) to attack or defend for one round. Social background: Developed by peasant 8. Balance (soft) Thunderclap: Martial artists using this farmers, popular with bushi 9. Summon Strength (soft) maneuver clap their hands together with Availability: Very common in all areas 10. Contortion (soft) great force, duplicating the effect of an Mental discipline: Cooking (preparation, Slash elemental burst (air) spell (Oriental Adven- patience) 1. Blind (hard/soft) tures, page 75). Items made of glass or 2. Vein (hard/soft) pottery within 10’ of the martial artist Pen and Ink 3. Artery (hard/soft) must save versus crushing blow or be Appearance: Graceful, precise, beautiful Blunt shattered. Social background: A nobleman’s style 1. Heavy Blow (hard) Shattertouch: With a light touch, the Availability: Uncommon among the nobil- 2. Limb Paralysis (hard) martial artist locates flaws in wood or ity, very rare among the lower classes 3. Stunning Blow (hard) stone after one round of concentrated Mental discipline: Calligraphy (style, ap- 4. Great Blow (hard) study. With a single blow in the following pearance) round, the material may be shattered if the martial artist makes a saving throw vs. paralyzation (failure leaves the material unharmed but does 2-8 hp damage to the martial artist). Up to one cubic foot of 16 DECEMBER 1990 34 material may be affected. effects of a paralyzed limb are explained That concludes the list of new special Stillness: Requiring great discipline, under the wu jen spell withering palm maneuvers, but the possibilities are by no Stillness allows the character to remain (Oriental Adventures, page 94). If the means exhausted. Martial arts, after all, utterly motionless for one hour per level victim makes a saving throw vs. paralyza- deal with the vast potential of the human of mastery. Characters using this ability tion when struck, he takes only normal spirit. In the realm of fantasy at least, that are 80% undetectable if some cover is damage from the weapon. potential is limitless. available. The transition from a still state Stunning Blow: Recipients of a Stun- [Other articles on creating martial-arts to an active one is instantaneous. With the ning Blow suffer normal damage but must styles for Oriental Adventures campaigns proper makeup, the martial artist could save vs. paralyzation or be stunned and include: “Marshalling the Martial Arts,” in easily pass for a mannequin or painted unable to attack for 1-4 rounds. A miss issue #122; “A Menagerie of Martial Arts,” statue. results in the loss of the martial artist’s in issue #127; and “New Kicks in Martial Balance: This maneuver improves the next attack. Arts,” in issue #136. See also “Flying Feet martial artist’s sense of balance, giving him Great Blow: This, the only attack avail- and Lightning Hands,” in this issue, for a 20% chance of walking tightropes plus able in the round in which it is used, does more special maneuvers.] 5% per level of mastery (ninja simply add triple damage and forces the victim to save 5% per level). The character can also gain versus paralyzation or be knocked uncon- perfect balance, temporarily, after a round scious for 3-6 rounds. A miss causes the of concentration. This perfect balance attacker to lose his next two attacks. lasts for two to five turns and improves the character’s chance to walk tightropes to 100%. With perfect balance, he can also carry large awkward objects on the tip of a finger, balance on one hand, or walk on both hands at half normal speed. Summon Strength: After one round of concentration, the character can in- crease his strength to 18/00 for 1-4 rounds. One turn of rest is required imme- diately afterward. Contortion: Those characters who have studied Contortion have achieved the ultimate in flexibility. They can fit their bodies into spaces as small as four cubic feet or through holes as tiny as 12” in diameter. This maneuver can also be used to slip out of bonds or shackles with a 90% chance of success. One turn of concentra- tion is required before attempting a feat, and one turn of rest is required afterward. Blind: The attacker using Blind inflicts a cut above one of the victim’s eyes. Nor- mal damage occurs, but there is also a 25% chance of the victim incurring tempo- rary blindness, reducing armor class ( +2 penalty) and attack rolls ( -2 penalty). If both eyes are blinded, the victim takes further penalties to armor class ( +4) and attack rolls ( -4). Blindness lasts until the wound is treated. There is a 2% chance that the blindness will be permanent. Vein: With this attack, the victim suffers only 1 hp damage at first, but will lose 1 hp per round thereafter due to blood loss. Successive hits result in cumulative blood loss. Blood loss continues until the wound is bound or healed. Artery: A major artery is nicked using this maneuver. The victim loses 1 hp ini- tially but will lose 3 hp per round there- after until the wound is attended to. If the attacker misses, he does no damage and loses his following attack. Heavy Blow: This blow inflicts double damage. A miss results in the loss of the martial-artist’s next attack. Limb Paralysis: This maneuver is identical to the Lock maneuver, Incapacita- tor (Oriental Adventures, page 103), in that the victim stuck by the blunt weapon suffers paralysis of a finger, hand, arm, foot, or leg for 24 hours, with double normal damage from the weapon. The DRAGON 17 35