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Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies
Weapon Group Feats for Pathfinder: Class: Weapon Group Proficiencies at 1st Level: Alchemist Basic weapons, Natural, Crossbows, any other 1 Barbarian Basic weapons, Natural, any other 4 Bard Basic weapons, Natural, any other 3 Cavalier Basic weapons, Natural, Spears, any other 3 Cleric Basic weapons, Natural, deity’s weapon group, any other 2(3 groups if not following a deity) Druid Basic weapons, Natural, druid weapons, any other 1 Fighter Basic weapons, Natural, any other 5 Gunslinger Basic weapons, Natural, firearms, any other 3 Monk Basic weapons, and all monk weapons Inquisitor Basic weapons, Natural, deity’s weapon group, Bows or Crossbows, any other 3 (4 groups if not following a deity) Magus Basic weapons, Natural, any other 4 Oracle Basic weapons, Natural, any other 1 (+3 if taking Skill at Arms) Paladin/AntiPaladin Basic weapons, Natural, any other 4 Ranger Basic weapons, Natural, any other 4 Rogue Basic weapons, Natural, any other 3 Sorcerer Basic weapons, Natural, spears, crossbows , any other 1 Summoner Basic weapons, Natural, spears, crossbows , any other 1 Witch Basic weapons, Natural, spears, crossbows , any other 1 Wizard Basic weapons, Natural, spears, crossbows This system doesn’t change Racial Weapon Familiarity. Weapon Group Name: Weapons In Group: Axes bardiche, battleaxe, dwarven waraxe, greataxe, handaxe, heavy pick, hooked axe, knuckle axe, light pick, mattock, orc double axe, pata, and throwing axe Basic club, dagger, quarterstaff, and sling Blades, Heavy bastard sword, chakram, double chicken saber, double -
Honor and Violence: Perspectives on the Akō Incident
Honor and Violence: Perspectives on the Akō Incident Megan McClory April 4, 2018 A senior thesis, submitted to the East Asian Studies Department of Brandeis University, in partial fulfillment of the Bachelor of Arts degree. Table of Contents Introduction………………………………………………………………………………………1 Law and Morality………………………………………………………………………………...4 Kenka Ryouseibai…………………………………………………………………………5 House Codes……………………………………………………………………………....8 Loyalty as Propaganda…………………………………...………………………………..9 Filial Piety………………………………………………………………………………13 Evolution into Legend……………………………………………………………………………15 Dissemination……………………………………………………………………………15 Audience…………………………………………………………………………………18 Akō as an Example………………………………………………………………………19 Modern Day……………………………………………………………………………...20 Sengaku-ji………………………………………………………………………………. 22 Chūshingura as a Genre………………………………………………………………… 25 Ukiyo-e………………………………………………………………………………...…25 Appeal and Extension to Non-Samurai………………………………..…………………………28 Gihei the Merchant………………………………………………………………………28 Injustice…..………………………………………………………………………………35 Amae …………………………………………………………………………………….38 Collective Honor…………………………………………………………………………41 Women in Chūshingura………………………………………………………………….44 Conclusion……………………………………………………………………………….47 List of Names and Characters Adapted from David Bell Chushingura and the Floating World: The Representation of Kanadehon Chushingura in Ukiyo-e Prints Enya Hangan A young provincial noble and Lord of the castle of Hoki under the shogun Ashikaga Takauji. Asano Takuminokami Naganori, Lord of Akō in the province of Harima. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
ADVANCED DUNGEONS & DRAGONS® the Complete Ninja's
ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Ninja's Handbook By Aaron Allston CREDITS Design: Aaron Allston Editing: Barbara G. Young Black and White Art: Jim Holloway Color Art: Clyde Caldwell, Fred Fields, Les Dorscheid Typography: Tracey Isler Production: Paul Hanchette Acknowledgements: Many elements of The Complete Ninja's Handbook were derived from parts of Oriental Adventures designed by David "Zeb" Cook. In particular, portions of the optional Advanced Martial Arts rules are drawn from Oriental Adventures. TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DRAGON, and DUNGEON MASTER are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. ©1995 TSR, Inc. All rights reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: The Ninja Class Ninja and Rogue Ninja Experience Levels Ninja Class Requirements Alignment Weapons and Armor -
Latest Japanese Sword Catalogue
! Antique Japanese Swords For Sale As of December 23, 2012 Tokyo, Japan The following pages contain descriptions of genuine antique Japanese swords currently available for ownership. Each sword can be legally owned and exported outside of Japan. Descriptions and availability are subject to change without notice. Please enquire for additional images and information on swords of interest to [email protected]. We look forward to assisting you. Pablo Kuntz Founder, unique japan Unique Japan, Fine Art Dealer Antiques license issued by Meguro City Tokyo, Japan (No.303291102398) Feel the history.™ uniquejapan.com ! Upcoming Sword Shows & Sales Events Full details: http://new.uniquejapan.com/events/ 2013 YOKOSUKA NEX SPRING BAZAAR April 13th & 14th, 2013 kitchen knives for sale YOKOTA YOSC SPRING BAZAAR April 20th & 21st, 2013 Japanese swords & kitchen knives for sale OKINAWA SWORD SHOW V April 27th & 28th, 2013 THE MAJOR SWORD SHOW IN OKINAWA KAMAKURA “GOLDEN WEEKEND” SWORD SHOW VII May 4th & 5th, 2013 THE MAJOR SWORD SHOW IN KAMAKURA NEW EVENTS ARE BEING ADDED FREQUENTLY. PLEASE CHECK OUR EVENTS PAGE FOR UPDATES. WE LOOK FORWARD TO SERVING YOU. Feel the history.™ uniquejapan.com ! Index of Japanese Swords for Sale # SWORDSMITH & TYPE CM CERTIFICATE ERA / PERIOD PRICE 1 A SADAHIDE GUNTO 68.0 NTHK Kanteisho 12th Showa (1937) ¥510,000 2 A KANETSUGU KATANA 73.0 NTHK Kanteisho Gendaito (~1940) ¥495,000 3 A KOREKAZU KATANA 68.7 Tokubetsu Hozon Shoho (1644~1648) ¥3,200,000 4 A SUKESADA KATANA 63.3 Tokubetsu Kicho x 2 17th Eisho (1520) ¥2,400,000 -
Seminar on Japanese Swords 7 February 2005
Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others. -
Japanese Swords As Symbols of Historical Amnesia: Touken Ranbu and the Sword Boom in Popular Media
Volume 19 | Issue 7 | Number 1 | Article ID 5564 | Apr 01, 2021 The Asia-Pacific Journal | Japan Focus Japanese Swords as Symbols of Historical Amnesia: Touken Ranbu and the Sword Boom in Popular Media Kohki Watabe Abstract: This essay analyses the Japanese revisionism, nationalism, symbolism of sword boom in popular media in the 21st Japanese swords, Touken Ranbu century, situating Touken Ranbu, an online video game franchise, within its wider political and historical context. In the first two decades of the 21st century, government, commercial, Introduction and semi-public institutions, such as museums, extensively deployed positive depictions of In the 2010s, Japan's media culture witnessed a Japanese swords in popular media, including phenomenon that could be termed a Japanese anime, manga, TV, and films in public relations sword boom, evident in forms from manga and campaigns. As a historical ideological icon, anime to video games and films. The swords have been used to signify class in the transmedia popularity of sword iconography Edo period (1603-1868) and to justify the has influenced public relations strategies of Japanese Empire’s expansion into Asia during companies and governments and encouraged the Asia-Pacific War (1931-1945). Bycollaborations among public and private emphasizing the object's symbolism andsectors. Arguably, the most notable example of aestheticism, the sword boom of the 21st this phenomenon is a video game called Touken century is following a similar trajectory. Ranbu and its transmedia franchise. Taken Popular representations of swords in media together, these trends represent a fascination culture selectively feature historical episodes with the trope of the sword: some that are deemed politically uncontroversial and representations are historically grounded while beneficial for promoting a sense of national others are radically decontextualized; some pride. -
Eminent Nuns
Bu d d h i s m /Ch i n e s e l i t e r a t u r e (Continued from front flap) g r a n t collections of “discourse records” (yulu) Of related interest The seventeenth century is generally of seven officially designated female acknowledged as one of the most Chan masters in a seventeenth-century politically tumultuous but culturally printing of the Chinese Buddhist Buddhism and Taoism Face to Face creative periods of late imperial Canon rarely used in English-language sC r i p t u r e , ri t u a l , a n d iC o n o g r a p h i C ex C h a n g e in me d i e v a l Ch i n a Chinese history. Scholars have noted scholarship. The collections contain Christine Mollier the profound effect on, and literary records of religious sermons and 2008, 256 pages, illus. responses to, the fall of the Ming on exchanges, letters, prose pieces, and Cloth ISBN: 978-0-8248-3169-1 the male literati elite. Also of great poems, as well as biographical and interest is the remarkable emergence autobiographical accounts of various “This book exemplifies the best sort of work being done on Chinese beginning in the late Ming of educated kinds. Supplemental sources by Chan religions today. Christine Mollier expertly draws not only on published women as readers and, more im- monks and male literati from the same canonical sources but also on manuscript and visual material, as well portantly, writers. -
Budo Q&A 2021
Budo Q&A 2021 March/April/May/June By Louis Vitalis Introduction • Budo is more than techniques training; • Shape your character, knowledge, position within (budo)society • A pandemic shouldn’t stop us from training those other aspects • So let’s ask our highest grade European sensei! Louis Vitalis sensei – kyoshi 7th dan kendo, -- kyoshi 7th dan jodo, -- kyoshi 7th dan iaido Guidelines for the Q&A • MUTE! So we can all enjoy Vitalis sensei’s talk • Questions: • Put them in the Google Form so we add them to the list for Vitalis sensei • Slides will be shared after the meeting, please handle with care Enjoy, learn, train! KATEI ENMAN 家庭円満 • Katei = Household, Ones home • Enman = Peaceful • Although this is not specific Budo terminology, it’s the first concept that my Kendo teacher Edo Kokichi taught me in 1979, during my second visit to Japan. • Wether your target in Budo is winning gold medals or obtaining higher dan grades, you will not be successful unless your home situation is stable. Additional stress will make it more difficult to focus on Budo. GEI NI ASOBU 藝於游 Kodokan building in Mito City, Ibaraki Ken GEI NI ASOBU 藝於游 • Gei = Art (as in Martial Art) • Asobu = Enjoy • The Kodokan was a kind of General University, where Samurai of the Region received Education in both Martial Arts and other arts and sciences. This saying was favoured by the 9th Daimyo of the Mito Han, Tokugawa Nariaki (1800-1860). • By this time, Martial Arts were no longer needed to kill an enemy, but it was already shifting from Jutsu to Do as we now know it. -
IAIDO, JODO and NITEN Manual
CLASSICAL MARTIAL ARTS CENTRE IAIDO, JODO AND NITEN Manual Welcome to CMAC.webloc 1 TorontoToronto CentralCentral RegionRegion Hasu Dojo 2 Table of Contents Table of Contents ..................................................................... 3 Belt Tying Procedures ......................... Error! Bookmark not defined. The Care and Use o f the Kobudo Uniform .................................... 6 THE PRACTICE UNIFORM .......................................................................................... 6 PUTTING ON THE UNIFORM ...................................................................................... 6 Folding the Hakama .................................................................. 7 Tying the Obi ........................................................................... 8 Tying t he Hakama ..................................................................... 9 Introduction to Sei Tei Gata Iaido ............................................ 11 Iaido, Kendo, and the Japanese Sword ...................................................................... 11 Brief History of Modern Sword Practice ...................................................................... 11 Father of Modern Swordsmanship .............................................................................. 12 History of the Sei Tei Gata .......................................................................................... 13 Bibliography ............................................................................................................... -
ACTIVITY BOOK by Gavin King Weclome to the Jianfa Activity Book This Book Is Dedicated to the Art of Historical Chinese Swordsmanship
JuniorJianfa Chinese Swordsmanship for Children ACTIVITY BOOK by Gavin King Weclome to the jianfa activity book This book is dedicated to the art of historical Chinese swordsmanship. It has been written with the intent of sharing the magic of the martial arts and swordsmanship with the next generation. I would like to thank my teacher Scott M. Rodell for not only generously giving me the knowledge to produce this book, but also for all his support and encouragement. Rodell Laoshi also kindly donated the artwork for this work from his anime series "Jianke - The Last Swordsman". The book is published for free distribution and maybe used in whole or part. It is made freely available for public usage. Please just include a credit to the source. Written by Gavin King. Produced by The Great River Taoist Center www.grtc.org COLOURING EXERCISE what is jianfa? Jianfa means "Sword Method". It is the Chinese art of Swordsmanship. In Jianfa we use a sword called a "Jian". A Jian is a double edged straight sword that is very sharp on both sides. A person who studies Jianfa is referred to as a Jianke (Swordsperson). Someone who teaches Jianfa is called Laoshi (Teacher). Basic cuts of jianfa Ci (Thrust) - A powerful thrust. Dian (Point) - A short jabbing thrust. Liao (Lift) - An upwards sliding slash. Tiao (Spring) - A springing upward cut using the tip of the sword. Pi (Split) - A downward slicing cut. Hua (Slash) - A horizontal Slash Zha (Poke) - A downward poking thrust. Mo (Wipe) - A movement that comes underneath duifang's sword to knock it off centre.