Hatamoto (Warlord) Kiba Musha (Heartguards) Onna

Total Page:16

File Type:pdf, Size:1020Kb

Hatamoto (Warlord) Kiba Musha (Heartguards) Onna HATAMOTO (WARLORD) SAMURAIS (WARRIORS) Puede ir montado a caballo. La unidad puede ir equipada con Yumi o Yari. Puede equiparse con Yumi perdiendo un punto de armadura. Las Yari y Naginata no tienen efecto en el Hatamoto. ASHIGARU (WARRIORS) La unidad puede ir equipada con Yumi o Yari. KIBA MUSHA (HEARTGUARDS) La unidad debe ir montada a caballo. La unidad puede equiparse con Yumi. ASHIGARU TEPPOTAI (WARRIORS) La unidad debe ir equipada con Teppo. ONNA-BUSHI (HEARTGUARDS) La unidad debe ir equipada con Naginata. ASHIGARU (LEVIES) SAMURAIS (WARRIORS) La unidad puede ir equipada con Yumi, Yari o La unidad puede ir equipada con Yumi o Yari. Ishitsubute. ARMAS Y EQUIPO UNIDADES MONTADAS NAGINATA: Obtiene un Dado de Ataque adicional cuando Las unidades montadas están sujetas a las siguientes traba a una unidad enemiga en melé. características: YARI: Obtiene un Dado de Ataque adicional cuando es Su movimiento se incrementa a ‘L’, excepto en terreno trabado por una unidad enemiga en melé. irregular que será de ’S’. YUMI: Alcance del arma ‘L’. Obtiene -1 a la armadura cuando es objetivo de TEPPO: Tu unidad reduce un punto de armadura y la ataques a distancia. unidad enemiga reduce también un punto de armadura No se beneficia de ningún tipo de cobertura. cuando es objetivo de disparos con esta arma. Alcance ‘L’. Las miniaturas montadas no podrán entrar en edificios ISHITSUBUTE: Alcance del arma ‘L’. durante la partida. NI TO ICHI: Obtiene un Dado de Ataque adicional. Pierde un Las miniaturas montadas podrán desmontar y volver a punto de armadura contra ataques a distancia. montarse gastando una activación de su recuadro. SHURIKEN: Arma arrojadiza con alcance ‘M’. SIGNIFICADO DE ARMAS ESPECIFICAS DESCRIPCION DE UNIDADES ESPECIFICAS YUMI: Lanza HATAMOTO: Líder y destacado guerrero entre los ejércitos YARI: Arco de su Señor. TEPPO: Arcabuz KIBA MUSHA: Caballería samurái con katana. ISHITSUBUTE: Honda ONNA-BUSHI: Guardias samuráis féminas armadas con NAGINATA: Especie de alabarda Naginata. NI TO ICHI: Dos espadas ASHIGARU TEPPOTAI: Guerreros ashigaru armados con SHURIKEN: Arma arrojadiza en forma de estrella. arcabuces. ESPIA GEISHA Para incluir al Espía en tu banda debes pagar un Para incluir a la Geisha en tu banda debes pagar un coste de 1 punto. coste de 1 punto. Se considera un Hatamoto adicional a efectos Se considera un Hatamoto adicional a efectos características de juego a excepción de que sólo características de juego a excepción de que sólo genera 1 Dado de SAGA. genera 1 Dado de SAGA y 3 Dados de Ataque. REGLAS ESPECIALES REGLAS ESPECIALES ESTRATEGIA: Al principio de su turno, el jugador que MANIPULACION: El primer marcador de ‘Fatiga’ que controle a un Espía, puede decidir que su Hatamoto no obtendría la Geisha es ignorado cada turno del genere ningún Dado de SAGA. Si elige esa opción, al jugador. principio del turno del oponente, designa hasta dos BELLEZA CAUTIVADORA: Puede cambiar el resultado (la unidades enemigas que no generarán Dados de SAGA al cara) de un Dado de SAGA del oponente en la fase de principio de ese turno. órdenes. EN LAS SOMBRAS: No le penaliza el mover por terreno irregular. NINJAS Para incluir una unidad de Ninjas en tu banda debes pagar un coste de 1 punto. Se consideran una unidad de ‘Warriors’ a efectos y características de juego. Van equipados con shuriken. REGLAS ESPECIALES SIN MIEDO A MORIR: La unidad tiene un punto menos de armadura. EN LAS SOMBRAS: No le penaliza el mover por terreno irregular. .
Recommended publications
  • JSSUS Tosho Article For
    Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices.
    [Show full text]
  • Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
    SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the
    [Show full text]
  • History of the M Anrikigusari and Masaki-Ryu
    SPIKE and CHAIN Japanese Fighting Arts by Charles V. Gruzanski CHARLES E. TUTTLE CO.: PUBLISHERS Rutland, Vermont & Tokyo, Japan Represen I a I i ves Continental Europe: BoxERBOOKS, INc., Zurich British Isles: PRENTICE-HALL iNTERNATIONAL, INC., London Australasia: PAUL FLESCH & Co., PTY. LTD., Melbourne Canada: m.g. hurtig ltd., Edmonton This book is dedicated to YUMIO NAWA, Master of Masaki-Ryu, Shuriken-Jutsu, Toda-Ryu, Kusarigama-Jutsu, Jutte-Jutsu, and Edomachikata Torinawa-Jutsu. Without his instruction and generosity this work could not have been possible. Published by the Charles E. Tuttle Company, Inc. of Rutland, Vermont & Tokyo, Japan with editorial offices at Suido 1-chome, 2-6, Bunkyo-ku, Tokyo Copyright in Japan, 1968 by Charles E. Tuttle Co., Inc. All rights reserved Library of Congress Catalog Card No. 68-/50/9 First printing, 1968 Neither the author nor the publisher accepts or assumes any responsibility or liability for any personal injuries sustained by anyone as a result of the use or practice of any of the instructions contained in this volume. PRINTED IN JAPAN Table of Contents LIST OF ILLUSTRATIONS . .. II ACKNOWLEDGMENTS ..................................... .... 17 PREFACE ......................................................... 19 INTRODUCTION ......................................... ....... .. 21 THE SAMURAI C REED .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 23 PART I MASAKI-RYU History of the Manrikigusari and Masaki-ryu 27 The Beginning Development of the Art Other Schools of the Manrikigusari Special Characteristics of the Manrikigusari ......... 31 General Features Advantages to Using the Manrikigusari Practice Unique Features Techniques for Using the Manrikigusari ............ 35 Proper Grip Manipulation Kamae (Preparatory Positions) Goho-no-kamae 36 • Jssei-no-kamae 39 • Tenchi-no-kamae 40 • Shumoku-no- kamae 41 • Jppu-no-kamae 42 7 The Transition .
    [Show full text]
  • Displaying Authority: Guns, Political Legitimacy, and Martial Pageantry in Tokugawa Japan, 1600-1868
    DISPLAYING AUTHORITY: GUNS, POLITICAL LEGITIMACY, AND MARTIAL PAGEANTRY IN TOKUGAWA JAPAN, 1600-1868. Daniele Lauro A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History Chapel Hill 2012 Approved by: Dr. Morgan Pitelka Dr. William M. Fletcher Dr. Wayne Lee © 2012 Daniele Lauro ALL RIGHTS RESERVED ii ABSTRACT DANIELE LAURO: Displaying authority: guns, political legitimacy, and martial pageantry in Tokugawa Japan, 1600-1868. (Under the direction of Morgan Pitelka) From the end of the sixteenth century on, firearms in Japan are increasingly found in contexts other than the battlefield. A perusal of the Records of the Tokugawa Family (Tokugawa Jikki) - the military clan that ruled Japan from 1603 to 1868 - reveals, for instance, that guns were often involved in ritual practices performed by the warrior elite, such as weddings, funerals, hunting parades, and celebrations of the New Year. Moreover, it was common for both the shogun and the domainal lords (daimyô) to display firearms and other weapons during public audiences and military parades. By considering different ritual practices that involved the display of military power such as daimyo processions to Edo, shogunal pilgrimages to Nikko, military reviews, large-scale hunts and other pageants, this paper argues that during the Tokugawa period guns were often used by the warrior elite as tools to shore up authority, legitimize the political order, and reinforce ideals of warrior identity. iii TABLE OF CONTENTS Introduction……………………………………………………………………………..1 Chapter I. Local authority on the move: daimyo processions (daimyô gyôretsu) and the system of alternate attendance (sankin kôtai)……………………………….11 II.
    [Show full text]
  • Japanese Other Easily
    CO VER STORY Tsukai-ban They have an important job that many do not know of. In any army, communication is very important. Different groups far away must be able to send messages to each JAPANESE other easily. This group of WARRIORS warriors were the messengers of the battlefield. By Tasha Lim For work, they had to wear a special type of uniform. A tsukai-ban could When we hear ‘warriors be identified by his uniform of Japan’, we immediately known as ‘horo’, usually made think of ‘samurais’ and ‘ninjas’. with beautiful colours. If not, But, did you know that there he had to wear a uniform were other warriors that called a ‘sashimono’ which resided in early Japan as had small flags. well? Here are 6 other types of warriors that existed then: These messengers were very good horsemen. They would carry a message and give it to the correct person in a short time. They sometimes had to fight robbers or ninjas sent to steal the messages. 1 CO VER STORY A warrior wearing the horo (red), a garment used as a defense against arrows. Sashimono poles were attached to the backs of the chest armor. 2 CO VER STORY Ashigaru They may not be famous for their fighting skills but the ashigaru was strong when many were needed. These were your usual foot soldiers that would make up most of the army. They were usually normal people who worked as soldiers for war. Usually, the Ashigaru fought with spears, swords and bows. Later in the 16th century, gunpowder guns became a part of their weapons.
    [Show full text]
  • THE BATTLE of ANEGAWA, 30 JULY 1570 THEME TENKA FUBU the Sengoku Period Was Coming Towards Its Closing Years
    © Alan Perry THE BATTLE OF ANEGAWA, 30 JULY 1570 THEME TENKA FUBU The Sengoku period was coming towards its closing years. As Oda Nobunaga slowly realised his goal of setting up a tame shogun, he found that there was an ever-increasing hostil- ity to his expanding power and influence. By 1568 this re- sistance was beginning to coalesce around the rival daimyo (the traditional feudal hereditary landlords) and, ironically, the Ikko-ikki (a loose uprising of religious groups who were op- posed to the traditional feudal hierarchy of Japanese society). By Eoghan Kelly n an attempt to break the back of both groups, Nobunaga launched a campaign against the Ikkō-ikki with the strategic goal of breaking their fortified holdings and leav- Iing them without strongholds. Initially Nobunaga had to deal with the Rok- kaku clan, who were prepared to go to war over his choice for shogun – but they were far less prepared than Nobu- naga, who all but destroyed the clan in a lightning war of 1569. He was then further pushed by the Asakura clan, who were attempting to curtail his ris- ing power, and in 1570 he launched an invasion of their lands. To every- one’s surprise, the Azai (or Asai) clan honoured their old alliance with the Asakura clan and broke their more re- cent alliance with Tokugawa Ieyasu to support Asakura Kagetaki. This was not quite so much of a surprise as Nobu- naga portrayed it as, given that the Oda and Azai clans had been involved in a territorial struggle for the control of several provinces for nearly five years at this point.
    [Show full text]
  • 11101.0 Money 1102.0 Goods, Services and Equipment 53
    11101.0 MONEY 1102.0 GOODS, SERVICES AND EQUIPMENT Nippon's economy is based on the rice crop. All finances are counted in terms of the "Koku," a measure of rice sufficient to feed While adventuring through Nippon, the characters will find one man for one year (at a subsistence level). This is about 5 bushels themselves in need of various goods, equipment and services from in Western measurement. time to time. The availability of such things will depend on the location. The exact availability and price may be decided arbitrarily Currency is in copper or bronze, silver, and gold. Gold is rarely by the Gamesmaster, or he may use the suggested base prices given seen outside of the coffers of Daimyo, and even they usually conduct here and determine availability and price modification using the their business in silver. Values of this coinage have shifted over the chart below. centuries, and there is no fixed way to set up a "historical" currency in the game. The following system is used to impose a uniform value To use the chart, cross-index the type of location in which the on currency in the campaign: characters find themselves with the class of goods desired. The A copper coin is the basic unit of money. We will refer to coppers, chart will yield two numbers. The first is the percentage chance of or copper pieces, in talking about them. A copper represents the cost finding the desired goods. The second is the percentage of the base of a bowl of rice and a cup of cha (tea), which is viewed as the bare price that is being asked for the goods.
    [Show full text]
  • The Last Samurai: the Life and Battles of Saigo Takamori
    THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. THE LAST SAMURAI THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. This book is printed on acid-free paper. Copyright © 2004 by Mark Ravina.All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Design and production by Navta Associates, Inc. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as per- mitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4470, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, e-mail: [email protected]. Limit of Liability/Disclaimer of Warranty:While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accu- racy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials.The advice and strategies contained herein may not be suit- able for your situation.You should consult with a professional where appropriate.
    [Show full text]
  • Oriental Adventures Weapon Compendium
    Oriental Weapon Compendium JRR/Rev.A Type: Piercing (P), Slashing (S), Bludgeoning (B) Sourcebooks: Rokugan Campaign Setting (RCS), Complete Exotic Arms Guide (CEA), Oriental Adventures (OA), Way of the Ninja (WotN) Monk weapon: monks fight with their unarmed combat base attack bonus, number of attacks per round and modifiers Ninja weapon: ninjas are proficient in its use Cost Damage Critical Range Weight Type Short Description Monk Ninja Sourcebooks (M) (ft.) (lb.) RCS CEA OA WotN Simple Weapons - Melee Light Aiguchi 2 gp 1d4 19-20/x2 - 1 P Knife with no guard, easy to conceal x Jitte 10 sp 1d4 x2 - 2 B Short blunt knife with single prong (+2 to disarm) x x x x Kama 6 sp 1d6 x2 - 2 S Curve blade with short handle x x x Nunchaku 6 sp 1d6 x3 - 2 B Two short sticks bound by chain x x x Sai 10 sp 1d4 x2 - 2 B Short blunt knife with two prongs (+4 to disarm) x x x x Shobo 6 sp * * - 1/2 B Short iron cylinder with ring used as knuckles (+2 unarmed damage) x x Tanto 3 gp 1d4 19-20/x2 - 1 P Basic knife xxx One-handed Jo - 1d6 x3 - 2 B Small version of quarterstaff xx Nage-yari 3 gp 1d6 x2 20 3 P Short spear or javelin xx Tonfa 10 sp 1d6 x2 - 2 B Short square wooden pole with handle x x x Two-handed Bo - 1d6/1d6 x2 - 4 B Simple quarterstaff xxx Kumade 5 gp 1d6 x3 - 5 P Rake, long handle with barbed end (reach, +2 to climb) x Yari 5 gp 1d8 x3 - 5 P Simple spear (reach, can be readied) x x Martial Weapons - Melee Light Flute knife 6 sp 1d4 x2 10 1 P Short staff or flute with thin dagger inside (+1 dam.
    [Show full text]
  • Samurai Girl and Jack's Best Friend
    masamoto Jack Akiko Swordmaster and founder of Niten Ichi Ryu school The fi rst foreign samurai Samurai girl and Jack’s best friend Fighting Skill 90 Fighting Skill 72 Fighting Skill 74 Strike Force 74 Strike Force 65 Strike Force 50 Zen Strength 55 Zen Strength 55 Zen Strength 63 Secret Technique Flint and Spark Strike 68 Secret Technique Butterfl y Kick 92 Secret Technique Double Flying Kick 76 Weapon Daisho 80 Weapon Shizu Blade 88 Weapon Yumi Bow 70 Bushido 85 Bushido 75 Bushido 70 1 2 3 SENSEI YAMADA Take the Ninja Dragon Eye Challenge! How to Play Any number of people can play. Shuffl e the cards, then deal them out face down. Hold your cards so that you can only see the top card. 1. The youngest player starts 4. If there is a draw then all by choosing a skill and the cards are placed in the reading the score (e.g. middle and the same player Weapon 80). The other chooses again from the players then read out their next card. The winner of scores. that turn takes the cards in 2. The player with the highest the middle as well. score wins and places all 5. The person with all the cards Dokugan Ryu, one-eyed ninja the top cards including at the end is the winner! Master of Zen and Esoteric Arts their own on the bottom of and Jack’s sworn enemy their pile. Fighting Skill 65 3. The winning player then Fighting Skill 85 chooses a skill from the Strike Force 23 next card.
    [Show full text]
  • Reinventing the Sword
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Reinventing the sword: a cultural comparison of the development of the sword in response to the advent of firearms in Spain and Japan Charles Edward Ethridge Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Ethridge, Charles Edward, "Reinventing the sword: a cultural comparison of the development of the sword in response to the advent of firearms in Spain and Japan" (2007). LSU Master's Theses. 3729. https://digitalcommons.lsu.edu/gradschool_theses/3729 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. REINVENTING THE SWORD: A CULTURAL COMPARISON OF THE DEVELOPMENT OF THE SWORD IN RESPONSE TO THE ADVENT OF FIREARMS IN SPAIN AND JAPAN A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Charles E. Ethridge B.A., Louisiana State University, 1999 December 2007 Acknowledgments I would like to express my gratitude to my supervisor, Dr. Fredrikke Scollard, whose expertise, understanding, and patience added considerably to my graduate experience. I appreciate her knowledge of Eastern cultures and her drive to promote true ‘cross-cultural’ research.
    [Show full text]
  • Mughals at War: Babur, Akbar and the Indian Military Revolution, 1500 - 1605
    Mughals at War: Babur, Akbar and the Indian Military Revolution, 1500 - 1605 A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Andrew de la Garza Graduate Program in History The Ohio State University 2010 Dissertation Committee: John F. Guilmartin, Advisor; Stephen Dale; Jennifer Siegel Copyright by Andrew de la Garza 2010 Abstract This doctoral dissertation, Mughals at War: Babur, Akbar and the Indian Military Revolution, examines the transformation of warfare in South Asia during the foundation and consolidation of the Mughal Empire. It emphasizes the practical specifics of how the Imperial army waged war and prepared for war—technology, tactics, operations, training and logistics. These are topics poorly covered in the existing Mughal historiography, which primarily addresses military affairs through their background and context— cultural, political and economic. I argue that events in India during this period in many ways paralleled the early stages of the ongoing “Military Revolution” in early modern Europe. The Mughals effectively combined the martial implements and practices of Europe, Central Asia and India into a model that was well suited for the unique demands and challenges of their setting. ii Dedication This document is dedicated to John Nira. iii Acknowledgments I would like to thank my advisor, Professor John F. Guilmartin and the other members of my committee, Professors Stephen Dale and Jennifer Siegel, for their invaluable advice and assistance. I am also grateful to the many other colleagues, both faculty and graduate students, who helped me in so many ways during this long, challenging process.
    [Show full text]