The Ultimate Martial Artist

HERO PLUS EDITION
ISBN: 1-58366-001-1 DOJHERO101 $24.99 • www.herogames.com

Author: Steven S. Long
Editor/Developer: Darren Watts
Cover Art: Storn Cook
Interior Illustration: Andrew Bates, Peter Bergting, Storn Cook, Andrew Cremeans,
David Fooden, Jeff Hebert, Kraig Horigan, Steve Lawton, Bryce Nakagawa, Eric Rademaker,
David Schrader, Greg Smith, Manny Vega, Pat Zircher
Layout and Design: Andy Mathews
Special Thanks: All all the HERO System players and GMs
whose interest in gaming martial arts made this book not
only desirable, but necessary.
Dedication: As before, so again: I would like to dedicate this
book to Andy “Ghost Eye” Mathews, master of gaming mar-
tial arts, creator of Couch Potato Kung Fu, selecter of really
bad martial arts movies, and true friend.
ADDITIONAL CONTRIBUTIONS
I owe a great deal of thanks to the following people, who
answered my questions about martial arts styles, provided me
with information or research material, gave me ideas for things
that needed to go in this book, debated with me about the best
way to do various things in the HERO System, allowed me to
create my own versions of something they first thought up, or
helped with playtesting: Aaron Allston, Chris Avellone, Scott
Bennie, Tim Binford, Garrett Charnaw, Cliff Christiansen, Earl
Cooley III, Storn Cook, John Cooper, Kim Cooper, Amy Crit-
tenden, John “Case of Swords” Cunningham, Mike Dean, Sean
Fannon, Morgan Flo, Thom Foster, John Grigni, Scott Jamison,
Greg Kerner, Eric Livengood, John Losey, Andy Mathews, Dave
Mattingly, Riley McLaughlin, Rob Miles, Greg Morero, Bryce
Nakagawa, James Pinkerton, Marcus Pritchett, Bob Quinlan,
Scott Sigler, Greg Smith, Geoff Speare, Steve Stone, Michael
Surbrook, Jason Walters, David West, Eric Wylie, Doug Young,
various online commentators, and, most especially, Greg
“Devil’s Advocate” Lloyd and Jeff “I have a license from Japan”
Mueller.
The Ultimate Martial Artist Copyright © 2002 by DOJ, Inc. d/b/a Hero Games. No part of this book may be reproduced or transmitted in any form or by any
All rights reserved. means, electronic or mechanical, including photocopying (except Character
HERO SystemTM ® is DOJ, Inc.’s trademark for its roleplaying system. Sheets for personal use only), recording, or computerization, or by any informa-
HERO System Copyright © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All tion storage and retrieval system, without permission in writing from the Pub-
rights reserved. lisher: DOJ, Inc., #1 Haight Street Suite A, San Francisco, California 94102.
Champions Copyright © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All Printed in the U.S.A. First printing March 2002.
rights reserved. Produced and distributed by DOJ, Inc. d/b/a Hero Games.
Justice Inc., Danger International, Dark Champions, Fantasy Hero, and Star Stock Number: DOJHERO101
Hero Copyright © 2002 by DOJ, Inc. d/b/a Hero Games. All rights reserved. ISBN Number: 1-58366-001-1
TABLE OF CONTENTS
Introduction Dirty Infighting/Fisticuffs/ Pankration .................................. 48
Cinematic Brawling ................... 23 Pankration Maneuvers .......................48
How to use this book ....................... 6
Dirty Infighting/Fisticuffs/Cinematic Pentjak-Silat ............................... 49
Author’s note ................................... 6
Brawling Maneuvers..........................23 Penjak-Silat Maneuvers .....................50
Fencing ...................................... 24 Qwan Ki Do ................................. 52
Chapter One Fencing Maneuvers ...........................24 Qwan Ki Do Maneuvers .....................52
The Way of the Hero ........................ 8 Gatka ......................................... 26 Re-Efi Areh-Ehsee ....................... 53
Style Descriptions ............................ 8 Gatka Maneuvers ..............................26 Re-Efi Areh-Ehsee Maneuvers ...........53
Style Disadvantages ...................... 8 Generic Martial Arts ..................... 27 Saijutsu ...................................... 53
Martial Arts Maneuvers .................... 8 Generic Martial Arts Maneuvers .........27 Saijutsu Maneuvers ...........................53
Hand to Hand Maneuvers ....................9 Hapkido ...................................... 27 Savate ........................................ 53
Ranged Martial Maneuvers ..................9 Hapkido Maneuvers ..........................27 Savate Maneuvers ............................53
Maneuvers and Weapons ............... 10 Hisardut ...................................... 27 Sevillian Knifefighting................... 54
Ranged Martial Arts and Hisardut Maneuvers ..........................28 Sevillian Knifefighting Maneuvers .......54
Weapon Types .......................... 10 Hsing-I........................................ 28 Shurikenjutsu .............................. 54
Learning Martial Arts...................... 10 Hsing-I Maneuvers ............................28 Shurikenjutsu Maneuvers ..................54
Learning Martial Arts from Scratch .. 10 Hwarang-Do................................ 29 Simgomdo .................................. 55
Maneuvers and Weapons ..................10 Hwarang-Do Maneuvers ....................29 Simgomdo Maneuvers.......................55
SIDEBAR: Modifying and Building Jailhouse Rock ............................ 29 Sumo Wrestling ........................... 55
Styles ...............................................10 Jailhouse Rock Maneuvers ................29 Sumo Maneuvers ..............................55
Rate of Learning .......................... 11 Jeet Kune Do .............................. 30 Tae Kwon Do ............................... 55
Learning New and Multiple Jeet Kune Do Maneuvers...................30 Tae Kwon Do Maneuvers ...................56
Styles ....................................... 12 Jujutsu ....................................... 30 Tai Ch’i Ch’uan............................ 56
Building New Maneuvers Jujutsu Maneuvers ............................31 Tai Ch’i Ch’uan Maneuvers ................56
and Styles ................................ 13 Jukenjutsu .................................. 32 Tang Soo Do ............................... 57
Belts and Ranks ............................ 13 Jukenjutsu Maneuvers ......................32 Tang Soo Do Maneuvers ....................57
SIDEBAR: Belts and Ranks ................13 Kalaripayit ................................... 32 Thai Kick-boxing.......................... 58
Real World Martial Arts .................. 15 Kalaripayit Maneuvers .......................32 Thai Kick-boxing Maneuvers ..............58
Jutsu vs. Do .................................. 15 Kampfringen ............................... 33 Thang-Ta .................................... 58
Aikido ......................................... 15 Kampfringen Maneuvers....................33 Thang-Ta Maneuvers ........................58
Aikido Maneuvers .............................15 Karate ........................................ 33 Than Vo Dao ............................... 59
An Ch’i ....................................... 16 Karate Maneuvers .............................33 Than Vo Dao Maneuvers ....................59
An Ch’i Maneuvers............................16 Kenjutsu ..................................... 35 Vovinam Viet Vo Dao .................... 59
Arnis/Kali/Escrima ....................... 17 Kenjutsu Maneuvers..........................35 Vovinam Viet Vo Dao Maneuvers ........59
Arnis/Kali/Escrima Maneuvers ...........17 Krav Maga .................................. 37 Weapons Combat ........................ 59
Arte dell’Abbracciare ................... 18 Krav Maga Maneuvers.......................37 Weapons Combat Maneuvers ............60
Arte dell’Abbracciare Maneuvers........19 Kuk Sool Won .............................. 37 Whipfighting................................ 60
Bando......................................... 19 Kuk Sool Won Maneuvers ..................38 Whipfighting Maneuvers ....................61
Bando Maneuvers .............................19 Kung Fu ...................................... 38 Wrestling .................................... 61
Bersilat ....................................... 19 Kung Fu Maneuvers ..........................39 Wrestling Maneuvers ........................61
Bersilat Maneuvers ...........................20 Kuntao ........................................ 43 Wrestling, Professional ................ 62
Bojutsu/Jojutsu ........................... 20 Kuntao Maneuvers ............................43 Wrestling, Professional Maneuvers .....62
Bojutsu/Jojutsu Maneuvers................21 Kyujutsu ..................................... 43 Yu-Sool ....................................... 62
Boxing, Ancient ........................... 21 Kyujutsu Maneuvers ..........................43 Yu-Sool Maneuvers ...........................62
Boxing, Ancient Maneuvers ................21 Lua............................................. 44 Zipota ......................................... 63
Boxing, Modern ........................... 21 Lua Maneuvers .................................44 Zipota Maneuvers .............................63
Boxing, Modern Maneuvers ...............21 Naginatajutsu/Sojutsu .................. 45 Other Styles ................................ 63
Capoeira ..................................... 22 Naginatajutsu/Sojutsu Maneuvers ......45 Fictional Martial Arts ..................... 64
Capoeira Maneuvers .........................22 Ninjutsu ...................................... 45 Brick Tricks ................................. 64
Commando Training ..................... 23 Ninjutsu (Taijutsu) Maneuvers ............46 Brick Tricks Maneuvers......................64
Commando Training Maneuvers .........23 Pakua ......................................... 47 Dancing Spider............................ 64
Pakua Maneuvers .............................48 Dancing Spider Maneuvers ................65
Drunken Clown Kung Fu .............. 65 Pulp Era Martial Arts ...................... 85 Helpful Elements ...............................99
Drunken Clown Kung Fu Maneuvers ...66 Science Fiction/Far Future Restrictive Elements ..........................99
Ghost Eye Techniques .................. 66 Martial Arts ................................. 86 Element Descriptions ................. 100
Ghost Palm Techniques ................ 66 Maashira .................................... 86 SIDEBAR: Mixing HTH and
Golden Demon Kung Fu ............... 67 Maashira Maneuvers .........................86 Ranged Maneuvers .........................100
Golden Demon Kung Fu Maneuvers ...67 Zero Gravity Combat .................... 87 The Complete Mongoose Style ..... 101
The Paths of the Seven Zero Gravity Combat Maneuvers ........87 Moongoose Style Maneuvers ...........101
Ghost Sisters ............................ 67 Superhero Martial Arts ................... 87 Additional Notes on Martial Arts
The Paths of the Seven Ghost Wild West Martial Arts .................... 87 Styles and Elements .................. 101
Sisters Maneuvers ............................68 Designing New Martial Arts ........... 88 Extra Damage Classes ............... 101
Resplendent Dragon Kung Fu ....... 68 Designing Martial Arts Styles .......... 88 SIDEBAR: Maneuvers and
Resplendent Dragon Kung Style Conception ......................... 88 Hit Locations...................................101
Fu Maneuvers ...................................69 Style Building Blocks ...................... 88 Weapons .................................. 102
Silken Blade Kung Fu ................... 70 Designing Martial Arts Maneuvers ... 89 Other Ways to Build Martial Arts ... 103
Silken Blade Kung Fu Maneuvers .......70 SIDEBAR: Redundant Maneuvers ......89 Power Advantages for
Speedster Martial Arts ................. 71 Maneuvers Basis ..............................90 Martial Arts ................................ 104
Speedster Martial Arts Maneuvers ......71 Element Descriptions ................... 91 Point Value of Bases .................. 104
Splendid Fist ............................... 71 Helpful Elements ...............................91 Point Value of Bases........................104
Splendid Fist Maneuvers ...................71 Restrictive Elements ..........................92 Modifier Value of Other
Takijutsu ..................................... 72 Mongoose Style ............................. 97 Elements ................................ 104
Takijutsu Maneuvers .........................73 Extra Damage Classes ............... 104
Ranged Martial Arts ....................... 99
Thunder Dragon Kung Fu ............. 73 Martial Arts Maneuver
Designing Ranged Martial
Thunder Dragon Kung Fu Maneuvers ...73 Element Value .................................105
Maneuvers .................................. 99
Zen Riflery .................................. 73
Maneuver Basis ................................99
Zen Riflery Maneuvers.......................74
Advanced Ninjutsu ......................... 75
Ninja Package Deal ........................ 75
Ninja Package Deal ...........................75
Variant Styles of Taijutsu................. 76
Korogi Taijutsu............................. 76
Korogi Taijutsu Maneuvers .................76
Mist Viper Taijutsu ....................... 76
Mist Viper Taijutsu Maneuvers ............76
Silent Path Taijutsu ...................... 77
Silent Path Taijutsu Maneuvers ..........77
The Way of the Night Dragon........ 77
Night Dragon Taijutsu Maneuvers .......78
Ninja Special Abilities ..................... 78
Mundane Ninja Abilities................ 78
Mystic Ninja Abilities .................... 79
Ninja Gear and Equipment .............. 82
Climbing Equipment .................... 82
Infiltration Equipment ................... 82
Water Equipment ......................... 82
Miscellaneous Equipment ............ 83
Ninja from other Lands................... 83
Martial Arts in Other Genres .......... 84
Cyberpunk/Near Future
Martial Arts ................................. 84
Razor Dancing ............................. 84
Razor Dancing Maneuvers .................84
Fantasy Martial Arts ....................... 84
Poluraathkaa ............................... 85
Poluraathkaa Maneuvers ...................85
Horror Martial Arts ......................... 85
Endurance and Martial Ch’i Powers ....................................134 Decreasing Knockback .............. 161
Advantages............................. 105 Disadvantages ............................. 135 Pushback.................................. 161
Examples .................................. 105 Mystery Damage ......................... 162
SIDEBAR: Determining Maneuver’s Chapter Three Sequence Attacks ........................ 163
Point Value: Steps ...........................105 SIDEBAR: Unstructured Sequence
Combat Manuevers...................... 142
Attack Example ...............................163
Bind ......................................... 142
Chapter Two Block ........................................ 142
Weapon Lengths.......................... 164
Weapon Ranges .......................... 164
Martial Arts Archetypes ............... 107 Choke Hold ............................... 142
OCV Penalties ............................. 164
Alien Martial Artist Archetype...... 107 Cover........................................ 142
SIDEBAR: Structured Sequence
American from Orient Archetype ... 107 Disarm...................................... 142
Attack Example ...............................164
Avenger Archetype .................... 107 SIDEBAR: Binds in Fantasy HERO ....142
Weapon Lengths and
Brick Martial Artist Archetype ..... 107 Flying Kick ................................ 143
Enclosed Space ......................... 165
SIDEBAR: Mixing and Matching Grab ......................................... 143
Enclosed Space and Weapon Length ..165
Archetypes .....................................107 SIDEBAR: Redefining Block .............143
Wounds ...................................... 165
Fulfiller of Prophecy Archetype ... 108 SIDEBAR: Roleplaying Combat ........144
Targeting Injured Areas .............. 165
Honorable Ninja Archetype ......... 108 SIDEBAR: Grabbing and Combat
Twisting the Blade ..................... 165
Irritable Student Archetype ......... 108 Values ............................................145
SIDEBAR: Weapon Length Example ...165
Kickboxing Champion Archetype ... 108 Grab Weapon ............................ 146
SIDEBAR: Targeting Wounds
Kickboxing Cop Archetype .......... 108 Joint Locks and
Example .........................................165
The Kid Archetype ..................... 108 Related Maneuvers ................. 147
Zero Gravity and Martial Arts ........ 166
Knight-Errant Archetype ............. 109 Killing Throw ............................. 147
Master Archetype ...................... 109 Martial Escape .......................... 147 Martial Arts Weapons ................... 167
Modern Day Samurai Archetype.... 109 Move By/Move Through ............. 147 Ranged Weapons Table ...................168
Naive Hero/Heroine Archetype .... 109 Nerve Strike .............................. 148 Melee Weapons Table...............169-172
The Philosopher Archetype ......... 109 SIDEBAR: Vital Points Around the Notes and Key ............................. 173
Ronin Archetype ........................ 109 World .............................................148 Notes........................................ 173
Samurai Archetype .................... 109 SIDEBAR: AVLDs ............................148 Key........................................... 173
Serious Student Archetype ......... 110 Partial Maneuvers...................... 149 Master List of Weapons ................ 174
Sidekick Archetype .................... 110 Root ......................................... 149 SIDEBAR: Concealed and Inobvious
Super-Soldier Archetype ............ 110 Shove ....................................... 149 Weapons ........................................174
Unwilling Fighter Archetype ........ 110 Standard Maneuvers ................. 150 Armor ......................................... 186
Vigilante Martial Artist Archetype ... 110 Sweep ...................................... 150 Full-Contact Karate Armor ............ 186
Warrior-Monk Archetype ............ 110 Takeaway.................................. 152 Full-Contact Karate Armor ...............186
The Career Path of the Throw ....................................... 152 Kendo Armor ............................. 186
Martial Artist ............................. 110 Throw Modifiers Table .....................152 Kendo Armor ..................................186
SIDEBAR: Glossary of Martial Leather Hand-Wrappings ........... 186
Special Cases and Optional Rules ..154
Arts Terms ......................................110 Leather Hand-Wrappings.................186
Blinded Characters and Martial Arts .154
Rawhide Hand-Wrappings.......... 186
Skills ............................................ 112 Bound Characters and Martial Arts ...154
Samurai Armor .......................... 187
Aanlyze Style Table..........................113 Casual STR Versus Barriers .......... 155
Samurai Armor ...............................187
SIDEBAR: Non-Weapon Concealed Weapons and Gadgets ...155
Creating Weapons ....................... 187
Combat Effects ...............................114 Critical Hits.................................. 156
Powers Used in Weapon
Perquisites ................................... 117 Disabling Attacks ......................... 156
Creation .................................... 187
Disabling Results Table ....................157
Talents ......................................... 118 Hand-to-Hand Versus
Nerve Strike Imparing/
Powers ......................................... 119 Killing Damage .......................... 187
Disabling Time ................................157
SIDEBAR: Clinging Examples...........121 New Limitations ........................... 187
Disguising Damage ...................... 157
SIDEBAR: Damage Reduction Healing ....................................... 158 Bibliography................................. 189
Examples .......................................122 Hindering Circumstances and Index ............................................ 190
SIDEBAR: Damage Resistance Martial Arts ............................... 158
Examples .......................................122 Hit Locations ............................... 160
Power Advantages ....................... 131 Ignoring Opponents ..................... 160
Limitations .................................. 133 Interposing .................................. 160
Power Frameworks ...................... 133 SIDEBAR: Interposing Example ........160
Martial Arts Multipower ...................133 Knockback and Martial Arts .......... 161
Kiai Powers ....................................134 Increasing Knockback ................ 161
6 The Ultimate Martial Artist
INTRODUCTION
T
his is the Second Edition of The Ultimate I think I did the job well. However, there’s always
Martial Artist, or UMA for short. The HERO something to add — I seem to pick up new martial
System has changed a lot since this book arts references frequently — and even more impor-
was first published in 1994. There’s a 5th Edi- tantly, it was necessary to revise the abilities in the
tion now, and it incorporated many of the new rules book to bring them into line with the rules of the
introduced in the first UMA. That meant a couple of HERO System 5th Edition.
changes for UMA. First, I had to revise all the power I started revising the text of UMA in June, 1999
write-ups to make them compatible with the 5th Edi- with the goal of making the book compatible with the
tion. Second, since the deletions and changes freed up HERO System 5th Edition and of updating and revis-
some space, I had room to add some new material, ing the material. This meant not only deleting parts of
thus improving the book’s value for those who own the book which the 5th Edition incorporated into the
the first version. Whether you’ve got an earlier edition core rules of the system, but reviewing the entire text
of UMA or not, I think you’ll find plenty of new and with an eye towards improving the general quality
enjoyable material in this volume. of the writing. Since I wrote UMA, I’ve improved my
writing skills, and I think you’ll see the results in the
more polished text in this book.
HOW TO USE THIS BOOK In addition to its revised, 5th Edition compatible,
material, UMA has plenty of new information. I’ve
Unlike most other books in the “Ultimate” series,
made every effort to include enough new and inter-
UMA has a prior history (of sorts) upon which to
esting material so those of you who own the first ver-
build: the Ninja Hero genre book, the HERO System
sion of this book will find you’ve gotten your money’s
book on martial arts-oriented campaigns. While
worth from buying this one.
the two books have much in common, their focus is
As before, I owe thanks to Aaron Allston and all
slightly different: Ninja Hero concentrated primarily
of the “consultants” listed in the front of this book.
on straight martial arts campaigns, whereas UMA
Their advice and suggestions, even when (for what-
looks at the use of martial arts in any genre, time
ever reason) I didn’t take them, were invaluable. But
period, or setting. Nevertheless, much of the mate-
all mistakes are still my own.
rial in Ninja Hero was perfect for this book, and that
material is reprinted here (though updated for 5thEdi-
Steven S. Long
tion, of course).
January, 2002
As you read this book, remember that it looks
at martial arts for all genres, not just straightforward
martial arts campaigns. Thus, many of the rules
alterations, suggestions for “GMs’ options,” and simi-
lar material are made with Superheroic characters or
other genres in mind. Everything herein may not be
appropriate for every type of campaign; GMs should
examine the rules in this book carefully before allow-
ing their use.
AUTHOR’S NOTE
When The Ultimate Martial Artist was first
announced about ten years ago, it was greeted in
many circles with cries of trepidation and even out-
rage. Ninja Hero is widely acknowledged as one of
the best supplements Hero Games ever published,
and rightly so. Many HERO System gamers were dis-
turbed by the thought of it being redone or altered
in any way. I shared their concern, and worked hard
not only to create new and exciting rules and source
material for Hero gamers, but to preserve the spirit
and best parts of Ninja Hero as well.
Now, with several years’ perspective under my
belt and a new edition of the core rules to work with,
‘W hen warriors are in great danger, then they have no fear.’
— Sun Tzu, The Art of War
T
‘Know your enemy and know yourself and in a his chapter provides extensive information on dif-
ferent martial arts styles and maneuvers, in four
thousand battles you will never know defeat.’ parts.
The first part describes over 150 real-world
— Sun Tzu, The Art of War styles and variants from all over the globe and throughout
history.
The second section includes approximately two dozen
fictional styles of the sort often seen in comic books and mar-
tial arts movies.
The third section deals with those ubiquitous villains, the
ninja.
The fourth section discusses martial arts in various
genres, such as fantasy and science fiction, and includes some
sample styles appropriate to such genres.
THE WAY OF
THE HERO
T
his section discusses the rules and other Optional Rules: This section includes the optional
terms used to describe martial arts styles Hit Locations for appropriate maneuvers in the
and related matters in the HERO System. style.
Gamers interested in doing their own Special Abilities: This last section showcases some
research on these subjects should consult the Bibli- of the amazing (and even mystical) abilities attrib-
ography at the end of this book. uted to martial artists who practice the style. Most
are described in general terms only, with suggested
ways to create them using the HERO System 5th Edi-
STYLE DESCRIPTIONS tion rules; you may simulate these abilities in other
The basic terms used to define the different ways, if you prefer.
styles are:
Maneuvers: The maneuvers and techniques which Style Disadvantage
comprise the style. The accompanying table contains
a master list of the maneuvers used. You can also Most styles betray something about a charac-
make up your own maneuvers using the rules on ter’s fighting abilities to a trained observer. In HERO
pages 88-101. System terms, a type of Distinctive Features Dis-
advantage called Style simulates this. See page 135
Skills: Skills commonly associated with the style. of this book and page 333 of the HERO System 5th
Those marked with an asterisk (“*”) are required: a Edition, Revised for more information. Not all styles
character cannot practice the style without buying qualify for this Disadvantage, but most do.
them.
Elements: Elements are additions to the style. They
include Extra Damage Classes (which are never MARTIAL ARTS
required for a style, and so are listed separately) and
any Weapons the style teaches. Refer to the Maneu- MANEUVERS
vers And Weapons section, below, and the Designing The maneuvers (both Hand-To-Hand and
Martial Arts Maneuvers section on pages 88-101, for Ranged) in the accompanying list include most of
more information on using weapons with martial the ones used to construct the martial arts packages
arts maneuvers. in this chapter.
In the list, the Maneuver column gives the
maneuver’s generic name. Typically, a name spe-
cific to the art replaces the generic name when the
maneuver appears in a style. For example, Martial
Strike becomes a “Punch” in one style, and an
“Elbow Strike” in another.
The next column, Phs, indicates how long it
takes to perform the maneuver. Most are Half Phase
Actions; some, like Haymaker, require a Full Phase
plus one Segment and land at the end of the Seg-
ment after they’re begun.
The next column, Pts, gives the maneuver’s cost.
The next two columns, OCV and DCV, show
the Combat Value modifiers of the maneuver.
In the Ranged Martial Arts Maneuvers list,
the next column, Rng, indicates the bonus or pen-
alty added by the maneuver to the standard Range
Modifier.
The last column, Damage/Effect, describes (in
short form) what the maneuver does when used
successfully. For explanations of the terms under
“Damage/Effect,” refer to the “Designing Martial
Arts Manuevers” and “Combat Maneuvers” sections
of this book.
Hero Games 9
HAND-TO-HAND MARTIAL MANEUVERS

Maneuver Phase Cost OCV DCV Effects
Basic Strike ½ 3 +1 +0 STR +2d6 Strike
Charge ½ 4 +0 -2 STR +2d6 +v/5 Strike, FMove
Choke Hold ½ 4 -2 +0 Grab One Limb; 2d6 NND(2)
Counterstrike ½ 4 +2 +2 STR +2d6 Strike, Must Follow Block
Crush ½ 4 +0 +0 STR +4d6 Crush, Must Follow Grab
Defensive Block ½ 5 +1 +3 Block, Abort
Defensive Strike ½ 5 +1 +3 STR Strike
Defensive Throw ½ 3 +1 +1 Block, Target Falls
Disarming Throw ½ 5 +0 +0 Grab Weapon, +5 STR to take weapon away; Target Falls
Fast Strike ½ 4 +2 +0 STR +2d6 Strike
Flying Dodge ½ 5 — +4 Dodge All Attacks, Abort; FMove
Flying Grab ½ 5 -2 -1 Grab Two Limbs, +10 STR for holding on; FMove
Flying Tackle ½ 3 +0 -1 STR +v/5 Strike; You Fall, Target Falls; FMove
Grappling Block ½ 5 +1 +1 Grab One Limb, Block
Grappling Throw ½ 3 +0 +2 STR +2d6 Strike; Target Falls; Must Follow Grab
Joint Break ½ 5 -1 -2 Grab One Limb; HKA ½d6 (2 DC), Disable
Joint Lock/Throw ½ 4 +1 +0 Grab One Limb; 1d6 NND(7); Target Falls
Killing Strike ½ 4 -2 +0 HKA ½d6 (2 DC)
Killing Throw ½ 5 -2 +0 HKA ½d6 (2 DC); Target Falls
Legsweep ½ 3 +2 -1 STR +1d6 Strike; Target Falls
Martial Block ½ 4 +2 +2 Block, Abort
Martial Disarm ½ 4 -1 +1 Disarm; +10 STR to Disarm roll
Martial Dodge ½ 4 — +5 Dodge, Affects All Attacks, Abort
Martial Escape ½ 4 +0 +0 +15 STR vs. Grabs
Martial Flash ½ 4 -1 -1 Flash 4d6 (choose Sense Group)
Martial Grab ½ 3 -1 -1 Grab Two Limbs, +10 to STR for holding on
Martial Strike ½ 4 +0 +2 STR +2d6 Strike
Martial Throw ½ 3 +0 +1 STR +v/5; Target Falls
Nerve Strike ½ 4 -1 +1 2d6 NND(1)
Offensive Strike ½ 5 -2 +1 STR +4d6 Strike
Passing Disarm ½ 5 -1 -1 Disarm, +10 STR to Disarm roll; FMove
Passing Strike ½ 5 +1 +0 STR +v/5; FMove
Passing Throw ½ 5 +0 +0 STR +v/5; Target Falls; FMove
Reversal var 4 -1 -2 STR +15 to Escape; Grab Two Limbs
Root ½ 4 +0 +0 STR +15 to resist Shove; Block, Abort
Sacrifice Disarm ½ 4 +2 -2 Disarm, +10 STR to Disarm roll
Sacrifice Lunge ½ 4 +2 -2 STR +v/5; FMove
Sacrifice Strike ½ 5 +1 -2 STR +4d6 Strike
Sacrifice Throw ½ 3 +2 +1 STR Strike; You Fall, Target Falls
Shove ½ 4 +0 +0 +15 STR to Shove
Takeaway ½ 5 +0 +0 Grab Weapon, +10 STR to take weapon away
Takedown ½ 3 +1 +1 STR Strike; Target Falls
Weapon Bind ½ 4 +1 +0 Bind, +10 STR
RANGED MARTIAL MANEUVERS

Maneuver Phase Cost OCV DCV Rng Damage/Effect
Basic Shot ½ 4 +0 +0 +2 Strike, +2 DC
Defensive Shot ½ 3 -1 +2 +0 Strike
Distance Shot 1+1 5 +0 -2 +6 Strike; +1 Segment
Far Shot ½ 5 +1 -1 +4 Strike
Offensive Ranged Disarm ½ 5 +1 -1 +2 Disarm, +10 STR
Offensive Shot ½ 4 -1 -1 +0 Strike, +4 DC
Offensive Trip ½ 5 +1 -1 +0 Strike, +v/5; Target Falls
Quick Shot ½ 4 +1 +0 +0 Strike, +2 DC
Ranged Disarm ½ 4 +0 +0 +0 Disarm, +15 STR
Trip ½ 4 -1 -1 +2 v/5, Target Falls
MODIFYING AND Second, if the style requires an Element (such
BUILDING STYLES MANEUVERS as Weapons Element), the character must buy it
Readers who practice AND WEAPONS next.
Third, a few styles require practitioners to
the martial arts may
have objections to the Characters can use some martial arts with purchase specific Skills (the ones marked with an
way some of the styles weapons. But not all maneuvers apply to all weap-
in this book are defined ons; a kick can’t work with a machete, and holding
in HERO System terms. a spear doesn’t improve a dodge. MANEUVERS AND WEAPONS
Hero Games has made The accompanying list provides general guide- Can Be Used With
every effort to make this
lines for which sorts of weapons work with which Maneuver Type These Weapons:
book as comprehensive
as possible, but limita- maneuvers. The GM should use common sense Basic Strike *
tions imposed by the when dealing with a weapon not found on this list Charge *
nature of research and — simply compare it to weapons on this list and Choke Hold Staves, Weapon Shafts,
space in the book itself Garrotes, Chain & Rope
decide which one it most closely corresponds to.
make it impossible to Weapons, Nunchaku, Three-
When you’re using non-martial Combat Section Staff, Shinobi-Zue
depict every maneuver
associated with every Maneuvers from page 384 of the HERO System Counterstrike *
style. 5th Edition, Revised, compare the non-martial Crush Staves, Weapon Shafts, Chain
To resolve this dilemma, maneuver to the maneuvers in the chart above. You & Rope Weapons, Three-
you can build your own can perform a non-martial Block with the sorts Section Staff, Shinobi-Zue
martial arts maneuvers of weapons used with the Defensive and Martial Defensive Block *
and styles, creating from Blocks; you can perform a non-martial Disarm Defensive Strike *
scratch (or modifying with the sorts of weapons used with Martial and Defensive Throw None
an existing maneuver or Sacrifice Disarms; and so on. Disarming Throw None
style) to suit your own Fast Strike *
opinions and tastes. Flying Dodge None
To learn how, refer to
the Designing Martial
Ranged Martial Arts And Flying Tackle
Grappling Block
None
None
Arts Maneuvers section
beginning on page 88.
Weapon Types Grappling Throw Chain & Rope Weapons
Head-Butt Helmet Spikes, Other
A character with a Ranged Martial Art style Head-Worn Weapons
is trained in the use of a specific type of weapon, Joint Break None
and cannot use his Ranged Martial Maneuvers Joint Lock/Throw Chain & Rope Weapons
with other weapons unless he has received the Kick Ashiko
proper training (i.e., purchased the appropriate Killing Strike *
Weapon Element). In short, a character who knows Killing Throw None
Legsweep Staves, Tetsubo, Shinobi Zue,
Shurikenjutsu cannot use his Ranged Martial
Polearm Shafts, Nets
Maneuvers with a bow or rifle unless he purchases Martial Block All Melee Weapons, Shields
WE: Bows or WE: Pistols. Martial Disarm *
Martial Dodge None
Martial Escape None
LEARNING MARTIAL ARTS Martial Flash None
Martial Grab Nets, Whips, Chain & Rope
Building a martial artist at the start of a cam- Weapons,
paign usually poses few problems — the character Shinobi-Zue
needs, typically, at least ten points’ worth of martial Martial Strike *
arts maneuvers from one style, an 8- roll in the Martial Throw Chain & Rope Weapons
Knowledge Skill of that style, and the Style Dis- Nerve Strike *, but only normal-damage
tinctive Feature. But things get a little more com- weapons
plicated when characters want to use Experience Offensive Strike *
Points to improve their martial arts or buy new Passing Strike *
Passing Throw Chain & Rope Weapons
martial arts abilities.
Punch All Melee Weapons
Reversal None
Learning Martial Root
Sacrifice Disarm
None
*
Arts From Scratch Sacrifice Lunge
Sacrifice Strike
*
*
Sometimes an existing character wants to Sacrifice Throw None
learn a martial arts style from the ground up. Find- Shove All Large (L) Melee
ing a teacher depends on plot and storytelling, Weapons, Shields
things for the player and GM to work out. But the Takeaway All Melee Weapons
actual acquisition of the abilities requires the char- Takedown Staves, Polearm Shafts, Nets,
Whips, Chain & Rope
acter to spend Experience Points, and that requires
Weapons
rules. Weapon Bind All Melee Weapons, Shields
First, the character should spend at least one
point for a Knowledge Skill with his style. Charac- *: If defined as Punch, see Punch; if defined as Kick,
ters shouldn’t learn any maneuvers before taking see Kick; if defined as Head-Butt, see Head-Butt
the KS.
Hero Games 11
asterisk [*] in the style write-ups). For example, style is obvious, and the philosophy that new Disad-
characters cannot learn Aikido and Jujutsu without vantages don’t bring new points to the character.
knowing Breakfall, or Kenjutsu without knowing
WF: Blades. The character must buy all required Of these four approaches, the second choice,
Skills before buying any maneuvers. Allow the Character to Trade the Style Distinctive
A character can only start buying maneuvers Feature For Another Disadvantage, usually works
after he’s satisfied all of these prerequisites. At that best. It has the advantages of giving a point-cost
point, he can learn one maneuver after another incentive to learn martial arts maneuvers without
until he’s bought at least ten Character Points’ providing the character a lot of new points out of
worth of them. The GM may let him start using nowhere.
each maneuver as it’s learned, or require the char-
acter to wait until he’s acquired ten points’ worth of
them before he can start using them. Rate Of Learning
The Style Distinctive Feature How fast should characters learn new martial
Ultimately, the character can take the Style arts?
Distinctive Feature for his style, which helps offset In the real world, a normal practitioner can
the cost of the Martial Arts style. He can only take earn a black belt in an average of four years. In the
this Disadvantage with the GM’s approval, though. HERO System, that corresponds to an expenditure
The GM may not want to let him receive new Char- of only three or four Character Points per year on
acter Points for the new Disadvantage. Martial Arts maneuvers and skills, far too slow for
These are the different ways GMs may most adventure genre purposes.
approach this question in their own campaigns: However, also in the real world, some legiti-
mate martial arts champions have attained black
Allow the Character to Take the Style Distinctive belt rank in much less time. One famed heavy-
Feature: The character can add the Style Distinc- weight full-contact karate champion earned his
tive Feature to his list of Disadvantage and add the in only seven months — more like spending
value of it to his Character Points. However, the two Character Points per month on Martial Arts
Style Distinctive Feature still cannot exceed the maneuvers and Skills.
Disadvantage point limits already set for the cam- Therefore, for game purposes, presume PCs
paign. For instance, if the campaign has a 75-point have taken anywhere from half a year to four years
cap on Disadvantage points, and the character to earn their belts. But when PCs learn new maneu-
already has 70 points of Disadvantages, if he adds vers and arts after they’ve begun play, you should
the 10-point Style Distinctive Feature he only gets follow one of these approaches:
5 points’ worth of value. Likewise, if the campaign
has a 25-point cap on Disadvantage points from One CP Every Adventure: The character can spend
any one category of Disadvantage, and the charac- one Experience Point on Martial Arts maneuvers,
ter already has 25 points’ worth of Distinctive Fea- Skills, and Elements every adventure. This presumes
tures, then the additional Style Distinctive Feature he’s receiving regular training in the campaign
gives him 0 points. setting. As a result, it takes quite a while (ten to fif-
teen game sessions) to earn a black belt’s worth of
Allow the Character to Trade the Style Distinctive maneuvers and Skills. This approach works well for
Feature For Another Disadvantage: The charac- Heroic campaigns not oriented around martial arts,
ter can trade in another Disadvantage the player or for any campaign stressing “realism.”
has already been trying to buy down or buy off,
and take the Style Distinctive Feature in its place. Two or Three CP Every Adventure: The character
For example, recently the character has beaten his can spend two or three Experience Points (the GM
10-point Hunted in a climactic fashion, and it’s decides which) on Martial Arts maneuvers, Skills,
an appropriate time to get rid of that Hunted. The and Elements every adventure. This presumes
character erases the Hunted and substitutes the he’s receiving regular, and extraordinarily inten-
Style Distinctive Feature for it. Note: GMs should sive, training in the campaign setting. With this
only allow this when a logical, plot-driven reason approach, it takes four to seven adventures for a
already exists to change the Disadvantage. Reasons character to acquire a competitive level of prowess
such as “I’m tired of it” and “I like the Style Distinc- in his style. This approach works well for Heroic
tive Feature better” aren’t sufficient. martial arts-oriented campaigns and any Superhe-
roic campaign.
Disallow the Style Distinctive Feature: The
character cannot take a new Disadvantage. Since a Spend Many CP During Training Breaks: If the
character doesn’t receive points for a new Hunted campaign skips a lot of time, the character, with GM
when he makes a new enemy, or points from new permission, can spend any amount of Experience
Rivalries when he finds himself competing with a Points on martial arts. In other words, if the cam-
new character, he shouldn’t receive points from a paign skips six game-months between adventures,
new Distinctive Feature, either. the character could conceivably drop quite a few
points into his fighting skills. Again, the character
Require the Style Distinctive Feature... But Worth must receive regular training within the campaign
Zero Points: The character must take the Style setting. A realistic expenditure rate equals 2 Experi-
Distinctive Feature Disadvantage, but it’s worth no ence Points every game month; an acceptable expen-
points. This reflects both the fact that the character’s diture for Heroic campaigns, presuming very inten-
sive training, would be 4 Experience Points every and Staff for his Karate. He now learns the Kung
game month; in Superheroic campaigns, spending Fu Punch maneuver and the Kung Fu Weapons
6-8 Experience Points every game month is feasible. Elements of Clubs and Blades from a Kung Fu
teacher. He can use the Punch with his Karate
Weapons and Staff. However, he cannot use his
Learning New Karate maneuvers with Clubs and Swords.
And Multiple Styles However, if the practitioner knows two com-
Some characters want to learn new martial plete styles, he can use maneuvers from either art
arts styles in addition to their basic style, and some with the Weapons Elements he’s purchased for either
just wish to purchase individual maneuvers from a art.
number of styles to supplement their basic style. This Example: Years later, Okamura Masao has
is fine, logical, and realistic, but you need a few rules learned both Karate and Kung Fu (he has at
to govern this practice. least ten points of maneuvers in each). He has
BUYING MANEUVERS OUTSIDE YOUR bought the Karate Weapons and Staff Weapons
STYLE Elements for his Karate, and the Clubs and
Blades Weapons Elements for his Kung Fu.
A character can learn a maneuver from a style Now, he can use his Karate maneuvers and
other than his own, or (if the GM allows) create a his Kung Fu maneuvers with Karate Weapons,
new maneuver using the maneuver design rules. A Staff, Clubs, and Swords.
character should know at least three maneuvers in
his original style before he buys an “outside” maneu-
KNOWLEDGE SKILLS AND NEW STYLES
ver.
The player must have an acceptable rationale for If a character already knows a particular mar-
his character to learn this outside maneuver, such as tial art (including having a KS in that art), and then
learning from a PC or established NPC. If he buys buys a KS in a second art, he may use any maneuvers
the maneuver after play begins, he’s subject to the he has purchased which overlap both styles in the
time constraints chosen by the GM (see above), and fashion of either style. This can be a good way for
must have a logical way to learn the maneuver (i.e., a character to vary his fighting style to confuse an
access to a teacher and time to learn). opponent or avoid the effects of a successful Analyze
If a character wishes to learn only one or two Style roll. But remember, just purchasing a KS in a
maneuvers outside his style, he doesn’t have to buy a style does not give a character access to any maneu-
KS in that style. vers he has not paid points for.
OUTSIDE MANEUVERS AND Example: Hitoshi knows Karate. He has pur-

THE WEAPONS ELEMENT chased all of that style’s maneuvers and has KS:
Karate 11-. After a trip to Thailand, he becomes
If your basic style includes the Weapons Ele-
interested in Thai Kick-Boxing and begins study-
ment for a particular weapon, and you buy a maneu-
ing it. After a couple of months of hard work, he
ver from a second style, you still can use the new
knows enough to buy KS: Thai Kick-Boxing 11-.
maneuver with the weapons permitted for your style.
For example, if you know Karate and have bought Karate and Thai Kick-Boxing have several
the Weapons Elements for Karate Weapons and Staff, maneuvers in common: Killing Strike (called
then buy the Fencing Takeaway, you can use the Knifehand Strike (“Chop”) in Karate and Elbow/
Fencing Takeaway with both Karate Weapons and Knee Killing Strike in Thai Kick-Boxing); Mar-
Staff. tial Block (called Block in both styles); Martial
This is possible because the martial artist adapts Strike (called Punch/Snap Kick in Karate and
his new maneuvers to his old style. However, some Low Kick in Thai Kick-Boxing); and Offensive
restrictions exist. Strike (called Side/Spin Kick in Karate and
First, the maneuver must be appropriate for the Roundhouse Kick/Knee Strike in Thai Kick-
weapon. A Fencer who learns the Side/Spinning Kick Boxing). Since Hitoshi has a KS in both styles, he
can’t use the kick with a blade. See the chart under may use either version of those maneuvers when
Martial Arts Maneuvers And Weapons, page 10 to he is fighting, without having to pay for each
determine which types of maneuvers work with maneuver twice.
which types of weapons.
Hitoshi soon has the misfortune to get into a
Second, a character with at least ten points of
fight with Seiki, another Karate practitioner.
maneuvers in one style can buy an outside maneu-
After a few seconds of fighting, Hitoshi realizes
ver and use that maneuver with his style’s weapons.
Seiki has studied Hitoshi’s maneuvers and knows
However, he can’t use all his original style’s maneu-
enough about Hitoshi’s fighting style to defeat
vers with the Weapons Element from the single out-
him (in game terms, Seiki made an Analyze
side maneuver.
Style roll and used his Aid: Analyze Style power
Example: Okamura Masao knows Karate; he to gain extra DEX when fighting Hitoshi, and
knows ten points’ worth of maneuvers and has Hitoshi made a PER Roll to realize Seiki “had
bought the Weapons Elements Karate Weapons the drop on him”).
Hero Games 13
So, Hitoshi switches to using Muay Thai maneu- suffices for gaming purposes. BELTS & RANKS
vers whenever possible. Seiki cannot analyze Remember, not all fighting styles rank practitio- Kyu (Grades) Grade
these new maneuvers (i.e., he fails to make ners with “belts” or other systems, although many do.
Belt Initiate: White or
another Analyze Style roll), so he cannot use Details of some ranking systems are given above, or Red Belt
his Aided DEX to increase his OCV and DCV in the style descriptions later on in this section.
8th Kyu: White Belt
whenever Hitoshi uses a Thai Kick-Boxing For gaming purposes, there are several ways for
7th Kyu: Yellow Belt
attack. Hitoshi can use his Killing Strike, Mar- players to simulate various levels of martial arts abil-
tial Block, Martial Strike, and Offensive Strike ity in the HERO System. 6th Kyu: Orange Belt
as Muay Thai maneuvers and limit Seiki to 5th Kyu: Green Belt
The Basic Approach
his regular DEX (without the benefit of the 4th Kyu: Purple Belt
The basic way to determine if a character quali-
Aid) when attacking or defending against those 3rd Kyu: Brown Belt
fies as a black belt is the one outlined in the HERO
maneuvers. However, if Hitoshi uses one of those 2nd Kyu: Brown Belt
System, 5th Edition, Revised, page 401: “Characters
maneuvers as a Karate manuever, or if he uses 1st Kyu: Brown Belt
who spend at least 15 Character Points on the style’s
any other Karate maneuver, Seiki still gains the
Martial Maneuvers, have a Knowledge Skill of the
benefit of his Aided DEX. Furthermore, Hitoshi’s Dan (Degrees):
style on at least an 11- roll, and have bought at least
KS: Thai Kick-Boxing does not allow him to use All are Black Belts
one 3-point Combat Skill Level with the style can
that style’s Fast Strike or Shove maneuvers, since Degree Name
be considered “black belts.” True mastery involves
he has never purchased either of them. (Japanese)
buying all Maneuvers and related Skills as well as
several [Combat Skill Levels] with the style.” 1st Dan Shodan
Since UMA provides the opportunity to take 2nd Dan Nidan
Building New a more in-depth look at martial arts, this definition 3rd Dan Sandan
Maneuvers And Styles needs a little amending. In addition to those require-
ments, to be considered a “black belt,” a character
4th Dan Yodan
5th Dan Godan
A character can (with his GM’s permission) must know all of the style’s required Skills and
create all-new maneuvers or even entire styles with 6th Dan Rokudan
maneuvers (those marked with a “*” in the style’s
the rules from the Designing Martial Arts Maneuvers description). 7th Dan Shichidan
section (see page 88). This guideline is simple, straightforward, and 8th Dan Hachidan
A character who designs his own martial art, if easy to qualify for. It allows characters who aren’t 9th Dan Kudan
it turns out to be an efficient and competitive style, primarily martial artists to still achieve a high 10th Dan Judan
should eventually find himself pursued by students degree of proficiency at martial combat. 11th Dan Juichidan
who wish him to teach them — and of gunfighter- (Judo Only)
mentality martial artists who want to challenge him Alternate Approaches
If the basic approach doesn’t satisfy you, try 12th Dan Junidan
to prove the superiority of their own style. (Judo Only)
The character who designs an all-new style and one of these options instead. Feel free to alter them
finds himself in demand as a teacher should buy to suit your personal preferences or campaign.
PS: Teacher and set up his own dojo (school). The Perk-based: Require a character who wants to be
campaign may involve many plots about the hero’s a black belt to purchase a 1-point Fringe Benefit,
school, especially plots concerning the activities of
enemy schools.
BELTS AND RANKS

Many martial arts, as practiced today, use a
system of ranks indicated by the color of the belt
worn by the practitioner. This belt-rank system is a
twentieth century invention, a tool used to motivate
students (especially Western students) to learn.
For Japanese, Okinawan, and Korean martial
arts, belt ranks typically come in two categories: kyu
(grade) and dan (degree). The accompanying sidebar
shows the belt arrangement for Karate; other Japa-
nese arts use variations on it (in fact, belt colors may
vary from school to school).
BLACK BELT STATUS IN THE HERO SYSTEM
The term “black belt” carries a certain mystique
for some (particularly Westerners), who think it
signifies a person with superhuman fighting skills.
It doesn’t, really; it simply indicates a practitioner
who’s trained long enough and hard enough, and
who possesses sufficient knowledge of and skill with
a particular fighting style, for others to consider him
an expert at it. This definition is not, perhaps, the
same as the one applicable in the “real world,” but it
Black Belt. This indicates he’s recognized as a black kick. That one maneuver is “gaming shorthand,” if
belt by a governing body of his style (or some you will, for what may be a dozen or more differ-
similar organization) and has the right to refer to ent kinds of kicks. In a fight, a good martial artist
himself as an expert in that style. A character with player describes the different types of kicks he’s
this Perk can often rely on members of the Martial using, depending upon how his opponent fights,
World for work (i.e., teaching martial arts), shelter, even though he’s using just one maneuver, “Kick.”
and the like. Thus, it’s not unreasonable for a character to have
The advantages to this approach are that it’s spent just 10 or so points to buy a small number of
simple and cheap. The drawback is that characters maneuvers, yet still be considered to know dozens
with wildly different levels of proficiency with of different kicks, strikes, and defensive techniques.
martial arts can end up being “black belts,” making Skill-based: Increase the amount and/or level of
the rank seem worthless. Gamemasters may wish Skills a character has to buy before he’s considered
to establish minimum requirements (such as those a black belt. For example, a GM might decide that,
outlined above) before allowing characters to pur- regardless of the raw number of points a character
chase this Perk. has spent on maneuvers and Extra DC, he cannot
Maneuver-based: Increase the amount of points be considered a black belt until he has at least a 14-
worth of maneuvers (including, at the GM’s option, roll in his Knowledge Skill of his style. Professional
Combat Skill Levels with the style) a character has Skill: Instructor would allow the character to teach
to purchase before being considered a black belt. his style properly; a Science Skill in his style would
Twenty to thirty points should suffice for most give him knowledge of the mechanical aspects of
styles. his fighting maneuvers. Either Skill might include
The advantage to this approach is that it some appropriate “sports medicine” techniques for
more clearly differentiates the beginner with his common dojo injuries. GMs could also require a
10 minimum points of maneuvers from a higher- character to purchase a certain number of 3-point
level practitioner. The drawback is that it places Combat Skill Levels with his style before he quali-
undue emphasis on acquiring lots of different fies for black belt status.
maneuvers. Remember that special effects are an
important element of the HERO System. When
a martial artist buys, say, a “Kick” maneuver, this
generally doesn’t mean he knows just one type of
Hero Games 15
REAL WORLD
MARTIAL ARTS
W
hen most Hero gamers think of their External or “hard” styles, on the other hand,
‘T he
characters learning “martial arts,” they concentrate on the development of the body and its
have some style from the real world, physical capabilities. They generally rely on power-
like Kung Fu or Aikido, in mind. To ful, linear attacks to overcome the foe. The Shaolin teacher
help you build such characters, this section includes Kung Fu styles, Karate, Wing Chun Kung Fu, Muay
descriptions of numerous real-world martial arts Thai, and similar fighting arts are considered exter- is as a needle,
styles in HERO System terms. These arts are not nal styles.
confined to the latter part of the twentieth century; the disciple is as
many date back into the first millennium BC, or
perhaps further back than that. You can find fictional Aikido thread.’
martial arts styles in the next section. This is a Japanese art founded in 1942 by —Miyamoto
Morihei Ueshiba and derived from the earlier Musashi, Go Rin No
Aikijutsu. It stresses discipline and a nonviolent
JUTSU VS. DO; attitude. The art, as practiced in combat, concen- Sho (“A Book of
Five Rings”)
INTERNAL VS. EXTERNAL trates on balance, rhythm, and use of an opponent’s
force against him. It largely involves redirecting an
Martial artists have two ways of thinking opponent’s energies, especially in throws and take-
about their styles and how they work that you need down maneuvers.
to know about in advance. Aikidoka (practitioners of aikido) tradition-
The first is the distinction between jutsu and ally wear a uniform known as an aikidogi. Students
do, two terms used in Japanese martial arts. Jutsu wear a uniform similar to a karate gi (see “Karate,”
means, roughly, “technique” or “art”; it signifies a below). Masters wear a pair of wide pants (almost MARTIAL ARTS
martial art meant for actual fighting use. Do, mean- like a split skirt) called a hakama and a jacket simi- AROUND THE WORLD
ing “way,” signifies just the opposite — a philo- lar to the karate gi, except that the sleeves are less If you’re looking for a
sophically-oriented approach stressing the moral, full. The color of the hakama and jacket sometimes martial arts style appro-
intellectual, sporting, and/or therapeutic benefits priate for a character
of studying a particular “fighting” style. Do forms from a particular nation
are not generally meant for actual combat, though AIKIDO or region, here’s where
the real-world arts
characters can use them that way. Over time, most Maneuver Phs Pts OCV DCV Damage/Effect described in this book
of the jutsu forms have transformed into do forms. Dodge ½ 4 — +5 Dodge, Affects All come from:
Thus, Aikijutsu becomes Aikido, Jujutsu becomes Attacks, Abort
Africa: Re-efi Areh-
Judo, Kenjutsu becomes Kendo, and so forth. The Escape var 4 +0 +0 +15 STR vs. Grabs
ehsee
real-world styles described in this book are almost Extend Ki ½ 4 +0 +0 STR +15 to resist
all jutsu forms, since game characters intend to use Shove; Block, Abort The Americas:
them for combat. Hold ½ 3 -1 -1 Grab Two Limbs, +10 Capoeira (Brazil); Jail-
STR for holding on house Rock; Jeet Kune
The “internal” versus “external” dichotomy
Joint Break ½ 5 -1 -2 Grab One Limb; HKA Do; Lua (Hawaii); Pro-
(also known as “soft” versus “hard”) is described in ½d6 (2 DC), Disable fessional Wrestling
more detail in the Chinese styles, but exists in other Joint
arts as well. Styles identified as “internal” concen- China: An Ch’i; Hsing-
Lock/Throw ½ 4 +1 +0 Grab One Limb; 1d6 I; Kung Fu; Pakua; Tai
trate on the development of one’s internal power, NND(7); Target Falls Ch’i Ch’uan
known as ch’i (China), ki (Japan), mana (Hawaii), Redirect ½ 5 +1 +3 Block, Abort
prana or ting (India), or by many other names. Ch’i Strike ½ 5 +1 +3 STR Strike Europe: Arte
is often thought to reside in the tantien (or tanden, Takedown ½ 3 +1 +1 STR Strike; Target dell’Abbracciare; Fenc-
Falls ing; Kampfringen; Pan-
meaning “cinnabar field”), a point just a few inches
Throw ½ 3 +0 +1 STR +v/5; Target kration; Savate; Sevillian
below the navel. Internal stylists try to keep it cen- Knifefighting; Weapons
Falls
tered there so it flows throughout their body in the Combat; Zipota
correct fashion and energizes them. Internal styles Skills
Breakfall* India: Gatka; Kalar-
generally concentrate on circular motion, yielding
KS: Aikido ipayit; Thang-Ta
in the face of attack, and using an enemy’s force
Enhanced Perception (Sight Group) Indonesia: Kuntao;
against him. Tai Ch’i Ch’uan, Hsing-I, Pakua, and
Aikido all qualify as “internal” styles. Internal styl- Pentjak-Silat
ists can sometimes manipulate their ch’i to perform Elements
Israel: Hisardut; Krav
Weapons +1 Use Art with Blades
astounding feats; in a gaming campaign, these Maga
+1 Use Art with Staff
abilities can become even more spectacular and +1 Use Art with Polearms Continued on next page
impressive!
Continued from last page indicates the fighter’s level of proficiency.
Japan: Aikido; Bojutsu/
Since Ueshiba’s death, his followers have AN CH’I
Jojutsu; Jujutsu; Juken- established their own forms of Aikido. Some of
jutsu; Kenjutsu; Kyu- these, such as Tomiki Aikido, are more philosophi- HTH
jutsu; Naginatajutsu/ cally- or sports-oriented; others, such as Yoshin Maneuver Phs Pts OCV DCV Damage/Effect
Sojutsu; Ninjutsu; Block ½ 4 +2 +2 Block, Abort
Aikido, stress combat realism and are more similar
Saijutsu; Shurikenjutsu; Dodge ½ 4 — +5 Dodge, Affects All
to Aikijutsu. Attacks, Abort
Sumo Wrestling
AIKIDO NOTES Nerve Strike ½ 4 -1 +1 2d6 NND(1)
Korea: Hapkido; Hwa- Strike ½ 4 +0 +2 STR +2d6 Strike
rang-Do; Kuk Sool The Strike maneuver is not from Aikido as it
Won; Simgomdo; Tae Ranged
is normally taught today, but rather from the art’s
Kwan Do; Tang Soo Do; Maneuver Phs Pts OCV DCV Rng Damage/Effect
ancestor, Aikijutsu. Basic Shot ½ 4 +0 +0 +2 Weapon +2 DC
Yu-Sool Some teachers of Aikido teach the relationship Defensive
Okinawa: Karate of the art’s maneuvers to the use of blades, the staff, Shot ½ 3 -1 +2 +0 Weapon
and halberd-like weapons such as the naginata. Moving Shot ½ 5 -1 +0 +0 Weapon; FMove
Philippines: Arnis/
Kali/Escrima Optional Rules: The Strike may be either a punch Quick Shot ½ 4 +1 +0 +0 Weapon +2 DC
or a kick; the character can make this choice before Skills
Thailand, Burma, Combat Skill Levels with Ranged Attacks
Malaysia: Bando; Ber- each attack with the maneuver. If a punch, it takes
a location roll of 2d6+1; if a kick, it takes a location Contortionist
silat; Thai Kick-Boxing
Fast Draw
roll of 2d6+7; if it is not specified, it takes a location
Vietnam: Qwan Ki Do; KS: An Ch’i
Than Vo Dao; Vovinam roll of 3d6. None of the other maneuvers require Mimicry
Viet Vo Dao location rolls; those which do damage do general- SS: Pharmacology/Toxicology
ized damage. Survival
Various/Universal:
Boxing (Ancient Special Abilities: Various sources attribute many Tracking
and Modern); Com- different abilities and “powers” to Morihei Ueshiba WF: Common Martial Arts Melee Weapons*
mando Training; Dirty WF: Common Melee Weapons
and, to a lesser extent, some of his followers. Some
Infighting/Fisticuffs/ WF: Common Missile Weapons*
of these abilities include: WF: Off-Hand
Cinematic Brawling;
Generic Martial Arts; 1) The ability to fight against many opponents Elements
Whipfighting; Wrestling without being harmed, or even touched (Defense Weapons +1 Use Art with Blades
Maneuver, Combat Skill Levels for DCV). +1 Use Art with Polearms
2) The ability to sense an attacker’s actions before
he even moved (Telepathy, Danger Sense, or Pre-
cognitive Clairsentience). are the most appropriate. At the GM’s option, the
“weapon” in question could be the character’s
3) The ability to move long distances in an instant “throwing master” ability, described below.
and virtually without being seen. For example, it’s
said Ueshiba could stand dozens of feet away from Optional Rules: The Strike may be either a punch
a man with his hand on a gun, then reach him and or a kick; the character can make this choice before
grab his wrist before he could draw the gun out of each attack with the maneuver. If a punch, it takes
the holster! This is best simulated in HERO System a location roll of 2d6+1; if a kick, it takes a location
terms as a form of Teleportation with the Limita- roll of 2d6+7; if it is not specified, it takes a loca-
tion Must Pass Through Intervening Space (-¼). tion roll of 3d6. The Nerve Strike does not require a
location roll; it does generalized damage.
4) The ability to paralyze opponents with but a
touch (a form of Entangle, Takes No Damage From Special Abilities: The lin kuei are said to be mas-
Attacks). ters of many different special abilities. Some of
these are simply highly-refined physical skills,
but others are mystical in nature and supposedly
An Ch’i derive from debased Taoist magical teachings. They
include:
This style might best be referred to as “Chinese
ninjutsu.” Like Ninjutsu, it concentrates on the use 1) The ability to turn any small, throwable object
of deception, guerrilla warfare, tricks and traps, and into a lethal missile weapon. This ability is so
the like. Practitioners of An Ch’i usually carry many common among the lin kuei that the GM should
hidden weapons, and are masters with thrown consider making it a required purchase. It can
weapons — they can even use common objects be bought as a two-slot Multipower, one slot an
as lethal missiles! The lin kuei, or “forest demons,” Energy Blast and one an RKA, each with the Limi-
China’s equivalent of the Japanese ninja (and said tations OIF (available throwing objects of opportu-
by some to be the ninja’s predecessors), were mas- nity; -½) and Range Based On STR (-¼).
ters of An Ch’i. 2) The ability to become invisible (Invisibility).
AN CHI’ NOTES 3) The ability to hypnotize people (a limited form
The character should choose which weapon of Mind Control; see page 204 of the HERO System
he uses with the Ranged maneuvers when he 5th Edition, Revised).
purchases this style. Small, hand-held throwing
weapons like throwing knives, darts, and shuriken
Hero Games 17
buy the art usable with Blades. Students can later

Arnis/Kali/Escrima add unarmed combat and Karate Weapons via the
Arnis, Kali, and Escrima are related Philippine “Barehanded” and “Weapons” ele-
martial arts. They are very much weapons-oriented ments. Some prac-
arts, but they include barehanded techniques taught titioners of these
to more advanced students. styles learn to use
Malays settling the Philippines from the many unusual
second century BC onward were experts in knife- objects, such as
fighting techniques. Chinese fleeing their native items of clothing,
land in the ninth century AD brought their martial yo-yos, and ropes,
arts to the area, and Kali emerged from the synthe- as weapons. Char-
sis of the two combat styles. acters can simu-
Arnis, or arnis de mano, the modern form late specialities in
of the art, utilizes 30” sticks in place of the knife a particular type
or sword-and-knife techniques of the earlier of weapon by
Kali. It is usually fought with two sticks (muton), buying 2-point
a single stick (solo baston), or one stick and one Combat Skill
knife (espada y daga). Practitioners have adapted Levels with the
the art to other weapons styles as well, especially weapon.
nunchaku, other karate weapons, and chain weap- A prac-
ons. However, one can still find plenty of traditional titioner of this
Kali practitioners who are experts at using their style is known
art with bladed weapons. The style’s other name, as a bastonero
“escrima,” comes from the Spanish term for “to or estocador.
fight”; the term “arnis” is a corruption of the Span- Male ranks
ish word for “harness.” are known as
The style below includes both the traditional lakan; ranks for
and modern-day elements of the art. For Arnis or female fighters
Escrima, buy the art usable with Clubs (the sticks); are dayang. Belts
that’s the default version presented below. For Kali, with colored edges indicate
rank.
In any of its forms, this is a fast, efficient, brutal
ARNIS/KALI/ESCRIMA style of combat.
Art usable with Clubs Weapon Group; Clubs Weapon ARNIS/KALI/ESCRIMA NOTES
Group is free. The Kick, also known as a Sipat, may be
Maneuver Phs Pts OCV DCV Damage/Effect learned only after the character has bought the
Body Shift ½ 4 — +5 Dodge, Affects All Barehanded element to use the art with unarmed
Attacks, Abort combat. The Pattern Strike, Sinawali, and Redonda
De Cadena ½ 4 +2 +2 Block, Abort are stick-fighting patterns.
Disarm ½ 4 -1 +1 Disarm, +10 STR to The WF: Clubs Skill is not listed among the
Disarm roll
Skills for this package because characters have
Nerve Strike ½ 4 -1 +1 2d6 NND(1)
Pattern Strike ½ 4 +2 +2 STR +2d6 Strike, Weapon Familiarity with the Clubs Group at no
Must Follow Block point cost.
Redonda/ Optional Rules: The Punch takes a 2d6+1 location
Punch ½ 4 +2 +0 STR +2d6 Strike roll. The Kick takes a 2d6+1 location roll. The Nerve
Sinawali/Kick ½ 4 +0 +2 STR +2d6 Strike Strike takes a 2d6+1 location roll unless the charac-
Takeaway ½ 5 +0 +0 Grab Weapon, +10
ter has learned to use the art with unarmed combat,
STR to take weapon
away at which time it takes a 3d6 location roll (since his
Takedown ½ 3 +1 +1 STR Strike; Target legs and feet are now also employed in that maneu-
Falls ver). The Pattern Strike, Redonda, and Sinawali take
Weapon Bind ½ 4 +1 +0 Bind, +10 STR a 3d6 location roll. The other maneuvers do not
Skills require location rolls.
KS: Arnis (and/or Kali and/or Escrima) Special Abilities: Many practitioners of this style
PS: Moro-moro Dancing strike so rapidly they can land many blows in the
WF: Blades space of a second. Characters can buy this as an
WF: Karate Weapons
Autofire Energy Blast with No Range, as an Autofire
WF: Chain & Rope Weapons
WF: Off Hand Advantage for one of the art’s strikes (see page 104),
or as a form of Two-Weapon Fighting.
Elements
Weapons +1 Use Art with Blades Many Arnis/Kali/Escrima practitioners blink as
+1 Use Art with Karate Weapons little as possible, since an attacker could land a blow
+1 Use Art with Chain & Rope in the space of a blink. Characters can buy this as a
Weapons bonus to the character’s Sight PER Roll which Only
Barehanded +1 Use Art Barehanded Works In Combat (-1), as a Combat Skill Level with
De Cadena (the character keeps his eyes on the Repeticion fighter’s tactic.
enemy constantly, the better to anticipate and block To practice Repeticion, characters should buy
blows), or as one DCV Combat Skill Level. at least three of the following maneuvers: Disarm,
Finally, some Arnis/Kali/Escrima masters can Pattern Strike, Redonda/Punch, Sinawali/Kick. WF:
access a power called anting-anting, similar to ch’i Off Hand and Skill Levels with OCV are also rec-
or prana. It makes them superhumanly strong (Aid ommended.
STR, Self Only [-½]) and resistant to harm from Serada
weapons (Damage Resistance). However, for reli- Serada is a close-quarters fighting system (it
gious and mystical reasons, anting-anting doesn’t concentrates on the punyo range, a term derived
work on Thursdays (a -¼ Limitation). from the inch of stick that protrudes from the
SUBSTYLES OF ARNIS/KALI/ESCRIMA bottom of the exponent’s fist). It mainly uses the
espada y daga form, with the knife held in the left
Hundreds of different substyles of these arts hand. The techniques concentrate on using the stick
(particularly Kali) are practiced throughout the to lock an opponent’s weapon so the practitioner
Philippines. Some of the more interesting ones can stab with the knife.
include: To practice Serada, a character should buy the
Doces Pares De Cadena, Takeaway, and Weapon Bind maneu-
Doces Pares is a very flashy, stick-oriented vers, and should also buy the Blades Weapon Ele-
style of Kali. The practitioner delivers strikes “flo- ment.
rete” style, meaning that he usually accompanies Toledo
each strike with a second strike to the spot on the Toledo stylists, considered the hardest hitters
target’s body that circles from the attacker’s wrist. of all Kali practitioners, use extra-thick sticks for
To practice Doces Pares, a character should training and for combat.
buy any two of the style’s Strike maneuvers, and To practice Toledo, a character should buy any
should know WF: Off Hand as well. OCV Combat two of the style’s Strike maneuvers, with at least +2
Skill Levels with the style also help. Extra DC.
Lacoste Villabrille
Named after its founder, Jon Lacoste, this sub- Named after its founder, a four-time full-con-
style melds many forms and skills including, but tact stickfighting champion in the 1930s, this sub-
not limited to, Moro-Moro, two forms of Cebu, and style emphasizes the use of barehanded maneuvers.
Occidental Negro. Lacoste is also renowned for its Many fighters get so used to being attacked with
extremely deceptive footwork patterns. the stick that they forget the hands and feet are also
To practice Lacoste, a character should buy powerful weapons, and the Villabrille stylist tries to
the Body Shift, De Cadena, and Disarm maneuvers, exploit this weakness.
and should also buy the Blades and Chain & Rope To practice Villabrille, a character should buy
Weapons Elements. any one of the style’s Strike maneuvers, and must
Largo Mano buy the Barehanded Element as well. Levels with
“Large Hand” style, a long-range system, Hand-To-Hand Combat are also recommended.
stresses attacks to the hands and arms. (Many
Arnis/Kali/Escrima substyles do likewise — prac-
titioners regard an attack to a man’s head as an
Arte dell’Abbracciare
attempt to kill him; damaging his hands merely Arte dell’Abbracciare (“art of the embrace”) is a
“defangs” him.) Fighters try to maintain distance close-combat system developed in medieval Italy. It
between one another and fight defensively. features grappling, joint-locks and -breaks, tripping,
To practice Largo Mano, characters should striking, pressure-point attacks, and control tech-
buy at least three of the following maneuvers: niques focused on the opponent’s neck and head.
Body Shift, De Cadena, Disarm, Redonda/Punch, Most attacks have several variations, each used in
Takeaway, Weapon Bind. Levels with DCV are also response to specific maneuvers employed by the
recommended. opponent.
Arte dell’Abbracciare seems to have often
Pekiti Tersia
been learned or practiced together with arte della
Sometimes known as Kali-Karate because
daga, a knifefighting art. Characters may learn
of its emphasis on patterns and its methods of
that art by buying a Weapon Element for Arte
instruction, this substyle includes a variety of
dell’Abbracciare, or by buying maneuvers from the
maneuvers for the knife.
Sevillian Knifefighting style (see below).
To practice Pekiti Tersia, characters should
buy at least three of these maneuvers — Body Shift, ARTE DELL’ABBRACCIARE NOTES
Disarm, Pattern Strike, Redonda/Punch, Sinawali/
Kick — and the Blades Weapon Element. Optional Rules: The Strike and Pressure Point
Strike take 3d6 location rolls. None of the other
Repeticion maneuvers take location rolls.
This substyle’s philosophy is a constant, for-
Special Abilities: None.
ward-moving offensive. To overwhelm one’s oppo-
nent with the sheer volume of one’s strikes is the
Hero Games 19
BANDO NOTES
ARTE DELL’ABBRACCIARE Optional Rules: The Punch (and its various sub-
Maneuver Phs Pts OCV DCVDamage/Effect forms), Panther Claw/Tiger Claw, and Cobra Strike
Block ½ 4 +2 +2 Block, Abort take a location roll of 2d6+1; the Kick/Knee Strike
Escape var 4 +0 +0 +15 STR vs. Grabs and the Viper Strike take a 2d6+7 roll. The Scor-
Grapple ½ 3 -1 -1Grab Two Limbs, +10 pion Strike takes a roll of 3d6. The Boar Headbutt
STR for holding on and Python Choke automatically target the head/
Joint Break ½ 5 -1 -2 Grab One Limb; HKA neck, and therefore get neither bonuses nor penal-
½d6 (2 DC), Disable
ties for the location. The other offensive maneuvers
Joint Lock ½ 3 +0 -1 Grab One Limb, +10
to STR for holding on do not take location rolls since they do generalized
Joint Lock/ damage.
Throw ½ 4 +1 +0 Grab One Limb; 1d6 Special Abilities: Bando practitioners are often
NND(7); Target Falls fast runners and strong leapers; extra inches of
Legsweep ½ 3 +2 -1 STR +1d6 Strike; Running or Leaping would be appropriate for them.
Target Falls
Pressure
Point Strike ½ 4 -1 +1 2d6 NND(1) BANDO
Strike ½ 4 +0 +2 STR +2d6 Strike
Takedown ½ 3 +1 +1 STR Strike; Target Maneuver Phs Pts OCV DCV Damage/Effect
Falls Block ½ 4 +2 +2 Block, Abort
Escape var 4 +0 +0 +15 STR vs. Grabs
Skills
Kick/Knee
Breakfall*
Strike ½ 5 +1 -2 STR +4d6 Strike
KS: Arte dell’Abbracciare
Panther Claw/
Tiger Claw ½ 4 -2 +0 HKA ½d6 (2 DC)
Bando Punch/Elbow Strike/Eagle Strike/Boar
Headbutt ½ 4 +0 +2 STR +2d6 Strike
Bando is a fighting art from Burma. (Accord- Python Choke ½ 4 -2 +0 Grab One Limb; 2d6
ing to some scholars, the proper name of the art, NND(2)
strictly speaking, is Thaing; Bando is the unarmed Python Crush ½ 4 +0 +0 STR +4d6 Crush,
branch of the art [or one of its schools] and Ban- Must Follow Grab
shay the armed branch.) The word “bando” is Python Grab ½ 3 -1 -1 Grab Two Limbs, +10
generally interpreted to mean “art of combat” or STR for holding on
Scorpion Strike/Cobra Strike/
“systems of defense.” Bando is thought to have
Viper Strike ½ 4 -1 +1 2d6 NND(1)
developed under various influences, including Thai, Tackle ½ 3 +0 -1 STR +v/5 Strike; You
Chinese, Tibetan, and Indian; each Burmese ethnic Fall, Target Falls;
subgroup has its own form of the art. The British FMove
banned the art in 1885, but practitioners continued Throw ½ 3 +0 +1 STR +v/5; Target
to teach it in secret; after World War II Bando was Falls
organized and taught more openly than in the past. Skills
Bando includes both armed and unarmed Breakfall
maneuvers. A fairly brutal style, similar in many KS: Bando
ways to Muay Thai (Thai kickboxing), it stresses a WF: Common Melee Weapons
withdrawal at first, then attacks to the body from WF: Staff
outside the opponent’s reach; a grab may follow Elements
these strikes. The head, shoulder, and hips are used Weapons +1 Use Art with Blades
in addition to the hands/fists, feet, elbows, and +1 Use Art with Clubs
knees. There are twelve primary offensive forms +1 Use Art with Spear
or strategies, each named after an animal: Boar +1 Use Art with Staff
(rushes, knee and elbow strikes, headbutts and
other close-contact techniques); Bull (charges, Bersilat
tackles, power strikes); Cobra (attacking upper-
body vital points); Deer (alertness); Eagle (double- Bersilat is a martial art from Malaysia. Its
handed blocks and strikes); Monkey (agility); name means, roughly, “to do fighting.” Its origins
Paddy Bird (rapid movement); Panther (leaping, date to the 1400s. According to Malayan legend, its
tearing); Python (gripping, strangling); Scorpion founder was Huang Tuah of Malaca; some other
(nerve-point attacks); Tiger (clawing); and Viper legends attribute the art to a Menangkabau woman
(attacking lower-body vital points). of Sumatra. As its name suggests, Bersilat is very
Another Burmese fighting art, Lethwei, is similar to the Indonesian art Pentjak-Silat (q.v.) (in
considered even “harder” than Bando. It is often fact, some scholars believe Bersilat derives from
referred to as a form of “boxing,” but is much more Pentjak-Silat). It consists of both combative maneu-
similar to Thai Kick-Boxing than Western boxing. vers, called silat buah, and graceful dancelike move-
Characters who want to practice Lethwei can use ments (silat pulot) performed for entertainment
the Thai Kick-Boxing package, described below. purposes.
Bersilat is an acrobatic fighting style whose
practitioners use a lot of kicks; it also features
leaping ability; extra inches of Leaping, particularly
BERSILAT with the Limitation Requires An Acrobatics Roll (-½),
would be appropriate for them.
Maneuver Phs Pts OCV DCV Damage/Effect
Block ½ 4 +2 +2 Block, Abort SUBSTYLES OF BERSILAT
Elak Mengelak Like many martial arts, Bersilat has a number
(Dodge) ½ 4 — +5 Dodge, Affects All of distinctive schools or substyles. They include the
Attacks, Abort
ones described below, plus Langka Silat, Lintan, and
Escape ½ 4 +0 +0 +15 STR vs. Grabs
Finger Strike ½ 4 -1 +1 2d6 NND(1)
Medan.
Flying Kick ½ 5 +1 -2 STR +4d6 Strike Chekak
Hold ½ 3 -1 -1 Grab Two Limbs, +10 Chekak Bersilat emphasizes open hand strike
to STR for holding on
techniques and downplays kicks. To practice Chekak,
Sepak Terajang
(Kick) ½ 5 -2 +1 STR +4d6 Strike
a character must know the Block, Finger Strike, and
Punch ½ 4 +0 +2 STR +2d6 Strike Punch (“Open Hand Strike”) maneuvers.
Throw ½ 3 +0 +1 STR +v/5; Target Kelantan
Falls
Kelantan Bersilat focuses on locking and grap-
Skills pling techniques instead of strikes. To practice Kelan-
Acrobatics tan, a character must know the Block, Elak Mengelak,
Breakfall
Escape, and Hold maneuvers.
KS: Bersilat
PS: Silat Pulot Dancing Terelak
WF: Blades Terelak Bersilat concentrates on muscular
WF: Staff strength and powerful attacks. To practice it, a char-
Elements acter must known the Escape, Flying Kick, and Punch
Weapons +1 Use Art with Blades maneuvers.
+1 Use Art with Clubs
punches, throws, and holds (some styles are, in

Bojutsu/Jojutsu
fact, quite similar to various styles of wrestling). It The maneuvers listed below describe two differ-
teaches the use of weapons such as blades, staffs, ent, yet similar, styles: Bojutsu (the art of the staff )
and sticks. Each state or region in the country has and Jojutsu (the art of stick-fighting).
its own distinctive substyle. Bojutsu, the art of the staff, uses the bo staff (also
Bersilat fighters wear a black uniform made up known as a rokushakubo, “six-foot staff ”). The fighter
of baggy trousers, a short-sleeved shirt, a headband, holds his staff two-handed. Staff-fighting was often
and a colored belt (bengkong) denoting rank: from used to help train warriors to use other weapons,
lowest to highest rank, the colors are white, green, since warriors can practice the staff without causing
red, yellow, and black. fatal injuries.
Jojutsu, the art of the stick, uses the jo, a short
BERSILAT NOTES
staff or stick about four feet long. According to
Optional Rules: The Punch, Finger Strike, and legend, the art was developed around 1500 by Muso
Flying Kick take locations of 2d6+1; Gonnosuke. Muso, a samurai, was taking the part of
the Sepak Terajang takes a a mushashugyo (a samurai who travels the country,
2d6+7 location roll. testing his martial skills) to improve his Bojutsu
techniques, and was proving himself a superior war-
Special Abilities: Bersilat
rior. Because of his reputation, another
fighters are often known
undefeated warrior, the great swordsman
for their acrobatic
Miyamoto Musashi, sought him out and
challenged him, using only a bokken (wooden
sword). Miyamoto defeated Muso easily, but
spared his life. Muso, humiliated, continued his
wanderings. Eventually he dreamed of an angelic
being who told him to create a new, shorter staff,
and instructed him in the techniques of its use. Muso
went into seclusion and perfected the twelve tech-
niques of Jojutsu. Then he sought out Miyamoto,
challenged him, and beat him — the only defeat
Miyamoto ever suffered. A practitioner of Jojutsu
is known as a shijo; he wears a hakama and a
type of jacket called a haori.
You can also use Bojutsu to represent
medieval quarterstaff fighting and staff-
based arts from many other cultures, and
Jojutsu for many other stickfighting arts.
Hero Games 21
ANCIENT BOXING NOTES

BOJUTSU/JOJUTSU The Jab and Punch maneuvers may be used with the
Used with Staff or Clubs Weapons Group; that Weapon cestus; see the Weapons section of this book for infor-
Element is free. mation on this weapon.
Maneuver Phs Pts OCV DCV Damage/Effect Optional Rules: The Jab and Punch both take loca-
Atemi Strike ½ 4 -1 +1 2d6 NND(1) tion rolls of 2d6+1; the Block doesn’t take a location
Bind ½ 4 +1 +0 Bind, +10 STR roll. Alternatively, if you wish to better simulate the
Block ½ 4 +2 +2 Block, Abort way boxing took place in classical Greece, you can say
Disarm ½ 4 -1 +1 Disarm, +10 STR to
that the Jab and Punch are automatically head shots
Disarm roll
Jab ½ 5 +1 +3 Weapon but do no extra damage for striking the head (no
Legsweep ½ 3 +2 -1 Weapon +1 DC multiples of STUN or BODY), since ancient Greek
Strike, Target Falls boxing blows were only directed at the head.
Shove ½ 4 +0 +0 +15 STR to Shove Special Abilities: Because they are accustomed to
Strike ½ 4 +0 +2 Weapon +2 DC Strike the brutality of this style, some boxers may have the
Smash ½ 5 -2 +1 Weapon +4 DC Strike
ability to sustain incredible injuries without falling
Skills (Damage Reduction).
KS: Bojutsu (or Jojutsu, as appropriate)
WF: Staff (* for Bojutsu)
BOXING, MODERN
BOJUTSU/JOJUTSU NOTES
Optional Rules: The Atemi Strike takes a 2d6+1 Block ½ 4 +2 +2 Block, Abort
Hit Location; the Smash and Strike maneuvers take Clinch ½ 3 -1 -1 Grab Two Limbs, +10
3d6 rolls. The Legsweep automatically targets the
Cross ½ 4 +0 +2 STR +2d6 Strike
legs, of course, but does not suffer any Attack Roll Hook ½ 5 -2 +1 STR +4d6 Strike
or damage penalties because of this. Jab ½ 3 +2 +1 STR Strike
Special Abilities: Skills
KS: Boxing
1) Rapid-fire attacks: A practitioner of Bojutsu and Paramedic
Jojutsu can sometimes make several attacks in rapid
Elements
succession before his opponent can react. You can
Weapons +1 Use Art with Cestus
buy this as a No Range Autofire EB, as an Autofire
Advantage for the Strike maneuver (see page 104), or
as a form of Two-Weapon Fighting. Boxing, Modern
2) Swordbreaking: Shijo are said to be trained to Modern Boxing evolved gradually from Ancient
break an enemy’s weapon with their short staffs Boxing. According to legend, some effort at system-
(HKA, Only Works Against Weapons [-1]). izing boxing as a sport took place 700 years ago, when
St. Bernard taught it to youths to keep them from
knifing one another. In England, the practice of prize-
Boxing, Ancient fights began some 200 years ago, with contests fought
This is a martial arts style practiced by many with bare fists, though this sport was illegal and fre-
cultures in the ancient world (reaching into the quently raided.
Bronze Age and prehistory), especially the Greeks In 1865, the Marquis of Queensberry drafted
and (Asian) Indians. A form of boxing called ch’uan his famous rules for the sport; his rules called for the
p’o was known in China as early as 700 BC. Ancient use of boxing gloves and timed rounds in boxing
Boxing is simpler than modern boxing, nowhere near matches. It is around that time that this martial arts
as scientific or punishing in application. style becomes available to player characters; before
In the Greek form of the art, fighting stance con- the middle of the nineteenth century, characters
sists of the pugilist keeping his blocking (usually left) should buy Ancient Boxing
arm outstretched before him, with the hand usually if they want to box.
open, and keeping his striking hand cocked back for Nobody today
blows. teaches boxing
with the
cestus.
BOXING, ANCIENT How-
ever,
Block ½ 4 +2 +2 Block, Abort
Jab ½ 3 +2 +1 STR Strike
Punch ½ 3 +1 +0 STR +2d6 Strike
Skills
KS: Ancient Boxing
Elements
the maneuvers work with a cestus, should someone
be mad enough to train with one. Therefore, the CAPOEIRA
Weapons Element remains in place in the Modern
Boxing package, though few boxers purchase it. Maneuver Phs Pts OCV DCV Damage/Effect
Players might consider replacing the Cross Armado da Costa Spin Kick)/Parafuso (Jumping
(a Martial Strike) with a Fast Strike instead. Many Spinning Kick) ½ 5 -2 +1 STR +4d6 Strike
Bencao (Front Thrust Kick)/Asfixiante
modern boxers concentrate on power and speed
(Punch) ½ 4 +0 +2 STR +2d6 Strike
and are willing to take a few blows if they can land Block ½ 5 +1 +3 Block, Abort
a few. The Fast Strike, with its OCV bonus, better Cabeçada
represents this strategy. (Head-Butt) ½ 3 +1 +0 STR +2d6 Strike
Cocorinha/Esquiva/Queda
MODERN BOXING NOTES
de Quatro ½ 4 — +5 Dodge, Affects All
Optional Rules: The Jab, Cross, and Hook take Attacks, Abort
location rolls of 2d6+1; the other maneuvers take Dedeira
(Eye Gouge) ½ 4 -1 -1 Sight Group Flash 4d6
no specific location rolls. The Clinch will always
Meia lua de Frente/Queixada (Crescent
Grab the arms or head, never the legs. Kick) ½ 4 +2 +0 STR +2d6 Strike
Special Abilities: As Ancient Boxing. Rasteira/Banda/Tesoura/Arrastão (Legsweep/
Takedown) ½ 3 +2 -1 STR +1d6 Strike;
Target Falls
Capoeira Vôo-do-morcego
(Flying Kick) ½ 5 +1 -2 STR +4d6 Strike
Capoeira is the national martial art of Brazil.
Skills
Its origins lie in Angola, where its ancestor was a Acrobatics*
type of ritual dance. The martial art’s development Breakfall
began after 1530, when the first Angolan slaves KS: Brazilian Music
were brought into Brazil; many of them escaped to PS: Dancing
live in free communities. Capoeira was the fighting PS: Play Instrument
style they developed to resist attacks by government WF: Straight Razor
forces. It was banned in 1707, and “went under-
ground” when its practitioners converted it into a part because it allowed capoeiristas to fight with
dance form, disguising its combat effectiveness. manacled hands; therefore, the art requires its practi-
Capoeira relies primarily upon kicks, take- tioners to take the Acrobatics Skill. Another example
downs, and dodges (to block attacks is rare). Among of this acrobatic skill is the use of the au, or cart-
the art’s unusual features are its dance-like footwork wheel, to move across the field of combat.
and the acrobatic prowess of the practitioners. For Capoeiristas also added razor-fighting tech-
many maneuvers, practitioners (called capoeiras or niques to their repertoire, so the art includes a
capoeiristas) stand on their hands and attack with Weapon Familiarity with razors. None of the listed
powerful kicks. This fea- maneuvers add CV or damage bonuses to razor
ture of the art arose attacks, however, so this is considered just an addi-
in tional skill, not a Weapons Element.
Capoeira is practiced to the accompaniment
of musical instruments, including the musical
bow, drums, bells, and tambourines, so skill with
those instruments is included among the Skills
for the style.
CAPOEIRA NOTES
The Armado da costa maneuver can also be called
the Martelo (roundhouse kick) or, when performed
in acrobatic mode (with the capoeirista standing on
one or both hands) as the Meia lua.
Optional Rules: The Bencao, Armado da costa, and
meia lue de frente/queixada kicks have a standard
location roll of 3d6, unless the practitioner suc-
cessfully uses his Acrobatics Skill to stand on his
hands, in which case the location roll is 2d6+1. The
Asfixiante and vôo-do-morcego both have a 2d6+1
location roll. The Cabeçada head-butt is backwards:
its normal roll is 2d6+1, and goes to a 2d6+7 if the
attacker stands on his hands. (If both attacker and
target are upside-down, the location rolls revert to
normal.)
Special Abilities: Many capoeiristas buy DCV
Combat Skill Levels which Require An Acrobatics
Hero Games 23
Roll (-½) to show off their acrobatic prowess. Acro- For characters who are not the sort of people
batics also allows them to fight without penalty if that would learn a “dirty” way to fight, you can
their hands are bound (they use kicks instead of characterize this style in two other ways. One is as
punches). Fisticuffs, the general fighting skill of the strong-
jawed hero so often
featured in pulp tales
Commando Training and comics. A character
Commando training is the quick-and-dirty with Fisticuffs is simply
art of elimination of the enemy. Its origins are with a good, all-American
the armed forces; many a Marine in World War II fighter; he doesn’t have
was taught the principles of Commando Train- any formal training
ing. Today, systemized commando styles such as and doesn’t fight
Combato are taught like any other martial art, and dirty. Alternately,
police departments, rape prevention activists, and some characters may
the like teach Commando Training maneuvers as want to know Cin-
self-defense combat styles. ematic Brawling, the
free-wheeling sort of
combat often seen in movies and on
COMMANDO TRAINING television. Like Dirty Infighting, Fisticuffs
and Cinematic Brawling cannot take the
Maneuver Phs Pts OCV DCV Damage/Effect Style Distinctive Feature; they aren’t “styl-
Aikido Throw ½ 3 +0 +1 STR +v/5; Target ized” enough.
Falls Not all streetfighting characters need to
Boxing Cross ½ 4 +0 +2 STR +2d6 Strike know Dirty Infighting — it represents a character
Choke ½ 4 -2 +0 Grab One Limb; 2d6 with a lot of rough and dirty fighting experience.
NND(2)
You can simulate many characters’ simple fighting
Hold ½ 4 -1 -1 Grab Three Limbs, skills as a form of “Brawling” by buying HA +1-2d6,
+10 STR for holding perhaps with one or two Combat Skill Levels to
on
Judo Disarm ½ 4 -1 +1 Disarm, +10 STR to DIRTY INFIGHTING/FISTICUFFS/
Disarm roll
Karate CINEMATIC BRAWLING
“Chop” ½ 4 -2 +0 HKA ½d6 (2 DC) Maneuver Phs Pts OCV DCV Damage/Effect
Kung Fu Block/Chin
Block ½ 4 +2 +2 Block, Abort Block ½ 4 +2 +2 Block, Abort
Skills Disarm ½ 4 -1 +1 Disarm, +10 STR to
Breakfall Disarm roll
WF: Small Arms Eye Gouge ½ 4 -1 -1 Sight Group Flash
Elements 4d6
Weapons +1 Use Art with Clubs Hoist ‘n’
+1 Use Art with Knives Heave ½ 5 -2 -2 Grab Two Limbs, +20
STR to Throw
Kidney Blow ½ 4 -2 +0 HKA ½d6 (2 DC)
COMMANDO TRAINING NOTES Low Blow ½ 4 -1 +1 2d6 NND(3)
Punch/
Characters can use the Karate “Chop”, Judo Disarm, Backhand ½ 4 +0 +2 STR +2d6 Strike
and Kung Fu Block with Clubs and Knives (if the Roundhouse/Two-Fisted
practitioner buys those Weapons Elements). Smash ½ 5 -2 +1 STR +4d6 Strike
Optional Rules: The Boxing Cross and Karate Tackle ½ 3 +0 -1 STR +v/5 Strike; You
“Chop” take location rolls of 2d6+1; the Choke Fall, Target Falls
Throw ½ 3 +0 +1 STR +v/5; Target
automatically targets the head, but gets neither
Falls
bonuses nor penalties for doing so; the Throw,
Disarm, Hold, Escape, and Block take no location Skills
Streetwise
rolls.
WF: Common Melee Weapons
Special Abilities: None Elements
Weapons +1 Use Art with Clubs
Dirty Infighting/Fisticuffs/ reflect a crude “technique.”
Cinematic Brawling DIRTY INFIGHTING/FISTICUFFS/CIN
This is not a martial art, but rather a set of EMATIC BRAWLING NOTES
maneuvers skilled streetfighters can learn. It’s also
The “clubs” most often used with Dirty Infighting
taught to women as a series of rape-prevention
include bottles, pool cues, and other weapons of
maneuvers (especially the Disarm, Low Blow, and
opportunity.
Throw). Since it’s not a formal martial art, practitio-
ners cannot take a Style Distinctive Feature for it. The Block/Chin Block, Hoist ‘n’ Heave, and Two-
Fisted Smash are obviously found only in Fisticuffs/
Cinematic Brawling, since they’re far too color- FENCING
ful to have a place in a vicious street brawl. The
Block/Chin Block can either be a standard block Usable with Blades Weapon Group; Blades Weapon
Element is free
with the forearm, or it can consist of the character
“blocking” the blow by taking it square on the chin Maneuver Phs Pts OCV DCV Damage/Effect
and “shrugging off ” the effects — “Go ahead, mate, Ballestra ½ 5 +2 -2 Weapon +4 DC
Strike; Half Move
take yer best shot!” The Hoist ‘n’ Heave is the classic
Required
“grab him by the shirt-front and toss him out the Cut ½ 3 +2 +1 Weapon
window” maneuver; it “Grabs” two limbs because Ceduto var 4 +0 +0 +15 STR to escape
characters thrown in this fashion never seem able Bind
to use their arms to keep from being thrown. The Double a
highly unrealistic Two-Fisted Smash consists of Double ½ 4 +2 +2 Weapon +2 DC
lacing your fingers together and striking the enemy; Strike, Must Follow
the Cinematic Brawler’s ability to do this without Predefined Maneuver
suffering intense pain is perhaps his only “special Fleche ½ 4 +2 -2 Weapon +v/5; FMove
ability.” Froissement ½ 4 -1 +1 Disarm, +10 STR to
Disarm roll
Optional Rules: The Punch/Backhand, Round- Grypes ½ 3 -1 -2 Grab One Limb, +10
house/Two-Fisted Smash, and Kidney Blow take STR disarm
location rolls of 2d6+1. The Disarm takes no Lunge ½ 5 +1 -2 Weapon +4 DC
specific location. The Low Blow is automatically a Parry ½ 4 +2 +2 Block, Abort
Vitals shot, but receives no extra damage (no STUN Pasata Soto ½ 3 +2 +2 Weapon + foe’s
multiples) for hitting the Vitals area. The Eye Gouge v/5 Strike, You Fall,
Response to Balles-
automatically hits the eyes, but receives no extra
tra, Fleche, Lunge
damage or Attack Roll penalties for doing so. The Prise de Fer ½ 4 +1 +0 Bind, +10 STR
Tackle does generalized damage. Riposte ½ 4 +2 +2 Weapon +2 DC
Special Abilities: None. Strike, Must Follow
Block
Slash ½ 5 -2 +1 Weapon +4 DC Strike
Fencing Takeaway ½ 5 +0 +0 Grab Weapon, +10
STR to Take Weapon
Fencing is a European sword-fighting tech- Away
nique which developed during the Renaissance (c. Thrust ½ 5 +1 +3 Weapon
fifteenth century AD), though some maneuvers (or Trip ½ 3 +2 -1 STR +1d6 Strike,
at least the basis for them) may predate that time. It target falls
made use of long, light blades (especially rapier and Void ½ 4 — +5 Dodge, Affects All
sabre) and knives (including daggers, stilettos, and Attacks, Abort
main gauches). In combat situations, fencers often Skills
fought “in the round” (i.e., not confining themselves KS: Fencing
to the imaginary straight line utilized by modern Sleight Of Hand
Two-Weapon Fighting
fencers).
WF: Blades*
Modern-day fencing makes use of much WF: Off Hand
lighter, springier weapons with capped tips (to keep
them comparatively safe); these include foil and do not utilize the Fencing weapon maneuvers.
epee. Fencing weapons are divided into thrusting Optional Rules: The Ballestra, Cut, Double a
weapons (foils, epees, rapiers, and smallswords) and Double, Fleche, Lunge, Riposte, Slash, and Thrust
slashing weapons (sabers and the like). In HERO take location rolls of 3d6 when used with a
System terms generally you don’t have to reflect medium or long blade, or 2d6+1 when used with
the differences with different maneuvers, but GMs a short blade (like a dagger or short sword). The
desiring greater realism or detail may rename cer- Pasata Soto takes a 2d6+7 location roll. The other
tain maneuvers depending upon the class of weapon maneuvers do not take location rolls.
a character uses, or may restrict certain maneuvers
to certain types of weapons. You could also use two Special Abilities:
different Weapon Elements. 1) Flurry: A highly-skilled fencer can attack so
As a martial art, Fencing is automatically swiftly he strikes his opponent several times in the
designed for use with the Blades weapons group. (It’s space of a second. You can buy this as a No Range
intended for use with lighter fencing weapons such Autofire EB, or as an Autofire Advantage for a
as the rapier, sabre, foil, and epee, but in swashbuck- favored Strike maneuver (see page 104).
ling campaigns characters can use it with heavier 2) Fighting Florentine: Skilled fencers may fight
cutlasses, broadswords, and so forth if the GM with a weapon in each hand (“fighting Florentine”
allows.) Characters may not buy Fencing maneuvers or with a “case of swords”). In HERO System terms,
for other classes of weapons (no polearms, no axes, this is a form of Sweep, but characters can buy the
and so on), or for use in unarmed combat. Fenc- Two-Weapon Fighting Skill and/or WF: Off Hand
ers often do use other weapons — especially such to simulate their skill with such maneuvers. One of
things as cloaks and bucklers — but those weapons
Hero Games 25
the many maneuvers characters can perform with Lunge: A deep, powerful lunging step at the foe
this ability is the scannatura, in which the fencer with blade extended, most commonly used with
binds the foe’s weapon with his off-hand blade and smaller weapons such as smallswords.
strikes with his primary blade. Parry: The fencer blocks his foe’s blade with one of
3) False Disengage: Some fencers can perform false his own.
“disengages” to trick their opponents into react- Pasata Soto: The fencer must execute this compli-
ing improperly. You can simulate this with the use cated maneuver in response to a Ballestra, Fleche,
of the Sleight Of Hand Skill versus the opposing or Lunge. He drops to the ground underneath the
fencer’s PER Roll in a Skill Versus Skill Contest. If incoming weapon, and, supporting himself with
the fencer attempting the trick wins the Contest, he his off-hand, performs a rapid thrust at the foe up
gains +1 OCV for his next Fencing maneuver per- and under the foe’s guard. Although athletically
formed that Phase or in his next Phase. demanding, and prone to leaving a fencer open
4) Colpo d’ Arresto: A colpo d’ Arresto is a fencer’s to other attacks if he cannot get back on his feet
way of living up to the old saying, “the best defense quickly, it is an impressive and often deadly maneu-
is a good offense.” In response to an attack, the ver.
fencer makes a rapid attack to hit the opponent Prise de Fer: The fencer presses
before the opponent completes his own attack. It his blade against his foe’s in
requires good judgment and split-second timing. such a way as to prevent the
In HERO System terms, this is the use of a Held foe from using his weapon to
Action, but the fencer can buy Combat Skill Levels attack. This is sometimes
to reflect his skill at this very impressive maneuver. referred to as “locking
FENCING MANEUVERS up” the opponent’s
blade.
Fencing has many maneuvers, but few fenc-
ers buy them all. This results in a wide variance Riposte: The fencer
between the styles of individual fencers. blocks one of his oppo-
nent’s blows, then follows up
Ballestra: A rapid step or hop forward, followed
with a rapid counterstrike
immediately by a lunge to take advantage of the
before the opponent can
momentum.
recover his guard.
Cut: Using wrist action, the fencer delivers a swift
Slash: A basic fencing
cut using the foremost edge and tip of his blade.
attack in which the
Fencers usually aim a Cut at the wrist or face.
fencer swings his
Ceduto: A disengage movement in which the blade at his foe
fencer flips the blade up or down while stepping using his whole
back or away. arm to power
Double a Double: This is a flexible pattern maneu- the blow.
ver similar to a Riposte, except that instead of fol- Takeaway: The fencer disarms his foe.
lowing a Block, it follows a particular predefined This may involve literally grabbing some safe
maneuver. At the beginning of a fencing match, the part of the weapon (such as its ricasso) and yanking
fencer must specify which maneuver his Double a it out of his hand, or a bind-like maneuver in which
Double follows (he can change this maneuver from he locks up his foe’s blade and then follows through
fight to fight, but not during a particular fight). This to force the blade out of his hand.
simulates the fencer setting up his foe for a devas-
Thrust: A rapid jab at the foe using the point of the
tating blow.
blade and without significant forward motion on
Fleche: The fencer runs or leaps at his foe with the part of the fencer.
blade extended. It requires a Full Move, and the
Trip: Taught primarily in the English fencing
momentum allows the fencer to inflict extra
school, this maneuver is a swift kick or tripping
damage.
movement aimed at the foe in an attempt to knock
Froissement: A disarming maneuver designed to him down.
knock the weapon from a foe’s hand. It ranges from
Void: The fencer steps to one side, or shifts his
a quick, strong “slap” at the base of the opponent’s
body out of the way of an attack. Unlike the other
weapon to complicated bind maneuvers in which
maneuvers in the Fencing package, a fencer can use
the fencer locks up his opponent’s blade and then
this one when he does not have a blade in his hand
“yanks” it out of his hand.
(in short, at any time).
Grypes: This grab/disarm maneuver is peculiar to
the English school (see below). The fencer grabs SUBSTYLES
his foe’s weapon arm and applies a lock/hold to Across Europe, dozens of different fencing
force the weapon from the foe’s hand. Of course, schools have taught students ways to use the blade.
this requires a free hand, so a fencer using a main Some of the best known schools include:
gauche or buckler can’t employ it unless he drops
English School
that object.
An Englishman named George Silver devel-
oped this style of fencing as a homegrown response
to Italian styles. Silver preferred heavy blades, such
Gatka
as the broadsword, and a buckler to the “flashy” Ital- A martial art originating in the Punjab region
ian rapier-fighting. The English school emphasizes of northern India in, depending on which sources
steady, deliberate movements, strong stances, solid you believe, the fifteenth, seventeenth, or eighteenth
blocks and parries, and cuts and slashes. It even centuries, Gatka was developed by the Sikhs to
incorporates some Wrestling maneuvers (bought defend against Mongol invaders and other enemies.
from that package if desired). To belong to the It is a weapons-based art, focusing on the sword, a
English school, a character must buy at least three one- to three-meter long stick, and flexible weapons
of the following maneuvers: Cut, Grypes, Lunge, (such as chains, ropes, and whips). Practitioners
Parry, Riposte, Slash, Takeaway, Thrust, Trip, Void. also know how to use the chakram (a bladed throw-
ing ring) and the unusual chakar (a weapon like
French School
a wagon wheel with a weight at the end of each
The French school concentrates on maintain-
spoke, spun around to cause impact damage). Leg-
ing a distance between the two fighters, parrying,
ends tell of many battles in which a small number
and then counterattacking. French stylists should
of Sikhs used their Gatka skills to fend off much
keep most of their Combat Skill Levels (if any) in
larger forces.
DCV. To belong to the French school, a character
Gatka practitioners begin training sessions
must buy at least three of the following maneuvers:
with meditation, often accompanied by music. They
Ballestra, Cut, Fleche, Froissement, Lunge, Parry,
first learn to use sticks, then progress to the sword
Prise de Fer, Riposte, Slash, Takeaway, Thrust, Void.
and flexible weapons.
Italian School
Italian style fencing is known for its fast, GATKA
aggressive approach. Fencers typically concentrate
on attacks, often using a second weapon, such as a Used with Club Weapon Group; Club Weapon Element
main gauche, spiked buckler, or fo (a cloak with a is free
weighted hem). Many variants, such as the schools Maneuver Phs Pts OCV DCV
Damage/Effect
of Vincentio Saviolo and Giacomo di Grassi, Bind ½ 4 +1 +0
Bind, +10 STR
existed. To belong to the Italian school, a character Block ½ 5 +1 +3
Block, Abort
must buy at least three of the following maneuvers: Dodge ½ 4 +0 +5
Dodge All Attacks,
Abort
Ballestra, Cut, Ceduto, Double a Double, Lunge,
Power Strike ½ 5 +1 -2 Weapon +4 DC Strike
Parry, Pasata Soto, Riposte, Slash, Takeaway, Thrust, Strike ½ 4 +2 +0 Weapon +2 DC Strike
Void. Italian fencers usually put most of their
Skills
Combat Skill Levels (if any) into OCV.
KS: Gatka
Schlaeger Swordfighting (Heidelberg School) WF: Common Melee Weapons*
This late nineteenth century style, popularized WF: Chain and Rope Weapons
by students of the German university at Heidelberg, WF: Chakar
WF: Chakram
is very physical. It involves holding the schlaeger
WF: Staff
sword at “high prime” (hand slightly above the WF: Whip
head, tip of the blade at mouth level). Duellists
Elements
often wear goggles to protect the eyes, and metal
caps on the head. The goal is not to kill or seriously +1 Use Art with Chain and Rope
injure the opponent, but to cut the opponent on his Weapons
head or face. In time the goal often became to earn +1 Use Art with Chakar
a duelling-scar one’s self, as fellow duellists con-
sidered the scar a badge of honor. To belong to the GATKA NOTES
“Heidelberg school,” a character must buy at least
three of the following maneuvers: Ballestra, Cut, Optional Rules: The Strike and Power Strike use
Parry, Riposte, Slash, Takeaway, Thrust, Void. 3d6 Hit Location rolls. The other maneuvers do not
require Hit Location rolls.
Spanish School
The Spanish school emphasizes footwork Special Abilities: According to legend, many Gatka
and movement based upon an imaginary “Mystic masters can fight equally well with either hand, or
Circle” circle encompassing the fencer and his foe. sometimes with a sword in both hands. You can
Theoretically, by knowing where an opponent is in simulate this by buying Ambidexterity and/or Two-
relation to himself in the circle, the fencer can move Weapon Fighting.
at precise angles to his foe to gain a deadly advan-
‘A
tage. Spanish fencers move with steadiness and
grace, almost as if dancing. To belong to the Span- ct without doing,
ish school, a character must buy at least three of the
following maneuvers: Ballestra, Cut, Ceduto, Fleche, work without effort.’
Froissement, Lunge, Parry, Riposte, Slash, Takeaway,
— Tao Te Ching
Thrust, Void.
Hero Games 27
Generic Martial Arts HAPKIDO

This is a set of maneuvers for characters who Maneuver Phs Pts OCV DCV Damage/Effect
want to have martial arts but don’t want to bother Block ½ 4 +2 +2 Block, Abort
with information on or comparisons between mar- Breaking
tial arts styles. It’s also a good way to represent the Throw ½ 5 -2 +0 HKA ½d6 (2 DC), Dis-
fighting skills learned by characters who train with able; Target Falls
a number of tutors espousing different styles. Disarm ½ 4 -1 +1 Disarm, +10 STR to
Disarm roll
Since it is not a formalized style, it receives no
Dodge ½ 4 — +5 Dodge, Affects All
Style Distinctive Feature. Attacks, Abort
GENERIC MARTIAL ARTS Joint Break ½ 5 -1 -2 Grab One Limb; HKA
½d6 (2 DC), Disable
Maneuver Phs Pts OCV DCV Damage/Effect Joint Lock ½ 3 +0 -1 Grab One Limb, +10
Block ½ 4 +2 +2 Block, Abort STR for holding on
Dodge ½ 4 — +5 Dodge, Affects All Kick ½ 5 -2 +1 STR +4d6 Strike
Attacks, Abort Nerve Strike ½ 4 -1 +1 2d6 NND(1)
Kick ½ 5 -2 +1 STR +4d6 Strike Punch ½ 4 +0 +2 STR +2d6 Strike
Punch ½ 4 +0 +2 STR +2d6 Strike Sweep ½ 3 +2 -1 STR +1d6 Strike;
Throw ½ 3 +0 +1 STR +v/5; Target Target Falls
Falls Throw ½ 3 +0 +1 STR +v/5; Target
Falls
Skills Skills
Breakfall Breakfall
WF: Common Melee Weapons KS: Hapkido
GENERIC MARTIAL ARTS NOTES Elements
Optional Rules: The Punch takes a location roll of +1 Use Art with ClubsWeapons
2d6+1; the kick takes a location roll of 2d6+7; the
Block, Throw, and Dodge don’t utilize locations rolls. Hit Location rolls or target specific locations.
Special Abilities: None. Special Abilities: Some Hapkido masters reputedly
can sense attackers and objects anywhere around
them, an ability known as “mind like the moon.”
Hapkido Characters can buy this as a form of Spatial Aware-
Hapkido (roughly, “the way of coordinated ness.
power”) is a Korean martial art a synthesiz-
ing several other styles, including Hwarang-
Do, Aikido/Aikijutsu, Jujutsu, Tae Kwon
Hisardut
Do, and others. It was developed by Hisardut is a fighting art
Choi Yong Suhl, a Korean martial artist developed in Israel. It was founded
who emigrated to Japan following the by Dennis Hanover, who adapted
Japanese occupation of his homeland techniques from several martial arts
in the first decade of the twentieth cen- to form a practical fighting style
tury. In Japan he studied Japanese martial suited for modern-day combat.
arts (particularly Daito-ryu Aikijutsu) and Intended as a practical fighting
integrated some of their techniques with his and survival art, it has few sport-
Korean maneuvers. When he returned to Korea ing applications.
after World War II, he opened the first Hapkido
school so he could teach his new style to others. HISARDUT NOTES
Hapkido is an art designed with fight- Optional Rules: The Punch/
ing, not sport or artistry, in mind. It attempts Elbow Strike takes a 2d6+1
to combine the best of the “hard” and “soft” location roll, the Kick a 3d6 roll,
fighting styles to form a versatile, well- and the Knee Strike a 2d6+7 roll.
rounded combat art. Like most The Headbutt and Choke Hold
Korean styles, it emphasizes kick- automatically strike the head, with-
ing over hand techniques. It grades out penalty or bonus. The other
students on a simple belt system: maneuvers do not require Hit
from lowest to highest, the ranks Location rolls.
are white, blue, red, and black.
HAPKIDO NOTES
Optional Rules: The Punch and
Nerve Strike take a 2d6+1 location roll, the Kick a
3d6 roll. The other maneuvers either do not require
“schools”: Honan; Hopei (the most common and
HISARDUT least internal); and Shansi (the least common). Some
masters of these schools teach weapons such as
Maneuver Phs Pts OCV DCV Damage/Effect swords, staffs, and spears, but this is relatively rare.
Choke Hold ½ 4 -2 +0 Grab One Limb, 2d6
NND(2)
Escape var 4 +0 +0 +15 STR vs. Grabs HSING-I
Grab ½ 3 +0 -1 Grab One Limb, +10
STR for holding on Maneuver Phs Pts OCV DCV Damage/Effect
Kick/ Block ½ 4 +2 +2 Block, Abort
Knee Strike ½ 5 -2 +1 STR +4d6 Strike Defensive
Punch/Elbow Strike/ Block ½ 5 +1 +3 Block, Abort
Headbutt ½ 4 +0 +2 STR +2d6 Strike Eagle Claw ½ 4 +1 -1 Grab One Limb, +10
Throw ½ 3 +0 +1 STR +v/5; Target STR for holding on
Falls Grappling
Skills Block ½ 5 +1 +1 Grab One Limb, Block
KS: Hisardut Hand Strike/
WF: Small Arms Low Kick ½ 4 +0 +2
STR +2d6 Strike
Monkey Slap ½ 5 -2 +1
STR +4d6 Strike
Nerve Strike ½ 4 -1 +1
2d6 NND(1)
Hsing-I Tiger Push ½ 4 +0 +0
+15 STR to Shove
Takedown ½ 3 +1 +1
STR Strike; Target
Hsing-I (or Xingyi), usually translated as
Falls
“heart and mind” or “shape of mind,” is one of the Throw ½ 3 +0 +1 STR +v/5; Target
three main “internal” styles of Chinese martial arts Falls
(the other two are Pakua and Tai Ch’i Ch’uan). Like
Skills
the practitioners of other internal styles, Hsing-I KS: Hsing-I
practitioners strive to unite the mind and the body KS: Chinese Healing
so the mind can freely command the body’s ch’i, KS: Chinese Philosophy
allowing the practitioner to perform amazing feats. WF: Common Melee Weapons
According to legend, the founder of Hsing-I Elements
was a Sung Dynasty general named Yueh Fei, who Weapons +1 Use Art with Blades
lived from 1103-1141. He was supposedly +1 Use Art with Polearms
taught the basics of Hsing-I by a Taoist +1 Use Art with Spear
named Chou Ton. His success in warfare
was so phenomenal that jealous HSINGI NOTES
rivals had him imprisoned and
killed; he wrote the first book Optional Rules: The Hand Strike, Monkey
about Hsing-I in prison. Slap, and Nerve Strike all take 2d6+1 Hit
Hsing-I has two basic Location rolls; the Low Kick takes
sets of movements or a 2d6+7 roll. None of the other
maneuvers. The first set is maneuvers requires a location roll.
made up of block-strike Special Abilities: The internal stylist’s
patterns based on the five ability to project his ch’i to generate powerful
elements: Metal (Pi Ch’uan), attacks and spectacular feats is legendary. You can
Water (Tsuan Ch’uan), Wood (Peng find general information on these abilities below
Ch’uan), Fire (Pao Ch’uan), and Earth under “Tai Ch’i Ch’uan.” Some of the powers
(Heng Ch’uan). Each element has attributed to Hsing-I masters include the power
offensive and defensive aspects; in to project ch’i through their blows to badly injure
accord with ancient Chinese philoso- or kill an enemy (reflected in the power of the
phies, an attack based on one element Monkey Slap maneuver), the ability to survive
(say, Fire) is subject to a defense based on the devastating blows unharmed, the ability to
element it’s vulnerable to (in this example, Water). run fast enough to keep up with horses, miraculous
The second set of maneuvers is based around twelve healing capabilities, and the like.
animal forms: Dragon, Tiger, Monkey, Horse, Turtle,
‘W
Chicken, Phoenix (T’ai Bird), Sparrow Hawk, Swal-
low, Snake, Eagle, and Bear (some masters use other hen you understand one
animal forms as well).
Hsing-I practitioners combine these basic sets thing through and through,
of maneuvers into attack patterns that typically
involve blocking an incoming attack, grabbing the you understand everything.’
attacking limb, and then striking the attacker, usu-
— Shunryn Suzuki
ally with the hand. Hsing-I tends to be much more
“linear” than the other internal styles, so it’s often the
first internal style a student studies (then he moves
on to Pakua and Tai Ch’i Ch’uan).
Some scholars divide Hsing-I into three
Hero Games 29
takes a 2d6+7 roll. The Choke automatically targets

Hwarang-Do a head location, but receives no extra damage for
This ancient Korean martial art, which also being a head location. The Block, Joint Break, and
incorporates much healing knowledge, dates back Joint Lock do not use location rolls.
some 1,800 years. According to tradition it was Special Abilities: The shin gong, or mental powers,
developed by a Buddhist monk named Won Kwang of Hwarang-Do masters are said to be formidable.
Bopsa. He taught his technique to many young Their abilities include:
nobles of his day, who were called hwarang. The
hwarang were a combination of knights, statesmen, 1) Telepathy
and military generals. Legend has it they lived by 2) Clairvoyance
a five-point code: loyal service to the king (or, in 3) A “sixth sense” (Danger Sense)
modern terms, to one’s nation); filial piety; trust (in
one’s peers) and trustworthiness; courageousness 4) Ch’oemyonsul: The ability to put another person
and valor; and justice and discrimination in the use to sleep (a form of EB, NND)
of force, especially lethal force. 5) Unsinbbop: The ability to “conceal one’s self in
Hwarang-Do has four main “branches” of front of others” (Invisibility)
study: external power (wae gong), internal power
6) Jusul: Disease healing chants (Healing with
(nae gong), weapons use (moo gi gong), and mental
the Extra Time and Incantations Limitations) and
power (shin gong) (see below). Its barehanded tech-
chants which cause disease (various forms of Drain
niques, the “external power,” include punches and
or Killing Attack)
kicks, blocks, joint locks and joint breaking, nerve
strikes, chokes, and many other techniques. The
internal disciplines were similar to those taught in Jailhouse Rock
some Chinese styles.
Hwarang-Do practitioners wear uniforms According to John Soet’s book Martial Arts
similar to Karate or Judo uniforms. Around The World, Jailhouse Rock is “the stylized,
organized fighting art of the Black American, devel-
oped in prison.” As its supposed origins indicate, it
HWARANG-DO is designed for effective use in close quarters and
Maneuver Phs Pts OCV DCV Damage/Effect against multiple attackers or ambushes.
Choke ½ 4 -2 +0 Grab One Limb; 2d6
NND(2) JAILHOUSE ROCK
Finger Strike ½ 4 -1 +1 2d6 NND(1)
Hand Strike/Elbow Strike/ Maneuver Phs Pts OCV DCV Damage/Effect
Snap Kick ½ 4 +0 +2 STR +2d6 Strike Block ½ 4 +2 +2 Block, Abort
Joint Break ½ 5 -1 -2 Grab One Limb; HKA Elbow Strike ½ 4 +0 +2 STR +2d6 Strike
½d6 (2 DC), Disable Escape var 4 +0 +0 +15 STR vs. Grabs
Joint Lock ½ 3 +0 -1 Grab One Limb, +10 Groin Blow ½ 4 -1 +1 2d6 NND(3)
STR for holding on Knee Strike ½ 5 -2 +1 STR +4d6 Strike
Kick ½ 5 -2 +1 STR +4d6 Strike Takedown ½ 3 +1 +1 STR Strike; Target
Throw ½ 5 -2 +0 HKA ½d6 (2 DC); Falls
Target Falls Skills
Skills KS: Jailhouse Rock
Breakfall WF: Prison Weapons
KS: Hwarang-Do Elements
KS: Korean Healing Weapons +1 Use Art with Clubs
Paramedic +1 Use Art with Knives
Stealth
WF: Staff
Talent: Defense Maneuver JAILHOUSE ROCK NOTES
Elements
Weapons +1 Use Art with Blades The sort of weapons used with Jailhouse Rock are
+1 Use Art with Clubs those commonly available in prisons: “shanks” and
+1 Use Art with Polearms “shivs” (homemade knives), various kinds of crude
+1 Use Art with Staff club-like weapons, and so forth.
Optional Rules: The Elbow Strike takes a 2d6+1
HWARANGDO NOTES
location roll, the Knee Strike a 2d6+7 roll. The
As with other unarmed combat styles which allow Groin Blow automatically targets the Vitals, but gets
weapons use, the Hwarang-Do practitioner can neither penalties nor bonuses for this.
learn to use his art with no weapons, with only one, Special Abilities: None.
or with several, as he sees fit.
Optional Rules: The Hand Strike and Elbow Strike
take a location roll of 2d6+1. The Kick and Finger
Strike take a location roll of 3d6. The Snap Kick
Jeet Kune Do JEET KUNE DO

Jeet Kune Do (“the way of the intercepting
fist”), or JKD as it is commonly known, is an eclec- (JUN FAN KUNG FU)
tic martial arts style developed by the late Bruce
Lee. He created it after studying many different Block ½ 4 +2 +2 Block, Abort
martial arts styles and deciding all of them were Choke Hold ½ 4 -2 +0 Grab One Limb; 2d6
too limiting because of their reliance on a body of NND(2)
predefined techniques. Thus, JKD depends on the Dodge ½ 4 — +5 Dodge, Affects All
principles of simplification, versatility, practical- Attacks, Abort
ity, and usefulness. Lee himself described it as a Grab/
tight, versatile art, without patterns, forms, or rules, Joint Lock ½ 3 -1 -1 Grab Two Limbs, +10
which relies on “broken rhythm” to obtain the STR for holding on
advantage of unpredictability. (Note that “Jeet Kune Kick/
Knee Strike ½ 5 -2 +1 STR +4d6 Strike
Do” is actually the name for the governing concepts
Legsweep ½ 3 +2 -1 STR +1d6 Strike;
of the art; the fighting style itself is more accurately Target Falls
referred to as Jun Fan Kung Fu.) Nerve Strike ½ 4 -1 +1 2d6 NND(1)
Since Lee’s untimely death, the students to Punch/Elbow
whom he taught JKD and the students they have Strike ½ 4 +0 +2 STR +2d6 Strike
taught have continuously debated what JKD means Throw ½ 3 +0 +1 STR +v/5; Target
and stands for, what qualifies as JKD, and who is Falls
a true student of JKD. Anyone interested in this Skills
ongoing discussion can easily follow it in the pages Combat Skill Levels
of dozens of books and magazines. KS: Jeet Kune Do
Elements
JEET KUNE DO NOTES
To simulate the adaptability and unpredictability of +1 Use Art with Clubs
JKD, practitioners should consider buying several +1 Use Art with Polearms
Combat Skill Levels with the style. In
most situations they assign these to
Jujutsu
This Japanese art (and its more philosophical
counterpart, Judo) grew out of the integration of the
DCV, but they weapons techniques of katori shinto ryu and grap-
can shift them around pling techniques during the fifteenth century. The
as necessary to surprise an roots of the art lie even earlier, in the Heian period
opponent. (about 794-1185 A.D.), but until the fifteenth cen-
tury warriors usually considered empty-hand tech-
Bruce Lee’s own work on niques an aspect of whatever major weapon form(s)
JKD, The Tao of Jeet Kune they supported, not as a separate jutsu. The name
Do, does not discuss the use jujutsu (or jiu-jitsu) was first used in the late sev-
of weapons at all. However, he enteenth century. Knowledge of Jujutsu was spread
was skilled in many different weapons styles, world-wide by travelling Japanese practitioners in
‘H
including Filipino stick-fighting and Chinese the early years of the twentieth century; today one
aving no weapons styles, and according to his own tenets of of the most popular styles is from Brazil.
unpredictability and adaptability, practitioners may The usual Jujutsu technique involves bearing an
way is sometimes need to use weapons. Therefore JKD opponent to the ground and then pinning him there
instructors often teach various weapons; the Clubs
the way. Having element is especially popular.
or rendering him unconscious. The art utilizes hip
throws, sweeping throws, shoulder and neck locks,
no limitation is Optional Rules: The Punch/Elbow Strike and and a sacrifice body drop. In the past, Jujutsu was
Nerve Strike take Hit Location rolls of 2d6+1. The more of a fully-integrated fighting art — it included
your limitation.’ Kick/Knee Strike takes a roll of 2d6+7, since JKD a variety of punches, kicks, nerve strikes, and weap-
kicks are usually low and quick. The Legsweep and ons techniques. Some schools or substyles still teach
—Bruce Lee Choke Hold have set targets (the legs and head/ strike-based maneuvers.
neck, respectively) and so do not require a location Judoka (and some jujutsuka) wear a gi like that
roll. None of the other maneuvers needs a location worn by karateka, but made of heavier cloth and
roll. without many seams (Judo is harder on the clothes
than many other martial arts).
Special Abilities: Some JKD practitioners can per-
form “battlefield punches” in which they hit their JUJUTSU NOTES
opponent as many as eight times in the space of a
second. Characters can simulate this by applying Only Jujutsu, not Judo, teaches the danger-
the Autofire Advantage to their Punch maneuver ous Joint Break maneuver. The Strike and Atemi
(see page 104), or as an HA with Autofire. Strike maneuvers, which represent several types
of punches and kicks, are from the older style of
Hero Games 31
Jujutsu; only certain schools teach them. Hakko-Ryu

Students of the older, more warlike form of Jujutsu Founded in 1941, Hakko-Ryu focuses on
could also learn the following Weapons Elements: neutralizing and discouraging attacks by attacking
Blades, Chain & Rope Weapons, Clubs, Polearms, pressure points and locking joints. The style’s grabs
Staffs. Some substyles are also designed for use by and holds emphasize the use of the little finger, and
armored warriors (optionally, take a +1 point Ele- are performed by bending the joints in a natural
ment, “Use Art in Armor”; refer to the discussion of direction, but so that the target suffers great pain.
“Hindering Circumstances” in Chapter Three for Hakko-Ryu’s kicks are low (2d6+7 Hit Location
details). roll), and its hand attacks are usually made with the
open hand, not a fist. (Characters who study this
Optional Rules: The Shime automatically targets substyle may buy the Knifehand maneuver from
the head, but receives no extra damage for this. Karate.)
The Strike and Atemi Strike take 3d6 location rolls. To practice Hakko-Ryu, a character must know
None of the other maneuvers take location rolls. at least three of the following maneuvers: Atemi
Special Abilities: None. Strike, Joint Lock, Joint Lock/Throw, Strike, Take-
down.
JUJUTSU Kito-Ryu
Maneuver Phs Pts OCV DCV Damage/Effect Supposedly founded by a Chinese exile,
Atemi Strike ½ 4 -1 +1 2d6 NND(1) Gempin, in the seventeenth century, this substyle
Block ½ 5 +1 +3 Block, Abort incorporates many different elements and philoso-
Breaking phies to create a fighting technique described as
Throw ½ 5 -2 -2 Grab One Limb; HKA “fluid” and “supple.” To practice Kito-Ryu, a charac-
½d6 (2 DC), Disable; ter need only know any three Jujutsu maneuvers.
Target Falls
Disarm ½ 4 -1 +1 Disarm, +10 STR to Sosuishitsu-Ryu
Disarm roll Supposedly derived from the Takenouchi-
Escape ½ 4 +0 +0 +15 STR vs. Grabs Ryu by a samurai, Fugatami Hannosuke, in 1650,
Joint Lock ½ 3 +0 -1 Grab One Limb, +10 this school takes its name from the “pure flowing
to STR for holding on waters” of the Yoshino River. To practice this style,
Joint Lock/ a character must know the Escape, Joint Lock, and
Throw ½ 4 +1 +0 Grab One Limb; 1d6 Joint Lock/Throw maneuvers.
NND(7); Target Falls
Legsweep ½ 3 +2 -1 STR +1d6 Strike; Takenouchi-Ryu
Target Falls This substyle was founded in the sixteenth
Sacrifice century by the samurai Takenouchi Hisamori
Throw ½ 3 +2 +1 STR Strike; You Fall, (also known as Toichiro Takeuchi). Legend has it
Target Falls
Takenouchi learned several secret techniques of
Shime ½ 4 -2 +0 Grab One Limb; 2d6
NND(2) immobilization and weapons use from a ghostly
Slam ½ 3 +0 +1 STR +v/5; Target yamabushi, or mountain hermit, who stressed the
Falls advantages of short weapons over longer ones.
Strike ½ 4 +0 +2 STR +2d6 Strike Takenouchi used these techniques as a basis and
Takedown ½ 3 +1 +1 STR Strike; Target then added to them maneuvers from such fighting
Falls arts as Sumo Wrestling, an older form of wrestling
Skills called sumai, and kumi-uchi fighting (designed for
Breakfall* use by armored warriors). Thus he developed a
KS: Jujutsu style which stresses various techniques of immobi-
lizing one’s opponent; it also teaches combat with
short swords (kogusoku) and daggers.
SUBSTYLES OF JUJUTSU To practice Takenouchi-Ryu, a character must
Historically, scholars have recorded more than know the Joint Lock, Joint Lock/Throw, and Shime
700 substyles of Jujutsu, ranging from very broad maneuvers.
fighting systems to styles concentrating on just a Tenjin-Shinyo-Ryu
few maneuvers or techniques. Many substyles are Also called Tenshinshinyo-Ryu, this substyle
so closely related to Aikijutsu, Sumo Wrestling, or is known for its holds, chokes, and atemi strikes. It
various weapon-based fighting forms that separat- does not teach any weapons. It was founded by Iso
ing them for gaming purposes is difficult, and in Mataemon (also known as Yanagi Masatari).
many cases pointless. A well-rounded medieval To practice Tenjin-Shinyo-Ryu, a character
Japanese warrior would probably know not only must know at least three of the following maneu-
one or more styles of Jujutsu, but many weapon vers: Atemi Strike, Joint Lock, Joint Lock/Throw,
forms (Kenjutsu, Naginatajutsu, Bojutsu, and so Shime.
forth), various styles of wrestling and/or Aikijutsu,
and many other combat-oriented skills. Yoshin-Ryu
Some of the more important and/or interest- This is the famous “willow school” of Jujutsu,
ing Jujutsu substyles include: so called because its founder, the seventeenth
century physician Akiyama Shirobei Yoshitoki of
Nagasaki, used the image of a willow as an example
for his students: it bends before force, but springs KALARIPAYIT
back unharmed, whereas the sturdy oak is knocked
over. Maneuver Phs Pts OCV DCV Damage/Effect
To practice Yoshin-Ryu, a character must know Block ½ 5 +1 +3 Block, Abort
at least three of the following maneuvers: Atemi Dodge ½ 4 +0 +5 Dodge All Attacks,
Abort
Strike, Block, Dodge, Joint Lock, Strike.
Flying Kick ½ 5 +1 -2 STR +4d6
Joint Lock
Jukenjutsu (Kattaram) ½ 3 +0 -1 Grab One Limb, +10
STR for holding on
Jukenjutsu is the art of the bayonet. It was Knifehand
developed after the introduction of the rifle in Strike ½ 4 -2 +0 HKA ½d6 (2 DC)
Japan. Its primary technique is the thrust, but prac- Marman
Strike ½ 4 -1 +1 2d6 NND(1)
titioners also learn more complicated blocking,
Punch/
trapping, and slashing maneuvers. Elbow Strike ½ 4 +0 +2 STR +2d6 Strike
Straight Kick/Roundhouse
Kick ½ 5 -2 +1 STR +4d6 Strike
JUKENJUTSU Throw ½ 3 +0 +1 STR +v/5; Target
Falls
Used with Pole Arms Weapon Group; Pole Arms Weapon
Skills
Element is free
Breakfall
Maneuver Phs Pts OCV DCV Damage/Effect Contortionist
Block ½ 4 +2 +2 Block, Abort KS: Indian Healing
Dodge ½ 4 — +5 Dodge, Affects All KS: Kalaripayit
Attacks, Abort KS: Yoga
Slash ½ 4 +0 +2 Weapon +2 DC WF: Common Melee Weapons
Strike WF: Urumi
Thrust ½ 5 -2 +1 Weapon +4 DC Strike
Elements
Trap ½ 4 +1 +0 Bind, +10 STR
Skills +1 Use Art with Clubs
KS: Jukenjutsu +1 Use Art with Urumi
WF: Pole Arms*
special training compounds which double as places
JUKENJUTSU NOTES of healing. Training in these compounds usually
takes place early in the morning and again right
Optional Rules: The Slash and Thrust take loca- after dusk, and is often shrouded in secrecy. There
tion rolls of 3d6. The Block and Trap do not require is some religious significance to these places; there
location rolls. are many ritual practices and devotions surround-
Special Abilities: None. ing Kalaripayit. The goddess Kali, in her aspect as
the goddess of war, is the patroness of Kalaripayit
fighters.
Kalaripayit Kalaripayit is mainly practiced in the far
Kalaripayit (also known as kalari, kalaripayat, southern region of India, around the state of Kerala
and kalaripiyat) is a martial art developed in and Tamilnadu. There are two “variants” — the
ancient times in southern India. The name means “northern” style, centered on the city of Calicut; and
“battlefield practices.” There is evidence of its exis- the “southern” style, centered on the cities of Nager-
tence as early as the sixth and seventh centuries coil and Madras. Although the maneuvers used
A.D. Some experts trace its roots to vajra-musti, in each variant are the same, the northern style
a style of boxing/wrestling used by the Brahmin involves a lot of high jumps and kicks, low, crouch-
caste. ing stances, and long strides; whereas the cruder-
Training in Kalaripayit encompasses four looking southern style involves more circular
stages: unarmed fighting (verumkai), which is the motion, more solid, higher stances, and use of the
basis for all other techniques; stick-fighting tech- arms and torso. Linguistic and cultural differences
niques (silambam or kolthari); training with other also separate the two substyles. However, both styles
weapons, such as daggers (angathari); and, at its require suppleness and agility and involve a lot of
most esoteric level, training in knowledge of the leaping and crouching. Fighters of both styles often
108 secret vital points of the body (marma-adi) and cover their bodies with oil before fighting (this adds
how to exploit them in battle. (Practitioners can +1 to their Contortionist rolls to escape Grabs).
also study the vital points of the elephant.) KALARIPAYIT NOTES
Masters of Kalaripayit, known as gurus or
gurukkal, are not only skilled in the fighting aspects Optional Rules: The Punch/Elbow Strike, Flying
of the art, but are usually accomplished healers Kick, Knifehand Strike, and Marman Strike all take
as well, trained in the Ayurvedic system of native location rolls of 2d6+1. The Straight Kick/Round-
medicine (which relates closely to many of Kalar- house Kick takes a 3d6 roll. The other maneuvers
ipayit’s fighting techniques). Masters often maintain do not require Hit Location rolls.
Hero Games 33
Special Abilities: Characters can simulate gurus’

healing abilities with the Healing Power or the KS: KARATE
Indian Healing Skill.
Maneuver Phs Pts OCV DCV
Damage/Effect
Atemi Strike ½ 4 -1 +1
2d6 NND(1)
Kampfringen Block ½ 4 +2 +2
Block, Abort
Disarm ½ 4 -1 +1
Disarm, +10 STR to
Kampfringen is a medieval German combat Disarm roll
and grappling art. Like Arte dell’Abbracciare, it Dodge ½ 4 — +5 Dodge, Affects All
involves a wide range of grapples, joint locks (and Attacks, Abort
breaks), and strikes (primarily short punches, Knifehand Strike
knees to the groin, headbutts, and the like). It also (“Chop”) ½ 4 -2 +0 HKA ½d6 (2 DC)
incorporates pain compliance techniques and a hip Legsweep ½ 3 +2 -1 STR +1d6 Strike;
Target Falls
throw. It includes defensive techniques designed to
Punch/
protect the fighter against Dolchfechten, or knife- Snap Kick ½ 4 +0 +2 STR +2d6 Strike
fighting techniques. Side/
Some sources present a more intriguing origin Spin Kick ½ 5 -2 +1 STR +4d6 Strike
for Kampfringen, claiming it was developed by Skills
medieval Jews as a form of self-defense. According KS: Karate
to this theory, the art has some basis in kabbalistic WF: Common Martial Arts Melee Weapons
meditation techniques and philosophies. WF: Off Hand
Elements
KAMPFRINGEN Weapons +1 Use Art with Karate Weapons
Arm Bar ½ 4 +1 +0 Grab One Limb; 1d6 Gichin Funakoshi introduced Okinawa-te to
NND(7); Target Falls Japan, teaching it in public schools. At that time,
Block ½ 4 +2 +2 Block, Abort its name was formalized as Karate. After World
Escape var 4 +0 +0 +15 STR vs. Grabs War II, American servicemen stationed in Japan
Grapple ½ 3 -1 -1 Grab Two Limbs, +10 learned the art, which helped to spread it world-
STR for holding on
wide.
Hip Throw ½ 3 +1 +1 STR Strike; Target
Falls HERO System characters can buy Karate in
Joint Break ½ 5 -1 -2 Grab One Limb; HKA one of two ways. As Karate, it is an unarmed fight-
½d6 (2 DC), Disable ing style. As Kobujutsu, it is an armed Okinawan
Joint Lock ½ 3 +0 -1 Grab One Limb, +10 fighting style, using these weapons: bo (6’ staff )
to STR for holding on and several shorter staffs, sai, nunchaku, tonfa
Skills
Breakfall
KS: Kampfringen
KAMPFRINGEN NOTES
Optional Rules: The Strike and Pressure Point
Strike take 3d6 location rolls. None of the other
maneuvers take location rolls.
Karate
Karate arose from the same ancient tradi-
tions which led to the development of Kung Fu.
By the fifth century AD, on the Okinawa Islands,
a weaponless combat system called te (“hand”)
had developed. Later, when the teachings of the
Shaolin Temple in China were carried to Okinawa,
some of the Shaolin techniques were infused with
the te art.
During the fifteenth century, the Japanese
who occupied Okinawa forbade the natives to
carry arms and te began to flourish; at the time,
it went by several names, including te and karate
(a term which originally meant “China hand,” but
which in the twentieth century was redefined to
mean “empty hand”).
In 1905, an Okinawan instructor named
(threshing handles), kama (sickles), eiku (or chizi- KARATE SUBSTYLES
kunbo or sunakakebo) (boat oar), timbe and rochin Karate has developed several distinctive sub-
(tortoiseshell shield and hand-spear), suruchin (a styles, although not nearly as many as Kung Fu or
short, weighted rope), kue (hoe), and tekko (metal Pentjak-Silat. Most of these styles are not strikingly
knuckle-dusters). different; none of them require the character to buy
Karateka (Karate practitioners) can buy the particular maneuvers before he can call himself a
Weapons Element to learn Kobujutsu techniques, practitioner of that particular substyle. The most
and Kobujutsu practitioners can buy the Bare- prominent Karate substyles include:
handed element to learn empty-hand techniques
for their art. For game purposes, the two styles are Goju-Ryu
functionally identical. This style, which has both Japanese and Oki-
The traditional Karate uniform is the gi; it is nawan elements, relies primarily on hand tech-
also used by many other martial arts practitioners. niques and low kicks. It was created by Kanryo
The gi consists of the uwagi, or long-sleeved jacket, Higashionna in the late nineteenth century. As the
and zubon, or trousers. The obi, or belt, is colored; name goju (“hard-soft”) indicates, practitioners
the color indicates the wearer’s rank. Originally the attempt to maintain a balance of “hard” and “soft”
standard gi was beige; today it is white. Professional in their fighting styles, which gives this substyle a
Karate fighters wear gloves, foot-and-shin armor, greater “internal” element than most Karate sub-
and loose pants rather like warm-ups. They also styles. Many of Goju-ryu’s techniques are circular
wear athletic cups. Male Karate professionals go (unlike most Karate styles, which tend to empha-
bare-chested. size linear motion).
VARIANT FORM: KOBUJUTSU Isshin-Ryu
This Okinawan style, created by Tatsuo Shima-
Used With Karate Weapons Group; Karate
baku in 1954, stresses practicality and combat
Weapons Element is free
effectiveness. It eliminates flowery techniques and
Maneuvers: Same as above; practitioner can
concentrates on short, natural stances and maneu-
only buy the Kick if he knows the Barehanded ele-
vers. Its attacks are evenly divided between hand
ment, below.
and foot strikes, but emphasize circular, flowing
Skills: techniques.
Same as Above; WF is Required (*)
Elements Kajukenbo
Weapons +1 Use Art with Staff Kajukenbo is an eclectic martial art which
Barehanded +1 Use Art Barehanded takes its name from the four styles which it com-
The Knifehand Strike maneuver above may also bines elements of: Karate, Judo, Kenpo, and Bo (the
be interpreted as the Spearhand Strike, a thrusting latter is a form of Chinese boxing, i.e., Kung Fu).
maneuver. The Knifehand Strike was for decades It was developed in Hawaii after World War II and
popularly known in America as the “karate chop.” is taught strictly as a combat art. Characters who
want to practice this style can buy maneuvers from
The Side Kick and Spinning Kick are presented here Karate, Jujutsu (Judo), and Kung Fu.
as one maneuver.
Kenpo
Optional Rules: The Punch/Snap Kick, Nerve
Kenpo was developed by American Ed
Strike, and Knifehand Strike take location rolls of
Parker beginning in the 1950s as a modern form
2d6+1. The Side Kick and Spin Kick take location
of Shorinji Kempo (see “Kung Fu,” below). Parker
rolls of 3d6. The Block, Disarm, Dodge, and Leg-
methodically studied combat maneuvers and then
sweep do not take location rolls.
broke them down into a system for logical, progres-
Special Abilities: Karate is not surrounded sive instruction. Kenpo is an effective fighting style
by mysticism the way much of Kung Fu is, but suited to close combat; it uses rapid hand move-
master karateka can still perform amazing feats. ments, low kicks, and body checks.
For example, a technique sometimes developed
by Karate masters is a rapid-fire punching ability Kickboxing
which characters can buy as an Autofire HA attack Kickboxing is a form of modern American
or by applying the Autofire Advantage to a martial sport karate. It combines karate-like kicks and other
maneuver (see page 104). Lastly, some karateka maneuvers with boxing punches. Characters who
supposedly possess genshin, the ability to detect an want to know this style should buy both Karate and
attack a split-second in advance and beat the enemy Boxing maneuvers.
to the punch (you can buy this as a limited form of Kyokushinkai
Precognition or Danger Sense, with Linked Light- This aggressive Japanese substyle uses close
ning Reflexes or Combat Skill Levels). body contact to overcome fear of combat. Train-
Kobujutsu masters may have their own special ing concentrates on powerful, rapid attacks and
abilities. For example, they might be able to per- physical toughness. It also emphasizes tameshiwara,
form “weapons flourishes” which act as Damage breaking exercises.
Shields (see page 131). Another clever trick with
the eiku, or boat oar, is to use the paddle end of it Shito-Ryu
to flick sand or dirt into an opponent’s eyes (a Flash Founded in 1930 by Kenwa Mabuni, this major
with some Limitations). Japanese substyle emphasizes “hard” aspects over
Hero Games 35
“soft,” though it does contain some soft techniques.

Attacks are equally divided between hand- and
Kenjutsu
foot-based maneuvers. Kenjutsu is the samurai’s sword art. It requires
the use of blades (especially Japanese blades such as
Shorei-Ryu
the katana, wakizashi, and no-daichi); you cannot buy
Unlike almost all other Karate substyles, this
a Weapons Element to allow use of Kenjutsu maneu-
well-rounded Okinawan substyle makes use of
vers with other weapon groups or with unarmed
throws, takedowns, grabs, and joint-lock maneuvers
combat (except as noted below).
(characters may buy appropriate maneuvers from
The elements of the art originated some 1,500
the Jujutsu package). It also emphasizes the study of
years ago. By the ninth century AD (when Kenjutsu
karate weapons.
maneuvers first become available to PCs), Kenjutsu
Shorin-Ryu schools flourished in Japan. Practitioners divide
One of the earliest and most influential of the techniques into kamae (postures), kiri (cuts), tsuki
Okinawan substyles. It has strong roots in the Shao- (thrusts), and blocks and evasive maneuvers; each
lin styles of Kung Fu. It has three main branches, school favors its own particular types and combina-
the “small forest” school, “young forest” school, and tions of maneuvers.
“pine forest” school (each name refers to the forest One of Kenjutsu’s most famous practitioners and
where the Shaolin Temple is said to have been teachers was the samurai Miyamoto Musashi, author
located). With the GM’s permission, characters who of A Book of Five Rings, a psychological guide to
study this substyle can also buy maneuvers from strategy and competition. Musashi lived, fought, and
the Kung Fu package. taught his famous two-sword (Nito-Ryu) technique
during the early seventeenth century.
Shotokan
In many ways, Kenjutsu and Iaijutsu (the art
This Japanese styles was founded by Gichin
of drawing the sword) intertwine. While Iaijutsu
Funakoshi, the Okinawan who introduced Karate
(the Skill Fast Draw, in HERO System terms) is not
to Japan. It concentrates on developing skill with a
required for Kenjutsu practitioners, most should
small number of useful, efficient techniques; it also
know it.
emphasizes balance and muscle control. Its strikes
Kenjutsu is known as kum do in Korea. A sport-
(mainly kicks) are primarily linear; they rely on
ing version of the art, kendo, has been taught world-
body momentum, such as shifting the hips, to add
wide since World War II.
power to a blow.
Uechi-Ryu
An Okinawan style, Uechi-ryu was founded
KENJUTSU
around the turn of the century by Kanbun Uechi, Used with Blades Weapon Group; Blades Weapon
who had studied Kung Fu in addition to Karate. Its Element is free
elements bear some similarity to the Dragon, Tiger, Maneuver Phs Pts OCV DCV
Damage/Effect
and Crane styles of Kung Fu. Its primary attacks Bind ½ 4 +1 +0
Bind, +10 STR
include a single-knuckle punch (Punch or Atemi Block ½ 4 +2 +2
Block, Abort
Strike), the spear-hand strike (Knifehand Strike), Disarm ½ 4 -1 +1
Disarm, +10 STR to
pointed kicks (Snap Kick or Side Kick), and circular Disarm roll
Evade ½ 4 — +5 Dodge, Affects All
blocks (Block). Kicks are generally delivered low, and
Attacks, Abort
should take 2d6+7 location rolls. Lightning
Wado-Ryu Stroke ½ 4 +2 +0 Weapon +2 DC Strike
This Japanese style, whose name means “way of Running
Stroke ½ 5 +1 +0 Weapon +v/5; FMove
harmony,” stresses inner preparation and strength
Sacrifice
of character instead of simply concentrating on Stroke ½ 5 +1 -2 Weapon +4 DC Strike
physical techniques. Its techniques include body Slashing
shifting (Dodge) and some joint-twisting maneu- Stroke ½ 5 -2 +1 Weapon +4 DC Strike
vers (use the Joint Lock from Hapkido). Takeaway ½ 5 +0 +0 Grab Weapon, +10
STR to Take Weapon
‘W
Away
hen you do battle, even if Skills
Breakfall
you are winning, if you con- Fast Draw (Iaijutsu)
Defense Maneuver
tinue for a long time it will dull your KS: Kenjutsu
Sleight Of Hand
forces and blunt your edge.’ Two-Weapon Fighting
WF: Blades*
—Sun Tzu, The Art of War WF: Off Hand
WF: Thrown Sword
Elements
Barehanded +1 Use Art Barehanded (Bind, Block,
Disarm, Evade, Takeaway maneuvers
only)
Stroke and Slashing Stroke maneuvers.
Kage Ryu
This style, whose name means “shadow,” was
developed by Aizu Iko (1452-1538). It focuses on
reading an opponent’s facial expression and body
language to determine how he intends to attack,
then counteracting or beating his attack. In game
terms, a practitioner of this school must buy one
or more Combat Skill Levels with the Requires A
Skill Roll Limitation (the Skill in question being
either Analyze Style or a PER Roll).
A Kage Ryu stylist must know Block
and one Stroke maneuver.
KENJUTSU
NOTES Kashima Style
Optional Rules: Practiced (and perhaps founded) by the
The Lightning Stroke, legendary swordsman Tsukahara Bokuden
Sacrifice Stroke, and (1490-1571), Kashima style concentrates on the
Slashing Stroke take loca- concept of hitotsutachi—“one cut.” The swords-
tion rolls of 3d6; the Run- man waits until the very last second, then coun-
ning Stroke takes a loca- ters an opponent’s attack (ideally, the opponent’s
tion roll of 2d6+1. The attack misses the practitioner by an inch or less).
Bind, Block and Takeaway Furthermore, the masters of the style maintain
do not take location rolls. that the last one-third of a blade does the most
Special Abilities: damage, and the innermost one-third the least;
Characters can buy Kenjutsu sword flourishes thus, by stepping into a blow a fighter can
as a form of Damage reduce, or even eliminate, injury.
Shield (see page A Kashima fighter must buy Light-
131). Also, given the mysti- ning Reflexes with his Kenjutsu (to
cal powers often associated with Japanese swords, a ensure he acts before his opponent), then
whole host of powers based around magic swords is Hold his Action. When his opponent attacks,
possible, if the campaign permits. he uses his Held Action to try to interrupt the
attack. He may buy Skill Levels with his DEX
KENJUTSU SUBSTYLES Roll to ensure he beats out his opponent each
Kenjutsu, throughout Japanese history, was time if he so desires.
usually taught by various schools or masters, each A Kashima stylist must know the Block,
of whom favored different kamae and swordsman- Evade, and one Stroke maneuvers.
ship techniques; some of these schools continue Mijin Style
today. If a swordsman character wants to belong Mijin style emphasizes power and speed; it
to one of these schools, he can buy maneuvers concentrates on leaping and running attacks. The
which pertain especially to that school. most famous Mijin maneuver is the Soaring Lark
A Kenjutsu practitioner does not have to stroke, a leaping ground-to-sky attack.
belong to any school, or can be built with many A Mijin stylist must know the Running
maneuvers and rightfully claim to have studied Stroke, which is the Soaring Lark stroke. Extra
several styles. inches of Running or Leaping are recommended.
Itto Ryu Muto Style
Created by the famed wandering swords- Muto is a style of fighting without the sword.
man Ito Ittosai, the Itto Ryu school teaches A Muto specialist buys the Barehanded element
practitioners to concentrate not on victory, but for his art; this allows him to use the Bind, Block,
on “not losing.” The idea is to use proper timing Disarm, Evade, and Takeaway maneuvers when
and skill to gain an advantage over an opponent. unarmed. It does not allow the character to use
The school’s main technique is the kiri-otoshi, a the Stroke maneuvers unarmed. With this tactic,
maneuver which deflects the opponent’s attack an unarmed swordsman can take his attacker’s
and makes a counterattack in one smooth motion. blade away and then use it on his attacker. This
In game terms, practitioners of Itto Ryu may buy is considered an advanced technique, one taught
this as a Defensive Strike (even though Kenjutsu only to the best students.
normally does not use that maneuver). They must The Muto stylist must know the Block,
also learn Block and one other Strike maneuver. Evade, and one Stroke maneuver, and buy the
Jigen-Ryu Barehanded element for his art. He often also
Developed in the 1500s by Togo Shigekura buys WF: Thrown Sword.
Bizen no Kami, this style concentrates on rapid The GM can forbid any player to take the
attacks and offensive maneuvers. It was favored by, Barehanded element; it’s supposed to be a secret
among others, the Satsuma clan. technique, and the GM has final say as to which
A Jigen-Ryu stylist must know the Lightning characters it may have been taught to.
Hero Games 37
Nito Style practicality, Krav Maga practitioners do not learn

The popularity of this two-swords style (also maneuvers for tournament fighting. However, it
known as juji dome) is attributed to Musashi Miya- does have a belt ranking system established by the
moto, Japan’s most famous swordsman. Miyamoto Krav Maga Association in Israel: from lowest to
was a swordsman early in the Tokugawa shogunate highest rank, the belts are white, yellow, orange,
in the first half of the seventeenth century. green, blue, brown, and black.
The Nito stylist trains to deal with multiple
attackers. He can use his sword in either hand, or
can fight with two swords, one in each hand.
The Nito swordsman must know the Bind,
KRAV MAGA
Block, and any one Stroke maneuver, and must have Maneuver Phs Pts OCV DCV Damage/Effect
the WF: Off Hand Skill. The best Nito experts have Block ½ 4 +2 +2 Block, Abort
the Ambidexterity Talent and Two-Weapon Fight- Choke Hold ½ 4 -2 +0 Grab One Limb; 2d6
ing Skill as well, but these are recommended, not NND(2)
required. Disarm ½ 4 -1 +1 Disarm, +10 STR to
Disarm roll
Suio Style Dodge ½ 4 — +5 Dodge, Affects All
The Suio (“water”) style has been popular- Attacks, Abort
ized in an acclaimed series of Japanese movies and Escape var 4 +0 +0 +15 STR vs. Grabs
manga (comic books). All-out offense, speed, power, Grab ½ 3 -1 -1 Grab Two Limbs, +10
and risk-taking characterize it.
Required maneuvers are the Lightning Stroke, Low Kick/
the Running Stroke, and the Sacrifice Stroke; the Knee Strike/
character should take, but is not required to take, Punch ½ 4 +0 +2 STR +2d6 Strike
Breakfall. Throw ½ 3 +0 +1 STR +v/5; Target
A special Suio technique is to stand knee-deep Falls
in water with the blade beneath the water’s surface. Skills
The swordsman will strike from this watery posi- Breakfall
tion, using Sleight Of Hand to confuse his enemy as KS: Krav Maga
to his intent. In the game, the character must have WF: Common Melee Weapons
the Sleight Of Hand Skill to perform this technique, Elements
and the GM can assign OCV bonuses to such Weapons +1 Use Art with Blades
attacks based on the success of the Skill Roll and +1 Use Art with Clubs
the overall situation.
KRAV MAGA NOTES
Yagyu Shinkage School
During the Tokugawa era (early seventeenth Optional Rules: The Punch takes a 2d6+1 Hit
to mid-nineteenth centuries), the single most influ- Location roll; the Kick takes a 3d6 roll. The Low
ential school for Japanese fencing was the Shinkage Kick/Knee Strike takes a 2d6+7 roll.
school, which produced many excellent swordsmen Special Abilities: None.
from the Yagyu family.
The Shinkage style is cautious, compared to
many Kenjutsu styles, and emphasizes disarming Kuk Sool Won
techniques.
Kuk Sool Won (“Korean national martial arts
Required maneuvers are Block, Disarm, and
association”) is a Korean fighting style founded by
any one Stroke.
In Hyuk Suh in the late 1950s. It is a synthesis of
maneuvers from three traditional Korean martial
Krav Maga arts: Sado Mu Sool (tribal martial arts); Buldo Mu
Sool (Buddhist temple martial arts; see “Kung Fu,”
Developed approximately 40 years ago for below); and Koong Joong Mu Sool (royal court
use by the Israeli Defense Forces, and later taught martial arts).
to Israeli police and Mossad agents as well, Krav Kuk Sool Won practitioners wear uniforms
Maga is designed for combat effectiveness (and patterned after the traditional uniforms of Korean
for quick, easy learning). It borrows techniques generals. A master of the style is known as a sah-
and ideas from many different styles, but teaches bumnim.
no katas, stances, or other predefined movement
forms; instead, a Krav Maga fighter learns to fight KUK SOOL WON NOTES
from any position and adapt his skills to any situa-
Optional Rules: The Punch and Nerve Strike take
tion. The emphasis is on quick attacks and defenses
a 2d6+1 Hit Location roll; the Kick takes a 3d6 roll.
designed to win fights, not to look impressive. Krav
The Legsweep automatically targets the legs and
Maga has been repeatedly studied and analyzed
feet, of course, and receives neither bonuses nor
(sometimes using computers) to make it as effi-
penalties for so doing.
cient and powerful a fighting style as possible. Its
defenses against weapons are considered especially Special Abilities: Kuk Sool Won practitioners
effective. often buy extra inches of Running or Leaping to
Because of Krav Maga’s emphasis on combat make their maneuvers more spectacular.
Karate). Kung Fu and unarmed combat were not
KUK SOOL WON confined to the Shaolin monastery; the first martial
arts schools in China also began teaching during
Maneuver Phs Pts OCV DCV Damage/Effect the sixth century AD. This is the earliest period
Block ½ 4 +2 +2 Block, Abort when PCs can buy something resembling the Kung
Fu style maneuvers; characters in the sixth century
Disarm roll
Dodge ½ 4 — +5 Dodge, Affects All AD can buy the Block, Disarm, Dodge, Legsweep,
Attacks, Abort Punch, and Throw maneuvers, with the Punch
serving both as Punch and Kick.
STR for holding on A great deal of legend and mysticism sur-
Jonhwanbbop rounds the Shaolin temple. Supposedly its masters
(Throws) ½ 3 +0 +1 STR +v/5; Target were capable of a wide variety of amazing feats of
Falls combat and magic. Its course of study lasted many
Kick ½ 5 -2 +1 STR +4d6 Strike years, and at the conclusion students had to pass
Legsweep ½ 3 +2 -1 STR +1d6 Strike; safely through a trap-filled maze to “graduate.” At
Target Falls the end of the maze they had to pick up and carry
Nerve Strike ½ 4 -1 +1 2d6 NND(1) a red-hot 500-pound cauldron which would brand
Punch ½ 4 +0 +2 STR +2d6 Strike their forearms with the symbols of the temple, a
Skills dragon (on the left arm) and a tiger (on the right
Acrobatics arm).
Breakfall The original Shaolin temple, which was located
KS: Kuk Sool Won
on the northern side of Shao-Shih Mountain, south
of Sung San Mountain in Honan province, is said to
WF: Common Martial Arts Melee Weapons
have been destroyed in 617 AD. Over the centuries
Elements it (and its great library of martial arts material)
was destroyed more than once, its surviving priests
+1 Use Art with Chain & Rope
Weapons scattering to the winds and teaching their art in all
+1 Use Art with Clubs parts of the nation. Thus, uncountable variations
+1 Use Art with Polearms on the style developed over the next millennium.
+1 Use Art with Staff On those occasions when the Shaolin temple was
+1 Use Art with War Fan rebuilt, inevitably some enemy would find it and
destroy it again. It was more or less destroyed for
Kung Fu (Wu Shu) good in the late seventeeth century by the Emperor
K’ang Hsi. Only five monks, the so-called Vener-
Kung Fu, in Chinese, simply means “hard able Five, supposedly survived the massacre: Ng
work” or “skill.” The name Wu-Shu (meaning “war Mui, Pak Mee, Fung Do Tak, Miao Hin, and Gee
art”) is the style’s official name in China. Until Sin. They split up and hid themselves throughout
about 1928, it was also known as kuo-shu. China, passing on their martial wisdom in secret.
The origins of Kung Fu might date back as far Kung Fu was brought to the U.S. during mas-
as the Shang Dynasty (sixteenth century BC), but sive Chinese immigration during the 1840s, though
most scholars conclude that it began to develop it was not popularly taught to non-Chinese stu-
sometime in the fifth century BC. A swordsman’s dents until the 1960s.
art which became prominent during the Chou A very fragmented art, Kung Fu has innumer-
Dynasty (770 BC-221 BC) may have contributed able different styles and techniques, many of which
to Kung Fu; so might have pankration (see below), are described below. The maneuvers and styles
from times when Alexander the Great took pan- presented here represent the “external” aspect of
kratiasts with him on his conquests (including his Chinese martial arts; the main internal styles, such
journey to India). The first emperor of China, Ch’in as Pakua and Tai Ch’i Ch’uan, are discussed sepa-
Shih Huang-Ti, banned the practice of unarmed rately even though technically they fall under the
martial arts during his reign (in fact, he banned and rubric of “Kung Fu.” Practitioners generally divide
persecuted any thought or activity he considered Kung Fu substyles into “northern” styles, which
too close to free will or free thinking), but open are kick/leg-oriented (because of the prevalence of
practice resumed in 206 BC, after his death. horse-riding in northern China), and “southern”
In the sixth century AD, an Indian Buddhist styles, which are punch/hand-oriented (because of
priest named Bodhidharma (called P’u-T’i-Ta-Mo the prevalence of boat-rowing in southern China).
in China) came to the Shaolin Ssu (Young Forest A Kung Fu teacher is known as a sifu. The hall
Temple), in China’s Honan province. The Shaolin where he teaches his students is usually called a
temple had been built in the late fifth century AD kwoon. The traditional Kung Fu outfit is a silk cos-
by Emperor Hsiao-Wen to honor another Indian tume consisting of a long-sleeved tunic with white
monk, Bodhiruchi. cuffs, dang lung fu (loose-fitting trousers gathered
The Indian fighting style which Bodhidharma in at the ankles), and colorful sashes worn at the
taught there, blended with combat techniques waist (these do not denote rank). Alternatively,
already known to the Shaolin priests, became fighters wear a vest or shirt resembling a T-shirt
known as wai-chia; it eventually evolved into instead of the tunic.
both Kung Fu and Karate (see the entry above for
Hero Games 39
able; some relate to Taoist magic. Some of the

KUNG FU (WU SHU) powers more commonly mentioned include:
Maneuver Phs Pts OCV DCV Damage/Effect 1) Dancing swords: The ability to
Block ½ 4 +2 +2 Block, Abort wield a blade without holding
Disarm ½ 4 -1 +1 Disarm, +10 STR to it, allowing it to attack “on
Disarm roll its own” (RKA, Continu-
Dodge ½ 4 — +5 Dodge, Affects All ous).
Attacks, Abort
2) Fire Con-
Flying Kick ½ 5 +1 -2 STR +4d6 Strike trol: The abil-
Joint Lock/ ity to manipulate
Grab ½ 3 -1 -1 Grab Two Limbs, +10 flame.
to STR for holding on 3) Food Creation:
Kick ½ 5 -2 +1 STR +4d6 Strike The ability to pro-
Knife Hand ½ 4 -2 +0 HKA ½d6 (2 DC)
duce food.
Legsweep ½ 3 +2 -1 STR +1d6 Strike;
Target Falls 4) Hing
Punch ½ 4 +0 +2 STR +2d6 Strike Kung: The
Throw ½ 3 +0 +1 STR +v/5; Target ability
Falls to walk
Tien-hsueh without
Strike ½ 4 -1 +1 2d6 NND(1)
trace (see page 127).
Tiger/
Dragon Claw ½ 4 +0 +0 STR +4d6 Crush, 5) Iron Palm: The ability, also
Must Follow Grab called the “crushing hand,”
Uproot/ allows a fighter to break objects with
Sand Palm ½ 4 +0 +0 +15 STR to Shove but a casual slap of the hand. Characters buy this as
Skills a Penetrating Hand-To-Hand Killing Attack with
Acrobatics the -½ Limitation Bonuses Are Calculated From
Breakfall EGO, Not STR — STR bonuses to the HKA derive
Contortionist from the fighter’s EGO, not his STR. Characters can
KS: Chinese Healing
also use Iron Palm for an attack with the Indirect
KS: Chinese Philosophy
KS: Kung Fu Advantage, as described in Chapter Two. Tales
PS: Lion Dancing speak of masters knocking charging bulls dead in
Sleight Of Hand their tracks with a single Iron Palm blow.
WF: Common Melee Weapons 6) Iron Skin: The ability to resist attacks, even
WF: Common Martial Arts Melee Weapons Killing Attacks, without harm. Buy this as Damage
WF: Hook Sword
Resistance for the character’s PD. Also called Iron
WF: Three-Section Staff
WF: Wind And Fire Wheels Ox or Iron Shirt.
WF: Off Hand 7) Kongjin: “Empty force,” i.e., the ability to strike
Elements someone without making contact. You can simu-
Weapons +1 Use Art with Axes/Maces/Picks late this as an Energy Blast of equal DC to the
+1 Use Art with Blades character’s most powerful Strike maneuver, with
+1 Use Art with Chain Weapons the Advantage Fully Invisible (+1); characters could
+1 Use Art with Clubs also buy it as a limited form of Telekinesis with that
+1 Use Art with Hook Sword same Advantage. Some fighters call kongjin “one
+1 Use Art with Polearms
finger” or “well fist” from the practice methods by
+1 Use Art with 3-Section Staff which students supposedly learn it.
+1 Use Art with Whip 8) Poison Palm/Red Sand Palm: These are other
+1 Use Art with Wind And Fire names for dim mak, the ability to kill someone with
Wheels but a touch (see page 123). Many styles, including
Eagle Claw and White Eyebrow, supposedly teach
KUNG FU WU SHU NOTES this technique, which can cause pain, numbness,
unconsciousness, illness, and/or death.
Optional Rules: The Knife Hand, Punch and Tien-
9) Summon Ancestral Spirits: The ability to
hsueh Strike take location rolls of 2d6+1. The Tiger
summon and control undead spirits.
Claw takes a location roll of 2d6+1, constituting
the location where the Grab landed; other Grabs do 10) Teleportation: According to some tales, Kung
not need a location rolled for them. The Kick and Fu masters can transport themselves instantly over
Flying Kick usually take a location roll of 3d6, but hundreds of miles.
in some styles (see below) the Kick takes a 2d6+7
KUNG FU SUBSTYLES
location roll. The other maneuvers take no location
rolls. Hundreds of Kung Fu substyles exist; many
fall into certain broad categories. Rather than
Special Abilities: The powers and special abilities try to write every single one as a separate art, the
attributed to Kung Fu masters are almost innumer-
package above includes the maneuvers common must observe all the other guidelines for the style
to most substyles. You can use the notes below to he’s appending Drunken technique to.
help determine the maneuvers a character needs to To practice Drunken Style, a character must
know to practice a particular substyle. Of course, know the Acrobatics and Contortionist Skills and
a martial artist character doesn’t have to choose a any three Kung Fu maneuvers.
Kung Fu substyle. He can remain a generic Kung
Eagle Claw
Fu practitioner and not worry about the plethora
This northern style, founded 800 years ago by
of specific substyles available to him. And even if
General Ouk Fay, simulates the powerful talons of
he does choose a specific Kung Fu substyle, he can
the eagle. It makes extensive uses of grabs, joint-
still buy maneuvers from the rest of the main list
locks, and takedowns; even some of its kicks have a
of Kung Fu maneuvers.
joint-locking function!
Bear Style To practice Eagle Claw Style, the character
This style simulates the fast, overpowering should buy at least three of these maneuvers:
strike of the bear. The practitioner uses the same Escape, Joint Lock/Grab, Legsweep, Punch, Tien-
hand for powerful open-palm strikes, blocks, and hsueh Strike, Tiger/Dragon Claw (called Eagle
counterstrikes, instead of striking with one hand Claw for this style).
and blocking with the other.
Hung Gar Style
To practice Bear Style, a character must know
Fighters developed this southern style for
the Block and Punch maneuvers. A Bear practitio-
use in close quarters such as narrow alleyways; it
ner often puts half or more of his Skill Levels into
works well for streetfighters. It uses low stances
increasing the damage of the Punch maneuver.
and strikes which are relatively slow but powerful.
Chin Na Style Its primary weapons include the tiger fork, staff,
This style was developed in the early 1600s for and butterfly swords.
use by soldiers and policemen. It’s a good style for To practice Hung Gar, the character must
subdual and restraint of prisoners. It depends less know any three of the following maneuvers: Block,
on force than on knowledge of human anatomy; it Grab, Kick, Knife Hand, Punch, Tiger Claw (Tiger
achieves its damage by attacking vulnerable points Claw requires Grab).
known to medicine.
Long Fist
To practice Chin Na, a character must know
Long Fist (Chang Ch’uan) is a northern style
the KS: Chinese Healing Skill, at least on an 8-.
said to have been created during the Sung Dynasty,
He must also have at least three of the following
shortly before the year 1000 AD. It is a very pictur-
maneuvers: Block, Escape, Joint Lock/Grab, Knife
esque and “open” style incorporating long-reaching
Hand, Tien-hsueh Strike.
and sweeping fist and arm maneuvers, low stances,
Choy Lee Fut and high kicks.
This southern style was developed in the early To practice Long Fist Style, the character must
to mid-nineteenth century. It is still a popular style; know the Block, Dodge, Kick, and Punch maneu-
its power makes it good for full-contact fighting. It vers.
often makes use of Weapons Elements, including
Monkey Style
Polearm, Whip (Chain Whip), Staff, and Swords,
The Monkey Style (Tai Sing) was developed in
and even teaches practitioners to use some unusual
the mid-nineteenth century by a jailed fighter, Kou
objects (such as small benches and smoking pipes)
Sze. He continually watched the monkeys around
as weapons.
the jail (monkeys were often used at jails, because
To practice Choy Lee Fut, the character must
they screeched when prisoners escaped), and even-
know any three of the following maneuvers: Block,
tually developed fighting maneuvers based around
Kick, Punch, Throw.
their actions.
Drunken Style The practitioner fights from a crouching
This style is actually a variation on the other stance reminiscent of a monkey’s. Tumbling, roll-
styles; a character can fight with just Drunken ing, tricky footwork, and comical postures are also
Style (for example, the extremely difficult Eight hallmarks of the Monkey Style.
Drunken Fairies [Ts’ui Pa Hsien] style), or can There are several “substyles” of this style,
learn Drunken Monkey, Drunken Crane, and so each based on a particular set of movements or a
forth. particular body type, allowing any kind of fighter
Visually, the style involves drunken staggering to use the art: Lost Monkey (in which the fighter
and swaying (requiring Acrobatics) and utilizes simulates panic to trick the enemy into overcon-
attacks which (because of the drunken stances and fidence); Drunken Monkey (described above);
approaches) are deceptive and hard to see coming Stone Monkey (suited to fighters with large, strong
(hence the higher OCV). If the character has Skill bodies; involves less acrobatics than the other
Levels, more must go into OCV than DCV; if pos- substyles); Standing Monkey (suited to tall fighters
sible, the character must configure his Skill Levels with long arms); and Wooden Monkey (in which
so that his OCV exceeds his DCV. the fighter feigns retreat, luring his foe into pursuit
When performing Drunken Style, a character so he can launch an aggressive surprise attack).
doesn’t have to make an Acrobatics Skill roll every A Monkey Style practitioner can use any of these
Phase (he’s not always staggering that much), and substyles.
Hero Games 41
To practice Monkey Style, the character must Dragon Claw and joint-locking techniques.
have the Acrobatics, Breakfall, and Sleight Of Hand To practice Dragon style, the character must
Skills, and any three of the following maneuvers: know any three of the following maneuvers: Block,
Block, Disarm (defined as a kicking disarm), Dragon Claw, Joint Lock/Grab, Kick, Punch.
Dodge, Kick, and Legsweep. To use Dragon Style, the character primarily
Each Phase the character utilizes Monkey utilizes one of these two combinations: Block fol-
Style, he must make both his Acrobatics and Sleight lowed by the Grab, or Grab followed by Block fol-
Of Hand rolls. If he succeeds in both, the GM lowed by Punch. He also uses the Joint Lock/Grab
has the target make a Sight-based PER Roll (just maneuver and Dragon Claw (which is mechanically
like a Skill Versus Skill Contest). If the Sleight Of the same as the Tiger Claw).
Hand roll beats the PER Roll, the monkey stylist
Shaolin Leopard Style
gets an OCV bonus to his maneuver. The GM can
Leopard Style is a fast, rugged, up-close
apply this as a +1 to +3 bonus based on how clever
combat style. It concentrates on powerful flattened-
he thinks the maneuver is (determined from the
fist blows (representing the attacks of a leopard’s
player’s description of the attack), or he can give
paws).
the maneuver a bonus based on how much better
To practice Leopard Style, the character must
the Sleight Of Hand roll was than the PER Roll
know the Block, Dodge, and Punch maneuvers.
(with a maximum of +3 to OCV). As the opponent
When performing Leopard Style, if the char-
gets used to the character’s fighting style, the GM
acter has only one or two Skill Levels, he must put
can optionally decrease the OCV bonus provided
both of them into OCV (during the Block and
by the style. Naturally, if the rolls tie, or the target
Punch maneuvers, not during the Dodge); if he has
made his PER Roll by more, or the attacker missed
more than two, he must put at least two into OCV.
either Acrobatics or Sleight Of Hand, no bonus is
awarded. Shaolin Snake Style
Monkey Style is also fought with the staff. This is a sinuous, weaving combat style. The
hands, simulating the snake’s strike, are used for
Praying Mantis Style
fingertip strikes to the target’s temples, eyes, throat,
This style, known as T’ang Lang in Chinese,
and other vital regions; the style also uses kicks.
was derived from a fighter’s observation of the
To practice Snake Style, the character must
praying mantis in combat. It concentrates on
know the Block, Dodge, Kick, Punch, and Tie-hsueh
grasping, clawing, and punching maneuvers. It was
Strike maneuvers.
developed 350 years ago; many different “substyles”
(including the six harmonies, seven stars, and eight Shaolin Tiger Style
steps variants) have arisen since then. This style simulates the ripping action of a
To practice Praying Mantis, the character must tiger’s claws. The practitioner uses a rigid open-
know the Block maneuver, and at least two of the hand technique with fingers curled like claws, and
following maneuvers: Disarm, Joint Lock/Grab, makes use of palm-heel strikes and claw-hand
Kick, and Punch. strikes, both swung with downward arcs; he also
When fighting an opponent, the Praying uses palm-heel blocks and forearm blocks. There
Mantis stylist usually uses a Block against an are several “subforms” of this substyle, including
incoming attack and follows up (on his next Phase) White Tiger, Red Tiger, and Black Tiger; their dif-
with one of the other maneuvers. Typical sequences ferences are not important for gaming purposes.
include Block, Disarm; Block, Punch; and Block, To practice Tiger Style, the character must
Joint Lock/Grab, Punch. Alternatively, he delays, know any three of the following maneuvers: Block,
puts most or all his Skill Levels into DCV (with Dodge, Grab, Punch, Tien-hsueh Strike, and Tiger
the visual effect being that he blocks, rather than Claw. Tiger Style is also fought with the broadsword
dodges, incoming attacks) and responds to attacks (Darn-Do).
with any of the attack maneuvers.
Shorinji Kempo
Shaolin Crane Style Shorinji kempo is the Japanese pronunciation
This is an open, flowing style. The practitioner of Shaolin ch’uan-fa, or Shaolin Kung Fu. According
shapes his hands like crane’s beaks; the style adopts to tradition, Chinese monks visited Japan before it
many one-legged stances. Blocks are performed became closed off to foreigners in the seventeenth
with the backs of wrists or with the open hand. century and taught their Kung Fu art to the Bud-
To practice Shaolin Crane (pai-hao) style, the dhist monks. Today, the art, adapted to the Japanese
character must know the Block, Punch, and Tien- way of life and philosophies, still thrives. Its symbol
hsueh Strike maneuvers. is a counterclockwise-pointing swastika (the
reverse of the kind used by Nazi Germany), which
Shaolin Dragon Style
in Buddhism signifies peace and unity.
This style simulates the coiling of the Chinese
In the HERO System, the Kung Fu style simu-
dragon; the practitioner moves with his waist loose
lates Shorinji Kempo; a Kempo practitioner can
and supple, and the style makes use of circular
buy any or all Kung Fu maneuvers and refer to
waist movements and hip-turning movements.
them as Kempo. Purists will note that this is a gross
In this style, the attacker grabs his target,
oversimplification of the real-world relationship
blocks attacks, and counterstrikes with fast
between Kempo and Kung Fu, but it suffices for
punches. The style also involves a Grab called the
game purposes.
White Crane Style or Buldo Mu Sool (a Korean Buddhist temple style,
This Tibetan style, which simulates the moves of supposedly derived from Shaolin fighting arts);
both cranes and apes, involves three basic principles: Ch’a Ch’uan (a style from Mongolia, popular among
evading attacks instead of blocking them (to increase Chinese Muslims and known for its acrobatics and
counterattack speed), confusing the target with many flying kicks); Ch’o Chiao (a northern style featur-
arm sweeps, and moving in to the opponent for a ing high kicks); Choy Mok (a combination of two
better angle of attack. It was first developed in Tibet southern styles, Choy Gar and Mok Gar); E-mai
some 500 years ago, and was introduced into middle Shan Pai (a style supposedly created on the sacred
and southern China some 140 years ago. mountain of the same name; known in Vietnam as
To practice White Crane, a character must know Nga Mi Phai); Fan Tzu (a simple northern style);
any three of the following maneuvers: Dodge, Kick, Fong Ngan (the “Phoenix Eye” style, which relies
Punch, Tien-hsueh Strike. almost entirely on hand attacks, including a dis-
When a character uses White Crane, he must tinctive raised-middle-knuckle punch); Hop Gar
apply any Skill Levels he has so that his DCV exceeds (a practical fighting art derived from Tibet, also
his OCV; the high DCV allows the character to avoid known as Lama kung fu); Hung-Chia (a southern
using Dodges and continuously attack instead. style emphasizing powerful hand attacks deliv-
White Crane style is known as Bak Hok in Chi- ered from low stances, supposedly created by one
nese. of the Venerable Five); Hung Fut (a 300-year-old
southern style combining two other styles, Hung
White Eyebrow
Gar and Fut Gar; practitioners always use their left
This southern style, called Bak Mei in Chinese
hands to strike and are trained to use their cloth-
after the traitorous white-eyebrowed priest who
ing as a weapon); Kuo-Ch’uan (“dog boxing,” an
developed it, uses both soft and hard techniques. The
unpopular northern style in which the practitioner
arms and hands are kept “soft” and supple until they
stays low to the ground, barking and growling like
reach the point of impact, when they “harden” to
a dog, hoping to antagonize and distract his oppo-
deliver powerful blows. Internal and external strength
nent); Liang I (an internal northern style which
are both important in this style.
uses double-fist attacks); Li-Chia Ch’uan (“short
White Eyebrow stylists always wait for their
hand” boxing, a southern style involving slapping
opponent to attack first, then react to his attack and
and poking attacks, close infighting, and almost no
counterattack using their “wit,” or cleverness and
kicks; also known as Li Gar); Liu-Ho-Pa-Fa (“six
perceptiveness. In the game, White Eyebrow stylists
harmonies, eight steps,” a soft northern style); Mien
should normally hold their actions, then Block or
Ch’uan (“cotton fist” style, a soft northern style); Mi
Dodge before attacking.
Tsung-I (the “labyrinthine art,” which uses rapid
White Eyebrow style incorporates some attacks
turns, changes of direction, and attacks to confuse
from Fong Ngan, or “Phoenix Eye” style, which is
the enemy); Poc Khek (a Malaysian style); San-
described briefly below.
Hwang Pao-Ch’ui (“cannon fist” style, also known
To practice White Eyebrow, a character must
as Hsing-Kung-Ch’uan); Ta-Cheng Ch’uan (“great
know any three of the following maneuvers: Block,
achievement,” an internal style derived in part from
Dodge, Kick, Punch, Tien-hsueh Strike.
Hsing-I); T’an T’ui (“Deep Legs” or “Springing
Wing Chun Style Legs” Kung Fu, which uses very low kicks and leg-
This style (whose name means “radiant spring- sweeps); and T’i T’ang (a fighting style which trains
time” or “everlasting spring”) was developed in the the student to fight while on the ground).
eighteenth century by a fighting Buddhist nun named
Ng Mui. According to some legends she was one of As you can see, considerable overlap exists
the Venerable Five who escaped the final destruc- between the maneuvers required for the various
tion of the Shaolin Temple. After creating the art, styles. If a character wishes, he can consider him-
she taught it to a young peasant woman named Yim self a practitioner of multiple styles if he knows
Wing Chun, from whom it takes its name. It was the minimum required maneuvers and Skills for
developed as an aggressive, practical style someone each; in combat, he can describe how and when
could learn in a relatively short amount of time. It he switches between styles. This will not, however,
involves up-close fighting techniques including short have an impact on an enemy’s Analyze Style roll; to
punches, low kicks, and leg sweeps. cancel the effects of such a roll, a character would
Wing Chun is so popular it has several substyles; have to switch to another style in which he has a
however, their differences are inconsequential for separate Knowledge Skill.
gaming purposes. For more information on the main “soft” Chi-
To practice Wing Chun, the character must nese styles, refer to the descriptions of Hsing-I,
know any three of the following maneuvers: Block, Pakua, and Tai Ch’i Ch’uan.
Kick, Legsweep, and Punch. The Kick takes a 2d6+7
‘W aiting is bad.’
location roll.
Other Kung Fu Substyles
There are many other animal and non-animal —Miyamoto Musashi, Go
Kung Fu styles, far too many to list extensively Rin No Sho (“A Book of Five Rings”)
here. However, in addition to the styles listed above,
several others deserve a brief mention: Bul Mu Do
Hero Games 43
KUNTAO NOTES
Kuntao
Optional Rules: The Punch and Nerve Strike take
Kuntao (or kundao) is an Indonesian fighting
2d6+1 locations; the Kick takes a 3d6 location. None
style. It was developed before the birth of Christ
of the other maneuvers require location rolls.
by Chinese immigrants who transplanted Kung Fu
and mixed it with maneuvers from Pentjak-Silat Special Abilities: Kuntao masters’ special abilities
and Bersilat. There are many different substyles, are similar to those of Kung Fu masters, but are gen-
some favoring northern Chinese styles, some erally less powerful.
southern styles. Even today it is normally taught in
secrecy, and only to those of Chinese ancestry. Tra-
ditionally, practitioners of Kuntao are rivals with Kyujutsu
practitioners of Pentjak-Silat, which is one of the Kyujutsu is the Japanese art of the bow. In the
reasons that both arts have seen actual combat use modern era, under the name kyudo, it has become a
right up to the present day. highly philosophical form of sport with strong ties to
Zen Buddhism, but in the past it was a deadly battle-
field art. It changed from a form of warfare to a sport
KUNTAO following the introduction of guns to Japan in about
Maneuver Phs Pts OCV DCV Damage/Effect the sixteenth century.
Block ½ 5 +1 +3 Block, Abort In addition to learning standard archery, many
Dodge ½ 4 — +5 Dodge All Attacks, warriors were also trained in the art of archery from
Abort horseback, known as kyuba, soieijutsu, or yabusame.
Kick ½ 5 -2 +1 STR +4d6 Strike Kyujutsu practitioners use the yumi, the Japa-
Nerve Strike ½ 4 -1 +1 2d6 NND(1) nese longbow, and the ya, or Japanese arrow (of
which there are more than a dozen varieties). See
Throw ½ 3 +0 +1 STR +v/5; Target Chapter Three for information on these weapons.
Falls The Korean form of Kyujutsu is known as
Skills Kung-sool; its mounted counterpart is Ma-sool.
Acrobatics Kyujutsu cannot take the Style Distinctive Fea-
Breakfall ture.
KS: Kuntao
WF: Common Martial Arts Weapons KYUJUTSU
WF: Chain & Rope Weapons
WF: Hook Swords Used with Bows Weapons Group; Bows Weapon Element
WF: Off Hand is free
Maneuver Phs Pts OCV DCV RNG Damage/Effect
Elements
Basic Shot ½ 4 +0 +0 +2 Weapon +2 DC
Strike
+1 Use Art with Chain & Rope
Defensive
Weapons
Shot ½ 3 -1 +2 +0 Weapon Strike
Distance
+1 Use Art with Hook Swords
Shot 1+1 5 +0 -2 +6 Weapon Strike;
+1 Use Art with Karate Weapons
+1 Segment
Far Shot ½ 5 +1 -1 +4 Weapon Strike
Quick Shot ½ 4 +1 +0 +0 Weapon +2 DC
Strike
Ranged
Disarm ½ 4 +0 +0 +0 Disarm, +15 STR
Skills
Riding
KS: Kyujutsu
PS: Bowyer
WF: Bows*
KYUJUTSU NOTES
Optional Rules: All maneuvers take a 3d6 location
roll, except for the Ranged Disarm, which uses no
roll.
Special Abilities: Japanese legend and mythology
contains many stories of archers whose accuracy
allowed them to accomplish amazing feats. Kyujutsu
practitioners can simulate this sort of fantastic skill
with Combat Skill Levels and Range Penalty Skill
Levels (subject, of course, to any campaign limits on
CVs). Bows and arrows with magical properties are
also possible.
Lua LUA
Lua is a fighting style native to Hawaii. Its
name translates variously as “hard and soft,” “dis- Maneuver Phs Pts OCV DCV Damage/Effect
location of joints,” “life and death,” or the number Crab Pinch ½ 4 -1 +0 Grab One Location;
+2d6 to Squeeze
2. It developed from the lomilomi massages given
Crab Throat
to boat paddlers, which gradually grew into a Pinch ½ 5 -2 +0 Grab One Limb; 2d6
wrestling style that in turn grew into Lua. By the NND(3)
fifteenth century, twelve schools, each with its own Dolphin Nerve Strike/
“specialty” attacks, had been established throughout Shark Strike ½ 4 -1 +1 2d6 NND(1)
the islands to teach the art. Some Lua practitio- Dolphin Block/Eagle Block/Octopus
ners were inclined to ambush innocent people to Block ½ 4 +2 +2 Block, Abort
test out their joint-breaking and bone-breaking Eagle Grab ½ 3 +0 -1 Grab One Limb, +10
techniques, giving the art a bad reputation as pilau STR for holding on
(“savage”). Eagle Strike/Octopus
Strike ½ 4 +2 +2 STR +2d6 Strike,
By the eighteenth and nineteenth centuries,
Must Follow Block
Lua had virtually disappeared because of the lack Joint Break ½ 5 -1 -2 Grab One Limb; HKA
of written records, the strict secrecy in which ½d6 (2 DC), Disable
the knowledge was kept (‘olohe-lua, master Moray Eel Hand Strike/
teachers, generally taught their complete Ocelot Claw ½ 4 -2 +0 HKA ½d6 (2 DC)
repertoire of techniques only to their rela- Mountain Pig Kick/Ocelot
tives), and, eventually, the influence of Palm Strike ½ 5 -2 +1 STR +4d6 Strike
Christian missionaries (who banned Mountain Pig
many native practices). Even the Throw ½ 5 -2 +0 HKA ½d6 (2 DC),
establishment of several schools by Disable; Target Falls
Ocelot
King Kamehameha (ruled 1790-1819)
Sweep ½ 3 +2 -1 STR +1d6 Strike;
did not succeed in Target Falls
reversing this trend. Octopus
The art was finally Poke ½ 4 +0 +0 3d6 Sight Group
revived in the time Flash
of King David Spear Kick ½ 5 +1 -2 STR +4d6 Strike
Kalakaua Skills
(ruled 1874- Breakfall
91), who saw Contortionist
in it parallels to KS: Anatomy
Japanese fight- KS: Lua
ing styles. PS: Hula Dancing
Lua is a PS: Masseuse
diverse style con-
WF: Garotte
centrating on attacks, WF: Sling
including punches, WF: Staff
hand and elbow
Elements
strikes, kicks, joint- Weapons +1 Use Art with Blades
locks and joint-breaking, and throws. The ancient +1 Use Art with Cane
students of Lua were likewise students of anatomy; +1 Use Art with Flail
they were particularly skilled at dislocating and +1 Use Art with Garotte (Crab Pinch
breaking joints, and their modern-day counterparts and Crab Throat Pinch only)
often use the same tactics. Lua also involves the use +1 Use Art with Spear
of internal energy, or mana, which equates to ch’i +1 Use Art with Staff/Oar
or ki. fighter uses his fingers to “flick” or poke at the ene-
The version of Lua presented below is primar- my’s eyes. Shark techniques involve short, powerful
ily the modernized version being studied by some jabs with the thumb or knuckles. Some masters
Hawaiians today. It uses a number of animal forms. teach maneuvers based on other animals, such as
Crab attacks involve the grabbing and pinching of the Tiger, Hawk, and Owl. The standard Lua attack
soft, vulnerable targets like the throat or vitals. Dol- pattern is to block an incoming blow and follow up
phin techniques use the back of the hand and wrist, with one or more appropriate attacks.
similar to Shaolin Crane Kung Fu. Eagle attacks
rely on the hands and elbows to deliver powerful LUA NOTES
blows. Moray Eel attacks use the finger and open
hand. Mountain Pig techniques include low kicks, The Spear Kick is a non-traditional maneuver and
stomps, some knee strikes, and a joint-breaking can only be learned by characters who received Lua
throw. Ocelot (or “cat”) maneuvers include not only training after 1965.
palm-strikes and “slaps” but legsweeps and take- Optional Rules: The Dolphin Nerve Strike/Shark
downs. Octopus techniques include rapid, interwo- Strike, Eagle Strike, Moray Eel Hand Strike/Ocelot
ven blocks and strikes and an attack in which the Claw, and Ocelot Palm Strike all take a 2d6+1 loca-
Hero Games 45
tion roll. The Mountain Pig Kick takes a 2d6+7 roll.

The Spear Kick takes a 3d6 roll. The other attacks NAGINATAJUTSU
all target specific locations and so do not require
rolls (the Crab Pinch targets the throat, abdomen, Used with Polearms Weapons Group; Polearm Weapon
or vitals), but get no extra benefit for hitting such Element is free
locations. Maneuver Phs Pts OCV DCV Damage/Effect
Atemi Strike ½ 4 -1 +1 2d6 NND(1)
Special Abilities: Lua masters were said to com- Block ½ 4 +2 +2 Block, Abort
mand a number of special abilities. Primary among Slash ½ 5 -2 +1 Weapon +4 DC Strike
these were telepathy and the power to hypnotize Thrust ½ 4 +0 +2 Weapon +2 DC Strike
people. Skills
KS: Naginatajutsu (or Sojutsu, as appropriate)
Naginatajutsu/Sojutsu Elements
Weapon +1 Use Art with Staff (for using
The maneuvers listed below describe two differ- weapon’s shaft)
ent, yet similar, weapon arts: Naginatajutsu (the art of
the halberd) and Sojutsu (the art of the spear). with the butt end of the weapon’s shaft.
Naginatajutsu (also known as chotojutsu) is the Optional Rules: The Atemi Strike, Slash, and
art of using the naginata, or Japanese halberd (includ- Thrust all take 3d6 Hit Location rolls.
ing its shorter version, the nagakami). From earliest Special Abilities: None.
times it was one of the weapons every warrior
was trained to use, and many warrior-monks
favored it as well. Some of the schools Ninjutsu
or substyles which taught it were
the Anzawa-ryu, Gassan-ryu, Ninjutsu is a stealth and espionage-oriented art
Hoshin-ryu, Masaki-ryu, Seni- which saw its greatest development in the thirteenth
ryu, Tendo-ryu, Tento-ryu, and to early seventeenth centuries in Japan. Its practi-
Toda-ryu. tioners, the ninja, were warrior-assassin-spies; most
During the Edo Period belonged to the Iga and Koga mountain clans. They
(1603-1867), the naginata fell into were the supreme reconnaissance experts and sabo-
disuse and eventually disappeared teurs of their day.
from the battlefield, only to become the In the seventeenth century, a ban and crack-
main weapon of the homefront: many down forced the ninja to become even more secre-
women trained in naginatajutsu so tive about the practice of their art; the heyday of the
that they could defend their ninja was over, and most people believed the art and
homes while their husbands its practitioners were extinct. But in recent years,
were away. The naginata Ninjutsu has come down out of the mountains
soon came to be regarded again and been practiced more openly; it has been
as a “woman’s weapon.” In imported to and is taught in the United States and
modern Japan many women other countries. Additionally, several martial artists,
still study the sport form of especially in the United States, have set about rede-
the art, naginata-do. veloping Ninjutsu; they claim no association with
Naginatajutsu con- the historical Ninjutsu style, but practice most of
tains only a few techniques, but they are the same tactics and skills.
all effective. In pitched battles favorite targets The word “ninjutsu” refers to all the arts
usually include enemy horses and infantrymen’s and skills of the ninja; the combat fighting
legs. In addition to the standard slashing and thrust- style is more correctly known as taijutsu. It
ing maneuvers, practitioners are trained to reverse de-emphasizes the use of “forms” or other
the weapon and use the iron cap on its butt to strike a regimented fighting methods, concen-
target’s vital points. trating instead on using whatever maneu-
Sojutsu (also known as Yarijutsu) is the art of vers or tactics work best in a situation. It is an
using the various types of Japanese spears, such as extremely practical and utilitarian fighting art
the yari. A fighter could use the spear as a form of (though like most traditional martial arts it also has a
staff, plus its spearhead allowed for deadlier attacks. philosophical side).
Spear-fighting was a particular favorite of the militant The ninja night-suit, the costume worn by the
Buddhist sõ-hei (“warrior-priests”). It died out after ninja during missions, consists of three principal
the introduction of firearms to Japan, but formed the parts: the igabakama (a long-sleeved tunic and the
basis of a later art, Jukenjutsu (see page 32). Characters trousers, with many pockets in the sleeves, legs, and
can also use Sojutsu to simulate spearfighting skills the body; also known as a shinobifuku); the shinobi-
from many other cultures. zukin (the ninja mask); and the tabi (the split-toed
boots worn by the ninja for improved balance). In
NAGINATAJUTSU/SOJUTSU NOTES ancient times, the ninja night-suit was colored in
earth tones (green and brown), or white in winter
Characters cannot use the weapon’s shaft to strike
weather. Today, most ninja are represented as wear-
targets unless they buy the Staff Weapon Element;
ing black night-suits. It would be appropriate for
this includes the Atemi Strike maneuver, performed
a modern ninja to wear his night-suit in modern
camouflage patterns (either the green/brown forest
camouflage or the mixed-gray urban camouflage
patterns). Movie-style ninja can wear night-suits
of any color, including red and white; in the
films, this has no effect on their stealth abilities.
In ancient times a ninja did not often wear his
night-suit; he usually went about in normal dress
or disguised as a common person — a farmer,
merchant, or the like.
NINJUTSU TAIJUTSU NOTES
Optional Rules: The Kick maneuver takes
a location roll of 3d6. The Atemi Punch, Knife
Hand, and Punch take location rolls of 2d6+1. The
Choke Hold automatically targets the head, but
receives no extra damage for the head location. The
other maneuvers do not require location rolls.
Special Abilities: Refer to the section on the ninja
and their special powers and skills later on in this
chapter.
SUBSTYLES OF NINJUTSU
NINJUTSU (TAIJUTSU) Modern-day Ninjutsu synthesizes a number
Maneuver Phs Pts OCV DCV Damage/Effect of different “schools” or substyles of Ninjutsu. The
Atemi Punch ½ 4 -1 +1 2d6 NND(1) following descriptions allow characters to pick a
Block ½ 4 +2 +2 Block, Abort school to “specialize” in if they prefer, but this is not
Breaking required.
Throw ½ 5 -2-2 Grab One Limb; HKA
½d6 (2 DC), Disable; Gikan Ryu
Target Falls The Gikan Ryu was founded by Sonyu Hangan
Choke Hold ½ 4 -2 +0 Grab One Limb, 2d6 Gikanbo of Kawachi in the sixteenth century. It
NND(2) is a relatively offensive style whose practitioners
Dodge ½ 4 — +5 Dodge, Affects All often buy OCV Combat Skill Levels. To practice
Attacks, Abort
this ryu, a character must know three of the follow-
Knife Hand ½ 4 -2 +0 HKA ½d6 (2 DC)
ing maneuvers: Atemi Punch, Block, Dodge, Kick,
Punch ½ 4 +0 +2 STR +2d6 Strike Knife Hand, Punch, and Takedown.
Reversal var 4 -1 -2 STR +15 to Escape; Gyokko Ryu
Grab Two Limbs
“The school of the jewel tiger” was brought
Sacrifice
Throw ½ 3 +2 +1 STR Strike; You Fall;
to Japan from China during the fall of the T’ang
Target Falls Dynasty (around 900 AD) by a monk named Cho
Gyokko, making it the oldest of the Ninjutsu Ryu.
Takeaway ½ 5 +0 +0 Grab Weapon, +10 The style was formally organized by Sakagami Taro
STR to Take Weapon Kunishige in 1532.
Away The primary principle of Gyokko Ryu is to
Takedown ½ 3 +1 +1 STR Strike; Target move the body around a central point in space
Falls defined by one’s opponent. The ninja should stay
Throw ½ 3 +0 +1 STR +v/5; Target at the “distance of frustration,” barely out of the
Falls
opponent’s reach, so his foe isn’t sure if he can
Skills hit the ninja or not. Gyokko Ryu concentrates on
Acrobatics koshijutsu (skin and muscle tearing techniques)
Breakfall
and shitojutsu (thumb pressure techniques and
KS: Ninjutsu
WF: Common Martial Arts Melee Weapons*
finger-strike techniques). Advanced students of this
WF: Common Melee Weapons school are said to be able to knock a man down
WF: Off Hand with one finger.
See the discussion of the ninja later on in this chapter. To practice Gyokko Ryu, a character must
Elements know at least four of the following meneuvers:
Weapons +1 Use Art with Blades Atemi Punch, Block, Choke Hold, Dodge, Reversal,
+1 Use Art with Chain & Rope Takeaway, and Takedown; practitioners should also
Weapons be allowed to purchase the Tiger/Dragon Claw
+1 Use Art with Fist-Loads from the Kung Fu package to simulate their koshi-
+1 Use Art with Karate Weapon jutsu techniques. Combat Skill Levels in DCV are
+1 Use Art with Polearms also appropriate for students of this ryu.
+1 Use Art with War-Fan
Hero Games 47
Gyokkushin Ryu down, and Throw. They may also buy the Grappling
The Gyokkushin Ryu was founded by Sasaki Block maneuver from the Hsing-I package.
Okormon Akirari and is known for its superior
Takagi Yoshin Ryu
use of the nagenawa (lasso). The Gyokkushin Ryu
The Takagi Yoshin Ryu, meaning “raise your
is derived from the Gyokko Ryu, and has the same
heart to the high trees,” was founded by Soun Ryu.
requirements for characters who want to be stu-
Its main principle is that of total body motion; it
dents of it. The lasso skill may be bought as a form
also teaches various elements of Bojutsu, Jujutsu,
of Entangle, or as Limited Stretching.
Shurikenjutsu, and Sojutsu. To practice this ryu,
Koto Ryu characters must know four of the following maneu-
This school (whose name means “knock- vers: Block, Breaking Throw, Dodge, Reversal,
ing down the tiger”) is derived from Gyokko Throw, Sacrifice Throw, and Takeaway. They may
Ryu. According to kuden (oral transmission), it also buy the Grappling Block maneuver from the
originated in China and was carried to Japan by Hsing-I package.
the monk Chan Busho from what is now known
Togakure Ryu
as Korea. From him it was passed down through
The Togakure Ryu was established in 1185, at
several generations until the techniques of this ryu
the beginning of the Kamakura period. Its ninja are
were reorganized in 1542 by Sakagami Taro Kun-
known for their use of weapons, particularly the
ishige.
shuko, metsubishi, and tetsubishi.
Koto Ryu specializes in koppojutsu (bone-
To practice the Togakure Ryu, the character
breaking techniques) and in atemi strikes. Char-
must know three of the following maneuvers:
acters from this school should buy the Joint Break
Block, Dodge, Punch, Reversal, Takeaway, Throw.
maneuver from Hwarang-Do; OCV Combat Skill
Levels are also appropriate for this ryu.
To practice Koto Ryu, a character must know Pakua
at least three of the following maneuvers: Atemi
Punch, Block, Kick, Knife Hand, Reversal, and Pakua (also spelled Pa-Kua, Paqua, and Bagwa,
Takedown, and the Joint Break described above. meaning “eight diagrams”) is one of the three main
Chinese “internal” fighting styles. It is said to have
Kukushinden Ryu been learned by Tung Hai-ch’uan from an old
The Kukushinden Ryu was founded by Izumo mountain Taoist of Kiangsu Province in the late
Kanja Yoshiteru. Students of the Kukushinden 1700s or early 1800s, though its roots are centu-
Ryu style are known for their skill with weapons, ries older. It was originally called Ch’uan Chang,
including many unusual techniques. To practice or “rotating palm.” Tung used Pakua to defeat the
Kukushinden Ryu, the character should buy at least renowned Hsing-I master Kuo Yun-shen. Kuo tried
half of the Weapon Familiarities and Weapons Ele- for two days to defeat Tung, but on the third day
ments listed for Ninjutsu, and should know at least Tung beat him easily. This resulted in a life-long
three of the following maneuvers: Block, Breaking friendship between the two and a pact that stu-
Throw, Dodge, Kick, Reversal, Takeaway, and Take- dents of each style would learn the other style.
down. Combat Skill Levels for DCV are also appro- Pakua is based around the theories of
priate for this ryu. the I Ching, a book of Chinese philoso-
Kumogakure Ryu phy (and, some believe, prophecy and
The Kumogakure Ryu was founded by Hein- fortunetelling). The I Ching expresses a
aizaemon Ienaga Iga. This ryu seems to be closely belief that the universe is in a state of
related to the Togakure Ryu. It focuses on the “constant change.” In Pakua, changes
use of shuriken, sword, bo, hanbo, kusari-fundo, — of direction, of the angle of the
kusarigama, kyoketsu-shoge, spear, naginata, shi- hand, of the placement of the foot
nobi-zue, kamayari, shuko, and metsubishi. To — are all-important. Whereas Hsing-
practice this ryu, characters must know three of I is (relatively) direct and linear, Pakua is
the following maneuvers: Block, Breaking Throw, circular, and Tai Ch’i Ch’uan works both
Dodge, Punch, Sacrifice Throw, Takeaway, and ways.
Throw. Pakua emphasizes motion and
footwork. The practitioner “walks the
Shinden Fudo Ryu circle,” an imaginary circle based
The Shinden Fudo Ryu was founded by Izumo on the I Ching’s eight-trigram
Kanja Yoshiteru (the same one who founded the pattern. He circles around his
Kukishinden Ryu). The Ryu was formally organized opponent constantly, rotating
by Genachiro Tameyoshi in the mid-12th century. his body, whirling and shift-
Shinden Fudo Ryu ninja are known for their ing direction unexpectedly,
use of, and skill with, swords. They also know Acro- using subtle evasive tactics,
batics, but do not know Breakfall (they wear the and making attacks from
daisho, or paired swords, so learning Breakfall is unusual angles. The pos-
impractical). tures used while walking
To practice the Shinden Fudo Ryu, charac- the circle include
ters must know four of the following maneuvers: several named
Dodge, Punch, Reversal, Sacrifice Throw, Take- after animals:
Bear, Dragon, Hawk, Lion, Monkey, Panther, Phoe- Optional Rules: The Palm Strike takes a 2d6+1
nix, Snake, Stork, Swallow, and Unicorn, among location roll. The Kick takes a 2d6+7 roll. None of
others. Although this motion may sound limiting, the other maneuvers require Hit Location rolls.
in fact it is not; Pakua can be a very effective fight- Special Abilities: In addition to some of the gen-
ing style, with each step in the circle creating a dif- eral special abilities attributed to internal style
ferent angle of attack. masters (see “Tai Ch’i Ch’uan,” below), Pakua practi-
Pakua’s attack techniques are primarily palm tioners sometimes display these powers:
strikes and other hand attacks. Through the projec-
tion of ch’i and the shifting of the angle of the hand 1) Rapid-fire Striking: Some Pakua masters can
(such as from palm-up to palm-down, a technique launch as many as ten blows in a single second! This
called tzan szjin, “reeling silk”), the fighter can is bought as an Autofire Advantage for the charac-
deliver very powerful blows which look like little ter’s Palm Strike (see page 104), or as a separate HA
more than light shoves to the untrained eye. The with Autofire.
use of the palm as opposed to the fist allows the 2) Ch’i Control: Some masters have such great
practitioner greater control over the ch’i he releases. control over their ch’i that they can damage specific
Some of the palm strikes have extremely pictur- parts of a person or object, rather than the whole
esque names, such as White Clouds Chasing the object. For example, a practitioner could Palm Strike
Stars, Swallow Penetrates Through the Forest, and his enemy and inflict no outward injury while actu-
Scooping the Moon from the Sea Bottom. ally causing terrible harm to, say, his enemy’s liver.
Some Pakua masters teach the use of weapons, With the GM’s permission, this is bought as an Indi-
such as swords, spear, and staff, and the unusual rect Advantage for the character’s Palm Strike, or as
ring needle. However, this is relatively rare; most a separate HA with Indirect. It could also be bought
Pakua practitioners use only barehanded tech- as a Penetrating attack.
niques.
PAKUA Pankration
Maneuver Phs Pts OCV DCV Damage/Effect Pankration (“all-powerful”) is an ancient Greek
Block ½ 4 +2 +2 Block, Abort fighting style, one of the world’s earliest comprehen-
Defensive sive martial arts. There is some speculation, because
Block ½ 5 +1 +3 Block, Abort Alexander the Great took pankratiasts with him on
Dodge ½ 4 — +5 Dodge All Attacks, his conquests, and they gave demonstrations during
Abort those travels, that Pankration might have had some
Escape ½ 4 +0 +0 +15 STR vs. Grabs slight influence on Eastern martial arts styles.
Joint Lock ½ 3 +0 -1 Grab One Limb, +10 Pankration was performed in the Olympic
STR for holding on Games first in the seventh century BC, though it
Kick ½ 3 +0 +1 STR +2d6 Strike
could well be much older than that. It is a brutal
Palm Strike ½ 5 -2 +1 STR +4d6 Strike
Root ½ 4 +0 +0 STR +15 to resist contest involving grappling, punching, stomach-
Shove; Block, Abort kicking, legsweeping, joint-locking and joint-break-
Sweep/Throw ½ 3 +2 -1 STR +1d6; Target ing. Pankration matches were fought until one con-
Falls testant acknowledged defeat (or collapsed); there
Skills were no timed rounds.
Breakfall Pankration has been redeveloped in the
KS: Analyze Style modern world and is being taught today by some
KS: Chinese Philosophy practitioners.
KS: Pakua
WF: Staff
WF: Off Hand
PANKRATION
Elements Maneuver Phs Pts OCV DCV Damage/Effect
Weapons +1 Use Art with Blades Bend Joint ½ 4 -1 +1 2d6 NND(7)
+1 Use Art with Polearms Break Bone ½ 4 -2 +0 HKA ½d6 (2 DC)
+1 Use Art with Ring Needle Crush ½ 4 +0 +0 STR +4d6 Crush,
+1 Use Art with Staff Must Follow Grab
PAKUA NOTES Grab ½ 3 -1 -1 Grab Two Limbs, +10
The two attack maneuvers in this package do not Kick/Punch ½ 3 +1 +0 STR +2d6 Strike
take the “Half Move Required” restrictive element. Legsweep ½ 3 +2 -1 STR +1d6 Strike;
However, Pakua practitioners are constantly in Target Falls
motion, walking the circle one way or another Sacrifice
Throw ½ 3 +2 +1 STR Strike; You Fall,
around their opponent. A Pakua character should
Target Falls
almost always make a Half Move (consisting of
stepping around their opponent, not moving back- Skills
KS: Pankration
wards and forwards) in any Phase in which he takes
a combat action. Elements
Hero Games 49
PANKRATION NOTES
The maneuver listed as Kick or Punch is pre-
cisely that; the pankratiast can choose each round
whether he wishes to punch or kick. (This keeps the
practitioner from having to buy redundant Basic
Strike maneuvers, one for punch, one for kick.)
Pankratiasts often bought the Block from Ancient
Boxing; many knew the Jab as well, and so were
equally proficient in Pankration and Boxing. Many
also studied Wrestling.
Optional Rules: The Punch takes a location roll of
2d6+1. The Kick takes a location roll of 2d6+7. The
Break Bone takes a location roll of 2d6+1, or 3d6 if
the target is on the ground, not standing. For the
Bend Joint, you can make a location roll of 3d6,
but you must ignore and re-roll any location of
10-13; however, the location is for visual effects instantly to the
only, and has no effect on the damage done by attack). Some styles use linear tech-
the maneuver. The Crush, Escape, and Grab niques, some circular techniques. In short,
take no location rolls. the substyles of Pentjak-Silat vary tremendously.
However, all fighters, regardless of style, are trained
Special Abilities: Similar to those for Ancient to keep their feet on slippery or uneven ground
‘T
Boxing. (simulate this with the Breakfall Skill). Also, all Silat
systems teach weapons, including (but not limited
he dense
Pentjak-Silat to) the kris, the Indonesian dagger. conquer
A teacher or master of Pentjak-Silat is known
Pentjak-Silat is the national fighting art of as a pandekar, guru, or maha guru. A silatist usually the diffuse; the
Indonesia. There are 157 recognized substyles wears ordinary street clothes, but due to the influ-
(and potentially hundreds more which are unrec- ences of other martial arts styles may wear a black full conquer the
ognized), making this art second only to Kung gi-like uniform for practicing or tournaments. The
Fu in its breadth and diversity. The name usually uniform’s samping, or waistcloth, has a colorful pat- vacuous; the
translates as something like “to do fighting for self- tern often matching the pattern of the turban-like
defense” or “to fight using skilled body movements.” tengkokok worn on the head.
byways conquer
Pentjak-Silat was first developed as a rela- Related to this style is Pokulan (or Pukulan), main roads; the
tively crude fighting form between 600 and 1000 which some authorities describe as a substyle of
AD, probably beginning on the island of Riouw Pentjak-Silat, and others term a separate indig- urgent conquer
and passing from there into the Menangkabau enous Indonesian fighting art containing many
kingdoms of Sumatra and out to all the islands. By techniques similar to Pentjak-Silat. A character who the slow; the
the fourteenth century, it was sufficiently devel- wants to practice Pokulan can simply buy maneu-
oped that the government saw fit to restrict it: by vers from the Pentjak-Silat package. numerous
law, the Majapahit sultans of the islands and their
court officials were the only ones allowed to learn
PENTJAKSILAT NOTES conquer the few;
Pentjak-Silat. However, ongoing Hindu-Muslim Optional Rules: The Killing Strike, Punch/Elbow the rested
conflicts in that time period and thereafter kept Strike, and Rahasia Strike take 2d6+1 Hit Location
Pentjak-Silat alive among the populace. It was used rolls. The Kick takes a 3d6 roll, although in some conquer the
to fight the native wars of independence against the styles (see below) it takes a 2d6+7 roll instead. The
Dutch, and against the Japanese during World War Choke automatically targets the throat, and the weary.’
II. It has remained in use for intertribal (and inter- Legsweep automatically targets the legs. The other
school) fighting right up until the present day. maneuvers do not require location rolls. —Sun Pin,
Generally, experts can identify the substyles
Special Abilities: The special abilities attributed to Military Methods
from a particular geographic area by their tech-
Pentjak-Silat masters are almost limitless. Some a
niques and/or the emphasis placed on particular
master can do by himself, some require a kris.
types of maneuvers when fighting. Sumatran styles
use primarily kicks and leg-based attacks; styles 1) Self-contained abilities
from Borneo and West Java use mainly punches a) Kerojok (“the fight of one against many”):
and hand-based attacks; Central and East Javanese the ability to defend one’s self against several
and Balinese styles mix hand and foot techniques opponents at once (Defense Maneuver).
evenly; and East Javanese, Sumatran, and Balinese
styles also emphasize grappling techniques. b) Telepathy.
Some styles are extremely acrobatic and c) Mystic healing powers (Healing).
involve a great deal of jumping, others are fought d) Precognition (Precognitive Clairvoyance).
very low to the ground (the latter tend to use two
postures called sempok and depok, in which the e) The ability to hypnotize the enemy (a limited
fighter virtually sits on the ground but can spring form of Mind Control)
2) Kris-based abilities: all of these abilities take the
PENTJAK-SILAT Limitation Focus (OAF; -1).

a) Tuju (“sorcery by pointing”): the ability to
Block ½ 4 +2 +2 Block, Abort kill someone at range merely by pointing the
Choke ½ 4 -2 +0 Grab One Limb; 2d6 kris at them (Ranged Killing Attack, Fully Invis-
NND(2) ible (+1)). A related ability allows a master to kill
Disarm ½ 4 -1 +1 Disarm, +10 STR to someone by stabbing one of his footprints (add
Disarm roll the Advantages Indirect, Increased Maximum
Dodge ½ 4 — +5 Dodge All Attacks, Range, and No Range Modifier).
Abort
Escape ½ 4 +0 +0 +15 STR vs. Grabs b) The kris warns its owner of danger by rattling
Grab ½ 3 -1 -1 Grab Two Limbs, +10 in its sheath (sarong) (Danger Sense).
STR for holding on c) The ability to make the kris “dance” (i.e., fight
Kick ½ 5 -2 +1 STR +4d6 Strike on its own) (Ranged Killing Attack, Continuous).
Killing Strike ½ 4 -2 +0 HKA ½d6 (2 DC)
Legsweep ½ 3 +2 -1 STR +1d6 Strike; d) The ability to draw fire from one area to
Target Falls another (Transfer fire from one area to another,
Rahasia Affects All Powers At Once (+2)).
Strike ½ 4 -1 +1 2d6 NND(1)
Punch/
e) The ability to turn away wild animals (a form
Elbow Strike ½ 4 +0 +2 STR +2d6 Strike of Mind Control).
Throw ½ 3 +0 +1 STR +v/5; Target f) The ability to draw water from the kris’s blade
Falls (Transform (air to water)).
Skills
g) The ability to create a swarm of hornets and
Acrobatics
Breakfall*
send it after an enemy (Summon swarm of hor-
PS: Dancing nets).
WF: Common Melee Weapons* h) The ability to extend the kris’s hantu (“guard-
WF: Common Martial Arts Weapons ian spirit”) over the owner, and over people other
WF: Pendjepit than the owner (Force Field, Usable Simultane-
WF: Whip
ously by one other at range (+1)).
Elements
Weapons +1 Use Art with Blades* i) The ability to cure the common cold (by
+1 Use Art with Chain & Rope drinking the oil used to polish the blade) (due to
Weapons the law of supply and demand, it is impossible
+1 Use Art with Clubs to determine the point cost for such a useful and
+1 Use Art with Fist-Loads universally sought-after ability).
+1 Use Art with Karate Weapons
+1 Use Art with Pendjepit (Grab and PENTJAKSILAT SUBSTYLES
Killing Strike only) There are hundreds of substyles of Pentjak-
+1 Use Art with Polearms Silat. As with Kung Fu, it would be pointless to come
+1 Use Art with Staff up with a separate set of maneuvers for each one
+1 Use Art with Whip
of them. Instead, several of the major substyles are
f) The ability to withstand blows from weapons described here, so a player can pick one for his char-
without harm (Damage Resistance). acter if he wishes. A character need not have a sub-
style; he can simply be a “general” Silat practitioner.
g) The ability to catch thrown weapons and
throw them back at the attacker (Missile Reflec- Baru Silat
tion, thrown missiles). Baru Silat is a Sumatran style from the Padang
h) The ability to fight effectively in total darkness area. It combines some of the techniques of Sterlak
(Combat Sense). Silat (see below) with maneuvers borrowed from
Japanese styles like Jujutsu and Karate. It emphasizes
i) The ability to paralyze the enemy with but evasiveness, blocking, and other defensive maneu-
a touch (a form of Entangle which Takes No vers.
Damage From Attacks (+½)). To practice Baru Silat, a character must know
j) The ability to “kill at a distance” (Ranged Kill- the Block, Dodge, Grab, and Legsweep maneuvers.
ing Attack, Fully Invisible (+1)). Bhakti Negara
k) The ability to destroy objects with a powerful Bhakti Negara, founded in 1955, is a Balinese
shout (a form of Ranged Killing Attack with the style which synthesizes several Silat substyles and
Limitations Concentration, Extra Time (5 Min- some Japanese fighting arts. It relies on deceptive
utes), and Incantations). stances and actions to lure an opponent in close for
l) The ability to disable opponents by touch (a a punch or kick. Attacks are usually directed to a
No Range Entangle which Takes No Damage rectangular section of the body covering the throat
From Attacks (+½), or a EB NND, No Range). to the vitals.
To practice Bhakti Negara, a character must
m) The ability to take on the characteristics of know three of the following maneuvers: Dodge,
certain animals. Escape, Grab, Kick, Punch.
Hero Games 51
Delima ground. Patai Silat practitioners wear a short jacket

This modern East Javan style is named after and very baggy trousers with a sash.
a type of fruit. It concentrates on kicks and leg- To practice Patai Silat, a character must know
sweeps; hand attacks are usually delivered open- three of the following maneuvers: Block, Dodge,
handed, rather than with fists. A Delima silatist Grab, Kick, Throw.
dodges and leaps around a great deal.
Pauh Silat
To practice Delima, a character must know the
This is a Sumatran substyle from the
Dodge, Legsweep, and Kick maneuvers.
Menangkabau area. It uses a distinctive footwork
Harimau Silat pattern. Practitioners who are ready to fight indicate
Harimau, or “tiger,” Silat, a Sumatran style from their readiness by slapping their thighs and then
the Menangkabau area, is an unusual fighting style. keeping the hand in position to block attacks to the
The combatants crouch very low to the ground, so groin. The main attack employs a form of locked-
low that they essentially crawl towards one another. thumb fist similar to the “phoenix eye” fist used in
This practice arose because of the stability the some Kung Fu styles. Fighters typically direct their
stance provides on wet and slippery ground. Once attacks to points along the center line of the body.
the opponents get within striking distance, they may To practice Pauh Silat, a character must know
stay on the ground, or they may leap at each other the Block, Punch, and Rahasia Strike maneuvers.
and attack from a more upright position. Silatists
Perisai Diri
who practice other styles sometimes learn Harimau
Perisai Diri (“P.D.”) is a popular Central Javan
stances because of the stability they provide.
style whose name means “self-shield.” Founded in
To practice Harimau Silat, a character must
1955, it currently forms the basis for the self-defense
know the Block, Legsweep, and Kick maneuvers.
training taught to most Indonesian military person-
The Kick is usually low, taking a 2d6+7 location,
nel. It synthesizes various Silat styles but does not
but if two Harimau stylist fight each other on the
incorporate maneuvers from any other fighting
ground the Kick takes its usual 3d6 location.
systems.
Kendari Silat P.D. techniques are mainly linear and usually
Based in the city of the same name in the do not involve the sempok and depok stances used in
Celebes, this substyle is known for its unusual cross- many other substyles. Many of its movements derive
legged stances, which are used to turn quickly and from animals, including the swallow, eagle, tiger,
evade an attack. Very little forwards-backwards otter, horse, dragon, and crane. Some movements
movement occurs in Kendari Silat; it’s suited for use are named after human archetypes, such as the
in narrow or cramped quarters, such as alleys or patriot, priest, and princess maneuvers. Attacks are
ships. directed at an inverted triangular area with its apex
To practice Kendari Silat, a character must at the enemy’s groin.
know the Block, Dodge, and Punch maneuvers. Perisai Diri uniforms consist of short-legged
Kicks are almost never used; if they are, they take a pants and lapelless jackets whose sleeves end above
2d6+7 location roll. the wrist. Students wear black uniforms, their pan-
dekars wear white.
Kumango Silat
To practice Perisai Diri, a character must know
Kumango Silat is a Sumatran style from the
three of the following maneuvers: Block, Dodge,
Menangkabau area. It emphasizes closing with the
Kick, Killing Strike, Punch, Throw.
enemy to employ grabs, strikes, and chokes. Kicks
are usually low (they take a 2d6+7 location roll). Prisai Sakti
Fighters normally make attacks to the center line of Also known as Perisai Sahkti, this substyle was
the body. founded in 1941. Its name signifies “holy shield.” It
To practice Kumango Silat, a character must combines Javanese silat forms with maneuvers from
know three of the following maneuvers: Block, some Japanese fighting styles. Its philosophical and
Choke, Grab, Legsweep, Kick, Punch, Throw. religious roots tie it to Christianity and Indonesian
nationalism.
Pamur
Prisai Sakti emphasizes kicks and leg tech-
Pamur is a Silat substyle from the island of
niques, but it also uses some hand techniques and
Madura. It was founded in 1951 by Hasan Hubudin.
joint-locks.
Its techniques are taken mainly from several of the
To practice Prisai Sakti, a character must know
Sumatran styles. The style’s emblem is a shield with
the Block, Grab, and Kick maneuvers.
a kris, cotton plant, and rice plant overlaid.
To practice Pamur, a character must know Sandang Silat
three of the following maneuvers: Block, Dodge, Sandang Silat is a Sumatran style designed to
Grab, Kick, Killing Strike, Punch, Throw. counteract the powerful Sterlak style (see below).
Even today it remains a very secretive style. It
Patai Silat
employs dodges and blocks to avoid and confuse a
Patai Silat is a Menangkabau style which was
Sterlak fighter.
founded sometime around 1900. Parrying, evasive
To practice Sandang Silat, a character must
footwork, and grabbing techniques characterize it. A
know three of the following maneuvers: Block,
fighter jerks a grabbed opponent forward (to unbal-
Dodge, Grab, Punch, Throw.
ance him), attacks him, and/or throws him to the
Setia Hati fighting style with Sumatran influences. It uses both
Setia Hati, meaning “faithful heart,” is a Cen- high and low postures. Its hand movements tend to
tral Javan silat style. It uses the hands to block and be circular, but its kicks are linear.
strike, and also employs a variety of kicks; Setia To practice Tridharma, a character must know
Hati practitioners are very dexterous. three of the following maneuvers: Block, Dodge,
To practice Setia Hati, a character must know Legsweep, Kick, and Punch.
three of the following maneuvers: Block, Dodge,
Legsweep, Kick, Punch.
Qwan Ki Do
Sterlak Silat
Sterlak Silat is a Sumatran style whose name Qwan Ki Do is a Vietnamese martial arts style
signifies “to attack with strength.” It was developed whose name means “way of the fist and the energy.”
in part to counteract the Harimau Silat style, and It was founded after World War II by Pham Xuan
emphasizes powerful attacks. Stories say skilled Tong. Qwan Ki Do resembles Karate in many ways,
Sterlak students can defeat tigers. but is more acrobatic and flamboyant in nature.
To practice Sterlak Silat, a character must In addition to standard barehanded fighting tech-
know the following maneuvers: Block, Kick, Killing niques, the style teaches a number of weapons, such
Strike, Punch. blades, various polearms, and sticks and staffs.
Tapak Sutji
Founded in 1963 by Ifan Badjam, this Central
QWAN KI DO
Javanese substyle combines techniques from several Maneuver Phs Pts OCV DCV Damage/Effect
other forms of silat. Its practitioners turn on their Cung Thu
own axis every few seconds, so they’re constantly in (blocks) ½ 4 +2 +2 Block, Abort
motion and difficult to hit. Cuoc Phap
(kicks) ½ 5 -2 +1 STR +4d6 Strike
To practice Tapak Sutji, a character must know
Khao Go
the following maneuvers: Dodge, Legsweep, Kick, (locks) ½ 3 +0 -1 Grab One Limb, +10
Killing Strike, Punch. STR for holding on
Tjampur Silat Nghanh Phap/Cuong Dao
(sword-hand) ½ 4 -2 +0 HKA ½d6 (2 DC)
A Sumatran style, Tjampur (“combined”) Silat
Tao Phong Cuoc
synthesizes maneuvers from both Pentjak-Silat (sweeps) ½ 3 +2 -1 STR +1d6; Target
and Kuntao. It concentrates on aggressive tactics Falls
(launched from surprise, if possible) and close Than Phap
infighting. A Tjampur stylist is never supposed to (evasion) ½ 4 — +5 Dodge All Attacks,
take more than one step backwards during a fight. Abort
Attacks are delivered to the center line of the Thu Phap (hand techniques)/Phuong Duc
body, primarily with the elbows and knees. Because (elbow strike) ½ 4 +2 +0 STR +2d6 Strike
of the dangers involved in using this brutal style, it Vat (throws) ½ 3 +0 +1 STR +v/5; Target
is usually only taught to students who have already Falls
studied other silat styles and proven themselves Skills
worthy of advanced training. Acrobatics
To practice Tjampur Silat, a character must Breakfall (Nhao Lan)
KS: Qwan Ki Do
know the following maneuvers: Kick (which takes
a 2d6+7 Hit Location roll and can also be defined WF: Staff
as a Knee Strike), Killing Strike, Punch, and Rahasia
Elements
Strike.
Tjimande +1 Use Art with Clubs
This West Javan style relies primarily on the +1 Use Art with Polearms
use of the hands and arms, though it does have +1 Use Art with Staff
some low kicks. Fighting takes place at close range.
To practice Tjimande, a character must know QWAN KI DO NOTES
the following maneuvers: Block, Killing Strike,
Optional Rules: The Cuoc Phap (kicks) takes a 3d6
and Punch. Kicks in this substyle take a 2d6+7 Hit
Hit Location roll. The Thu Phap (hand techniques),
Location roll.
Phuong Duc (elbow strike), and Nghanh Phap/
Tjingkrik Cuong Dao (killing strikes) all take a 2d6+1 loca-
An acrobatic West Javan style, Tjingkrik tion roll. The Tao Phong Cuoc (sweeps) automati-
emphasizes evasiveness, open-hand attacks, and the cally target the legs but receives neither a bonus nor
use of the depok and sempok “sitting” stances. a penalty for this. The rest of the maneuvers do not
To practice Tjingkrik, a character must know require Hit Location rolls.
three of the following maneuvers: Block, Dodge, Special Abilities: Similar to those displayed by
Punch, and Rahasia Strike. Karate practitioners.
Tridharma
This northern Balinese style, whose name
means “three honesty/peaceful,” is a well-rounded
Hero Games 53
Re-Efi Areh-Ehsee Savate

According to Martial Arts Around the World, Savate (known as boxe Francaise savate or la
by John Soet, Re-efi Areh-ehsee is a martial art boxe Francaise) is a French martial art; its develop-
from Eritrea, a nation of East Africa. This style ment began in seventeenth-century Marseilles.
relies on grabs, takedowns, and strikes with the Originally a type of kicking brawling style, early in
elbow, head, and knee. the eighteenth century it was synthesized with Eng-
lish boxing maneuvers. Today it is a full-featured
RE-EFI AREH-EHSEE and respected martial arts style.
Savate combines boxing-style punches with a
Maneuver Phs Pts OCV DCV Damage/Effect variety of kicks. The art also includes cane-fighting
Block ½ 4 +2 +2 Block, Abort techniques.
A savate fighter is called a savateur (fem. sava-
Grab ½ 3 -1 -1 Grab Two Limbs, +10
STR for holding on teuse) or tireur. An inch-wide colored band around
Punch/Elbow Strike/Knee Strike/ the wrist of the savate glove indicates the fighter’s
Headbutt ½ 4 +0 +2 STR +2d6 Strike rank; ranks from lowest to highest are purple, blue,
Takedown ½ 3 +1 +1 STR Strike; Target green, red, white, yellow, bronze, silver, and gold.
Falls
Falls SAVATE
Skills Maneuver Phs Pts OCV DCV Damage/Effect
Breakfall Block ½ 4 +2 +2 Block, Abort
KS: Re-Efi Areh-Ehsee Coup de pied bas
(low kick) ½ 4 +0 +2 STR +2d6 Strike
REEFI AREHEHSEE NOTES Coup de pied chasse
(side kick) ½ 5 -2 +1 STR +4d6 Strike
Optional Rules: The Punch/Elbow Strike takes Crochet
a 2d6+1 Hit Location roll, the Knee Strike takes a (Hook) ½ 4 +2 +0 STR +2d6 Strike
2d6+7 Hit Location roll, and the Headbutt auto- Disarm ½ 4 -1 +1 Disarm, +10 STR to
matically targets the head and received no bonuses Disarm roll
or penalties for doing so. The other maneuvers Direct
either do general damage or do not require Hit (Jab/Cross) ½ 5 +1 +3 STR Strike
Location rolls. Footsweep ½ 3 +2 -1 STR +1d6 Strike;
Target Falls
Special Abilities: None. Skills
KS: Savate
WF: Blades
Saijutsu WF: Cane
Saijutsu is the art of the sai, a weapon resem- Elements
bling a metal rod with two upturned tines. A Weapons +1 Use Art with Blades
fighter can use a sai to interfere with an opponent’s +1 Use Art with Clubs (Cane)
weapon, to strike, or to block. Characters can also
perform Saijutsu with the jutte (or jitte), which has SAVATE NOTES
only one tine, and the nunte, which has one tine To simulate the older, pre-boxing form of Savate,
reversed. do not buy the Direct or Crochet
maneuvers.
SAIJUTSU The Coup de pied chasse
Used with Sai; Karate Weapon Element is free maneuver can also be
called the Coup de pied
Damage/Effect
fouette (round kick), Coup de
Bind ½ 4 +1 +0
Bind, +10 STR
Block ½ 4 +2 +2
Block, Abort pied en reverse lateraux (lateral
Disarm ½ 4 -1 +1
Disarm, +10 STR to reverse kick), and Coup de pied
Disarm roll en reverse frontaux (front reverse
Strike ½ 4 +0 +2 Weapon +2 DC Strike kick).
Skills Only the Crochet, Disarm, and
KS: Saijutsu Direct maneuvers work with the
WF: Karate Weapons Weapons allowed for Savate.
SAIJUTSU NOTES Optional Rules: The Coup de pied bas
has a location roll of 2d6+7,
Optional Rules: The Strike takes a 2d6+1 Hit the Coup de pied chasse has
Location roll. The other maneuvers do not require a location roll of 3d6, the
Hit Location rolls. Direct and Crochet have
Special Abilities: None. location rolls of 2d6+1.
Damage from the Foots-
weep is general (no location), and the Block and ties of streetfighters skilled with knives, Dolchfech-
Disarm don’t require location rolls. ten (medieval German knifefighting), el cuchillo
Special Abilities: None. (Mexican knifefighting), and the like.
SEVILLIAN KNIFEFIGHTING NOTES
Sevillian Knifefighting Optional Rules: The Desjarretazo, Puñaladas, and
Tajos all take 2d6+1 Hit Location rolls. So does the
This is a Spanish and southern European
Cambio (literally, “change”), which involves shifting
knife-fighting art which employs weapons such as
the knife from one hand to the other so quickly that
the puñal (a short stabbing and thrusting folding
the opponent misses it, leaving him open to attack.
knife), the navaja (a longer, heavier folding knife),
The other maneuvers do not use Hit Locations.
the cuchillo (a fixed-blade knife), and similar armas
blancas (bladed weapons). Some schools also teach Special Abilities: Skilled knifefighters may be able
the use of canes and sticks. While the people of the to work knife-throwing techniques into their reper-
region (like those everywhere else in the world) have toire; these attacks can be bought as Ranged Mar-
always fought each other with knives, and the navaja tial Arts maneuvers or as separate “powers.”
itself was invented in the 1600s, the more system-
atized maneuvers of this style were probably not
developed until the nineteenth century. Practitioners Shurikenjutsu
are often referred to as navajeros. Shurikenjutsu is the art of throwing the
Sevillian Knifefighting includes several “sub- shuriken, a type of bladed missile invented in Japan.
styles.” The first, baratero style, is a quick, straightfor- The principal users of shuriken were the ninja, but
ward style emphasizing self-protection. The second, many other warriors studied this art as well. Char-
gitano style, was developed by Spanish Gypsies. It acters can also use Shurikenjutsu with other throw-
uses flashy, stylized knife manipulations and maneu- ing blades, such as throwing knives. For more infor-
vers to confuse the opponent and create an opening mation on the different types of shuriken available,
(see Sleight Of Hand, page 116, for game rules on refer to Chapter Three.
how to do this). Lastly, there’s the sevillano style, Shurikenjutsu cannot take the Style Distinctive
the most highly developed and “sophisticated” of Feature.
the three. Similar in some ways to Fencing, it uses
smooth, fluid movements and swift attacks.
Characters cannot use this style Barehanded SHURIKENJUTSU
(except for the Dodge and Grab maneuvers). It’s
not distinctive enough to qualify for a Style Distinc- Used with Thrown Knives/Axes Weapons Group; Thrown
tive Feature. By changing the names of some of the Knives/Axes Weapon Element is free
Maneuver Phs Pts OCV DCV RNG Damage/Effect
maneuvers, characters can also use it to simulate
Basic Throw ½ 4 +0 +0 +2 Weapon +2 DC
many other knifefighting arts — military blade Strike
skills, the arte della daga of medieval Italy, the abili- Defensive
Throw ½ 3 -1 +2 +0 Weapon Strike
Far Throw ½ 5 +1 -1 +4 Weapon Strike
SEVILLIAN KNIFEFIGHTING Quick Throw ½ 4 +1 +0 +0 Weapon +2 DC
Strike
Used with Blades Weapon Group; Blades Weapon Element
Skills
is free
KS: Shurikenjutsu
Cambio
(Foist) ½ 4 +2 +0 Weapon +2 DC Strike
SHURIKENJUTSU NOTES
Desjarretazo
(Stab) ½ 5 -2 +1 Weapon +4 DC Strike Optional Rules: All Throws take a 3d6 Hit Loca-
Dodge ½ 4 — +5 Dodge, Affects All tion roll.
Attacks, Abort
Grab ½ 3 +0 -1 Grab One Limb, +10 Special Abilities: Some skilled Shurikenjutsu
to STR for holding on practitioners are said to be able to catch shuriken
Puñaladas thrown at them and throw them back at their
(Thrusts) ½ 5 +1 +3 Weapon Strike attackers (Missile Reflection, thrown missiles).
Tajos Others can throw several shuriken in the blink of
(Slashes) ½ 4 +0 +2 Weapon +2 DC Strike an eye (an Autofire RKA).
Skills
‘A
Fast Draw
KS: Sevillian Knifefighting ppear where they cannot go,
Sleight Of Hand
WF: Blades* head for where they least
WF: Off Hand
Talent: Ambidexterity expect you.’
Elements
Weapons +1 Use Art with Clubs —Sun Tzu, The Art of War
Hero Games 55
Simgomdo
Simgomdo (“Mind Sword Way”) is a Korean
swordfighting style developed in 1965 by Chang Sik
Kim. According to the history of the art, Kim, while
meditating in the Samgak Mountains, received a
vision of hundreds of martial arts sword forms which
he developed into Simgomdo.
Simgomdo practitioners use wooden swords
(like the Japanese bokken), though presumably the
style’s maneuvers work just as well with an edged
metal blade. The training increases their strength,
speed, and accuracy through both constant practice
and a spiritual regimen of breathing and meditative
exercises. While meditating, they visualize martial
arts maneuvers for use in combat.
Simgomdo practitioners also learn certain
unarmed combat techniques, which they call sinbbop.
SIMGOMDO
Used with Blades Weapon Group; Blades Weapon
Element is free
Disarm roll
SUMO
Evade ½ 4 — +5 Dodge, Affects All Maneuver Phs Pts OCV DCV Damage/Effect
Attacks, Abort Escape ½ 4 +0 +0 +15 STR vs. Grabs
Rapid Strike ½ 4 +2 +0 Weapon +2 DC Strike Grab ½ 3 -1 -1 Grab, +10 to STR for
Sacrifice holding on
Strike ½ 5 +1 -2 Weapon +4 DC Strike Grappling
Slash ½ 5 -2 +1 Weapon +4 DC Strike Throw ½ 3 +0 +2 STR +2d6 Strike;
Skills Target Falls; Must
Fast Draw Follow Grab
KS: Simgomdo Root ½ 4 +0 +0 STR +15 to resist
WF: Blades* Shove; Block, Abort
Shove ½ 4 +0 +0 +15 STR to Shove
Elements
Slap ½ 4 +2 +0 STR +2d6 Strike
Barehanded +1 Use Art Barehanded (doing STR
damage in place of weapons damage, Skills
as appropriate) KS: Sumo Wrestling
SIMGOMDO NOTES Tae Kwon Do

Optional Rules: The Rapid Strike, Sacrifice Strike, This Korean martial art began systematic
and Slash all take a 3d6 Hit Location roll. development in the seventh century, when it was
called t’ang-su (meaning “T’ang hand,” named
after the Chinese dynasty which was in power
when the Koreans adopted its principles). Later
Sumo Wrestling names for this art as it developed were subak and
kwonpup.
Sumo Wrestling is a Japanese fighting form After the sixteenth century, the art continued
which developed in the century before Christ. It is development under the new name of tae kwon
traditionally practiced by huge, heavy fighters who (“foot and fist,” or “kicking and punching”). The
train for years to have the physique and endurance art was forced underground in the first decade of
of a sumo wrestler. the twentieth century, when the Japanese occu-
The object of Sumo Wrestling is to push the pied Korea. In 1953, well after World War II, when
opponent out of the ring or bear him down to the Korea was freed from Japanese rule, it became tae
ground inside the ring. Matches are usually very kwon do (“the way of kicking and punching”).
short, but are preceded by lengthy ceremonies. Tae Kwon Do is regarded as a powerful,
SUMO WRESTLING NOTES combat-intensive martial art, relying on forceful
punches and high circling kicks; it is also famous
Optional Rules: The Slap takes an automatic head for its colorful flying side kick.
location, but does no extra damage because of that. Schools teaching Tae Kwon Do are known as
The other maneuvers take no specific location. dojangs. Tae Kwon Do practitioners wear a gi-like
Special Abilities: None. uniform called a dobok.
fighting maneuvers, to which he added maneuvers
TAE KWON DO derived from other natural movements (such as
the swaying of trees, the flowing of water, and the
Maneuver Phs Pts OCV DCV Damage/Effect movement of clouds). The result is a fighting style
Arm Sweep combining soft, flowing movements with rapid,
Block ½ 4 +2 +2 Block, Abort almost explosive attack forms. Due to the internal
Crescent
energy (ch’i) employed by a skilled Tai Ch’i Ch’uan
Kick Block ½ 5 +1 +3 Block, Abort
Disarm ½ 4 -1 +1 Disarm, +10 STR to fighter, the results achieved by an attack are often
Disarm roll far greater than the amount of visible force would
Flying Side seem to indicate.
Kick ½ 5 +1 -2 STR +4d6 Strike The basis of Tai Ch’i is the Thirteen Postures,
Front Kick ½ 4 +0 +2 STR +2d6 Strike which include eight actions (such as Ward-off,
Knifehand Push, and Pull Down) and five directions (areas
Spearhand ½ 4 -2 +0 HKA ½d6 (2 DC) towards which one should look and/or move). In
Punch/Elbow combat, the fighter combines these into patterns
Strike ½ 4 +2 +0 STR +2d6 Strike in which he avoids an attack (usually by blocking
Side or Roundhouse
it) and then uses an offensive maneuver (often a
Takedown ½ 3 +1 +1 STR Strike; Target grab, followed by a strike or throw of some sort).
Falls The maneuvers have beautiful, poetic names, such
as Lion Shakes His Head, Night Bird Returns To
Skills
Breakfall The Forest, Celestial Horse Walks In The Sky, Carry
KS: Tae Kwon Do Tiger To The Mountain, and Meteor Chasing The
WF: Common Martial Arts Melee Weapons Moon.
Elements There are several substyles of Tai Ch’i Ch’uan.
Weapons +1 Use Art with Blades The first is the Chen style, supposedly developed
+1 Use Art with Clubs at the end of the Ming Dynasty. It is said to be the
+1 Use Art with Karate Weapons most martial of the Tai Ch’i styles. Yang style is a
+1 Use Art with Staff modified form of Chen which is more flowing. The
two Wu styles are modified forms of Yang which
TAE KWON DO NOTES
emphasize small circular motions and add throws
The Weapons and grabs to the Tai Ch’i arsenal. Lastly there is
Elements are the Sun style, which adds elements of Hsing-I and
not part of the Pakua to Tai Ch’i maneuvers. Some of these styles
traditional art, but
many Tae Kwon
Do instructors
TAI CH’I CH’UAN
teach weapons use Maneuver Phs Pts OCV DCV Damage/Effect
anyway. Block ½ 4 +2 +2 Block, Abort
Optional Rules: The Front, Side Disarm roll
and Roundhouse Kicks take loca- Escaping
tion rolls of 3d6. The Flying Side Kick Throw ½ 5 +0 +0 +15 STR vs. Grabs;
takes a location roll of 2d6+1. The Punch Target Falls
or Elbow Strike takes a location roll of Grab ½ 3 -1 -1 Grab Two Limbs, +10
2d6+1. STR for holding on
Joint Break ½ 5 -1 -2 Grab One Limb; HKA
Special Abilities: None. ½d6 (2 DC), Disable
Palm Slap/
Tai Ch’i Ch’uan Root ½ 4 +0 +0 STR +15 to resist
Tai Ch’i Ch’uan (also spelled Taiji Quan, T’ai Shove; Block, Abort
Chi Chuan, and many other ways) is the most Shove ½ 4 +0 +0 +15 STR to Shove
Strike ½ 3 +1 +2 STR +2d6 Strike,
advanced of the Chinese internal fighting styles.
Must Follow Block
Although best known in the West as a yoga-like Sword Finger ½ 4 -1 +1 2d6 NND(1)
type of exercise, it has martial applications as well, Throw ½ 3 +0 +1 STR +v/5; Target
as its name (“supreme ultimate fist” or “yin-yang Falls
boxing”) indicates. Skills
According to the most popular legend, Tai KS: Tai Ch’i Ch’uan
Ch’i Ch’uan was originally developed by a Taoist WF: Blades
priest named Chang San-Feng who is said to have WF: Staff
lived during either the Sung, Yuan, or Ming Dynas- Elements
ties. One day he observed a snake and a hawk (or a Weapons +1 Use Art with Blades
crane) fighting, and was struck by the efficiency of +1 Use Art with Staff
their movements — the fact that they could be both
loose and supple, hard and fast at the same time. teach the use of weapons, primarily the sword.
Based on his observations, he developed a series of
Hero Games 57
TAI CH’I CH’UAN NOTES ulate this ability with the attack maneuvers from
the martial arts package; at higher levels it should
Optional Rules: The Palm Slap and Sword Finger be bought as an HKA or high-damage HA.
take 2d6+1 Hit Location rolls; the Kick takes a 3d6
roll. None of the other maneuvers require Hit Loca- 7) Kiai Powers: As described in Chapter Two,
tion rolls. under Aid and Multipower.
Special Abilities: Tai Ch’i practitioners are often 8) Breath EB: Some Tai Ch’i masters can expel
credited with many unique powers. Some of them their breath in such a way as to damage a foe and
overlap those of Kung Fu send him flying. Buy this as an Energy Blast.
masters or masters of other 9) Kongjin: “Empty force, “ i.e., the ability to strike
Chinese internal styles. without making contact. Refer to the Kung Fu
1) Sword Finger: package, above, for details.
Some masters
reputedly can
use their Sword
Tang Soo Do
Finger maneuver Tang Soo Do (“China hand
to affect ghosts. method”) is a Korean martial art
Characters can combining traditional Korean
buy this as an kicks with some Japanese maneu-
Affects Deso- vers. It was originally called Soo
lidified Advan- Bahk Do. After the Japanese occu-
tage for that pation of Korea in the first decade
maneuver (see page of the twentieth century, many Soo
104), or as a separate Bahk Do masters fled their homeland;
HA or No Range EB while they were in exile they studied
NND attack with that Chinese and Japanese fighting systems,
Advantage. including Aikido and Jujutsu, and added some
2) Push Hands: of their techniques to the Soo Bahk Do reper-
Tai Ch’i Ch’uan toire. In 1945 the style’s name was changed by its
practice includes Grandmaster, Hwang Kee.
an exercise known as push hands Tang Soo Do uses many deceptive stances and
(toy sao), in which two students make arm contact techniques. For example, the practitioner hides one
and engage in a kind of pushing-yielding exercise. hand behind the other so he can use it for a sur-
The object of this is to teach flexible movement and prise attack, or he might launch any one of several
the ability to yield correctly to force. Over time, the kicks from the same basic stance, making it dif-
student gradually becomes more sensitive to force ficult to determine which one he’ll actually use. The
and to the movements of his opponent. Skilled attack maneuvers emphasize kicks, including flying
practitioners become so good at this they can effec- kicks.
tively “stick” to an opponent and maintain contact Traditionally, Tang Soo Do does not teach
with him no matter what he does to shake them weapons use.
off (even running, leaping, and acrobatics do not
help to escape). Characters can buy this as Clinging TANG SOO DO
(up to the maximum STR of the character’s Shove Maneuver Phs Pts OCV DCV
Damage/Effect
maneuver) with the Limitations Only To Stick To Block ½ 4 +2 +2
Block, Abort
An Opponent (-1) and Cannot Resist Knockback Chop ½ 4 -2 +0
HKA ½d6 (2 DC)
(-¼). Flying Kick ½ 5 +1 -2
STR +4d6 Strike
3) Immortality: Many internal masters are said Joint Lock ½ 3 +0 -1
Grab One Limbs, +10
STR for holding on
to have lived far longer than the average person
because of their control over their life force. (Life Punch ½ 4 +0 +2 STR +2d6 Strike
Support: Longevity.) Throw ½ 3 +0 +1 STR +v/5; Target
4) Iron Shirt: As the Kung Fu ability of the same Falls
name. In addition to its defensive aspects, some Tai Skills
Ch’i masters have developed this power to such an Breakfall
extent that anyone who hits them gets hurt! Char- KS: Tang Soo Do
acters can buy this as a Damage Shield with the
Limitation Defensive Use Only (-½) (in other words, TANG SOO DO NOTES
if they Grab someone, that target doesn’t take the
Optional Rules: The Punch, Chop, and Flying Kick
Damage Shield damage).
take a 2d6+1 location roll. The Kick takes a 3d6 Hit
5) Dim Mak: As the Kung Fu ability of the same Location roll. The other maneuvers do not require
name. rolls.
6) Fa-ch’ing: This is a strike in which the practitio- Special Abilities: Similar to those for Karate
ner discharges his internal energy into the target, masters.
causing great harm. At its lesser levels, you can sim-
Thai Kick-Boxing THAI KICK-BOXING

This fighting style, called Muay Thai in Thai- Maneuver Phs Pts OCV DCV Damage/Effect
land, was developed sometime before the end of Block ½ 4 +2 +2 Block, Abort
the sixteenth century, but records of the art have Elbow/Knee
been lost and so it is not known just how long Killing Strike ½ 4 -2 +0 HKA ½d6 (2 DC)
ago it began. Refugees from the Yunnan province Foot Push ½ 4 +0 +0 +15 STR to Shove
of China fled south and merged with the Khmer Low Kick ½ 4 +0 +2 STR +2d6 Strike
Punch/Elbow
people; as the populations grew together, so did
their two forms of unarmed combat, which became Roundhouse Kick/
Muay Thai. Today Thai Kick-Boxing is practiced in Knee Strike ½ 5 -2 +1 STR +4d6 Strike
Thailand, Vietnam, Laos, and Cambodia both for
Skills
fighting and as a sport; it is also taught to the Thai KS: Thai Kick-Boxing
military in a form called ler dit. WF: Common Melee Weapons
This lean, economical, punishing, and very WF: Staff
brutal fighting style uses blocks, punches, elbow- Elements
strikes, knee-strikes, kicks, and foot pushes. It has Weapons +1 Use Art with Blades
no throws. Some maneuvers, such as the knee +1 Use Art with Clubs
strikes, often involve jumping up +1 Use Art with Polearms
to add force to +1 Use Art with Staff
the blow and
Special Abilities: Thai kickboxers are well-known
to allow the
for their ability to withstand tremendous amounts of
fighter to strike
damage. Characters can simulate this with a high PD
targets in the upper region
or a small amount of Damage Reduction with appro-
of the body. In times past,
priate Limitations (see Chapter Two).
fighters sometimes wrapped
their hands in horsehair wrappings
stiffened with glue; for some fights Thang-Ta
ground glass was mixed in with the glue.
Treat the latter sort of hand-wrapping as a Thang-Ta (meaning “sword-spear”) is an
form of cestus (see Chapter Three for details Indian martial art somewhat similar to Kalaripayit.
on cesti). In addition to teaching unarmed techniques like
Muay Thai is a popular sport in Thailand. kicks and punches, it teaches weapons such as
Before each scheduled bout the fighters go spear, dagger, sword, bow, and dart. Thang-Ta’s
through a ritual with components known as wai unarmed fighting techniques involve saritsarat
kru (obeisance to the master) and ram muay (a — footwork and evasion abilities designed not only
sort of dance). Knowledgeable fighters can often to avoid damage, but to put an attacker off-balance.
learn something about an opponent’s fighting style One substyle of Thang-Ta, Muk’na, also incor-
and prowess by observing how he performs the porates wrestling grabs and throws. Characters who
ritual; allow kickboxers with Analyze Style to make wish to practice Muk’na may buy maneuvers from
rolls after observing their opponent’s ram muay both the Thang-Ta and Wrestling packages.
ritual. During the ritual the fighter wears a cord
called a mongkon around his head; after the ritual the THANG-TA
fighter’s master takes it off of him. Professional Thai
fighters use special fighting names which include
a boastful nickname and the name of the fighter’s Dodge ½ 4 +0 +5 Dodge All Attacks,
training camp or school. In the ring, Thai kick- Abort
boxers wear gloves and shorts (with athletic cups); Knifehand
they go barefoot and wear no other armor. Strike ½ 4 -2 +0 HKA ½d6 (2 DC)
Muay Thai fighters often learn a related form of Marman
weapons combat, called Krabi-Krabong, involving the Strike ½ 4 -1 +1 2d6 NND(1)
use of swords, staffs, polearms, and clubs in various Punch ½ 4 +0 +2 STR +2d6 Strike
combinations. Rather than describing this as a sepa- Kick ½ 5 -2 +1 STR +4d6 Strike
rate style, it is sufficient for HERO System purposes Skills
to simulate Krabi-Krabong as Weapons Elements for Breakfall
Thai Kick-Boxing. Contortionist
KS: Indian Healing
THAI KICKBOXING NOTES KS: Thang-Ta
KS: Yoga
Optional Rules: The Punch and Elbow Strike take a WF: Common Melee Weapons
location roll of 2d6+1; the Low Kick takes a location WF: Common Missile Weapons
roll of 2d6+7; the Roundhouse Kick, Knee Strike, WF: Urumi
and Elbow/Knee Killing Strike take a location roll of Elements
3d6. The other maneuvers require no location rolls. Weapons +1 Use Art with Blades
Hero Games 59
THANGTA NOTES
Vovinam Viet Vo Dao
Optional Rules: The Punch, Knifehand Strike, and
Vovinam Viet Vo Dao is
Marman Strike all take location rolls of 2d6+1. The
a Vietnamese style developed
Kick takes a 3d6 roll. The other maneuvers do not
in Hanoi in 1945 by Nguyen
Loc. It combines striking and
Special Abilities: Characters can simulate gurus’ wrestling maneuvers to form a
healing powers with Healing. well-rounded combat style.
Vovinam Viet Vo Dao practitio-
ners wear a black uniform (Vo Phuc).
Than Vo Dao Beginners wear a white belt; higher-
This Vietnamese style, whose name means ranking students wear a black belt
“spirit fist way,” is also known as Than Quyen. Its with colored bands. A master of this
roots lie in Buddhism and Taoism; it came to Viet- style is known as a Vo Sinh.
nam from Mongolia through China, Thailand, and VOVINAM VIET VO DAO NOTES
Burma.
Than Vo Dao combines internal and exter- Optional Rules: The Dam, Cho,
nal disciplines and uses circular energy. It has a Chem, and Flying Kick take a 2d6+1
number of animal-based forms, including dragon, location roll. The Da takes a 3d6 Hit
phoenix, tiger, crane, monkey, snake, and eagle. It Location roll. The Goi takes a 2d6+7 Hit
also teaches some weapons. Location roll. The other maneuvers do
not require rolls.
THAN VO DAO NOTES Special Abilities: Similar to those
displayed by Karate practitioners.
Optional Rules: The Punch takes a 2d6+1 location
roll. The Kick takes a 3d6 Hit Location roll. The
other maneuvers do not require rolls.
Special Abilities: Than Vo Dao masters are said
VOVINAM VIET VO DAO
to command at least two special abilities. The first Maneuver Phs Pts OCV DCV Damage/Effect
is “iron body” (the same as the Iron Shirt power of Chem
Kung Fu). The second is “mind-fist,” the power to (sword-hand) ½ 4 -2 +0 HKA ½d6 (2 DC)
“place the mind on the fist” and detect an oppo- Da (kicks)/Goi
(knee strikes) ½ 5 -2 +1 STR +4d6 Strike
nent’s energy so as to anticipate his attack (bought
Dam (fist blows)/Cho
the same as the genshin ability of Karate masters). (elbow strike) ½ 4 +0 +2 STR +2d6 Strike
Do (blocks) ½ 4 +2 +2 Block, Abort
THAN VO DAO Flying Kick ½ 5
Grab ½ 3
+1 -2 STR +4d6 Strike
-1 -1 Grab Two Limbs, +10
Maneuver Phs Pts OCV DCV Damage/Effect STR for holding on
Block ½ 4 +2 +2 Block, Abort Skills
Joint Break ½ 5 -1 -2 Grab One Limb; HKA KS: Vovinam Viet Vo Dao
½d6 (2 DC), Disable WF: Common Melee Weapons
STR for holding on Elements
Kick ½ 5 -2 +1 STR +4d6 Strike Weapons +1 Use Art with Blades
Legsweep ½ 3 +2 -1 STR +1d6; Target +1 Use Art with Clubs
Falls +1 Use Art with Polearms
Falls
Weapons Combat
Skills This generically-named art represents Euro-
Breakfall pean and Middle Eastern heavy weapons fighting
KS: Than Vo Dao styles from antiquity to the Renaissance. It’s the
WF: Common Martial Arts Weapons fighting art of the armored warrior, whether he
WF: Common Melee Weapons be an eleventh-century knight, a third-century
Elements Roman centurion, a hoplite from Classical-era
Weapons +1 Use Art with Blades Greece, an Achaean juggernaut from the time of
+1 Use Art with Clubs the Trojan War, or some fighter Gilgamesh slew.
+1 Use Art with Polearms Of course, not all fantasy fighters have this mar-
tial art; it’s a skill possessed by very well-trained
‘W
and experienced warriors, not common troops or
hen people fall into danger, inexperienced fighters.
When buying Weapons Combat, the character
they are then able to strive chooses one weapon type (from the list of Weap-
for victory.’ ons Elements provided below) with which he can
use the maneuvers. That choice is free. Additional
—Sun Tzu, The Art of War Weapons Elements, as usual, cost 1 point each.
ment on a character’s normal, non-martial attack
WEAPONS COMBAT maneuver.
Usable with one Weapon Group; that Weapon Charge: This maneuver allows the character to
Element is free make an attack at the end of a Full Move; it’s espe-
cially apt for spearmen.
All-Out ½ 5 +1 -2 Weapon +4 DC Strike Defend: The standard Martial Block maneuver,
Attack ½ 4 +0 +2 Weapon +2 DC Strike useful for a wide variety of parries.
Charge ½ 4 +0 -2 Weapon +2 DC Strike
+v/5, FMove Probe: A maneuver used by a character who’s still
Defend ½ 4 +2 +2 Block, Abort feeling out his opponent’s strengths and weak-
Probe ½ 5 +1 +3 Weapon Strike nesses. It doesn’t allow the character to do as much
Resist ½ 4 +0 +0 +15 STR to resist damage as other maneuvers, but it gives him some
Shove; Block, Abort additional DCV, appropriate to a cautious fighting
Shove ½ 4 +0 +0 +15 STR to Shove approach.
Skills Resist: With this maneuver, a character can block
WF: Common Melee Weapons (the character must incoming attacks; the maneuver has a standard
know how to use any weapons for which he has taken
Abort function. It also allows a character to root
the Weapons Element, below)
WF: Staffs himself in place and resist Shove attacks. It’s espe-
cially appropriate for characters who play at being
Elements
one-man shield-walls.
Weapons +1 Use Art with Axes/Maces/Picks
+1 Use Art with Blades Shove: With this maneuver, the character places
+1 Use Art with Clubs his weapon up against his opponent and heaves his
+1 Use Art with Polearms opponent backwards. It requires a Medium or Long
+1 Use Art with Shields weapon; characters cannot perform it with a Short
+1 Use Art with Staffs weapon.
WEAPONS COMBAT MANEUVERS
There are no Bind, Disarm, or Dodge maneu-
The maneuvers work as follows: vers in this art, since those maneuvers just don’t
All-Out: An all-offense attack which sacrifices seem to belong to the heavy-weapons “feel” of
some of the character’s DCV to get a blow in. It Weapons Combat. Characters can always default
does significantly more damage than a more rou- to the basic Dodge and Disarm maneuver (and, in
tine attack. Fantasy Hero games, to the basic Bind maneuvers
used in the fantasy genre).
Attack: A Fighters cannot use Flail weapons with the
straight- Weapons Elements. Weapons Combat is suited
forward more for rigid weapons of all sorts.
weapons The GM should consider disallowing the use
attack. It of the All-Out and Charge maneuvers in campaigns
is simply which steer away from high damage values (char-
an improve- acters can still Push their Strength and use Move
Throughs, after all).
Optional
Rules:
When the char-
acter uses Short weapons, attack
maneuvers take a 2d6+1 location roll. When the
character is using Medium or Long weapons,
attacks take a 3d6 location roll.
Whipfighting
This is a style for fighters
who use the whip in combat.
Examples include several
whipfighting styles from
Indonesia and other cul-
tures. Skilled whipfighters
can use their weapon with pinpoint
accuracy, snapping weapons out of
hands and putting out eyes.
Whipfighting cannot take
the Style Distinctive Feature.
Hero Games 61
SUBSTYLES OF WRESTLING
WHIPFIGHTING Many different cultures all over the world have
their own different forms of wrestling. Some of
Usable with Whip Weapons Group; Whip Weapon Element
them include:
is free
Maneuver Phs Pts OCV DCV Damage/Effect Asura
Choke ½ 4 -2 +0 Grab One Limb; 2d6 A type of Indian wrestling in which striking
NND (2) below the chest area is illegal, and the first fighter to
Disarm ½ 4 -1 +1 Disarm, +10 STR to fall to the ground loses the match.
Disarm roll
Slash ½ 5 -2 +1 Weapon +4 DC Strike Bûno
Snap ½ 5 +1 +3 Weapon Strike A Filipino wrestling form.
Trip ½ 3 +0 +1 Weapon Strike +v/5;
Target Falls Cireum
This Korean form of wrestling (also spelled
Skills
KS: Whipfighting Ssi-reum) resembles Sumo Wrestling in some ways.
WF: Whip* Dumog
WHIPFIGHTING NOTES Filipino wrestling in which a wrestler grasps
his opponent’s belt and tries to throw him down.
Optional Rules: The Slash and Snap both take 3d6 The loser’s back has to squarely touch the ground.
Hit Location rolls; the Choke automatically targets
the head/neck and the Trip the legs/feet, but neither Glimae
maneuver receives bonuses or penalties because of A form of Icelandic wrestling which uses
that. movements called “tricks.” Opponents grasp each
others’ leather belts (climubelti) and try to throw
Special Abilities: You can simulate a whip master’s each other to the ground. The first wrestler who
ability to strike targets with pinpoint accuracy by touches the ground with any part of his body above
buying Targeting Skill Levels. the knees loses.
Gulat
Wrestling Indonesian wrestling.
Wrestling, as a martial art, dates back into Koshti
prehistory. In history, famous examples of wres- A type of Iranian wrestling which takes place
tling arts include the wrestling practiced in Greece, in the Zour Xaneh (“house of strength”).
China, and India from their earliest recorded histo-
ries. Wrestling continues as a popular collegiate and Mallayuddha
professional sport today. A form of Indian wrestling.
The package below includes several varieties Naban
of Wrestling practiced today, including modern, Burmese wrestling.
Greco-Roman, and Russian sambo.
Okol
WRESTLING An Indonesian form of wrestling from the
island of Madura.
Choke ½ 4 -2 +0 Grab One Limb; 2d6 Sambo
NND(2) Russian wrestling (also known as Sombo or
Escape ½ 4 +0 +0 +15 STR vs. Grabs Cambo). Opponents wear a short epauletted jacket
Hold ½ 3 -1 -1 Grab Two Limbs, +10 (kurtka) tied with a blue or red belt. Armlocks,
to STR for holding on throws, pins, and other maneuvers are assigned
Reversal var 4 -1 -2 STR +15 to Escape; points; to win, one wrestler has to have scored at
Grab least four more points than his opponent at the end
Slam ½ 3 +0 +1 STR +v/5; Target of the match.
Falls
Take Down ½ 3 +2 +1 STR Strike; You Fall, Shuai-chiao
Target Falls Chinese wrestling, which dates back to the
Skills millennia before the birth of Christ.
Breakfall
KS: Wrestling Tegumi
Okinawan wrestling.
WRESTLING NOTES Yaghliguresh
Optional Rules: None of the Wrestling maneuvers A Turkish form of wrestling fought in a hall
takes a location roll except for the Choke, which called a kirpinar.
automatically Grabs the head but gets no penalties
or bonuses because of this.
Wrestling, Professional Yu-Sool

Professional Wrestling, though it has only recently Yu-Sool (“soft art”) is a Korean martial art
become a mania in the U.S., has been with us all derived from some Chinese systems. It was most
through the twentieth century. popular from the years 1000-1300 AD, and has
The package below is for a pro wrestler who has since declined, though it is still taught by some
real combat ability. Such a character would always pull masters. It concentrates on locks, throws, chokes,
his punches or do zero damage with attacks in the ring, and other grappling techniques.
relying on his Acting to make it look damaging, but
could still use his art to good effect in situations outside
the ring. At least one “style” of Professional Wrestling, YU-SOOL
‘T o be the Lucha Libre, which is popular in South and Central

America, is performed full-contact, without any Acting.
Choke ½ 4 -2 +0 Grab One Limb, 2d6
man, you One good way to give this art some “color” is to NND(2)
create your own unusual names for the maneuvers. Dodge ½ 4 — +5 Dodge All Attacks,
have to beat the For example, the Fist Smash becomes an “Atomic Pile- Abort
driver,” the Crush becomes the “Bulgarian Death-Lock,” Escape ½ 4 +0 +0 +15 STR vs. Grabs
man.’ and so forth. Players can elaborate on the maneuvers Kuchigi
slightly, adding or subtracting an Element here or there, (grabs) ½ 3 -1 -1 Grab Two Limbs, +10
—Ric Flair to STR for holding on
to create “signature” maneuvers for their Pro Wrestling
characters. Kuepso Chirigi
(nerve strikes) ½ 4 -1 +1 2d6 NND (1)
Mechigi
PROFESSIONAL WRESTLING (throws) ½ 3 +0 +1 STR +v/5; Target
Maneuver Phs Pts OCV DCV Damage/Effect Falls
Body Slam ½ 3 +2 +1 STR Strike; You Fall, Strike ½ 4 +0 +2 STR +2d6
Target Falls Skills
Crush ½ 4 +0 +0 STR +4d6 Crush; Breakfall
Must Follow Grab KS: Yu Sool
Duck ½ 4 -- +5 Dodge, Affects All
Attacks, Abort YUSOOL NOTES
Fist/Forearm
Smash ½ 4 +2 +0 STR +2d6 Strike Optional Rules: The Kuepso Chirigi and Strike
Grab ½ 3 -1 -1 Grab Two Limbs, +10 take a 2d6+1 Hit Location rolls. The Choke auto-
to STR for holding on matically targets the head but receives neither
Head-Bash ½ 4 +2 +0 STR +2d6 Strike bonuses nor penalties for this. None of the rest of
Stomp ½ 5 -2 +1 STR +4d6 Strike the maneuvers requires Hit Location rolls.
Skills Special Abilities: None.
Acrobatics
Acting
Breakfall *
Elements
Weapons +1 Use Art with Clubs (Fist/Forearm
Smash Only)
PROFESSIONAL WRESTLING NOTES

The “clubs” referred to under the Weapons Element
usually includes stools, chairs, microphones, and
other weapons of opportunity found around the
ring.
Optional Rules: The Fist Smash/Forearm Smash
takes a 2d6+1 location roll. The Head-Bash is
struck with the head, against the target’s head; it
takes an automatic head location but does no
extra damage because of the location. The
Stomp takes an automatic Foot location
if the target is standing (damage is not
reduced because of location); if the
target is prone, it takes a 3d6 location
roll. None of the other maneuvers
takes a location roll; they do general-
ized damage.
Hero Games 63
Koonomon Togip Baip: This is said to be a martial

Zipota art or arts native to the Aborigines of Australia. Its
This Basque fighting art (whose name means maneuvers supposedly derive from the movements of
“shoe”) resembles Savate in many respects. Its ori- native animals (kite hawks, kangaroos, emus, wedge-
gins are obscure, but likely date back at least as far tailed eagles, crocodiles, and the like), or from move-
as those of Savate. Like Savate, it employs many ments used in fishing and other tasks.
kicks and jabbing punches; unlike the French style, Kuki-shin Ryu: A Ninjutsu-like “secret” fighting
it also incorporates leaping kicks, throws, and other style said to have been practiced by ascetic Japanese
energetic maneuvers. monks.
Zipota fighters often train in stickfighting as
well. They use the makila (or malika), a 1.5 meter Kupigana Ngumi: A martial art developed in the late
long stick with an iron cap on one end, used in 1960s or early 1970s that supposedly synthesizes tech-
sheepherding. The handle unscrews to reveal a long, niques from a number of African fighting traditions.
sharp point. Moi-saree: A Malaysian fighting art.
Nabebutajutsu: The art of fighting with a saucepan
ZIPOTA lid.
Damage/Effect Pakchigi: A crude Korean style involving head-butt-
Block ½ 4 +2 +2
Block, Abort ing.
Kick ½ 4 +0 +2
STR +2d6 Strike
Leaping Kick ½ 5 -2 +1
STR +4d6 Strike Po Bok Sul: A Korean style using a rope to choke
Punch ½ 5 +1 +3
STR Strike or bind an opponent; used by Korean palace guards
Side Kick ½ 4 +2 +0
STR +2d6 Strike since ancient times.
Sweep ½ 3 +2 -1
STR +1d6 Strike; Russian martial arts: In addition to sambo (see
Target Falls Wrestling), Russian martial arts include Systema,
Buza, Kulachnoi Boya, Samoz, Skobar, Spas, and many
Falls
others.
Skills
KS: Zipota Sebekkha: A martial art supposedly practiced in
WF: Blades ancient Egypt (the name is said to mean “Crocodile
Elements Spirit”).
Weapons +1 Use Art with Blades Ta Merrian: A martial art from Africa said to derive
+1 Use Art with Clubs its maneuvers from totem animal movements and
spirit dances.
ZIPOTA NOTES
Tegasajutsu: The art of fighting with an umbrella.
Optional Rules: The Leaping Kick has a
2d6+1 Hit Location roll. The Kick, Punch, and Side Thanh Long: A Vietnamese style whose name means
Kick maneuvers all have 3d6 Hit Location rolls. The “School of the Green Dragon.”
other maneuvers don’t require Hit Location rolls. Vietnamese schools: The following are mentioned
Special Abilities: None. in Louis Frederic’s Dictionary of the Martial Arts as
“schools” of Vietnamese martial arts; they may be
distinct styles or substyles of other styles: Doc Nhan
Other Styles (“one-eyed” school); Hac Ho (“black tiger”
The following styles are ones the author came school); Kime Ke (“yellow cockrel” school);
across while researching this book, but for which he Son Lam (“from the mountain and from
lacked sufficient information to create a complete the forest” school); Tay-son Nhan (“moun-
description. Players can do their own research or contain phoenix”
struct their own versions of these styles if they wish. school).
Bandesh: An Indian style whose object is to allow an
unarmed man to lock up an armed man’s weapon and
then disarm him.
Binot: An Indian style designed to allow an unarmed
man to defend himself against an armed one or
beasts.
Cha-Yon Ryu: An eclectic modern art combining
aspects of Hapkido, Karate, and Kung Fu.
Cuong-Nhu: A Vietnamese style founded in 1965.
The name means “hard-soft,” and the art blends “hard
aspects taken from Karate, Wing Chun, and Boxing
with “soft” elements from Jujutsu, Aikido, and Tai Ch’i
Ch’uan. It also incorporates elements from Vovinam
Viet Vo Dao.
Daletai: An ancient Chinese martial art combining
boxing and wrestling.
FICTIONAL
MARTIAL ARTS
T
his section details several completely squeezing him hard enough to keep him from
fictional martial arts styles. Characters breathing, but not hard enough to permanently
in the movies, comics, and other source injure him. The defense is not needing to breathe,
material often study styles bearing no or somehow being “immune” to such squeezing (for
resemblance to “real-world” styles. They also display example, because the character is wearing heavy
special abilities exceeding those demonstrated by armor).
even the most accomplished real-world martial Optional Rules: The Punch takes a 2d6+1 Hit
arts masters. The styles in this section allow HERO Location roll; the other maneuvers do not require
System gamers to simulate this sort of thing. If location rolls.
you don’t find any styles in this section suitable
the character you have in mind, use these styles as Special Abilities: None.
“models” to help you develop one of your own.
BRICK TRICKS
Brick Tricks Maneuver Phs Pts OCV DCV Damage/Effect
This martial arts package represents a few Bearhug I ½ 4 +0 +0 STR +4d6 Crush,
combat moves commonly used by “bricks” (i.e., Must Follow Grab
Bearhug II ½ 5 -2 +0 Grab Two Limbs, 2d6
characters whose primary abilities involve greater
NND
than normal strength and resistance to damage). Grab ½ 4 +0 -1 Grab Two Limbs, +10
The maneuvers rely on brawn and resilience, not STR for holding on
finesse and speed as with most styles. Punch ½ 4 +2 +0 STR +2d6 Strike
Slam ½ 4 -1 -1 STR +2d6 Strike;
BRICK TRICKS NOTES
Grab Two Limbs;
The “Bearhug II” simply involves grabbing the Target Falls
target around the middle (pinning his arms in the Toughness ½ 4 +2 +2 Block, Abort
process)
and Dancing Spider
The Dancing Spider style (Butõkumojutsu),
developed centuries ago by certain Japanese tribes,
is easily recognized — practitioners fight low to the
ground, usually on all fours. Its techniques include
various sweeps, grabs, and blows which strike
upward into vulnerable points (such as handstand-
kicks). Many fighters find it difficult to defend
against this style, since they aren’t accustomed to
assaults from below.
Some scholars have theorized that the
Dancing Spider style was developed partly for
use in situations where the footing was bad (i.e.,
on ships or muddy ground), and partly for use
by a short people whose enemies were taller and
stronger. Some researchers have also made some
intriguing connections between the Dancing Spider
fighting art, Harimau Silat, and the worship of the
Melanesian spider-god Marawa (who according to
myth was responsible for making humans mortal).
DANCING SPIDER NOTES
Optional Rules: The Dread Blow of Tsuji Kenichi
automatically targets the vitals, but receives neither
bonuses nor penalties for this. Ikeda’s Surprising
Kick, a blow delivered while the attacker stands
on his hands, takes a 2d6+1 Hit Location roll (or
Hero Games 65
2d6+7 if fighting an opponent who is basic technique involves rapidly tying up the oppo-
also standing on his hands). The Spinning nent with skillful application of the chain or rope,
Fist Technique takes a 2d6+7 roll. None of the then attacking him with the weapon attached to the
other maneuvers require Hit Location rolls, either chain (if any) or the fists.
because they target specific areas (the leg region) or Delightful Web Techniques: Entangle 5d6, 5 DEF,
because they do not involve Attack Rolls. Takes No Damage From Attack (only applies to
Special Abilities: character’s attacks; +¼) (62 Active Points); OIF
1) Leaping: All Dancing Spider stylists must buy (any chain or rope weapon of opportunity; -½),
at least +3” of Leaping. Extra inches of Running are Requires A DEX Roll (-½), No Range (-½). Total
also recommended. cost: 25 points.
2) Climbing: Some Dancing Spider masters are Players can develop other Delightful Web maneu-
such skilled climbers that they can move up the vers for their own use.
sides of walls with astounding speed and ease.
Characters can buy this as Clinging which Requires
A Climbing Roll (-½).
Drunken Clown Kung Fu
Despite its comical name, this martial arts
3) Delightful Web techniques (Yorokobashii Orim-
style is a serious one — a fact many overconfident
ono Jutsu): This term describes the special weap-
fighters have learned too late. Traveling actors, per-
ons techniques which Dancing Spider practitioners
formers, and acrobats who needed a way to defend
have developed for chain and rope weapons. The
themselves from bandits developed it centuries ago
by modifying their acrobatic skills into a form of
DANCING SPIDER fighting art.
The Drunken Clown style emphasizes acro-
batic flips and many other unusual techniques,
The Dread Blow of Tsuji Kenichi
½ 5 -2 +1 STR +4d6 Strike
making its practitioners frustratingly unpredictable
The Essential Maneuver Shiomi Emiko opponents. It also uses the general “Drunken Style”
½ 4 — +5 Dodge All Attacks, techniques of Kung Fu; refer to the description of
Abort Kung Fu, above, for more details.
Ikeda’s Surprising Kick
½ 4 +0 +2 STR +2d6 Strike
DRUNKEN CLOWN KUNG FU NOTES
Shinozaki’s Felling Blow The “Clubs” used with this style include a large vari-
½ 3 +2 -1 STR +1d6 Strike;
ety of acting and juggling props.
Target Falls
Snatching Spider Maneuver Optional Rules: The Choke and Flying Choke
½ 3 -1 -1 Grab Two Limbs, +10 both target the head/neck region automatically and
STR for holding on receive neither bonuses nor penalties for so doing.
Spinning Fist Technique The Passing Strike and Defensive Fast Strike take a
½ 5 +1 +3 STR Strike 3d6 Hit Location roll. None of the other maneuvers
Tirayaki’s Human Web
½ 5 +1 +1 Grab Two Limbs;
‘W
STR Strike; You Fall, Special Abilities: None.
Target Falls hen an ordinary man attains
Skills
Acrobatics* knowledge, he is a sage;
Climbing*
Contortionist when a sage attains understanding,
KS: Dancing Spider Style
WF: Chain & Rope Weapons* he is an ordinary man.’
Elements
— Zen Saying
Weapons* +1Use Art with Chain & Rope Weapons
If a character has all these abilities, it becomes
DRUNKEN CLOWN KUNG FU almost impossible to blind him. Before a GM allows
a character to buy them, he should make sure they
Maneuver Phs Pts OCV DCV Damage/Effect won’t unbalance the game.
Choke ½ 4 -2 +0 Grab One Limb; 2d6 According to legend, the Ghost Eye is taught at
NND(2)
a large monastery far to the west of China (possibly
Defensive
Fast Strike ½ 5 +2 +1 STR +2d6 Strike in Tibet). Its practitioners can be recognized by their
Defensive unique hand-signal (holding the hands in front of the
Disarm ½ 5 -1 +2 Disarm, +10 STR to chest with fingers steepled, to create a stylized “eye”).
Disarm roll
Defensive
Grab ½ 4 -1 +0 Grab Two Limbs, +10 Ghost Palm Techniques
STR for holding on
The Ghost Palm (Yõulíng Shão) techniques were
Dodge ½ 4 — +5 Dodge All Attacks,
Abort developed by the wizard Song Kuang. Song Kuang
Flying Choke ½ 4 -2 -1 Grab One Limb; 1d6 was once an evil man, but after the near-death of
NND(2); FMove his beloved daughter due to his own wickedness, he
Flying Dodge ½ 5 — +4 Dodge All Attacks, reformed and went into seclusion to meditate and
Abort; FMove dedicate himself to the ways of truth and virtue. After
Flying Grab ½ 4 -2 -2 Grab Two Limbs, +10 years of study, he learned a blow called the Ghost
STR for holding on; Palm of Song Kuang, which allowed him to strike
FMove ghosts, demons, and other intangible monsters. In
Grappling later years, he and his disciples developed an entire
Throw ½ 3 +0 +2 STR +2d6 Strike;
portfolio of abilities to help them destroy evil Orien-
Target Falls, Must
Follow Grab tal monsters of all sorts.
Passing Thus, like the Ghost Eye “school,” the Ghost
Strike ½ 5 +1 +0 STR +v/5; FMove Palm is actually a collection of abilities and skills, not
Reversal var 4 -1 -2 STR +15 to Escape; a fighting style. These abilities help the practitioner
Grab Two Limbs destroy evil creatures such as devils, vampires, malev-
Skills olent spirits, and evil dragons. The main Powers and
Acrobatics* Skills taught to Ghost Palm students include:
Breakfall* The Ghost Palm of Song Kuang (an HA or HKA
Contortionist
which Affects Desolidified)
PS: Clown (or Magician, Juggler, and so forth, as
appropriate) The Spirit Lock of Xian Lao Yu (Affects Desolidified
Sleight Of Hand for a Martial Grab; see page 104)
Elements Healing: Ghost Palm practitioners can heal the
Weapons +1 Use Art with Clubs victims of Oriental monsters by giving the victim
some of their own life force: Healing 4d6 (40 Active
Ghost Eye Techniques Points); Only Works On Others (-1), Only Heals
Damage From Oriental Monsters’ Magical Attacks
The Ghost Eye (Yõulíng Yãnjing) is not a style per
(-1½), Character Takes 1 BODY Damage Per BODY
se, with its own maneuvers and martial techniques,
Healed And 1 STUN Per 2 STUN Healed (-1). Total
but a type of martial training emphasizing perception
cost: 9 points
and observation. It derives from two principles: first,
how one strikes a target is not as important as where Detect Oriental Monsters, Targeting Sense (can also
one strikes; second, any attack one can sense, one can be bought as a bonus to Danger Sense withthe -1
stop. Limitation Only Applies To Dangers From Oriental
Students of the Ghost Eye usually develop these Monsters)
Talents and Powers: Find Weakness; Only Works On Oriental
Clairsentience (Sight Group, possibly including Pre- Monsters (-1)
cognition) Mental Defense (up to 10 points)
Combat Sense Power Defense (up to 10 points)
Danger Sense, out of combat, any attack, general area KS: Oriental Monsters
Find Weakness
Over the centuries, as man has become more
Flash Defense
technologically oriented, the number of Oriental
Mental Defense; Only Protects Against Mental Illu- monsters has decreased greatly, and consequently so
sions (-1½) has the number of Ghost Palm practitioners. There are
Power Defense; Only Protects Against Draining/ few (if any) masters of the Ghost Palm techniques left
Suppression Of Perception Powers (-1½) alive; perhaps one of the PCs could “revive” this style.
Ghost Palm stylists have a distinctive hand-signal
Spatial Awareness, 360 Degrees (a Zen-like awareness
which they use to identify themselves: open hands
of one’s surroundings)
crossed, palms together, in front of the chest.
Hero Games 67
GOLDEN DEMON KUNG FU NOTES

Golden Demon Kung Fu
“Demon’s Claws” (Zhão Jĩng), a rare Oriental
A quick, vicious style of Kung Fu, designed
magical item, are made from the hands and claws
to eliminate an opponent as swiftly as possible,
of a demon. A pair of Claws’ level of power (i.e.,
Golden Demon (Liújĩng Ch’uan) supposedly origi-
its HKA DCs) depends on the sorcery invested in
nated deep in the Himalayas. Legends whisper of a
them by their creator; some pairs are extremely
Golden Demon Temple where assassins and brutal
deadly even in the hands of the untrained.
fighters go to train (hence the art’s other name,
Xiõngshŏu Ch’uan, “assassin’s fist”). Evil wizards Optional Rules: The Gilded Hand of Lu Sing
also often learn the Golden Demon style, because Hao, the Demonic Touch of Ba Yixiao, and Lo
they can use the feared “Demon’s Claws,” enchanted Kung’s Demon Claw all take a 2d6+1 location
items of great power, with it. roll; the Diabolic Strike of Chang Kien takes a
3d6 roll.
Special Abilities: The same as those for the
GOLDEN DEMON KUNG FU Kung Fu package. Additionally, some masters of
Maneuver Phs Pts OCV DCV Damage/Effect this style reputedly have the power to summon
The Demonic Touch of Ba Yixiao demons; they sell their souls to some patron
½ 4 -1 +1 2d6 NND(1) demon lord to gain this power. A few masters
The Diabolic Strike of Chang Kien possess other demonic powers, such as the ability
½ 5 -2 +1 STR +4d6 Strike to rapidly heal damage (Healing Regeneration),
The Gilded Hand of Lu Sing Hao virtual immunity to damage from fire (Damage
Reduction, Only Works Versus Fire (-½)), the
Lo Kung’s Demon Claw
½ 4 -2 +0 HKA ½d6 (2 DC) power to create illusions (Images), and the ability
Shield of the Seven Demons to change their shape (Multiform or Shape Shift).
½ 4 — +5 Dodge All Attacks,
Abort
Skills
The Paths of the
As Kung Fu package Seven Ghost Sisters
Elements
As Kung Fu package Legend has it this style was taught to a group
Weapons +1 Use Art with Demon’s Claws of Buddhist nuns on a pilgrimage through the
mountains. One night, as they sat around their
campfire, the ghosts of seven sisters visited them.
The spirits claimed they and their family were slain
by a group of evil bandits. The bandits still plagued
the area, and would surely attack the nuns if they
found them. The ghosts offered to teach the nuns
secret fighting techniques if the nuns would find
the outlaw band and destroy it.
After a long debate, the nuns agreed to the
sisters’ proposal. They entered the spirit world
and began training under the tutelage of the sis-
ters. They returned to our world after almost
a year of study, only to find dawn barely
breaking after the night they first met the sisters!
To fulfill their promise, the nuns tracked
down the bandit gang and destroyed it, making the
area safe for years to come. They completed their
pilgrimage and then set out into the wilderness,
where they founded a temple. From time to time
a student finds his (or her) way to this unnamed
temple and undertakes the study of the nuns’ secret
fighting style, the Paths of the Seven Ghost Sis-
ters. Still, it remains one of the rarest styles in the
world today; some scholars believe only two dozen
people (at most) know this style.
THE PATHS OF THE SEVEN GHOST
SISTERS NOTES
Optional Rules: The Paths of Qing and Peihsi
both take a 2d6+1 Hit Location roll. The Path
of Jihong, a type of kick, takes a 3d6 Hit Loca-
tion roll. The other maneuvers do not require Hit
Location rolls.
Special Abilities: Each of the Ghost Sisters taught Flash Defense; +1); Incantations (-¼)).
a different special ability to the nuns, who have 6) Qing: Sister Qing’s All-Seeing Fist, the ability to
in turn passed knowledge of those powers on to strike before your foe can attack (Fast Draw and/or
deserving students. They are: Lightning Reflexes).
1) Haixia: the Beneficent Vision of Sister Haixia, 7) Xiulan: Sister Xiulan’s Stance of Stone (Clinging
the ability to see spirits and ghosts (Detect Ghosts) (STR +20), Only To Resist Throws (-1)).
2) Hseuh: Sister Hseuh’s Warrior’s Eye, the ability
to detect danger of all sorts (Danger Sense, out of
combat, all attacks) Resplendent Dragon Kung Fu
3) Jihong: the Devastating Kick of Sister Jihong The Recorder of Things Strange has written:
(the Double Knockback Advantage (see page 104) In the time of the Emperor Chen, an old man
for the Path of Jihong, or an HA with Double dressed in the robes of a monk walked down out of
Knockback) the hills and came to the gates of the palace. There
he spoke to the guards who stood watch at the
4) Min: the Curtain of Air, an advanced ability to
gate: “I seek an audience with the Emperor,” he said
dodge attacks (Desolidification [affected by magical
calmly, as if he did not understand the enormity of
attacks or any maneuver specifically designed to
the request.
overcome this ability], Invisible Power Effects (Fully
“You?” the guards asked scornfully. “Why
Invisible; +1) (80 Active Points); Only To Protect
should we admit such a decrepit old man as you
Against Martial Arts Attacks (-1), Requires A DEX
to see the Emperor, who has all the cares of state
Roll (-½). Total cost: 32 points).
before him?”
5) Peihsi: Sister Peihsi’s Lovely Song (Hear- “Because I ask you to,” said the old man
ing Group Flash Attack 4d6 plus EB 2d6, NND politely. “If the Emperor is a truly wise ruler, he will
(defense is being deaf or having Hearing Group see me.”
With that, the guards burst into laughter. “Be
THE PATHS OF THE off with you, old man!” they said angrily. The old
man left and returned to the hills.
SEVEN GHOST SISTERS And so it happened for many days. Each day
Maneuver Phs Pts OCV DCV Damage/Effect the old man approached the guards, and each day
The Path of Haixia he was rudely rebuffed. Finally, after two weeks,
½ 4 +2 +2 Block, Abort one of the guards brandished his halberd at the old
The Path of Hseuh man, thinking to scare him off for good. At this, the
½ 3 +0 +1 STR +v/5; Target
old man made a gesture which seemed casual and
Falls
The Path of Jihong slow — but before anyone realized what was hap-
½ 5 -1 +0 STR +4d6 Strike pening, the guard lay unconscious on the ground!
The Path of Min As the old man threw the guard’s halberd to
½ 4 — +5 Dodge All Attacks, the side, the other guard sounded the alarm. Soon
Abort more than a dozen soldiers arrived to take on one
The Path of Peihsi harmless-looking old man. But the captain of the
½ 4 -2 +0 HKA ½d6 (2 DC) guard was wiser than his men. He saw that the old
The Path of Qing man was not a threat, so he called off the alarm
½ 4 +0 +2 STR +2d6 Strike and personally escorted the old man to a luxurious
The Path of Xiulan
waiting room. Then he informed the Emperor of
½ 3 -1 -1 Grab Two Limbs, +10
STR for holding on what had taken place.
Now the Emperor Chen was, like his captain,
Skills
a man of wisdom. He immediately granted the old
Acrobatics
Breakfall man the audience he had sought for so long. The
KS: Buddhism old man made obeisance before the Emperor, and
KS: Paths of the Seven Ghost Sisters when his turn came to speak he said, “Your High-
Stealth ness, I come to you bearing both a message and a
WF: Common Melee Weapons gift. The message is this: the gods are well-pleased
WF: Common Martial Arts Weapons with your rulership and your treatment of the
WF: Hook Sword people, and they wish to reward you. Their reward,
WF: Off Hand and my gift, is my service to you and your family
WF: Wind and Fire Wheels for as long as you shall require it.”
Elements “And what are these services, Sanctified
Weapons +1 Use Art with Blades Grandfather?” the Emperor asked, recognizing the
+1 Use Art with Chain & Rope holiness of the man.
Weapons
“Although I am not so foolish as to call myself
+1 Use Art with Hook Sword wise, in my time I have experienced many things.
+1 Use Art with Polearms I will teach what I know to you and your family.
+1 Use Art with Staff However, in return for my services to you, the gods
+1 Use Art with Wind and Fire demand three things. First, you must build a great
Wheels temple, greater than any in the land, here in your
Hero Games 69
capital. Second, you yourself must make the first

offering each morning at the temple. And third, RESPLENDENT DRAGON
you, your family, and all of your retainers must at
once cease the sport of hunting the red deer that KUNG FU
run in the forests of your kingdom.” Maneuver Phs Pts OCV DCV Damage/Effect
Now the Emperor Chen fancied himself a The Dragon’s Claw
good judge of character. He could sense no malice ½ 4 -2 +0 HKA ½d6 (2 DC)
in this old holy man — and from what the captain Dragon’s Tail Brushes The Ground
½ 3 +2 -1 STR +1d6 Strike;
of the guard said, the old man had much to teach.
Target Falls
“Agreed!” the Emperor said, and immediately The Fist of the Scarlet Dragon
arranged quarters for the old man. Work on the ½ 4 +0 +2 STR +2d6 Strike
temple began the next day. The Golden Dragon Strike
The old man taught the Emperor and his ½ 5 +1 +3 STR Strike
family of the ways of the Tao and many other Hsu Pao’s Twisting Reversal
wondrous things. From him they learned a style ½ 3 +0 +1 STR + v/5; Target
of boxing surpassing all other styles, which the old Falls
man said was “a gift from the resplendent dragons The Moon Dragon’s Shining Scales
of the gods.” And so the Emperor’s family began to ½ 4 +2 +2 Block, Abort
The Sublime Avoidance
call it the Resplendent Dragon style.
This course of instruction continued for over a Abort
year, and several of the Emperor’s sons and daughters Swooping Dragon Maneuver
became proficient in the ways of the Resplendent ½ 5 +1 +0 STR +v/5; FMove
Dragon. However, the middle son, Tsen, chafed under Skills
the restrictions his father had imposed on the family Acrobatics
at the request of the Sanctified Elder. Tsen was a great Breakfall
hunter who loved nothing more than the thrill of the KS: Resplendent Dragon Kung Fu
chase. The teachings and martial wisdom of the old WF: Common Martial Arts Weapons
man were for him a poor substitute for the hunt. WF: Common Melee Weapons
After more than a year had passed, he could WF: Dragon Staff
bear it no longer. He convinced himself the Sanctified Elements
Elder’s warnings were just the foolish prattlings of an Weapons +1 Use Art with Blades
old man gone senile. Tsen gathered his men and his +1 Use Art with Dragon’s-Beard
hunting weapons and rode to the forest. His servants Hook
glanced at him fearfully, and tried to dissuade him, +1 Use Art with Dragon Staff
but Tsen ignored their warnings, too. Before half a
day was over, he had chased down and shot two of
the red deer. He gathered his quarry and rode trium- forgiveness. He looked everywhere, but the old man
phantly back to his father’s palace. was nowhere to be found. Eventually one of the
When the Emperor saw the two dead deer, he palace guards reported seeing the old man leav-
cursed his son and ing the city. That was the last time the Emperor
ran to find the or any of his servants ever saw the old man,
old man for search the hills as they might, they never
and beg found any trace of him. All that remained
his of him was the knowledge he had
imparted. In years to come
the Emperor’s sons used the
Resplendent Dragon style
to win many victories and
expand the size of their father’s king-
dom, but they never met the old man
again.
Although the Emperor’s family
was fated never to find the Sanctified
Elder, they were not the only ones who looked.
Over the course of centuries many young men,
inspired by this story, went in search of the Elder and
the martial knowledge that he could bestow. Only the
most worthy every found their way through the hills
to the Temple of the Dragon where the Elder dwells.
Whether the Elder is but one man with a lifespan
of millennia, or many men who in turn dole out the
teachings of the Resplendent Dragon to the deserv-
ing, no one can say.
The powerful and graceful Resplendent
Dragon style of Kung Fu (Cànlànde Lóng Ch’uan) is
thus an art rarely seen. It is taught in only one place, The Ground automatically targets the leg region, but
the mysterious Temple of the Dragon, by only receives neither bonuses nor penalties because of
one man, the Sanctified Elder. Legends say only this. None of the other maneuvers require Hit Loca-
one who is truly brave and truly wise can find the tion rolls.
Temple and enter therein to train. Some scholars Special Abilities: In addition to those abilities dis-
claim the temple Emperor Chen built, which still played by other Kung Fu masters (see above), Silken
stands in Beijing, contains clues to the location of Blade masters possess a unique ability, the one after
the Temple of the Dragon in it somewhere. which their style is named. Using a simple piece of
The Resplendent Dragon style teaches one cloth as a focus, they can project their ch’i and turn the
unique weapon, the Dragon Staff. This is a normal cloth into a deadly weapon! Silk seems to work best
staff with a stylized dragon’s claw on either end. The for this ability, but any type of cloth will do. The most
wielder can either use it as a normal staff, or can do common types of clothing used are the following:
HKA ½d6 with its claws. Extremely proficient war-
riors can attack twice in one round with the staff, Sash/Belt: HKA 1d6 (plus STR), Armor Pierc-
once with each end. ing (+½) (22 Active Points); OIF (any appro-
priate piece of cloth of opportunity; -½). Total
RESPLENDENT DRAGON KUNG FU NOTES cost: 15 points.
Optional Rules: The Fist of the Scarlet Dragon and
the Swooping Dragon Maneuver both take a loca- Robe: HKA 1d6 (plus STR) (15 Active Points);
tion roll of 2d6+1; the Golden Dragon Strike (which OIF (any appropriate robe of opportunity, -½)
represents various kicks and punches) takes a 3d6 (total cost: 10 points) plus Armor (3 PD/3 ED)
location roll. (9 Active Points); OIF (any appropriate piece of
cloth of opportunity; -½) (total cost: 6 points).
Special Abilities: In addition to any of the special
Total cost: 16 points.
abilities that Kung Fu practitioners can take, masters
of the Resplendent Dragon style sometimes display
Glove: HA +4d6 (20 Active Points); Hand-To-
one unique ability: the Dragon’s Flame.
Hand Attack (-½), OIF (any appropriate glove
Some Resplendent Dragon masters have discov- of opportunity; -½). Total cost: 10 points.
ered a way to focus their ch’i and cause their fists to
burst into mystic flame (huöshé lóng, “the Dragon’s
Flame”). This flame allows them to strike opponents SILKEN BLADE KUNG FU
with devastating force. A few masters believe other
Dragon’s Flame powers are possible, and await the Maneuver Phs Pts OCV DCV Damage/Effect
Celestial Dragon Reaches For The Moon
arrival of a truly gifted warrior to discover them.
½ 3 -1 -1 Grab Two Limbs, +10
Cost Power END STR for holding on
22 The Dragon’s Flame: Multipower, 67- Clouds Cross The Sky
point reserve, Requires An EGO Roll ½ 4 +2 +2 Block, Abort
Crane Defeats Serpent
(-½), Increased Endurance Cost (x4
var 4 -1 -2 STR +15 to Escape,
END; -1½) Grab Two Limbs
2u 1) HA +12d6; Hand-To-Hand Attack Crystal Wave Breaks On The Shore
(-½), Requires An EGO Roll (-½), ½ 4 — +5 Dodge All Attacks,
Increased Endurance Cost (x4 END; -1½) 24 Abort
2u 2) HKA 3d6 (plus STR), Penetrating (+½); Leopard Paws At The Ground
Requires An EGO Roll (-½), Increased ½ 3 +2 -1 STR +1d6 Strike;
Endurance Cost (x4 END; -1½) 28 Target Falls
Master Peng’s Silken Fist
Silken Blade Kung Fu Meteor Kick
½ 5 +1 +0 STR +v/5; FMove
This northern form of internal Kung Fu, of Monkey Falls From Tree
uncertain origin, is well-known for its kicks, includ- ½ 3 +0 +1 STR +v/5; Target
ing the spectacular Meteor Kick, and for its other Falls
powerful fighting maneuvers. Silken Blade possesses Pheasant Kick
a combat orientation that seems out of place with ½ 5 +1 -2 STR +4d6 Strike
the internal disciplines at its heart. However, when Silken Hand Strike
½ 4 +0 +0 HKA ½d6 (2 DC),
one considers that Silken Blade masters only teach
Must Follow Block
students with at least two decades of experience in
other internal styles, one realizes the fighting power Skills
Acrobatics
displayed by a Silken Blade practitioner simply rep-
Breakfall
resents his total control over his own ch’i. Contortionist
SILKEN BLADE KUNG FU NOTES KS: Chinese Philosophy
KS: Silken Blade Kung Fu
Optional Rules: The Meteor Kick, Pheasant Kick, WF: As Kung Fu package
Silken Hand Strike, and Master Peng’s Silken Fist Elements
all take 2d6+1 Hit Location rolls. Leopard Paws At As Kung Fu package
Hero Games 71
SPEEDSTER MARTIAL ARTS NOTES

Speedster Martial Arts
Optional Rules: The Passing Strike and Rapid
This package of martial arts maneuvers repre-
Punch both take 2d6+1 Hit Location rolls. The
sents combat abilities displayed by characters able to
other maneuvers do not use Hit Location rolls.
move at high velocities — comic book “speedsters,”
bird-men in fantasy campaigns, and the like. Natu- Special Abilities: None.
rally, most of the maneuvers incorporate the Full
Move Element.
The Flying Grab maneuver allows the speedster Splendid Fist
to run up to someone and grab him. The Flying This style, known simply as Genkotsujutsu (“fist
Throw maneuver allows the speedster to grab art”) in Japanese, is a warrior’s style. Developed
someone and then throw him, using the speedster’s during Japan’s feudal era by Shibata Eiji, a samurai of
own velocity to increase the damage (visually, the some renown, it’s a brutal and practical fighting style
speedster may pick up the target, carry him at high
speed, and then let him go so he smashes into a wall
and takes damage, or he may run past him and hit SPLENDID FIST
him with a sort of takedown maneuver using the
character’s own velocity to augment the blow). The Maneuver Phs Pts OCV DCV Damage/Effect
Passing Disarm involves running past the target and The Darting Fish Maneuver
snatching something out of his hand. The Passing
Abort
Throw maneuver allows the speedster to “intercept” The First Fist of Shibata Eiji
another moving character and trip or throw him, ½ 4 +0 +2 STR +2d6 Strike
so that the target’s own velocity works against him. The Reliable Shield of Okano Akira
The Rapid Punch involves hitting the target several ½ 4 +2 +2 Block, Abort
times in the space of a second (while this could be Roundhouse Kick
bought as an Autofire HA, it can also be simulated ½ 5 +1 -2 STR +4d6 Strike
with one high-damage attack). With both the Flying The Second Fist of Shibata Eiji
and Passing Throws, remember that the v/5 Element ½ 5 -2 +1 STR +4d6 Strike
relies on relative velocity; see page 97. Spearhand Technique
½ 4 -2 +0 HKA ½d6 (2 DC)
The Strike of Initial Defeat
½ 3 +2 -1 STR +1d6 Strike;
SPEEDSTER MARTIAL ARTS Target Falls
Maneuver Phs Pts OCV DCV Damage/Effect The Warrior’s Smile Technique
Flying Dodge ½ 5 — +4 Dodge All Attacks, ½ 4 -1 +1 Disarm, +10 STR to
Abort; FMove Disarm roll
Flying Grab ½ 5 -2 -1 Grab Two Limbs, +10 Skills
STR for holding on; KS: Splendid Fist Style
FMove WF: Common Melee Weapons*
Flying Throw ½ 5 -1 -2 Grab Two Limbs; STR WF: Common Martial Arts Weapons*
+v/5; Target Falls; WF: Common Missile Weapons*
FMove Weaponsmith
Passing Elements
Disarm ½ 5 -1 -1 Disarm, +10 STR to Weapons +1 Use Art with Blades
Disarm roll; FMove +1 Use Art with Chain & Rope
Passing Weapons
Strike ½ 5 +1 +0 STR +v/5; FMove +1 Use Art with Clubs
Passing +1 Use Art with Fist-Loads
Throw ½ 5 +0 +0 STR +v/5; Target +1 Use Art with Karate Weapons
Falls; FMove +1 Use Art with Polearms
Rapid Punch ½ 5 +1 -2 STR +4d6 Strike +1 Use Art with Staff
in which the practitioner’s only goal is to defeat his 3d6 location roll. The Strike of Initial Defeat auto-
foe by any honorable means possible. Even today it is matically targets the leg region, and receives neither
a fierce and sometimes deadly combat art. bonuses nor penalties for so doing.
The Splendid Fist style emphasizes hand and Special Abilities: The greatest Splendid Fist prac-
fist attacks over kicks. Masters claim hand attacks titioners possess a power called the Invincible Fist.
are quicker, more easily controlled, and easier to use. By channelling their ki into their fists, Splendid Fist
Students must also learn a wide variety of weapons masters can deliver blows of tremendous power.
techniques. Legends say Shibata Eiji commanded an Invincible
SPLENDID FIST NOTES Fist so powerful he could smash down castle walls
with it. Whether this is true, it is a recorded fact
Optional Rules: The First and Second Fists of Shi- that fighters who possess this ability are capable of
bata Eiji and the Spearhand Technique take 2d6+1 delivering fist-strikes powerful enough to defeat the
Hit Location rolls. The Roundhouse Kick takes a toughest foe.
The Invincible Fist: HA +15d6 (75 Active
Points); Hand-To-Hand Attack (-½), Concen-
tration (½ DCV; -¼), Increased Endurance
Cost (x4 END; -1½). Total cost: 23 points.
Takijutsu
Takijutsu (“waterfall art”) is a Japanese fight-
ing style emphasizing “internal” disciplines and
forms of combat. Some fighters refer to it as “Japa-
nese Tai Ch’i,” and this observation is not far wrong.
The style’s name derives from an ancient Oriental
saying about water, which yields before all force and
yet wears away the hard, unyielding rocks.
Takijutsu was developed in the nineteenth
century by Morioka Kenichi, a Japanese diplomat
who served his emperor by working in China and
took the opportunity to study Chinese martial arts.
After his retirement he returned to Japan where
he studied Jujutsu and the newly-created Judo. By
combining aspects of them with aspects of the Chi-
nese internal arts he had studied, Morioka created
a style which utilizes gentleness and non-resistance
in the face of aggression. The Takijutsu practitioner
lets an attacker defeat himself by taking aggressive
action, thus putting him at a disadvantage, which
the takijutsuka exploits to end the fight quickly and
as painlessly as possible.
Most practitioners of Takijutsu are Shintoists.
TAKIJUTSU NOTES
Optional Rules: The Touch of Tsukiyomi takes a
2d6+1 Hit Location roll; none of the other maneu-
vers require Hit Location rolls.
Special Abilities: In addition to the special abilities
possessed by Tai Ch’i Ch’uan masters (see above),
Takijutsu masters know a set of special abilities all
their own. First, the most devout often can converse
with kami (spirits), and, in some cases, call on them
for assistance in times of need. Second, many of
them can call forth “divine light” (kamihikari), a
sort of glow that surrounds their person and blinds
anyone who gets within hand-to-hand fighting
range (Sight Group Flash Attack Damage Shield).
Third, according to legend some masters have the
power to transform themselves into water, but no
living master has substantiated this.
Hero Games 73
THUNDER DRAGON KUNG FU NOTES

TAKIJUTSU Optional Rules: The Roundhouse Kick and Snap
Maneuver Phs Pts OCV DCV Damage/Effect Kick take 3d6 Hit Location rolls. The Punch/Elbow
The Fortress Hand of Sohda Hiroshi Strike and Axe Kick take 2d6+1 Hit Location rolls;
½ 4 +2 +2 Block, Abort the Knee Strike takes a 2d6+7 roll. The other maneu-
The Gentle Grasp of Master Shiokawa vers do not require Hit Location rolls.
½ 4 +0 +0 Grab One Limb, +10
STR for holding on Special Abilities: In addition to the special abilities
Hayata Setsuko’s Hand of Passage available to Kung Fu and Thai Kick-Boxing practi-
½ 4 +0 +0 +15 STR to Shove tioners, Thunder Dragon masters may also know the
The Response of the Stream following powers:
‘D o not
½ 4 — +5 Dodge All Attacks, 1) Thunder-Kick: A kick accompanied by a loud
Abort
burst of sound that deafens and stuns the target:
The Touch of Tsukiyomi seek to
½ 5 +0 +1 2d6 NND(1) Thunder-Kick: Hearing Group Flash 4d6, Trig-
The Waterfall Throw of Sakai Akemi ger (when character uses Roundhouse Kick, follow in the
½ 4 +1 +1 STR +v/5; Target takes no time, immediately automatically
Falls
resets; +1) (24 Active Points); Linked (-1/2) footsteps of the
Skills (total cost: 16 points) plus Energy Blast 2d6,
Acrobatics NND (defense is being deaf or having Hear- wise. Seek what
Breakfall
ing Group Flash Defense; +1), Trigger (when
KS: Shintoism
character uses Roundhouse Kick, takes no time,
they sought.’
KS: Takijutsu
immediately automatically resets; +1) (total —Basho
cost: 30 points). Total cost: 46 points.
Thunder Dragon Kung Fu
2) Water-walking: By carefully focusing their ch’i,
This fighting style originated in Bhutan, “land Thunder Dragon practitioners can walk upon water.
of the thunder dragon,” hence its name. Legend has They buy this as Flight 5” (10 Active Points); Only
it a Buddhist monk named Jigme developed it after Works In Contact With Water (-1½), Concentration
observing a crane struggling to capture a large fish. (0 DCV; -½). Total cost: 3 points.
He taught the art to his fellow monks, one of whom
took it to Thailand and China when he traveled there 3) Weather control: The ability to manipulate the
as a missionary. He integrated elements of Muay weather. Characters buy this as a form of Change
Thai and northern Kung Fu styles into the art to Environment, and may also buy related powers (such
create a more well-rounded fighting style. as an EB reflecting the power to call down lightning
Thunder Dragon Kung Fu (Léilóng Ch’uan) bolts to smite one’s foes).
relies on kicks as its principle attack form, keep-
ing the arms and hands in reserve to block or grab.
Most of its movements are circular, in imitation of
Zen Riflery
the sinuous body of the thunder dragon, giving its This fighting style is best referred to as “the art
strikes great power. Thunder Dragon practitioners of the gun.” Its tongue-in-cheek name is a joking
are also known for their ability to withstand blows reference to Kyujutsu/Kyudo (“Zen archery”).
that would knock other fighters unconscious. Some practitioners call it Gun Fu or Woojutsu. It’s
a modern-day refinement on several more or less
extinct Japanese arts, including Jukenjutsu (the art
THUNDER DRAGON KUNG FU of the bayonet), Hojutsu (the art of the arquebus),
and Kajutsu (the art of firearms and explosives, also
known as Kayakujutsu and Teppojutsu).
Crescent Zen Riflery cannot take the Style Distinctive
Kick ½ 4 -1 +1 Disarm, +10 STR to Feature.
Disarm roll
ZEN RIFLERY NOTES
Grab ½ 3 +0 -1 Grab One Limb, +10
STR for holding on The “Club” referred to above is the gun itself, used as a
Knee Strike ½ 5 +2 +1 STR +2d6 Strike hand-to-hand weapon. In some cases this can damage
Legsweep ½ 4 +2 +0 STR +1d6 Strike;
the gun. Practitioners can also learn special techniques
Target Falls
Roundhouse Kick/
for using the bayonet on a rifle (they may also study
Axe Kick ½ 5 -2 +1 STR +4d6 Strike true Jukenjutsu if they wish; see page 32).
Snap Kick/Punch/ Optional Rules: The Smash/Thrust takes a 2d6+1 Hit
Elbow Strike ½ 4 +0 +2 STR +2d6 Strike Location roll. All other offensive maneuvers take a 3d6
Skills Hit Location roll.
As Kung Fu package
KS: Thunder Dragon Kung Fu
Special Abilities: Gun Fu practitioners have devel-
WF: As Kung Fu package oped a wide variety of abilities to simulate their skill
with firearms. They include:
Elements
As Kung Fu package 1) Deadly Accuracy: The character has such good aim
that almost every shot is an instant kill. The character’s
accuracy is simulated not with extra OCV, but with extra ZEN RIFLERY
damage, signifying his ability to hit vital areas with every
shot. RKA +2d6, adds to any firearm (30 Active Points); Used with Clubs Group; Weapon Element Clubs is free
OIF (any firearm; -½), Does Not Work With Hit Loca- Maneuver Phs Pts OCV DCV Damage/Effect
tion Chart Or Targeting Skill Levels (-¼), No KB (-¼). Block ½ 4 +2 +2 Block, Abort
Total cost: 15 points. Dodge ½ 4 — +5 Dodge All Attacks,
Abort
2) Mowing ‘Em Down: The character is skilled with Smash/
Autofire attacks, able to cut down numerous foes without Thrust ½ 4 +0 +2 Weapon +2 DC Strike
suffering CV penalties. Area of Effect (Radius, Selec- Takeway ½ 5 +0 +0 Grab Weapon,
tive) for up to RKA 4d6, adds to any Autofire firearm +10 STR to take
(75 Active Points); OIF (any Autofire firearm; -½), Must weapon away
Use Maximum Number Of Autofire Shots, Can Only Used with Pistols Weapons Group; Pistols Weapon Ele-
Hit One Target Per Shot (-¼), Does Not Work With Hit ment is free
Location Chart Or Anti-Targeting Levels (-¼). Total cost: Maneuver Phs Pts OCV DCV RNG Damage/Effect
37 points. Accurate
Shot ½ 4 +2 -2 +2 Weapon Strike
3) Corridor of Death: The character can use an Autofire Basic Shot ½ 4 +0 +0 +2 Weapon +2 DC
attack to fill a hall, corridor, or similar confined space Strike
with a hail of lead. Area of Effect (Line, x2 length) for Defensive
up to RKA 4d6, adds to any Autofire firearm (75 Active Shot ½ 3 -1 +2 +0 Weapon Strike
Points); OIF (any Autofire firearm; -½), Must Use Maxi- Distance Shot ½ 5 +0 -2 +6 Weapon Strike,
mum Number Of Autofire Shots, Can Only Hit One +1 Segment
Target Per Shot (-¼), Does Not Work With Hit Loca- Diving Shot ½ 3 +0 +2 +1 Weapon Strike,
Half Move
tion Chart Or Targeting Skill Levels (-¼). Total cost: 37
Required, You Fall
points. Far Shot ½ 5 +1 -1 +4 Weapon Strike
4) Machine Gunner From Hell: The character is Leg Shot ½ 3 +0 -1 +0 Weapon +2 DC
extremely accurate when using Autofire attacks against Strike, Throw
a single foe. +4 OCV with Autofire Firearms (20 Active Offensive
Points); Only Apply When Uses Autofire Against A Shot ½ 4 -1 -1 +0 Weapon +4 DC
Strike
Single Target (-¼), Must Use Maximum Number Of
Quick Shot ½ 4 +1 +0 +0 Weapon +2 DC
Autofire Shots (-¼), Does Not Work With Hit Loca- Strike
tion Chart Or Targeting Skill Levels (-¼). Total cost: 11 Ranged
points. Disarm ½ 4 +0 +0 +0 Disarm, +15 STR
5) Quick Fire: The character can attack in a manner like to roll
the Rapid Fire maneuver, but he’s so nimble he suffers Trained Shot ½ 4 +2 +0 +0 Weapon Strike
no DCV penalties when doing so. On the other hand, Skills
he suffers the usual penalties associated with Autofire Combat Skill Levels
if he does not buy Skills such as Accurate Sprayfire and Demolitions*
KS: Gun Accessories
Concentrated Sprayfire. Autofire (up to 5 shots) for up to
KS: Zen Riflery
RKA 4d6 firearms (30 Active Points); OIF (any firearm; Missile Deflection (dodging bullets)
-½), Does Not Work With Hit Location Chart Or Target- PS: Gunsmith
ing Skill Levels (-¼). Total cost: 17 points. PS: Create Ammunition
TF: Parachuting
WF: Pole Arms (for Bayonet)
WF: Small Arms*
WF: other modern weapons
Weaponsmith
Elements
Weapons +1 Use Art with Bayonet
Barehanded +1 Use Takeaway maneuver
Hero Games 75
ADVANCED
NINJUTSU
O
ne of the most frequently encoun- families went into decline; their skills were not of
tered villains in just about any movie, much use in a peaceful Japan. According to some
comic book, or action novel these historians, the last true ninja used their skills in
days is the ninja — the elusive assas- World War II, and no one practices genuine nin-
sin-spy of feudal Japan. Ninja clans and individual jutsu today. But other sources say some ninja fami-
ninjas are particularly popular in martial arts-based lies retained and handed down their skills until the
comics, but they’re used as villains in many other modern era, and their ninjutsu is still being taught,
stories as well. Even characters who aren’t “true” or even by Americans who have learned the art.
“pure” ninja have often received “ninja training” of
some sort.
Most works of fiction portray ninja as seri-
NINJA PACKAGE DEAL
ous enemies with skills so advanced they present Skills Cost
a credible threat to the most skilled PCs. With the WF: Common Melee Weapons, Common
addition of some unusual, or mystic, abilities, they Martial Arts Melee Weapons, Common Missile
can even go head-to-head with superpowered Weapons, Garrote, Blowgun, Fukimi-bari 9
humans. A few authors have made fun of this trend Ninjutsu or Karate maneuvers (character’s
and shown that the ninja have humor value, too choice) 10
— sometimes Our Hero can’t even get near China-
KS: Ninjutsu or Karate (character’s
town without stepping on hordes of the damned choice) 8- 1
things, and their fighting prowess is questionable
at best. Language: Ninja Clan Codes and Symbols
(fluent conversation; literate) 3
This section of The Ultimate Martial Artist
takes a look at ninja — their fighting arts, special Acrobatics 3
abilities, tools, and equipment. Breakfall 3
Climbing 3
NINJA PACKAGE DEAL Concealment 3
Stealth 3
In feudal Japan, ninja were reconnaissance
experts, spies, and assassins. The principles of nin- Choose any two of the following: 6
Contortionist, Conversation, Demolitions,
jutsu began development as early as the seventh
Disguise, Fast Draw, High Society, Lockpicking,
century AD and reached their height during the Paramedics, PS: Dancing 12-, PS: Cartography 12-,
Tokugawa era (seventeenth to nineteenth centuries PS: Healer (Doctor) 12-, PS: Singing 12-, Riding,
AD). The earliest name for ninja was shinobi, or Seduction, SS: Meteorology 12-, Security Systems,
“stealer-in” (one who sneaks in), and their arts were Sleight Of Hand, Survival (3 points’ worth),
collectively known as shinobijutsu. Tracking, Weaponsmith (3 points’ worth)
Ninja belonged to extended ninja clans, most Total Cost: 44
of which were located in the Iga and Koga moun-
Optional Skills
tain areas. A clan was often associated with a spe- Bugging 3
cific noble family that utilized its services on an Electronics 3
exclusive or near-exclusive basis. Mechanics 3
Ninja fell into one of three ranks within their WF: Small Arms 2
families. The low man was the genin, the agent- Optional Disadvantages
level ninja who performed the dangers missions; Distinctive Features: Style -10
in Tokugawa times, known genin were the lowest Distinctive Features: Ninja Night-Suit (Easily
form of life in the Japanese social strata. The middle Concealed; Noticed and Recognizable) -5
man was the chunin, the functionary of the ninja (for feudal-era ninja, increase the Reaction to
clan, a subleader and planner. The top rank was that “Causes Extreme Reaction (fear and loathing),”
of the jonin, the ninja group or family leader who and the value to -15)
prepared, accepted, or refused contracts. Hunted: own ninja clan (or organized crime
group) 11- (Mo Pow, NCI, Watching) -10
Female ninja, called kunoichi, existed. They
(this Hunted is appropriate for a ninja who’s
learned traditional ninja abilities but were espe- loyal to his clan [or for modern ninja, his
cially skilled at espionage through seduction and organized crime group]; you can change its
infiltration. value by changing the frequency)
After the end of the Tokugawa era, the ninja
great distance. They should buy at least an extra 5”
VARIANT STYLES of Leaping. In some cases the extra Leaping may
OF TAIJUTSU Require An Acrobatics Roll (-½).
2) Chūchū naku (“to chirp”): The Kõrogi ninja’s
For players who want to be a little different with
ability to attack his enemies by expelling his ki as a
their ninja characters, here are four fictional styles
shout. It is equivalent to Kiaijutsu (see page 134).
of Taijutsu.
3) Kõrogitobu (“The cricket’s leap”): A powerful
attack ability: Leaping +20” (20 Active Points); Only
Kõrogi Taijutsu To Make Half Moves In Combat (-1) (total cost: 10
Developed by the elusive Mosoru ninja clan, points) plus HA +5d6 (25 Active Points); Hand-
Kõrogi (“cricket”) Taijutsu received its name for To-Hand Attack (-½), Linked (-½) (total cost: 12
two reasons. The first and more obvious reason is points) plus +1 OCV (total cost: 2 points). Total
its visual element: Kõrogi Taijutsu involves a lot of cost: 24 points.
leaping, flying kicks, and other maneuvers not com-
monly used by ninja. The second (but perhaps more
important) reason is that, like a cricket at night, you
Mist Viper Taijutsu
may sense there’s a Mosoru ninja near, but you can Mist Viper (Kiri no Mamushi) Taijutsu is
never find and catch him. everything the Silent Path (see below) is not: hard,
The Mosoru have taught their art to several brutal, combative. Mist Viper ninja, of the Saito
Westerners they trust, but do not teach it openly. clan, are a secretive group known as lethal assassins
and top-flight combat agents. On the other hand,
their infiltration skills are not nearly as well-devel-
oped as those of Silent Path practitioners. A great
KOROGI TAIJUTSU rivalry exists between these two families; the Saito
Maneuver Phs Pts OCV DCV Damage/Effect also despise practitioners of the Way of the Night
Atemi Strike ½ 4 -1 +1 2d6 NND(1) Dragon and work to eliminate them. Few if any
Cricket Choke Westerners have ever learned this style.
Hold ½ 4 -2 -1 Grab One Limb; 1d6
NND(2); FMove
Cricket MIST VIPER TAIJUTSU
Dodge ½ 5 — +4 Dodge All Attacks,
Abort, FMove Maneuver Phs Pts OCV DCV Damage/Effect
Cricket Kick ½ 5 +1 +0 STR +v/5; FMove Block ½ 4 +2 +2 Block, Abort
Cricket Blood-Fist Of The Mist Viper
Escape ½ 4 +0 -1 +10 STR vs. Grabs; ½ 4 +2 +0 STR +2d6 Strike
FMove Death-Fist Of The Mist Viper
Punch ½ 4 +0 +2 STR +2d6 Strike ½ 4 -2 +0 ½d6 HKA (2 DC)
Spear Hand ½ 4 -2 +0 ½d6 HKA (2 DC) The Neck-Throw Of Saito Junzo
Takedown ½ 3 +1 +1 STR Strike; Target ½ 5 -2 +0 ½d6 HKA (2 DC);
Falls Target Falls
Saito Masao’s Invincible Grip
Skills ½ 4 -2 +0 Grab One Limb; 2d6
Acrobatics* NND(2)
Breakfall* Saito Yuriko’s Strike Of Revenge
Contortionist* ½ 5 -2 +1 STR +4d6 Strike
As Ninjutsu package The Sting Of The Mist Viper
Elements ½ 3 +1 +1 STR Strike; Target
As Ninjutsu package Falls
Skills
KOROGI TAIJUTSU NOTES As Ninjutsu package
The Cricket Escape allows the character to make Elements
a Full Move during the process of escaping from a As Ninjutsu package
hold of some sort. The character must succeed with
his Escape (i.e., roll more BODY on his STR dice
than his attacker does) before he gets to make the MIST VIPER TAIJUTSU NOTES
Full Move; if he remains held, he cannot make the Optional Rules: The Blood-Fist and Death-Fist
Full Move. both take 2d6+1 Hit Location rolls. Saito Yuriko’s
Optional Rules: The Cricket Kick, Punch, and Strike of Revenge, a form of kick, takes a 3d6 loca-
Spear Hand all take 2d6+1 Hit Location rolls. The tion roll. The other maneuvers either do not use
Takedown does generalized damage and requires rolls, do generalized damage to the target, or target
no roll. The other maneuvers do not use Hit Loca- a specific location.
tion rolls. Special Abilities:
Special Abilities: The special skills of the Kõrogi 1) Kõdokuso: Immunity to many different kinds of
practitioner include: serpent venoms (LS: Immunity).
1) Leaping: Practitioners of this style can leap a
Hero Games 77
2) Saito Serpent Form: Legends say the most puis-

sant of the Saito Clan ninja can take on the shape
of a serpent; they use this ability to gain access
to secure locations, hide from their enemies, and
deliver poisonous bites to their targets (Multiform).
Silent Path Taijutsu

The creators of this style, the Morioka ninja
clan, value stealth and movement skills over offen-
sive techniques. Consequently, the Silent Path
(Komichi Shizukana) contains few strikes, concen-
trating instead on blocks and defensive maneuvers.
Known primarily for their infiltration and
escape skills, Silent Path ninja often prefer not to
use their abilities to kill. They are fierce rivals of the
Mist Viper ninja (see above). Their ranks include
many Westerners who have learned the style while
in Japan.
SILENT PATH TAIJUTSU NOTES
Optional Rules: The Fifth and Sixth Paths both
take 3d6 Hit Location rolls. The other maneuvers
do not require location rolls.
Special Abilities:
1) The Seventh Path (Supreme Defense): Defense
Maneuver I-IV
2) Various ninjutsu mystic arts of invisibility and
stealth (described below).
3) The Path Of No Path: The ability to walk with-
out leaving footprints (see page 127 under Gliding).
4) The Eighth Path (Supreme Movement): Telepor-
tation 10” (assumes character has Running 10”; 20
Active Points); Requires A Stealth Roll (-1/2), Only
To “Vanish” When No One Is Looking (-1/2), Can
Only Teleport To Places Character Could Normally
Go (-1/2), No Non-Combat Multiple (-1/4). Total
cost: 7 points.
SILENT PATH TAIJUTSU The Way Of The Night Dragon

Maneuver Phs Pts OCV DCV Damage/Effect The Way of the Night Dragon (Yoruryujutsu)
The First Path (Avoidance) was developed by the Kagemura Clan during
½ 4 — +5 Dodge All Attacks, Japan’s feudal era. The clan strove to create a style
Abort which maintained the stealth techniques of nin-
The Second Path (Escape) jutsu while increasing the ninja’s martial prowess.
½ 4 +0 +0 +15 STR vs. Grabs
The Night Dragon style also incorporates several
The Third Path (Interception)
½ 5 +1 +3 Block, Abort
mystic skills and abilities the Kagemura ninja found
The Fourth Path (Removal) particularly useful.
½ 4 -1 +1 Disarm, +10 STR to In time, because of this style’s emphasis on the
Disarm roll mystical, a religion developed around it. Its adher-
The Fifth Path (Subdual) ents worship “the Night Dragon” itself, and look
½ 4 -1 +1 2d6 NND(1) upon him as the source of their abilities (especially
The Sixth Path (Conflict) the infamous Veil of the Night Dragon). Depend-
½ 5 +1 +3 STR Strike ing upon who tells the tale, those who worship
Skills the Night Dragon are either honorable warriors
Stealth* devoted to an altruistic philosophical concept, or
As Ninjutsu package cruel assassins whose god lives by human sacrifice.
Elements
As Ninjutsu package NIGHT DRAGON TAIJUTSU NOTES
The Jaws of the Night Dragon allows a character to
break free of a Grab in such a way that he strikes
the person who grabbed him. The character first
makes his STR Roll to see if he escapes. If he suc-
ceeds, he rolls in the normal fashion to see if the
NIGHT DRAGON TAIJUTSU
‘O
Strike part of the maneuver hits. If the escape fails, Maneuver Phs Pts OCV DCV Damage/Effect
ne he must make an Attack Roll with the penalties and The Claw Of The Night Dragon
modifiers described under Grab on page 386 of the ½ 4 -2 +0 ½d6 HKA (2 DC)
HERO System 5th Edition, Revised. The Jaws Of The Night Dragon
var 5 +0 +1 +10 STR vs. Grabs;
defends when Optional Rules: The Sublime Fist Of The Night STR +2d6 Strike
Dragon, the Claw Of The Night Dragon, and Jein’s Jein’s Dragon-Wing Fan
his strength is Hand Of Shadow all take 2d6+1 Hit Location rolls. ½ 4 +2 +2 Block, Abort
The Jaws Of The Night Dragon does generalized Jein’s Hand Of Shadow
inadequate; he damage; all the other maneuvers do not require Hit ½ 4 -1 +1 2d6 NND(1)
Location rolls. Kinuko’s Puzzling Apprehension
attacks when it ½ 3 -1 -1 Grab Two Limbs, +10
Special Abilities: STR for holding on
is abundant.’ 1) The Veil Of The Night Dragon: This is the Night Saigo’s Body Of Shadow
Dragon ninja’s most feared power: the ability to ½ 4 — +5 Dodge All Attacks,
—Sun Tzu, avoid detection by those who can sense danger.
Abort
The Sublime Fist Of The Night Dragon
The Art of War (Invisibility to Danger Sense (20 Active Points); ½ 4 +0 +2 STR +2d6 Strike
Requires A Stealth Roll (-½); total cost 13 points.)
Skills
2) Eyes Of The Night Dragon: The ability to remain Acrobatics
completely aware of one’s surroundings while Breakfall
asleep (Lightsleep). As Ninjutsu package
3) Will Of The Night Dragon: Equivalent to Saim- Elements
injutsu (see below). As Ninjutsu package
NINJA SPECIAL ABILITIES

This section describes some examples of the
sort of special skills and abilities ninja characters
can purchase, including mystic or paranormal abili-
ties.
Mundane Ninja Abilities

THE DANCE OF THE SIX STARS
This is a rapid-fire shuriken-throwing ability
used not only by true ninja, but by some practi-
tioners of Shurikenjutsu as well. The ninja hides a
number of shuriken on his person, anywhere from
his feet to his head. (The usual number is nine,
which has special significance for the ninja.) Then,
in an emergency, he can pull them out and begin
throwing them extremely quickly. To avoid present-
ing a stationary target and to build up momentum
for his throws, the ninja spins, moves, and ducks as
he draws and throws the shuriken. A highly-trained
practitioner’s moves are so fluid they often seem
like a sort of “dance,” hence this manuever’s name.
The Dance Of The Six Stars: HKA ½d6 (plus
STR), Ranged (+½), Autofire (up to nine
shots; +1) (25 Active Points); IAF (concealed
shuriken; -½), No KB (-¼), Requires A DEX
Roll (-½). Total cost: 11 points.
Note: with GM permission, characters could
add the Trigger Advantage, with the Trigger
defined as a “reflex action” or something simi-
lar. A character with the Triggered version of
this ability should be limited to throwing no
more than three shuriken in a Phase.
Hero Games 79
THE DRAGON’S CLAW allies. As such, characters can buy it as a Professional

The Dragon’s Claw (Ryu no Tsume) allows a Skill. Modern-day ninja might expand Noroshijutsu
ninja to inflict rending and tearing damage upon an to include all forms of communication and signalling
enemy. Training for it consists of strengthening the (i.e., Systems Operation).
hands and wrists. In game terms, a ninja with this THE SLEEP OF ESCAPE
ability can buy the Tiger/Dragon Claw maneuver
This ability allows the ninja to reduce his heart-
from Kung Fu for his Ninjutsu package.
beat and rate of respiration, making him appear dead.
GENJUTSU However, his senses remain active on some level, and
Genjutsu (the art of illusion) is the ninja’s skill he “awakens” when he’s safe once more. Ninja often
at creating images and illusions using props and use this ability to escape from prison cells, hence its
other devices. For example, a ninja might set up a name.
lot of dummies and light some fake campfires to The Sleep Of Escape: Simulate Death (character
make a besieging army look larger than it really is. awakens when danger has passed or other speci-
These illusions are relatively crude and take a long fied condition is met): 3 points.
time to set up or change.
Genjutsu: Sight and Hearing Group Images, -2
to PER Roll, 1” radius (19 Active Points); IIF Mystic Ninja Abilities
(various props; -¼), Limited Effect (Normal
In addition to their mundane skills, the ninja
Sight and Normal Hearing only; -¼), Set Effect
were credited with a wide variety of mystical powers.
Until Changed (-½), Extra Time (1 Turn or
This offers players plenty of opportunities to “custom-
more to set up or change an image, depending
ize” their ninja characters and give them unique and
upon complexity; -1). Total cost: 6 points.
interesting powers, such as the ones described below.
Modern-day ninja could take advantage of
THE BLESSING OF HOMASUBI
current technology (and maybe even holography)
to make their illusions more versatile and easy to By using this special power, a ninja can cause
work with. Additionally, in some campaigns Gen- his hands to burst into flame (allowing him to create
jutsu could represent a mystical ability allowing a light or cause damage in combat).
ninja to create true Images or Mental Illusions to Cost Power END
confuse his enemies. 56 The Blessing Of Ho-Masubi: Multipower,
HOJOJUTSU/TORINAWAJUTSU 56-point reserve
3u 1) HKA 1½d6, Damage Shield (covers
This is the ninja’s knot-tying ability, with which
the hands only and so does not affect
they restrained prisoners. Knowledge of knot-tying
characters who Grab other parts of the
also helped a ninja escape when someone tied him
character’s body; +¼), Continuous (+1);
up. Characters buy Hojojutsu as a Professional Skill:
No STR Bonus (-½), No KB (-¼) 4
Knot-Tying. For every point a character makes
1u 2) Sight Group Images, Increased Size (8”
his PS: Knot-Tying by, a character trying to escape
radius; +¾); Only To Create Light (-1) 2
from or undo the knots using another Skill (such
as Contortionist) suffers a -1 penalty to his roll. THE BRIDGE OF THE TIDE DRAGON
Similarly, if a character with PS: Knot-Tying is tied While many ninja can use special devices to
up, his PS: Knot-Tying acts as a Complementary seemingly “walk on water,” a few ninja can do so
Skill to his Contortionist roll when he tries to untie unaided! These ninja know how to extend their ki
himself. so it supports them on the surface of the water. Of
THE MIRACULOUS SUNBURST course, this ability only works on relatively calm
water; ninja cannot use it in rapids or surf.
This skill teaches the ninja to use the reflec-
tive surface of an object to temporarily blind an The Bridge Of The Tide Dragon: Flight 5” (10
opponent. Although it’s usually done so the ninja Active Points); Only In Contact With The Sur-
can make an escape, characters can also use it in face Of Relatively Calm Water (-1½). Total cost:
combat. A ninja who knows this skill usually carries 4 points.
several reflective objects on his person (a silver war
fan, highly polished pieces of jewelry or shuriken, CASTLE WITHOUT WALLS
and so forth).
One of the legendary powers of the ninja was
The Miraculous Sunburst: Sight Group Flash the ability to walk through walls and other barriers,
4d6 (20 Active Points); OIF (reflective object of thereby gaining access to otherwise impenetrable
opportunity; -½), Requires A Light Source To fortresses and strongholds.
Reflect (-¼), Requires A DEX Roll (-½). Total
Castle Without Walls: Desolidification (affected
cost: 9 points.
by any type of attack) (40 Active Points); Does
Not Protect Against Damage (-1), Only To Walk
NOROSHIJUTSU Through Walls (-1). Total cost: 13 points.
In ancient times, Noroshijutsu was the ninja’s
skill of using signal-fires to communicate with his
THE FOLDED BLADE Knockback (-¼), or as “Perching” Clinging (see side-
This “origami magic” allows a ninja to spend bar, page 143, HERO System 5th Edition, Revised).
about a minute folding a piece of specially-pre- IRON BODY
pared paper into a functional dagger or other
This mystical power, similar to the Kung Fu
small weapon. Origami weapons are as vulnerable
master’s power of like name, is the ability to with-
to most physical forces as their metal or wooden
stand blows from edged weapons without injury. A
counterparts, but disintegrate completely if they
ninja buys it as Damage Resistance for his PD.
contact water (but not blood).
Whispered tales speak of more advanced KUJI KIRI
forms of origami magic, in which the folder cre- Kuji kiri (“nine ways cutting”) is a form of
ates paper creatures which actually come to life! mystical meditation. A ninja learns nine different
However, if such magics exist, they are beyond the ways to interlace his fingers, each with its own sym-
purview of ninja wizardry. bolic significance. By meditating on this gesture, the
Folded Dagger: HKA ½d6 (plus STR) (10 ninja evokes special abilities, strengths, and powers.
Active Points); OIF (piece of origami paper; The kuji kiri powers listed below are but one
-½), No KB (-¼), Real Weapon (-¼), Extra set PCs could develop. Characters could also buy
Time (takes 1 Turn to fold into shape before it off the Extra Time and Charges Limitations once
can be used; -1¼), Requires A PS: Origami Roll they became proficient with this power.
To Create (-½), Susceptible To Water Damage Cost Power END
(-¼). Total cost: 2 points. 14 Kuji Kiri: Multipower, 40-point reserve,
all slots Gestures (-¼), Extra Time (1
Folded Shuriken: HKA ½d6 (plus STR), Turn; -1¼), and Requires A KS: Ninjutsu
Ranged (+½) (15 Active Points); OIF (piece of Roll (-¼) (total -1¾)
origami paper; -½), No KB (-¼), Real Weapon 1u 1) Rin (“strength”): Aid STR 4d6;
(-¼), Extra Time (takes 1 Turn to fold into Common Limitations (-1¾), Self
shape before it can be used; -1¼), Requires A Only (-½) 4
PS: Origami Roll To Create (-½), Susceptible To 1u 2) Kyo (“direction of energy”):
Water Damage (-¼). Total cost: 4 points. Telekinesis (20 STR); Common
Limitations (-1¾) 3
HANDS OF THE SPIDER 1u 3) Toh (“harmony”): Aid EGO 4d6;
Ninja climbing abilities sometimes exceed the Common Limitations (-1¾), Self
scope of the Climbing Skill. In fact, some ninja can Only (-½) 4
actually stick to walls, ceilings, and similar surfaces. 1u 4) Sha (“healing”): Simplified Healing
Characters can buy this as Clinging, Cannot Resist 4d6; Common Limitations (-1¾), Self
Only (-½) 4
1u 5) Kai (“premonition”): +6 to Danger
Sense roll; Common Limitations (-1¾),
1 Charge lasting 1 Turn (-1½), Costs
END (-½) 1
1u 6) Jin (“knowing the thoughts of
others”): Telepathy 6d6; Common
1u 7) Retsu (“mastery of time and space”):
Teleportation 15”; Common
1u 8) Zai (“control”): Aid PRE 4d6;
Common Limitations (-1¾), Self
Only (-½) 4
1u 9) Zen (“enlightenment”): Aid INT 4d6;
Common Limitations (-1¾), Self
Only (-½) 4
NINJA INVISIBILITY POWERS
The mystical power most commonly attributed
to the ninja was the power to become invisible. “Invis-
ibility” actually consists of several different abilities,
some as much skills as magical powers.
The Mantle Of Night (the ability to become invis-
ible in darkness or shadow): Invisibility to Sight
Group, Reduced Endurance (0 END; +½) (30
Active Points); Only Works In Darkness Or Shad-
ows (-½), Requires A Stealth Roll (-½). Total cost:
15 points.
Hero Games 81
Ametori-no-jutsu (the art of silhouette distortion): ibility powers: he uses his ki to make his movement
eliminate the Fringe Effect for other types of Invis- absolutely silent. This power is for the ninja’s normal
ibility (10 Active Points); Requires A Stealth Roll ground movement; characters can buy similar powers
(-½). Total cost: 7 points. for swimming and other forms of movement.
The Paths Of The Cat: Invisible Power Effects
Hiding In Plain Sight (the power to create illusions (Hearing Group; +¼) for up to 10” Running: 5
to camouflage the ninja): Images to Sight Group, points.
-3 to PER Roll, 1” radius (19 Active Points);
Requires A Stealth Roll (-½), Set Effect (only to
SAIMINJUTSU
camouflage the ninja; -½). Total cost: 9 points.
Saiminjutsu (“the way of the mind gate,” also
Mind Like A Pool (the ability to hide one’s mind spelled Hsimenjutsu) is the ninja power of mind
from mental detection): Invisibility to Mental control. Ninja can use this power to control the
Sense Group (10 Active Points); Requires A minds of others, both in and out of combat; to
Stealth Roll (-½). Total cost: 7 points. reverse the same sort of control which has been
imposed by another; and to cloud men’s minds,
True Invisibility: Invisibility to Sight Group, No making him invisible to them.
Fringe, Reduced Endurance (0 END; +½): 45 Cost Power END
points. 23 Saiminjutsu: Multipower, 40-point
reserve, all slots Gestures (-¼) and
ONIBI NO JUTSU Requires An EGO Roll (-½)
“The art of the demon’s fire” involves the use of 2u 1) Mind Control 8d6; No Range (-½),
an enchanted demon mask. By putting on the mask, Common Limitations (-¾) 4
a ninja gains the demonic power to breath flame. The 2u 2) Suppress Mind Control 8d6;
masks, products of blackest ninja magic, are extremely Common Limitations (-¾) 4
rare; some people say anyone who touches or wears 2u 3) Invisibility to Sight Group, No
one who does not belong to the owner’s clan becomes Fringe; Common Limitations (-¾) 3
cursed. SOUL LEECHING
Onibi No Jutsu: RKA 2d6, Area Of Effect (12” This is the darkest and most feared of the ninja’s
Line; +1) (60 Active Points); OIF (Demon Mask; magic abilities — the power to steal the life force of
-½), No Range (line must begin where character another. In its lesser form, the ninja simply drains the
is; -½). Total cost: 30 points. victim’s life force, injuring or killing him; in its greater
form, the ninja actually steals the victim’s life force
PASS WITHOUT TRACE and uses it to make himself stronger!
Some of the most skilled ninja possess the power Soul Leeching (lesser form): Drain BODY 3d6,
to travel from one point to a nearby point without Ranged (+½), Delayed Return Rate (points
passing through the intervening space. They most return once per Hour; +1) (75 Active Points);
often use this ability to escape pursuers or captors, but Concentration (½ DCV; -¼), Requires A KS:
can also use it to secretly enter a secured area. Ninjutsu Roll (-¼). Total cost: 50 points.
Pass Without Trace: Teleportation 15” (30 Active
Points); Extra Time (Full Phase; -½), Increased Soul Leeching (greater form): Transfer 5d6
Endurance Cost (x3 END; -1), Requires A KS: (target’s BODY half to character’s STUN, half
Ninjutsu Roll (-¼). Total cost: 11 points. to character’s END), Ranged (+½), Delayed
Return Rate (points return once per Hour; +1)
THE PATHS OF THE CAT (187 Active Points); Concentration (½ DCV;
-¼), Requires A KS: Ninjutsu Roll (-¼). Total
This power is the counterpart to the ninja’s invis- cost: 125 points.
THE ULTIMATE DISGUISE blade for boring or digging); shikoro (a hand-
Perhaps the rarest of the ninja’s mystical powers saw, either large [oshikoro] or small [koshikoro]);
is the ability to assume the shape of animals or other tsubogiri (crescent-shaped borers); and the yajiri
people (most commonly, that of the crow and the (another type of hand-saw).
wolf). This is bought as a Multiform or Shape Shift. Drilling devices: +1 to Lockpicking (2 Active
Consult the HERO System Bestiary for sample char- Points); OAF (-1). Total cost: 1 point.
acter sheets for many animals.
Door jammers: Many doors in feudal Japan were
opened and shut by sliding. Ninja would jam spe-
NINJA GEAR AND cially-shaped pieces of metal or wood called tojime,
EQUIPMENT shimeki, or kasugai between the two sliding panels to
prevent them from being opened, thus delaying any
The ninja used many different types of gear to pursuers.
perform their espionage and assassination missions
Tojime/Shimeki/Kasugai: Telekinesis (20 STR),
successfully. This section showcases some of their
Reduced Endurance (0 END; +½), Uncontrolled
equipment. Modern-day ninja can use “traditional”
(removable by spending one Phase and making
gadgets of the sort described here, or develop modern
a DEX Roll; +½) (60 Active Points); OAF (-1),
equivalents (which tend to be lighter, stronger, and
Only To Hold Sliding Doors Shut (-2). Total cost:
better). The choice often depends on training: an
15 points.
American ninja probably uses modern equipment; a
ninja trained by a secretive, tradition-bound clan in
Lockpicks: The ninja’s lockpicks were known as
rural Japan, even in the present day, probably learns
kurorokagi and oseku; they do not provide bonuses to
to use “archaic” equipment.
his Lockpicking Skill; instead, he must have them to
use the Skill at all. If he doesn’t have his lockpicks, he
Climbing Equipment either cannot pick the lock, or must attempt to do so
at a -5 penalty for lack of tools.
The ninja often had to climb walls, trees, and
other large objects, so they created several devices to
aid them. Collectively referred to as noboriki or toki, Water Equipment
these devices include: bashigo (collapsible ladders);
A ninja often has to operate on or around water,
various types of claw-like devices which also doubled
and employs a variety of gadgets to help him use
as weapons, such as the shuko, ashiko, and nekote
water to his advantage. Ninja water gadgets include
(refer to the Weapons section of Chapter Three for
boats, swimming aids, and water-walking equipment.
details); kagiwara or kaginawa (rope and grapnel);
kasugai (clamps a ninja could press into a wall to Boats: Traditional watercraft adapted to ninja pur-
form handholds or toeholds); katsushiya or kasha poses. Ninja could collapse them, or divide them into
(a pulley-and-rope device allowing a ninja to slide several parts, for easy carrying. Examples include the
from one area to another; bought as a limited form hasamibune (a collapsible floating platform for car-
of Swinging or Gliding); kumade (a hollow bamboo rying equipment); the kyobako-fune (a waterproof
staff with a rope running through the center; the chest which doubled as a type of boat); shinobibune
ninja pulls on the rope to stiffen the staff and make it (a boat which split into several sections for carrying
climbable); musubibashigo (a rope ladder with loops or hiding); and the tsubigune or tsugibune (collapsible
for footholds and a grapnel on one end); musubinawa boat). To use any of these craft properly, the character
(a horsehair rope, very strong and easy to hide); must know Transport Familiarity: Small Rowed Boats.
shinobikagi (a hollow staff containing a rope and Swimming aids: Ninja sometimes used mizukaki
hook which breaks down into a sort of rope ladder); or mizukakigeta, a “webbed sandal” which acted
shinobitsue (a hollow staff with a concealed hook and like modern swim fins, allowing them to swim
several rope toeholds); and tobibashigo (a bamboo- more quickly than normal. If they had to hide
and-rope ladder with a grappling hook at the top). underwater for extended periods, they used a tak-
Noboriki: +2 to Climbing roll (4 Active Points); ezutsu, or breathing tube (often disguised as a reed,
OAF (-1) or IAF (depending upon the obvious- and also called a mizuzutsu).
ness and accessability of the device, -½). Total Mizukaki: Swimming +3” (3 Active Points); OIF
cost: 2 points (OAF); 3 points (IAF). (-½). Total cost: 2 points.
Takezutsu: LS: Expanded Breathing (Expanded

Infiltration Equipment Breathing: Breathe Underwater) (5 Active
Points); OAF (-1), Only Works Close To The Sur-
The ninja employed a wide variety of devices to
face (-1). Total cost: 2 points.
aid them in picking locks and infiltrating areas.
Drilling devices: Ninja used these devices to drill Water-walking devices: These devices allowed the
or bore holes through doors and walls. They could ninja to “walk on water” so that he could cross rela-
throw them as crude shuriken (doing 1 pip RKA) tively calm lakes and streams quickly and quietly. To
if necessary. They include: the kunai (a trowel-like use them properly, a character must know Transport
Hero Games 83
Familiarity: Ninja Water-Walking Devices. Examples

include: kama-ikada (a foldable one-man straw raft); NINJA FROM OTHER LANDS
kameikada (large tortoise shells attached to a bamboo Japan is not the only land in which stealth, espi-
frame; the ninja placed his feet in the shells and poled onage, and assassination missions were conducted by
himself across the water with a special collapsible corps of elite warrior-spies. Several “alternate ninja”
bamboo paddle called a shinobigai); the mizugumo are described below. In most cases, these warriors
(“water spider,” two groups of boards tied together in used tactics and fighting styles which are, for game
a circular pattern and placed under each foot); tarui- purposes, the same as those used by the ninja.
kada (similar to the kameikada, but using flotation
pots instead of tortoise shells); and the ukidaru (two LIN KUEI
tubs joined by a cord, used like the taruikada). The lin kuei (“forest demons”) are the ninja
of ancient China. Some scholars believe the ninja
Water-walking devices: Flight 3” (6 Active
learned most of their techniques from the lin kuei,
Points); OAF (-1), Only In Contact With The Sur-
described by legends as Taoists who turned their reli-
face Of Relatively Calm Water (-1½), Requires
gious martial training to the secular ends of decep-
A DEX Roll (-½), Concentration (0 DCV; -½),
tion, assassination, and profit.
Requires TF: Ninja Water-Walking Devices (-0).
The lin kuei used a style of martial arts known
Total cost: 1 point.
as An Ch’i (see page 16). This style emphasizes the
use of hidden weapons and gadgets, and of small
throwing weapons (similar to shuriken). The lin
Miscellaneous Equipment kuei were masters of the thrown weapon; char-
acters who have received lin kuei training should
Disguised footprints: By attaching special soles to buy a “throwing master” ability (EB and/or RKA
the bottoms of his sandals, a ninja could disguise his with an OIF, “appropriate objects of opportunity”
footprints (ashiaro) as those of an animal, a man walk- — thus allowing the character to turn any small
ing the other direction, or the like. object into a deadly missile).
Disguised footprints: Cosmetic Transform 1d6 SULSA
(recognizable footprint into disguised footprint;
Standard Effect Rule applies) (5 Active Points); The sulsa are the ninja of Korea. They rose to
OIF (-½). Total cost: 3 points. prominence during the Three Kingdoms period of
Korean history, in the first millenia AD. They prac-
Hito Washi: A type of primitive hang-glider made ticed the art of concealment (also known as sulsa),
of cloth and bamboo which a ninja could use to glide and in many ways could be considered the opposite
over castle walls and other targets of observation. of the hwarang (young noble knights) just like the
Sometimes ninja also used this device to drop small ninja are the counterparts of the noble samurai.
bombs on the enemy. A similar device, more like a TRULKOR
large kite, was the yamidoko.
The trulkor is the Tibetan equivalent of the ninja.
Hito Washi: Gliding 5” (5 Active Points); OAF (- His fighting and espionage arts depended heavily on
1). Total cost: 2 points. the principles of deception and illusion — the idea
that if a fighter could mask his intent from the enemy,
Kitõ-gan: a special type of pill which ninja used to the enemy was helpless.
delay thirst for up to five days.
MODERN AMERICAN NINJA
Kitõ-gan: Life Support: Diminished Eating (only The term “modern American ninja” refers to
has to drink once per week) (1 point); OAF (-1), 1 present-day Americans (and persons from other
Charge (-2). Total cost: 1 point. western nations) who have received ninjutsu training.
Modern ninja from Japan are often depicted as using
Lighting devices: Ninja devices for providing light ancient devices and weapons, perhaps because of the
include: the gando, a type of searchlight made by “flavor” this gives them. American ninja, on the other
placing a candle inside a sort of metal tube; the mizu- hand, usually have no reluctance to use the technol-
taimatsu, a torch which continued burning even in the ogy of modern warfare and espionage. Modern
rain; and the ninshokudai, an L- or S-shaped candle American ninja are more likely than any other type
(and/or holder) which a ninja could wedge into or of ninja to use firearms, electronic devices, and simi-
hang from something to make others think he was lar high-tech gadgetry.
standing somewhere he was not.
OTHER NAMES FOR NINJA
Lighting devices: Images to Sight Group, 1” radius
(create light) (10 Active Points); OAF (-1), Only Other names that were sometimes given to
To Create Light (-1). Total cost: 3 points. the ninja include kuro hagi (“black calves”), nozaru
(“mountain monkeys”), rappa (“disheveled waves”),
Uchidake: The uchidake was a fire-starter made out and suppa (“crystal waves”).
of a bamboo tube.
Uchidake: Change Environment 1” radius
(start fire) (5 Active Points); OAF (-1). Total
cost: 2 points.
MARTIAL ARTS IN
OTHER GENRES
F
ighting skills play an important role in punk games is to give some of the styles new names
many genres, from fantasy, to science in the cyberpunk patois. For example, characters
fiction, to the wild west. This section might refer to “Street Smarts” instead of Dirty
explores some of the possibilities for Infighting; Kenjutsu becomes “Samurai Diplomacy.”
using martial arts in various genres. This helps to blend martial arts into the campaign so
they seem like an actual part of the world around the
characters, not just a tool for the PCs to use.
CYBERPUNK/NEAR FUTURE Here’s an examples of a cyberpunk martial
arts style.
MARTIAL ARTS
Most “cyberpunk” or near future settings include
the increased influence of the Japanese, Chinese, and
Razor Dancing
other Asian cultures as an element of the setting. Developed by cyberware-augmented street
Wherever Asian influence becomes so strong, the warriors to improve their odds of surviving in
martial arts prosper. The fact that cyberpunk worlds hand-to-hand combat, Razor Dancing focuses on
tend to be extremely violent places where people the use of various types of blades or spurs these
need to learn how to fight well doesn’t hurt, either. fighters often possess (including small blades, or
One way to “customize” martial arts for cyber- “hand razors,” that project from beneath their fin-
gernails, hence the style’s name). Fast, deadly, and
graceful, Razor Dancing gives a trained fighter an
edge normal street brawlers lack.
RAZOR DANCING
Used with Hand Razors; Hand Razors Weapon Element
is free
Damage/Effect
Block ½ 4 +2 +2
Block, Abort
Claw ½ 5 -2 +1
Weapon +4 DC Strike
Dodge ½ 4 — +5
Dodge, Affects All
Attacks, Abort
Jab ½ 5 +1 +3 Weapon Strike
Slash ½ 4 +2 +0 Weapon +2 DC Strike
Skills
WF: Hand Razors*
RAZOR DANCING NOTES

Optional Rules: The Claw, Jab, and Slash all take
Hit Location rolls of 3d6.
FANTASY MARTIAL ARTS

Martial arts are both common and popular in
fantasy games. In fact, having a martial arts pack-
age of some sort is often one of the things which
sets a PC apart from his less talented brethren (i.e.,
most NPCs). Three primary avenues for introduc-
ing martial arts into a fantasy campaign exist.
The first, and most important, is the use of
weapons. Muscle-powered weapons are a major
element in any fantasy campaign, and this provides
Hero Games 85
plenty of opportunities for the creation of fight-

ing styles. Some styles focus on a single weapon; POLURAATHKAA
examples from the “real-world” martial arts
description include Bojutsu/Jojutsu, Fencing, Ken- Maneuver Phs Pts OCV DCV Damage/Effect
jutsu, Kyujutsu, Naginatajutsu, Saijutsu, Sevillian Escape ½ 4 +0 +0 +15 STR vs. Grabs
Knifefighting, Shurikenjutsu, and Whipfighting. Evasive
Strike ½ 5 +1 +3 STR Strike
The broad Weapons Combat style adapts to many
Flying Strike ½ 5 +1 +0 STR +v/5; FMove
types of weapons, and is perfect for many fantasy Snare ½ 5 -1 -1 Grab Four Limbs,+10
campaigns and characters. Fantasy characters can STR for holding on
create similar fighting styles for their own weapons Strike ½ 4 +0 +2 STR +2d6 Strike
(for example, “Dwarven Axefighting” or “Elven Skills
Fencing”). Some might even develop a martial KS: Poluraathkaa
arts style for use with a single weapon, such as a WF: Common Melee Weapons
unique enchanted sword. For instance, if a charac- WF: Chain & Rope Weapons
ter owned a soul-eating sword that drains the life WF: Nets
from someone with the merest scratch, he wouldn’t Elements
find it efficient to use standard swordfighting Weapons +1 Use Art with Blades
maneuvers — he could develop a style of sword- +1 Use Art with Chain & Rope
play intended not to wound the enemy, but simply Weapons
to nick him. +1 Use Art with Nets
You can also use martial arts in a fantasy game
to represent the distinctive fighting maneuvers to release the target so close to the earth that he
of non-human races. Intelligent creatures such as can’t avoid hitting it (but of course must not get so
centaurs, gargoyles, mermen, and lizardmen would close that he himself cannot pull out of his dive in
develop fighting arts suited to their body struc- time to avoid crashing). To execute this maneuver
tures. Many of these martial arts would seem odd successfully, the character must succeed with a
to humans, and in many cases they couldn’t even DEX Roll at -1 per 5” of velocity. Failure may indi-
learn them. Poluraathkaa (see below) provides an cate that both fighters did not crash, that the target
example of such a fighting style. did not crash but the attacker did, or that both of
The third way to work martial arts into your them hit the ground.
fantasy game is as an aspect of particular cultures, Optional Rules: The Strike and Flying Strike both
societies, or groups. Obviously, if your campaign take 3d6 Hit Location rolls.
takes place in an Oriental setting, or even near
psuedo-Oriental lands, martial arts will be rela- Special Abilities: None.
tively common. But even without such nations,
certain societies or groups might develop martial
arts styles. In some cases the style constitutes a HORROR MARTIAL ARTS
particular society’s definitive ability, the way skill Martial arts are generally not a common ele-
with horses is the trademark of the horse-riding ment in the horror genre. After all, many horrors
nomad clans who populate many fantasy novels. are things characters can’t fight with fists or blades,
Perhaps the best example of this is the Bloodguard, so martial arts training isn’t of much use. How-
from Stephen Donaldson’s novels about The Land, ever, there are some opportunities to integrate the
but there are plenty of others. two without much strain. The most natural way
Here’s an examples of a fantasy martial is a horror story that takes place in Chinatown or
arts style. the Orient. Weird Oriental monsters may make
an interesting counterpoint to the usual run of
Western haunts and nightmares. The characters’
Poluraathkaa unfamiliarity with Oriental monsters and magic
Poluraathkaa (pole-oo-RAHTH-kah), a fight- adds an element of ignorance and helplessness
ing style developed many years ago by the Winged which serves to increase the fear and desperation
Folk, has been adapted by many other winged they feel.
races since, such as the gargoyles of the Stony
Wastes and the feared vulture-men. Designed
by flyers for use against flying foes, it cannot be PULP ERA MARTIAL ARTS
used by fighters on the ground. In addition to its Martial arts are an element of games set in the
unarmed maneuvers, the style teaches how to fight ‘20s and ‘30s, but are not as common as in some
with several weapons, including chain and rope other genres. Many of the strong-jawed heroes
weapons, which warriors use to entangle a target in of the era knew Boxing or Fisticuffs/Cinematic
flight and thus remove him from the battle. Brawling, and quite a few gangsters and other
POLURAATHKAA NOTES toughs knew Dirty Infighting or forms of knife-
fighting. The only time formal martial arts are
The Snare maneuver consists of grasping most of likely to crop up is with characters who have
the target’s limbs, including his wings, so he cannot trained in “the mysterious Orient” (such as The
fly. The attacker then dives straight for the ground Shadow), or with “sophisticated” characters who
Alternately, a character’s Analyze Style Skill
might only apply to martial arts developed by his
own species; he would have to purchase the Skill
for each species or region whose fighting styles he
studies (for example, Analyze Bandarian Styles,
Analyze Fomalhauti Cluster Styles, and so forth).
Here are two examples of science fiction mar-
tial arts:
Maashira
The Du’karça, a quasi-reptilian species native
to the planet Khomura, have achieved an enviable
reputation throughout their home galaxy for their
fighting skills. Du’karça mercenaries routinely
command greater rates of pay than mercs from
other species, and Du’karça assassins are likewise
considered the best of the best.
Much of the Du’karça reputation rests on their
species’s long tradition of hand-to-hand combat
arts. The most widely known of the hundreds
of fighting styles they have developed is
Maashira, a weapons-based art whose name
comes from a poetic term meaning “shining
high, yellow hot” (Du’karça blood is yellowish).
Maashira practitioners begin by learning the yinali,
have studied Fencing (for example, The Shadow a weapon almost identical to a sword, but featur-
or The Spider). Occasionally you’ll also find the ing two distinctive sharpened prongs about one
“explorer” type of character who has uncovered a handspan long projecting pointward from the hilt.
lost civilization and learned its fighting arts. Some never go beyond the yinali, preferring it to all
other weapons because of its versatility and simple
beauty. Others broaden their skills, learning how to
SCIENCE FICTION/FAR apply Maashira to spears, other polearms, various
flexible weapons, and the staff.
FUTURE MARTIAL ARTS
As humanity expands out into the galaxy and MAASHIRA
begins to encounter other intelligent species, the Used with Blades Weapon Group; Blades Weapon Element
opportunity to learn new and intriguing martial is free
arts styles increases dramatically. After all, a poten-
tial student now has not just dozens of styles to Avoidance ½ 4 — +5 Dodge, Affects All
choose from, but dozens of worlds’ worth of styles, Attacks, Abort
with all the variation that implies. Deprival ½ 4 -1 +1 Disarm, +10 STR to
Of course, some types of aliens are so non- Disarm roll
Human that mankind cannot learn their fighting Furious
styles. But in most science fiction universes a sub- Charge ½ 4 +2 -2 Weapon +v/5; FMove
stantial portion of the alien species are humanoid, so Jab/Thrust ½ 5 +1 +3 Weapon
Humans can probably study their martial arts without Lunge ½ 5 +1 -2 Weapon +4 DC
much problem. At the GM’s discretion, some maneu- Parry ½ 4 +2 +2 Block, Abort
Reprisal ½ 4 +2 +2 Weapon +2 DC
vers (such as Nerve Strikes) may only apply to a single
Strike, Must Follow
species (typically, the character’s own species) when Block
learned; characters have to buy a Science Skill in the Slash/Chop ½ 5 -2 +1 Weapon +4 DC Strike
anatomy of an alien species before they can use such
Skills
attacks successfully on members of that species. KS: Maashira
One option for science fiction martial arts is Two-Weapon Fighting
to limit or abolish the Style Distinctive Feature. In a WF: Blades*
galaxy possibly featuring thousands of martial arts WF: Chain & Rope Weapons
forms, it’s extremely unlikely a particular fighter has WF: Common Melee Weapons
in-depth knowledge of more than a tiny fraction of WF: Off Hand
them. Therefore the odds are against the Style Dis- WF: Staff
tinctive Feature actually being a Disadvantage most Elements
of the time, particularly if the character travels Weapons +1 Use Art with Chain & Rope
extensively. Therefore the GM should think about Weapons
giving fewer points for the Disadvantage, or even +1 Use Art with Polearms
disallowing its use entirely. +1 Use Art with Staff
Hero Games 87
MAASHIRA NOTES
Optional Rules: The Furious Charge, Jab/Thrust,
ZERO GRAVITY COMBAT
Lunge, and Slash/Chop all take location rolls of 3d6. Maneuver Phs Pts OCV DCV Damage/Effect
The other maneuvers do not take location rolls. Breakaway ½ 4 +1 +2 Strike, +10 STR to
Special Abilities: Shove target; Target
Falls; Must Follow
1. Storm Of Tears: Maashira practitioners of great Escape
experience and skill strike so swiftly they can hit Choke ½ 5 -1 +0 Grab One Limb; 2d6
an opponent repeatedly before he can react. You NND(2)
can buy this as a No Range Autofire RKA, or as an Escape ½ 4 +0 +0 +15 STR vs. Grabs
Autofire Advantage for a favored Strike maneuver Grab ½ 4 -1 -1 Grab Three Limbs,
(see page 104). +10 STR for holding
on
2. Severing: Maashira fighters of some schools Joint Break ½ 5 -1 -2 Grab One Limb; ½d6
train to disable and defeat their opponents by cut- HKA (2 DC), Disable
ting off limbs and heads. Their training focuses Nerve Pinch ½ 4 +1 +1 2d6 NND(1); Must
on aiming and counterstrike techniques designed Follow Grab
to hit these targets with ease. You can buy this as Reversal ½ 4 -1 -2 +15 STR to Escape;
Targeting Skill Levels (see page 66 of the HERO Grab
System 5th Edition, Revised). Skills
KS: Zero Gravity Combat
KS: Zero Gravity Operations*
Zero Gravity Combat Environmental Movement (no penalties in zero gravity)
Elements
Space Marines, space pirates, and other combat- Armor +1 Use Art in Armor
ive folk who are likely to find themselves fighting in Gravity +1 Use Art in Gravity
a zero-G environment from time to time learn this
martial art. Because of the action/reaction effect of
launching attacks in zero-G, Zero Gravity Combat
concentrates on grapples, holds, and other attacks SUPERHERO MARTIAL ARTS
which require relatively little linear motion. Martial arts are just about as common in
A character can use Zero Gravity Combat superhero settings as they are in fantasy games.
maneuvers in situations where gravity exists, but will Super-samurai, mystic-powered ninja, Chinese sor-
suffer -1 to his OCV and DCV unless he has bought cerers, and Westerners who have trained at ancient
the Element “Use Art in Gravity.” temples in hidden Oriental valleys parade through
For more information on fighting in zero-G the pages of thousands of comic books. Superhero
environments, refer to Zero Gravity And Martial Arts characters can learn any style described in this
on page 166. book, or make up their own — just about anything
ZERO GRAVITY COMBAT NOTES flies in this genre. Many simply learn the Generic
Martial Arts package (page 27) to simulate their
The Breakaway maneuver is a form of push a fighter knowledge of basic fighting maneuvers.
uses to “bleed off ” the momentum he builds up
when escaping from certain kinds of holds. It moves
the target away from the attacker, and also disorients WILD WEST MARTIAL ARTS
him sufficiently that the attacker can follow up with
Anyone who’s ever watched the television
another attack while the target regains his “balance”
show Kung Fu knows it’s possible for characters to
(this is simulated with the “Target Falls” element,
use Asian martial arts in a Wild West setting. How-
since of course one cannot fall in zero-G).
ever, folks like Kwai Chang Caine are relatively rare.
Optional Rules: The Nerve Pinch takes a 3d6 Hit Fighting styles like Boxing and Dirty Infighting/
Location roll. None of the other maneuvers requires Fisticuffs/Cinematic Brawling are the only ones
Hit Location rolls. most Western Hero PCs will ever see, though occa-
Special Abilities: Many people who deal with zero- sionally a character might encounter someone who
G environments on a frequent basis buy their legs knows Fencing.
as Extra Limbs (5 points), so they can perform tasks
‘A man with outward courage

with them, like manipulating ship controls, typing, or
what have you. Such people can also use their legs in
Zero Gravity Combat, for example by performing a dares to die,
Choke maneuver with them. The two extra limbs are
a big advantage in a zero-G combat situation. A man with inward courage dares
to live.’
—Lao Tzu, Tao Te Ching
DESIGNING NEW
MARTIAL ARTS
I
f the dozens of martial arts styles presented The mongoose dances around in front of its
earlier don’t include one that’s quite what you’re enemy, eluding the snake’s lightning-swift
looking for, you can design your own styles and strikes, then darting in to bite the snake
maneuvers using the rules and guidelines in behind the head so the snake cannot reach it.
this section. Eventually the mongoose’s continued bite kills
the snake.
DESIGNING MARTIAL Therefore, as Andy envisions it, Mongoose

Style should concentrate on defensive maneu-
ARTS STYLES vers, such as Block and Dodge. It needs at
least one, high DCV, attack to simulate the
Designing a martial arts style is a three-step mongoose’s ordinary bite, and another for the
process: lethal damage the mongoose does when it gets
First: Come up with a style conception — the its prey into a helpless position.
principles governing the martial art, what effect
those principles have on types of maneuvers the ENERGY FLOW
style includes, what those maneuvers look like, Fighters develop some styles around the con-
and so forth. cept of energy flow — the direction and redirection
Second: Choose maneuvers corresponding to the of energy. Some styles concentrate on straight lines
principles in the style conception. In most cases of force, such as powerful, direct attacks; others
you should be able to pick maneuvers from the focus on circular motions and employ force more
standard list on page 9; sometimes you’ll have to indirectly, such as through redirecting an attacker’s
use the rules presented below to design all-new energy via throws and grabs. A few esoteric styles
maneuvers. depend upon the ebb and flow of the figher’s inter-
Third: Now you design the style by taking the nal energy, such as ch’i, ki, or prana.
maneuvers, then adding special Style Elements, CONSTRAINTS
determining the Skills associated with the style,
Lastly, many martial arts arise to deal with
deciding whether the style qualifies for a Style Dis-
constraints — circumstances which ordinarily don’t
tinctive Feature, and so forth.
allow for effective fighting. For example, Brazilian
slaves created Capoeira. Because slaves are often
Style Conception manacled, they designed Capoeira to allow fight-
ing while in chains (it uses the feet instead of the
The first step in the design process is to hands in many instances). Therefore, capoeiristas
develop a style conception. This involves creat- don’t suffer the same penalties most martial artists
ing a common philosophy, approach, or “theme” do when their hands are bound. Similarly, slaves are
which relate all the style’s maneuvers to each often watched, so early capoeiristas learned to dis-
other. Style conceptions typically fall into one of guise their fighting as dancing and tumbling, thus
three categories: the Animal Kingdom; Energy fooling their overseers. These restrictions require
Flow; and Constraints. capoeiristas to learn such things as walking on their
THE ANIMAL KINGDOM hands, kicking and fighting while upside down, and
tumbling and flipping — which means they have to
Animal or natural motifs inspire many know the Acrobatics Skill.
martial arts. Such styles attempt to emulate
the animal’s movement, speed, and methods of
attack. When designing new styles, you can take
your inspiration from more fanciful animals
STYLE BUILDING BLOCKS
which haven’t inspired styles in real life — or With your conception firmly in mind, you can
perhaps which, like dragons and phoenixes, are proceed to the second and third steps, which are
entirely mythic. to choose maneuvers (and if necessary, even build
them from scratch) and other style elements (Skills,
Example: Andy particularly admires the way Weapon Elements, and the like).
the mongoose can fight and kill deadly snakes, Of course, the GM has the final say on whether
such as cobras. Inspired by this, he decides to any maneuver or martial arts style is appropriate
create a Mongoose Style martial art. for his campaign. Once he approves a martial arts
Hero Games 89
maneuver or style, he may later, after sufficient SPECIAL ELEMENTS REDUNDANT

playtesting, decide he needs to revise it or drop These are two special style elements which MANEUVERS
it entirely because it’s too efficient or unbalanc- affect all maneuvers in a specific style. You shouldn’t create a
ing. How can you tell if a maneuver or style is martial arts style with
too efficient or unbalancing? One good sign is if Extra DC: +4 points for +1 DC with all normal redundant maneuvers.
everybody in the campaign wants to buy it all of a martial arts attacks (also counts as +½ DC with all For instance, if the style
sudden. This means it’s so combat-efficient players K-Damage Martial Maneuvers and +5 STR with has a fast, damaging
are more than happy to trade in their characters’ Exert-based maneuvers). (but not too brutal)
punch, you might
individuality for an especially point-efficient attack. Weapons: It costs +1 point for the ability to use define that with the Fast
When this happens, re-evaluate the maneuver or maneuvers in a style with one weapons group Strike maneuver. And if
style, determine what’s “too good,” and modify (weapons-based arts sometimes allow characters to the same style has a fast,
things to reduce the style’s efficiency slightly — but buy the “Barehanded” Weapon Element to use the damaging kick that falls
only slightly. Then, begin evaluating it again. style without weapons). short of the raw damage
of a roundhouse kick,
CHOOSING AND DESIGNING MARTIAL STYLE DISTINCTIVE FEATURE you might also want
ARTS MANEUVERS to define that as a Fast
A true martial arts style can, with the GM’s
Strike.
Once you’ve got your style conception in permission, include a Style Distinctive Feature
But that’s putting the
mind, you need to choose the appropriate Martial (discussed on page 135). The GM should only give
same maneuver twice
Maneuvers for it. Pick as many as possible from his approval if all the style’s maneuvers are built in the same martial
the list on page 9; it will save you a lot of time and around a consistent concept and he doesn’t think arts style. A player isn’t
effort. Most styles should require no new maneu- the style designer has created an unbalancing or going to want to buy
vers at all; you can find everything they need on abusive style. the same maneuver
that page. twice, under two differ-
If you have a maneuver in mind which isn’t ent names.
covered by any of the ones listed, you can design it DESIGNING MARTIAL ARTS If a real-world style
has two different
from scratch (with the GM’s permission, of course).
See Designing Martial Arts Maneuvers, below, for MANEUVERS moves which, in game
mechanics terms, are
complete rules on designing maneuvers. If you’ve thought of a maneuver you can’t the same maneuver,
simulate with one of the Martial Maneuvers listed put that maneuver in
How Many Maneuvers? the style once. If the
A Martial Arts style may not have less than on page 9, you can (with your GM’s permission)
design your own maneuver. GM approves, give the
three maneuvers. Most should have at least five maneuver both names
maneuvers, but a style can have as few as three. THE BASIC MANEUVER (for example, “Punch/
(Of the real-world martial arts styles presented in Kick”). Also with GM
Most maneuvers derive from the standard approval, assign a dif-
Chapter One, the only ones with fewer than five
Strike maneuver (which all characters know — see ferent optional location
maneuvers is Ancient Boxing, a primitive style, and
page 384 of the HERO System 5th Edition, Revised). roll to each name (for
Naginatajutsu and Saijutsu, fairly simple weapons- example, the Punch
They take a Half Phase to execute; grant +0 OCV
based styles.) A style may theoretically have as taking a 2d6+1 roll, the
and +0 DCV; and do the character’s STR damage (or
many maneuvers as its designers want, but you’ll kick taking a 2d6+7
weapon damage, if he’s wielding one). As described
soon reach a point of diminishing returns, where roll) (if you don’t want
below, characters can also use the standard Block to deal with that com-
each new maneuver overlaps others to such a
and Dodge maneuvers as Maneuver Bases. plexity, just assign the
degree it’s fairly worthless.
maneuver a 3d6 loca-
Remember, to purchase Martial Arts, a char- ADDING ELEMENTS tion roll instead).
acter must spend at least 10 points on maneuvers, Once you’ve got a base for the maneuver, you The temptation to put
which means a minimum of two 5-point maneuvers. add elements to it. For example, you can increase or in redundant maneu-
SKILLS decrease the damage it does, or the OCV or DCV vers occurs most often
modifiers it applies. You can change the type of when someone adapts
Every martial art style described in Chapter a real-world martial art
damage it does, or Grab or Disarm an opponent
One includes a list of Skills. These are Skills a well- to the game. When a
instead of injuring him. Each addition, deletion, player designs his own
rounded practitioner of that particular style should
or change is called a Maneuver Element. Elements art from scratch, this
have. Most are not absolutely mandatory; a char-
which improve a maneuver are Helpful Elements; is much less likely to
acter usually can learn a style’s maneuvers without
those which restrict or reduce its effectiveness are happen.
learning any of its associated Skills. However, a
Restrictive Elements. Another form of redun-
character must buy a Skill listed with an asterisk (*)
dant maneuver to watch
when he buys the style (even if he doesn’t buy all of COST RESTRICTIONS out for is the maneuver
its maneuvers). For example, a character can’t learn When creating maneuvers with this system, that’s so similar to
Fencing without WF: Blades, or Capoeira without you should generally operate under one important another maneuver that
Acrobatics. restriction: they effectively dupli-
Most dedicated martial artists should have a cate each other. The
Knowledge Skill with their style(s) on at least an 8-. No Maneuver Can Cost Less Than best example of this is
3 Points or More Than 5. Martial Strike and Fast
Some styles include specific Weapon Familiarities, Strike. The only dif-
Acrobatics and/or Breakfall, and even such Skills as If your maneuver cost comes out to be less ference between these
Stealth, Climbing, or Streetwise, all depending on than 3, rewrite the maneuver or round the cost up maneuvers is where
the origins and special goals of that martial art. to 3. If, for example, you wanted a maneuver that they place the CV
was +0 OCV, +0 DCV, and gave +2d6 damage, this
would ordinarily cost only 2 points. But since the Continued on next page
Continued from last page minimum maneuver cost is 3 points, you must MANEUVER BASIS
bonus. In most (but not either improve the maneuver to cost 3, or just When designing a maneuver, the first thing to
all) cases, it’s pointless round the cost up to 3 without any improvement, as ask yourself is this: What is the purpose, or basis, of
to have both maneuvers you choose. the maneuver?
in the same style, since If your maneuver cost comes out to be more The HERO System martial arts design rules use
a character with a Mar- than 5, tone the maneuver down until it costs
tial Strike can spend the ten Maneuver Bases. Some are Exclusive, meaning
5 points or less. For example, you could build a a maneuver can only have one of them. Some are
4 points a Fast Strike
would cost him on two maneuver that gives +2 OCV, +3 DCV, and provided Non-Exclusive, meaning a maneuver can have just
Combat Skill Levels +4 Killing DC. However, this would cost 18 points, one or can have more than one of them. A Non-
with his Martial Strike and the listed maximum is 5. You’d have to tone the Exclusive Basis can be the only Maneuver Base in
(giving him +2 OCV maneuver way down in effectiveness and bring it a maneuver, or a maneuver can have both a Non-
and DCV for the same down to 5 points or less.
amount of points). Exclusive Basis and an Exclusive Basis.
This rule regarding the cost of maneuvers is
a general one you should follow in most circum-
stances. However, there may be special occasions
MANEUVERS BASIS
when martial artists, particularly Superheroic-level Exclusive
ones, might be allowed to design maneuvers which Basis Purpose of Bases
violate it. Such violations should be allowed only Bind Locks up an opponent’s
after great consideration. weapon
UNARMED VERSUS ARMED STYLES Block Blocks an incoming attack
Another thing to consider when creating Disarm Attempts to knock an
opponent’s weapon out of
a martial art is whether the style is unarmed or
his grasp
armed. Most are unarmed, but characters can only
use a few of them with specific weapons. Dodge Gives the character a DCV
bonus against attacks
Unarmed styles include what we traditionally
think of as martial arts: Karate, Kung Fu, Aikido, Flash Disrupts opponent’s senses
and other styles relying on empty-hand attacks, not Grab Weapon Gives the attacker a hold on
weapons, to do damage. Characters cannot use most the opponent’s weapon
unarmed styles with weapons (or they require spe- Strike Does damage to the
cial, additional, training if a character wants to use opponent
them with weapons — represented by the Weapon Non-Exclusive
Style Element). For example, an Aikido practitioner Basis Purpose of Bases
can’t pick up an axe and use his Aikido maneuvers Exert Uses non-damaging
with it. Unless otherwise listed or described, all mar- strength on the opponent
tial arts styles are unarmed. Grab Opponent Gives the attacker a hold on
Armed martial arts — fighting styles reflect- the opponent
ing a character’s skill and training with a particular Throw Puts the opponent on the
weapon or weapons — include Arnis/Kali/Escrima, ground
Fencing, Kenjutsu, Kyujutsu, and Naginatajutsu.
Characters may only use an armed style with weap- You’re familiar with Bind from the styles
ons from one or more 1-point Weapon Familiarity described earlier, and with Block, Disarm, Dodge,
weapon groups, specified by the style’s designer or Strike, Grab, and Throw from the HERO System 5th
when they learn the style. Examples include the Edition. Note that the Throw Basis, in and of itself,
Blades Group, Karate Weapons, or Staff. Generally, does not do damage to a target; a Throw maneu-
a character cannot use an armed style without the ver could be gentle enough to do no damage at all
appropriate weapon; a fencer cannot make a Lunge to a foe. Refer to Martial Throw on page 400 of
with his fist. However, the Barehanded Weapon Ele- the HERO System 5th Edition, Revised and in the
ment will allow characters to use some maneuvers Combat Maneuvers section of this book for more
in some armed styles while weaponless. information.
The cost of maneuvers remains the same, The Exert Basis means the character can exert
whether a style is armed or unarmed. An Offensive his Strength (usually with a bonus from the maneu-
Strike is an Offensive Strike, regardless of how you ver) on his target for one specific purpose, such
perform it. For information on how Martial Maneu- as to increase the chances of a successful Disarm,
vers add to the damage done by weapons, see the decrease the target’s chances to break out of a Grab,
“Adding Damage” section of the HERO System 5th push the target backwards, or the like. Many Exert
Edition, Revised. maneuvers are listed in the maneuvers chart in on
If you create an armed style, note which page 9 of this book. The extra STR from the Exert
weapon (or, rarely, weapons) are appropriate for it. does not cost extra END.
When writing up the style, make sure to include the The Flash Basis means the character has some-
proper Weapon Familiarity under Skills and to put how temporarily “blinded” or disabled one of his
an asterisk beside it to make it mandatory for all target’s senses. Common attacks of this sort include
practitioners of the style. The GM must approve any poking someone in the eyes, clapping their ears to
decision to make a style usable with a weapon or temporarily deafen them, and striking certain nerve
class of weapons. clusters to numb the sense of touch.
Hero Games 91
EXCLUSIVE VERSUS NONEXCLUSIVE

BASES HELPFUL ELEMENTS
You can only use one Exclusive Basis in a Element Description Maximum
maneuver. You can’t, for instance, create a maneu-
Abort +1 point if you can abort to maneuver Take Once
ver which performs both a Block and a Strike. A
maneuver doesn’t have to have an Exclusive Basis; Bind +1 point to bind enemy weapon Take Once
some use only Non-Exclusive Bases. Block +0 points if maneuver is based on Block Take Once
You can use none, one, or several Non-Exclu- instead of Strike (Abort is Free)
sive Bases in a maneuver, and can create a maneu- DCV + +1 point per +1 DCV up to +2, +2 points for +3
ver which has both Exclusive and Non-Exclusive additional +1 DCV up to +3
Bases. For example, you could have a maneuver
where you establish a hold on a target and make Disable +0 points if maneuver is intended to disable Take Once
a limb
it hard for him to escape (the Grab Basis with the
Exert Basis), one where you throw a target roughly Disarm +2 points if maneuver disarms opponent Take Once
to the ground, doing him harm (the Strike Basis Dodge +0 points if maneuver is based on Dodge Take Once
with the Throw Basis), or one where you establish instead of Strike (Abort is Free)
a hold on a target and hit him simultaneously (the Flash +1 point per +1d6 Sense Group Flash up to 4d6
Strike Basis with the Grab Basis). +2d6, +2 points per additional +1d6 Flash; +1
Whatever you choose, this is all just the work point per additional Sense Group
of conceiving the maneuver — and understanding
FMove +3 points if can attack after Full Move Take Once
the limitation of which bases you can combine to
create a maneuver. To actually build the maneuver, Grab Oppt +3 points if hit Grabs two of opponent’s limbs, Take Once
to buy the appropriate bases, you have to start shell- +1 point per additional limb
ing out Character Points for Maneuver Elements Grab Weap +3 points if hit Grabs target’s weapon Take Once
(see below). K-Damage +3 points per +1 DC (Killing) +4 DC/K
TYPES OF DAMAGE N-Damage +1 point per +1d6 normal DMG up to +2d6, +4d6
Maneuver damage comes in three types: N- +2 points per additional +1d6
Damage (Normal Damage), K-Damage (Killing NND DMG +1 point per +½d6 NND up to +1d6, +2 2d6
Damage), and NND (No Normal Defense Damage). points per additional +½d6 NND
A single maneuver may have only one of these three OCV + +1 point per +1 OCV up to +2 +2 OCV
types of damage.
STR + +1 point per +5 STR up to +10 STR, +2 points +20
MANEUVER ELEMENTS per additional +5 STR
The accompanying table lists the Maneuver STR Strike +0 points if maneuver is based on Strike (+0 Take Once
Elements you can use to build your own Martial OCV, +0 DCV, does STR damage)
Maneuvers. Throw +1 point to throw opponent to ground Take Once
In the first column is the name of the Element.
In the second column is the brief description v/3 +3 points to do +(v/3)d6 extra damage v/3
of the Element and its cost. v/5 +1 point to do +(v/5)d6 extra damage v/5
In the third column is the maximum amount
of the Element which may be added to a maneuver. maneuver which does damage or is in any way
To build a maneuver, simply take your Maneu- aggressive, which includes any maneuver with the
ver Basis (or Bases) and add the Elements which Disarm or Throw Elements. Therefore, you may only
will customize it (or them) to your satisfaction. build Abort into Blocks, Dodges, and Escapes (an
Then make sure that the cost is between 3 and 5 Escape is an Exert maneuver which uses the STR
points, and you’ll have a complete maneuver. bonus only for getting out of an enemy’s Grab).
“Take Once” means the Element can only be Bind
taken once in a maneuver. You cannot, for instance, Characters can only use this maneuver Ele-
take “Fall” three times for -3 points to the maneuver ment against a weapon. If successful, it “binds” the
cost, and explain that you fall down three times weapon, pushing it away or locking it into position
during the maneuver execution. That’s not just silly, somehow so its wielder cannot use it. The character
it’s rules abuse. using the maneuver does not suffer any damage
from grabbing or touching the weapon (if that’s
how the maneuver is defined).
Element Descriptions Bind is an Exclusive Basis, so a maneuver with
These are the maneuver Elements: Bind may not also have any of the following Ele-
ments: Block, Disarm, Dodge, Flash, Grab Weapon,
Abort Strike.
The character can Abort his next Phase to This Element adds +1 point to the cost of the
perform this maneuver on a Segment not normally maneuver.
his Phase. (See Aborting An Action, page 361 of the
HERO System 5th Edition, Revised). This adds +1 Block
point to the cost of the maneuver. This maneuver is based on the normal Block.
It grants basic modifiers — +0 to OCV and +0 to
Important Note: You can never Abort to any
disable or cripple a particular limb, such as many joint-
RESTRICTIVE ELEMENTS breaks. It adds +0 to the cost of the maneuver because
it grants as many restrictions as it does benefits.
Element Description Maximum
Like other maneuvers which target specific
DCV - -1 point per -1 DCV up to -2 DCV -2 parts of the body, maneuvers with the Disable Ele-
Fall -1 point if you fall Take Once ment do not suffer Hit Location Attack Roll or
Follow -2 points if maneuver must follow other spe- Take Once
damage penalties or bonuses. For example, a Killing
cific successful maneuver Strike defined as a knee-breaking low kick built with
this Element would not be at -6 OCV, and the victim
Half Move -1 point if maneuver requires character to Take Once would take full damage — not half BODY and a
Required make a Half Move; see text
x2 STUN Multiplier, as normally applies to the Leg
Lasting -1 points if the maneuver’s penalties last for Take Once region. Instead, the victim takes whatever BODY and
Restriction +1 Phase STUN damage was rolled on the dice. Any possibil-
OCV - -1 point per -1 OCV up to -2 -2 ity of Impairing or Disabling effects, if the campaign
One Limb -1 point if Grab only Grabs one limb -1
uses those rules, could then be determined (refer
to the HERO System 5th Edition, Revised, page 417,
Response -3 points if the maneuver can only be used Take Once and the discussion of Disabling Attacks on page 156
following a specific maneuver used by one’s of this book, for more information on attacking to
opponent
Impair or Disable a limb).
STR - -1 point if maneuver is at half STR, -2 points if No STR The limb targeted by a Disable-based attack
maneuver uses no STR generally does not need to be chosen in advance.
Take Full -2 points if attacker takes full damage Take Once However, GMs should remember that attacks which
DMG “Disable” the Head do not affect the victim’s intelli-
Take Half -1 point if attacker takes half damage Take Once gence or his ability to move the rest of his body, they
DMG just prevent him from using his head as a weapon.
The drawback to using the Disable Element is
Time + -1 point if attack takes extra segment (landing Take Once
that a fighter can only use the attack on limbs. He
at end of next segment)
can’t use it to do generalized damage, or against
Unbalancing -1 point if opponent automatically attacks first Take Once non-limb-like objects. At the GM’s discretion, a
in next Phase character can define a single specific non-limb
DCV. As with the normal Block, it keeps attacks target (say, the Chest) for use with the Disable Ele-
from hitting the target, sets up the defender to ment if he can use the maneuver only against that
strike first on the next Phase (assuming they both Hit Location and no other. Also at the GM’s option,
act in the same Phase), and comes with a free Abort a character can use a Disable maneuver against
option. limb-like objects, such as tree branches.
A Block requires the character doing the Refer to the discussion of Grab maneuvers on
blocking to compare his OCV to the opponent’s page 386 of the HERO System 5th Edition, Revised and
OCV, rather than to his DCV. Once a character has page 144 of this book for more information on limbs.
decided to Block, he can block multiple attacks in Disarm
a single Phase. (See Block in the HERO System 5th A character who successfully performs a Disarm
Edition, Revised, page 383.) The Block Element adds can try to knock a weapon or other hand-held device
+0 points to the cost of the maneuver. from his opponent’s grasp. Both characters make STR
Block is an Exclusive Basis, so a maneuver with Rolls, counting only the Normal Damage BODY.
the Block Element may not have any of the follow- If the defender rolls more BODY, he holds onto his
ing Elements: Bind, Disarm, Dodge, Flash, Grab weapon. If the attacker rolls more BODY or the rolls
Weapon, Strike. are tied, the weapon goes flying ½d6 hexes in the
DCV - direction of the strike (which is the player’s choice,
This represents a penalty to the attacker’s DCV. subject to GM approval). (See Disarm in the HERO
It’s used to build maneuvers which tend to expose System 5th Edition, Revised, page 386.) This Element
the attacker to counterattack. The maximum pen- adds +2 points to the cost of the maneuver.
alty you can take on a maneuver is -2 DCV. A char- Additional damage bought for the Disarm
acter may not have both DCV - penalties and DCV goes to increasing the character’s Disarm strength,
+ bonuses on the same maneuver. not to doing damage to the target; a Disarm never
damages the target.
DCV + Disarm is an Exclusive Basis, so a maneuver
This represents a bonus to the attacker’s DCV. with the Disarm Element may not have any of
Use it to build maneuvers so fast, graceful, or the other following Elements: Bind, Block, Dodge,
unpredictable they make the attacker more difficult Flash, Grab Weapon, Strike.
to counterattack. The maximum bonus you can
take on a maneuver is +3 DCV. A character may Dodge
not have both DCV + bonuses and DCV - penalties This means the maneuver is based on the
on the same maneuver. Dodge maneuver instead of the Strike maneuver.
The character starts out with no OCV (this maneu-
Disable ver can’t do damage), +3 DCV, and can Abort to the
This Element signifies a maneuver intended to maneuver. This costs +0 points because it grants as
Hero Games 93
many restrictions as advantages. Additional DCV Attacks built with this

bought with the Dodge starts out costing 2 points Element do not automatically
per +1 DCV. You may not buy a Dodge maneuver have to take place at the very
with more than an additional +2 DCV (for a possible end of a character’s move. For
total of +5 DCV). example,
You cannot “buy down” the OCV of a Dodge an
maneuver (in other words, you can’t take the OCV
- Element on it to reduce its cost).
Dodge is an Exclusive Basis, so a maneuver
with the Dodge Element cannot have any of the
other following Elements: Bind, Block, Disarm,
Flash, Grab Weapon, Strike.
Fall
You automatically fall down, in the hex
where you performed the attack. This Element
subtracts 1 point from the cost of the maneuver.
In maneuver listings, this Element is normally
indicated by use of the phrase “You Fall.”
Flash
You use this Exclusive Basis to build
maneuvers which disrupt and temporar-
ily “blind” one or more of the target’s Sense
Groups. The Flash Basis costs +1 point per
1d6 of Flash up to 2d6, and +2 points per
+1d6 thereafter, to a maximum of Flash 4d6.
The basic attack affects one Sense Group;
the character can purchase additional Sense
Groups for +1 point. However, the GM should be
wary of Flash maneuvers affecting more than one attack defined as a Strike made
Sense Group and allow them only when they are bal- while the character moves past
anced. Each Extra DC adds +1d6 to the Flash attack. someone (a “Martial Move By,”
In most cases, the appropriate form of Flash if you will) could take place at
Defense protects a character against a maneuver any point during the character’s move. However, the
with the Flash Basis. However, there may be some GM should treat this aspect of the FMove Element
exceptions, adjudicated by the GM on a case-by- carefully and not allow players to abuse it; most
case basis. For example, a character whose Sight attacks with the FMove Element should still take
Flash Defense derives from his light-based powers place at or near the end of the attacker’s full move. If
(making him used to bright lights) won’t have much used indiscriminately, the FMove Element can make
defense against a Martial Flash defined as poking some characters “un-attackable,” which unbalances
him in the eyes. the game.
The GM should also remember that there are Example: Nakada Shigeru knows Kenjutsu. He
many things which would prevent a maneuver with fights a duel with another samurai and wishes
the Flash Basis from working, given its nature. For to use his Running Stroke maneuver (a Passing
example, a helmeted character usually is protected Strike). His opponent stands 5” away from him;
from Sight and Hearing Group Flashes, since it’s Nakada-san has 9” of Running. His FMove-
impossible for the martial artist to reach his eyes and based attack takes place 5” into his full move of
ears to affect them. 9”, so when the attack ends, he’s 4” beyond his
In maneuver listings, this Basis is indicated by opponent.
use of the phrase, “[Sense] Group Flash —d6.”
Flash is an Exclusive Basis, so a maneuver with If Nakada-san had been significantly closer to
the Flash Element cannot have any of the other fol- his foe (say, 2-3” distance), the GM might con-
lowing Elements: Bind, Block, Disarm, Dodge, Grab sider forbidding the use of the Running Stroke,
Weapon, Strike. since it could unfairly place Nakada-san out of
the range of a counterattack (i.e., the attack, if
FMove used repeatedly in such situations, could affect
A character can perform a maneuver with this game balance, so the GM disallows it).
Element during or at the end of a Full Move instead
of just a Half Move. (This does not mean it’s a Zero- You cannot take this Element for a maneuver
Phase Action; if performed after a Half Move or no which already has the Time + Element.
move at all, it counts as a Half Phase Action.) For Follow
example, combining “FMove” with “Fall,” “Throw,” This means the maneuver must follow some
and “v/5” creates a flying tackle a character can per- other specific successful maneuver (defined when
form at the end of a full run. This Element adds +3 you create the maneuver). An example would be a
points to the cost of the maneuver. maneuver which grants a bonus to Crushing STR;
a character can only perform this maneuver on his could have +2d6 damage, costing 2 points, and +10
Phase following a successful Grab. Both maneuvers STR for holding on, costing 2 more points.
may not occur on the same Phase; the required For more information on Grabbing and its
attack takes place on one Phase, and the following effects on combat, see page 386 of the HERO
maneuver on the next. A Following maneuver may System 5th Edition, Revised.
also Follow itself; for example, a Crush may follow a
Grab Weapon
Grab or a previous Crush. For a Following maneu-
This Element allows the character to establish
ver to succeed, the character must have success-
a hold on his enemy’s weapon (or other item car-
fully performed (or maintained) at least one of the
ried in hand). The Grabbing character may, in the
maneuvers it Follows on his previous Phase.
same Phase as a successful Grab is executed, make
Since the Following maneuver does take place
a STR Versus STR Contest against the target; if he
until the next Phase, the character must make
wins, he wrests the held item away from his foe.
a new Attack Roll. Visualize this as the attacker
(If the target wins, the target wrests it out of the
having to change grips or angles of attack to
character’s grasp, and if the roll is a tie, neither can
accomplish the maneuver. This applies even when
pull it away from the other.)
the maneuver Follows itself. With maneuvers fol-
This Element adds +3 points to the cost of the
lowing Grabs, the victim is at ½ DCV. (At the GM’s
maneuver.
option, the Following attack could occur without
You buy Extra DCs for this maneuver as addi-
requiring the character to make a new Attack Roll,
tional STR for wresting the weapon away.
but this should be rare.)
Half Move Required
Example: Thunderhead, a SPD 3 pro wrestler,
This Restrictive Element is taken for any
has a Crush maneuver, which must follow a
maneuver which by its nature requires the char-
Grab. On Phase 4, he successfully Grabs Joe Hall
acter to make a Half Move, usually to “build up
“The Wrecking Ball.” On Phase 8, he may use
momentum.” If the character cannot make a Half
the Crush maneuver, since it follows Grab, but
Move, he cannot use the maneuver (or, at the
he must roll to hit against Hall’s new, reduced
GM’s discretion, can only use it to greatly reduced
DCV. If he misses, the Crush doesn’t work, but
effect). This Element is similar to the Gestures
he maintains the Grab on Hall. Whether he hits
Limitation, because a character can only use a
or he misses, on Phase 12 he may use the Crush
maneuver with it if he can move freely and is not
maneuver again, since it can follow itself, but
confined or restrained. Flying kicks and similar
again he must roll to hit.
maneuvers may have this restriction.
This Element subtracts 2 points from the cost Half Move Required cannot be taken for any
of the maneuver. maneuver which has the FMove Element. It can
In maneuver listings, this Element is nor- only be taken once for any maneuver.
mally indicated by use of the phrase “Must Follow The GM may, if he wishes, expand the defini-
[Name of Maneuver].” tion of what amounts to a “Half Move” to cover
any sort of requirement that a character make a
Grab Opponent
particular movement or have a certain amount of
This Element allows the character to get his
space available before he can perform a maneuver.
opponent in a hold. A character could define a
For example, you can use Half Move Required
maneuver which uses it as a simple hold placed on
to simulate a maneuver which a character could
the enemy, a bearhug, an elaborate joint-lock, or
only perform if he had at least 1” of open space
anything similar. This Element adds +3 points to
around him on all sides. Similarly, if the maneu-
the cost of the maneuver.
ver required a character to make some specific
The basic Grab Element allows the character
motion, such as a cartwheel, before he used the
to Grab two limbs. Each additional limb costs +1
maneuver, you could also simulate this with Half
point. Most joint-lock maneuvers only Grab one
Move Required.
to two limbs; pins and full body holds may inca-
pacitate 4 or 5 limbs, thus preventing the character K-Damage
from moving or attacking at all. Of course, charac- This stands for Killing Damage. If the maneu-
ters can use multiple Grabs on a single character to ver does Killing Damage instead of Normal
successively pinion all of his limbs — it just takes a Damage, additional damage costs +3 points per +1
few Phases and several successful Attack Rolls. DC, up to a maximum of +4 DC.
The Grabbing character may, in the same The character’s STR also adds to the maneu-
Phase as a successful Grab is executed, apply STR ver’s damage, at +1 DC per 5 points of STR, but
damage to his opponent (crushing or strangling this added damage may not more than double the
him) or may throw or bear his opponent to the purchased damage for the maneuver (purchased
ground (for normal STR damage or no damage at damage includes Extra DC). For example, if a
all, as the player prefers). See page 144 of this book maneuver does +2 DC of K-Damage, and the char-
for further options. acter with the maneuver has STR 15, he could add
Characters may buy additional damage for +3 DC to the maneuver... except that this more
this maneuver as N-Damage (for crushing or than doubles the purchased damage of the maneu-
strangling), or as additional STR for holding on to ver. He can only add +2 DC to the maneuver, for a
a struggling target, or as both. A Grab maneuver total of 4 DC, or 1d6+1 K.
Hero Games 95
Important Note: You may not mix damage types NND DMG
in a single maneuver. A maneuver may have only This stands for No Normal Defense Damage
one of the following three types of damage bonus: (see page 265 of the HERO System 5th Edition,
K-Damage, N-Damage, or NND DMG. A maneu- Revised). Each +1 point spent gives the maneu-
ver may have both K-Damage and v/5, where each ver +½d6 NND, up to 1d6; each +½d6 thereafter
5” of relative movement translates into +1 DC costs +2 points, up to its maximum of 2d6 NND.
of added K-Damage (HERO System 5th Edition, The character’s STR does not add damage to this
Revised, page 406-07). maneuver, so NND DMG maneuvers must take the
STR - Element at the No STR level (for -2 points).
Lasting Restriction
As with any separately-purchased No Normal
A character can only take this Restrictive Ele-
Defense attack, this maneuver must have a rea-
ment for a maneuver which has at least -1 worth of
sonably common defense, such as Life Support
penalties to OCV or DCV. It signifies that the CV
(Self-Contained Breathing) for a choking attack or
penalty lasts for one additional Phase beyond when
Armor for nerve strikes. See page 148 of this book
it would normally disappear. It does not matter for
for a list of suggested defenses.
purposes of this Element what maneuver is used in
that additional Phase, the penalty still remains. Important Note: You may not mix damage types
in a single maneuver. A maneuver may have only
Example: Chang wants to build a Sacrifice one of the following three types of damage bonus:
Strike-like maneuver which simulates an all- K-Damage, N-Damage, or NND DMG. A maneu-
out attack he has a difficult time recovering ver may have both NND DMG and v/5, where
from. He takes the Lasting Restriction Element each 5” of relative movement translates into +½d6
on his Sacrifice Strike maneuver, reducing its NND DMG. The added damage cannot more than
costs to 4 points but subjecting himself to the -2 double the base damage; if the maneuver normally
DCV penalty for an extra Phase. does 2d6 NND, then extra damage from a +v/5
Chang, SPD 6, gets into a fight with Jeung, Element cannot boost the maneuver up to more
SPD 5. Chang decides to try to finish Jeung off than 4d6 NND, no matter how fast the characters
quickly and uses his Sacrifice Strike in Phase are going.
2. Unfortunately, Chang misses. Jeung also OCV -
misses in Phase 3. In Phase 4, Chang can act This Element indicates a penalty to the
again. Normally, the -2 DCV penalty from the attacker’s OCV. It’s used to represent maneuvers
Offensive Strike would no longer apply, since it which are awkward and less accurate than ordinary
is a new Phase, but because he took the Lasting attacks. The maximum penalty you can take on a
Restriction Element on his maneuver, he will maneuver is -2 OCV. It subtracts 1 point from the
start at a base -2 DCV in Phase 4, regardless of maneuver per -1 OCV taken to the maneuver. A
what attack he uses. character may not have both OCV - penalties and
Lasting Restriction penalties do not accumu- OCV + bonuses on the same maneuver.
late if maneuvers with the Element are used in suc- OCV +
cession. Thus, in the example above, if Chang had This Element indicates a bonus to the attack-
used his Sacrifice Strike again in Phase 4, he would er’s OCV. You use it to represent maneuvers so fast,
be at -4 DCV (-2 from Phase 2, and another -2 for powerful, or unpredictable a defender is less able
the maneuver he uses in Phase 4). Then, in Phase to anticipate them or defend against them. The
6, he would start off with a base -2 DCV penalty maximum bonus you can take on a maneuver is +2
because he used a maneuver with a Lasting Restric- OCV. This Element costs +1 point to the maneuver
tion in Phase 4 — not a base -4 DCV. per +1 OCV taken to the maneuver. A character
Lasting Restriction subtracts one point from may not have both OCV + bonuses and OCV -
the cost of the maneuver. It is most appropriate for penalties on the same maneuver.
maneuvers with DCV penalties, but you can use it
for maneuvers with OCV penalties as well. One Limb
This Restrictive Element applies to Grab
N-Damage maneuvers which only immobilize one limb. Many
This stands for Normal Damage, and adds joint-locks, choke holds, and similar maneuvers
damage dice to the STR used with the maneuver. take this restriction. This Element subtracts 1 point
It costs +1 point per +1d6 normal damage up to from the cost of a Grab.
+2d6, then costs +2 points per additional +1d6 up
to the maximum of +4d6 (therefore +4d6 would Response
cost 6 points). This Restrictive Element applies to maneuvers
which can only follow a specific maneuver used
Important Note: You may not mix damage types in
by one’s opponent. The attacker’s maneuver can be
a single maneuver. A maneuver may have only one
defined in fairly general terms (such as “a punch,”
of the following three types of damage bonus: K-
“a kick,” or “a Nerve Strike”), but cannot simply be
Damage, N-Damage, or NND DMG. A maneuver
defined as “an offensive maneuver.” The GM has
may have both N-Damage and v/5, where each 5”
final say-so over whether the attacker’s maneuver
of relative movement translates into +1d6 added
has been defined properly; the more specific or
N-Damage.
detailed a definition, the better.
This Element subtracts 3 points from the cost also sustain 6d6 damage when he successfully per-
of a maneuver. In maneuver descriptions this Ele- formed the maneuver.
ment is indicated by the words “Can Only Be Used With NND DMG and K-Damage attacks,
After X,” where X is the attacker’s maneuver. the character takes an equivalent DC of Normal
Damage (Physical). For example, if the attack does
STR -
2d6 K (6 DC), the character sustains 6d6 Normal
The character using a maneuver with this Ele-
Damage, and if the attack does 2d6 NND (4 DC),
ment cannot use some or all of his STR with the
the character sustains 4d6 Normal Damage.
maneuver. It subtracts 1 point if he can only use
half his STR with the maneuver, or 2 points if he Take Half DMG
can use none of his STR with the maneuver. A char- This Element is exactly like the Takes Full
acter may not have both STR - penalties and STR + DMG Element, except that the character perform-
bonuses on the same maneuver. ing the maneuver only takes half damage, not full
damage. It subtracts 1 point from the cost of the
STR +
maneuver.
The character may add to his STR for this
maneuver. This Element costs 1 point per +5 STR Throw
up to +10 STR, then it costs +2 points per addi- Successful use of a maneuver with this Non-
tional +5 STR up to the maximum of +20 STR. Exclusive Basis throws the opponent to the ground;
Important Note: This STR must be defined as in maneuver listings, this is indicated with use of
being for one purpose only. For example, it may be the words “Target Falls,” “He Falls,” or “Opponent
Only For Holding On With Grab, Only For Shov- Falls,” instead of “Throw.” Throws are typically
ing, Only For Escaping Grab, Only To Resist Shove, bought as Strikes, so the target takes the attacker’s
and so forth. STR damage from impacting the ground. This Ele-
A Grab maneuver may have both an N- ment adds +1 point to the cost of the maneuver.
Damage bonus and a STR + bonus; the N-Damage Throws have an additional effect — if both
would augment the STR damage done if the char- characters have their next Phase in the same Seg-
acter decides to apply STR to hurt the victim, while ment, they allow the character who makes the
the STR + bonus would improve his chances to Throw to attack the Thrown character first in their
hold onto the victim. At the GM’s option, a charac- next Phase regardless of relative DEX, similar to a
ter may also have an NND DMG bonus and a STR Block. This represents the disadvantageous position
+ bonus, where the STR adds only to the Grab Ele- of the Thrown character (either because he’s on the
ment; ordinarily, this would not be allowed, since ground, or because he has to do something to get
NND DMG maneuvers take the STR - Element back on his feet). At the GM’s option, the Thrown
at the 0 STR level. If the GM allows a character to character can avoid this effect if he makes a Break-
purchase such a maneuver, the character cannot fall roll by half (a straight DEX Roll may be substi-
take that Restrictive Element, but the maneuver’s tuted, if the GM prefers).
STR + bonus still does not add to his NND DMG. Refer to page 152 of this book for more infor-
A character may not have both STR + bonuses mation on Throws and their effects, including an
and STR - penalties on the same maneuver. explanation of the relationship between Throws
and simultaneous attacks (note that Throws do not
Strike automatically Block incoming attacks).
This maneuver does damage to the target. It
starts out with +0 OCV, +0 DCV, takes a Half Phase Time +
to use, and does the character’s normal STR damage A maneuver with this Element takes extra time
to the target. Even if the maneuver is built in such to perform. A character cannot move in the Phase
a way that it does no damage to its target, it counts in which he prepares or performs this attack. It sub-
as an attack (i.e., the character cannot follow it with tracts 1 point from the maneuver cost if the attack
another action in the same Phase). is not launched until the end of the next Segment.
It’s possible to add the STR - Element to the You cannot take this Element for a maneuver which
maneuver so that it does little or no damage, which already has the FMove or Half Move Required Ele-
is especially appropriate with Throw maneuvers ments.
which do no harm to the target. This Element is especially appropriate for
The Strike Basis is an Exclusive Basis, so a maneuvers where the attacker must prepare himself
Strike maneuver may have none of the following for a second or two before launching the attack. It’s
bases in it: Bind, Block, Disarm, Dodge, Flash, Grab best used to simulate maneuvers where you have to
Weapon. stand in one place to summon a lot of power into a
strike, and is sometimes taken with the DCV - Ele-
Take Full DMG ment. In maneuver listings, this Element is indi-
The character takes full damage from the cated in the Phase column of the chart, where “1+”
maneuver. This is especially appropriate for colli- is listed instead of “½.”
sion-based maneuvers. This Element subtracts 2
points from the cost of the maneuver. Unbalancing
For example, a STR 15 character performing a Take this Restrictive Element for maneuvers
STR+3d6 Tackle with the Take Full DMG Element which tend to throw the user off-balance. Because
on it would do 6d6 damage to his victim and would of this, the user’s opponent gets to attack him first
in the first Segment in which they both have a
Hero Games 97
Phase, regardless of relative DEX — sort of the maneuver involves using the target’s own momen-
opposite of the effect of a Block or Throw. tum against him (such as Martial Throw), then only
However, unlike a Block or a Throw, this effect the target’s velocity matters.
still applies even if the characters’ first Phase in Important Note: v/5 may also be added to NND
common is not their next Phase — if necessary, it DMG and K-Damage attacks. It adds +1 DC (½d6
“carries over” and applies on Segment 12, when all NND or +1 DC killing damage) per 5” of veloc-
characters move. (If this were not so, characters ity to those maneuvers (HERO System 5th Edition,
could take this Restrictive Element on maneuvers Revised, pages 406-07).
and then use them only on Phases when they knew
the restriction wouldn’t affect them, because their
next Phase would not coincide with their oppo- MONGOOSE STYLE
‘Y ou can
nents’.) The effect does not “carry over” beyond
a Phase which the characters normally have in Now, as an example of use of these rules,
common, but which they do not have this Turn let’s put together the Mongoose Style maneuvers observe
because one of them Aborted that Phase. described earlier in this section.
We decided earlier that the Mongoose Style a lot just by
Example: A SPD 3, DEX 14 character and a would have a Block, a Dodge, a high-DCV attack to
SPD 4, DEX 20 character are fighting each simulate the mongoose bite, a grab, and a maneuver watchin’.’
other. In Phase 3, the SPD 4 character uses to perform damage on a held foe. We’ll add another
a maneuver with the Unbalancing Restric- maneuver: an Escape, appropriate for the high-DEX, — Yogi Berra
tive Element. Since the two characters do not wriggly mongoose. Now, let’s build these six maneu-
have a Phase in common until Segment 12, vers.
the penalty from the maneuver “carries over” According to our earlier definition, most or all
until Phase 12, when the SPD 3 character gets of the Mongoose Style maneuvers will be high DCV.
to attack first, even though his opponent has a
higher DEX. If the SPD 3 character Aborts his Mongoose Bite: This maneuver, a crushing tech-
Phase 12 (say, to Dodge the SPD 4 character’s nique using the hands, is performed after the
Phase 9 attack), the maneuver penalty van- Mongoose Grab: the attacker proceeds to
ishes, since the SPD 3 character voluntarily crush the defender’s skull and break bones.
“skipped” his own Phase 12 by Aborting. It’s a Killing Damage attack. OCV -2
(-2 points), DCV -2 (-2 points), K-
This Element subtracts one point from the cost Damage +4 DC (12 points), Follows
of a maneuver. Grab (-2 points), Time/Extra Seg-
v/3 ment) -1 point). Total: 5 points. If you use
This Element is identical to the v/5 Element the optional location rules, the Mon-
(see below), but does more damage. goose Bite takes a 2d6+1 location roll;
this indicates where the Grab landed.
v/5
A maneuver with this Element gets a damage
bonus based on the relative velocity of the two
combatants. The maneuver does +(v/5)d6 normal
damage, where “v” is the relative velocity. This Ele-
ment adds +1 point to the cost of a maneuver, and
may only be bought once.
“Relative” velocity means the relationship
between the velocities of the attacker and his
target — sometimes they add together, some-
times they cancel each other out. For
example, if two attackers rush together
at 8” each, their relative velocity is 16”;
the attack gets +3d6 normal damage. If
one runs toward the other at 6”, the relative
velocity is 6” and the attack gets +1d6 normal
damage. Even if a character only makes a Half
Move, his velocity counts as if it’s his full
movement speed, because characters can
accelerate to their full running speed with
a Half Move. Therefore, if a character has
Running 8” and makes a 4” Half Move,
count his velocity as 8”.
GMs may alter this rule if they feel it
makes the v/5 Element too powerful. For example,
you could distinguish the effects of v/5 based
on the type of maneuver: if the maneuver uses
the attacker’s impact to injure the target (such as
Flying Tackle), velocities should add together; if the
Mongoose Block: Unlike the ordinary Martial Mongoose Grab: This is what enables the Mon-
Block, this maneuver is high-DCV but nothing goose practitioner to get his hands on his foe. It’s
special for OCV, even though the Block is an not even as accurate as the normal Martial Grab
OCV versus OCV attack. So, we take +0 OCV but still gives the martial artist a DCV bonus.
(0 points), +3 DCV (4 points), Block (0 point, OCV -2 (-2 points), DCV +2 (2 points), Grab (3
includes Abort). Total: 4 points. If you use the points). Total: 3 points. If you use the optional
optional location rules, the Mongoose Block location rules, the Mongoose Grab is normally
takes No Location. counted as taking No Location. If it’s followed by
Mongoose Dodge: This is the ordinary Martial a Mongoose Bite, you check for the location of
Dodge: OCV not relevant, DCV +5 (maneu- the Grab and Bite with a 2d6+1 location roll.
ver starts with +3 DCV; +2 more DCV costs Mongoose Strike: This is a fast blow that does
4 points), Dodge (+0 point), Abort (+0 point only the character’s normal STR damage. OCV
because it’s part of the Dodge element). Total: 4 +0 (0 points), DCV +3 (4 points). Total: 4 points.
points. If you use the optional location rules, the If you use the optional location rules, the Mon-
Mongoose Dodge takes No Location. goose Strike takes a 2d6+1 location roll.
Mongoose Escape: This is similar to the ordi-
nary Martial Escape, but has a slightly better Those are the basic maneuvers of the style.
DCV. OCV +0 (0 points), DCV +1 (1 point), +15 They give the character what we described
to STR versus Grabs (4 points). Total: 5 points. originally: a fast, highly defensive style allow-
(The extra DCV doesn’t help during the Escape, ing the practitioner to stay loose, grab his target,
but does help if the character is attacked in the and destroy the target with the fearsome “bite.”
same Segment once he is free.) If you use the See how to incorporate those maneuvers into a
optional location rules, the Mongoose Escape HERO System martial arts style on page 101.
takes No Location.
Hero Games 99
RANGED
MARTIAL ARTS
N
ot all martial arts involve the use of only
hand-to-hand weapons. Some, like Kyu-
jutsu, Shurikenjutsu, and An Ch’i, focus on
HELPFUL ELEMENTS
ranged weapons like the bow or throwing Element Description Maximum
knives. This section presents rules for creating Martial DCV + +2 points per +1 DCV +2
Maneuvers which work at range. In almost all cases
such maneuvers involve a weapon of some sort. As Disarm + +1 point per +5 STR up to +10 STR; +20 STR
always, these rules are optional; if the GM feels they +2 points per additional +5 STR
are inappropriate or unbalance his campaign, he N-Damage +1 point per +1 DC up to +2 DC; +4 DC
should change them enough to make them acceptable, +2 points per +1 DC per additional +1 DC
or simply forbid them entirely. OCV + +2 point per +1 OCV +2 OCV
Rng + +1 point per +1 OCV vs. Range up to +4; +8 OCV vs.
DESIGNING RANGED +2 points per additional +1 OCV vs.
Range
Range
MARTIAL MANEUVERS Strike +0 points if maneuver is based on Strike Take Once

You create ranged martial arts using rules based (+OCV, +0 DCV, does STR damage)
on the Designing Martial Arts Maneuvers section, Throw +2 points to throw opponent to ground Take Once
above; readers should refer to that section for gen-
eral information on this subject. Most of the rules v/5 +2 points to do +v/5 extra damage v/5
described in that section, such as the one requiring martial arts maneuvers is shorter than the list of
martial arts maneuvers to cost from 3-5 points, apply hand-to-hand maneuver Elements — there are fewer
to Ranged Martial Maneuvers as well. things a character can do to an opponent at range
MANEUVER BASES than to one within hand-to-hand fighting distance. It’s
not possible, for example, to grab someone standing a
Like hand-to-hand Martial Maneuvers, Ranged
hundred feet away from you.
Martial Maneuvers have Maneuver Bases. There are
Even though there are three types of damage a
Exclusive Bases, which a maneuver can have only one
character can do using hand-to-hand martial arts,
of; and Non-Exclusive Bases, which a maneuver can
there is only one type at range: Normal Damage
have more than one of. You can include one or more
(N-Damage). This is because the ranged martial arts
Non-Exclusive Bases in a maneuver with an Exclusive
design system is intended primarily for building styles
Basis. See above for further information.
involving missile weapons such as bows, guns, and
shuriken. The N-Damage bonuses simply add DCs to
MANEUVERS BASIS the weapon, as explained on page 406 of the HERO
System 5th Edition, Revised. If for some reason a player
Exclusive
Basis Purpose of Bases wants to design a barehanded ranged martial arts
style involving Killing Damage and NND DMG (and
Disarm + Attempts to knock an
can get GM permission to do so), he can import the
opponent’s weapon out of
his grasp K-Damage and NND DMG Elements from the hand-
to-hand Elements chart on page 91.
Strike Does damage to the
opponent
Non-Exclusive
RESTRICTIVE ELEMENTS
Basis Purpose of Bases Element Description Maximum
Throw Puts the opponent on the DCV - -1 point per -1 DCV -2 DCV
ground
Half Move -1 point if maneuver requires character to Take Once
MANEUVER ELEMENTS Required make a Half Move
The accompanying table lists the Elements, or OCV - -1 point per -1 OCV -2 OCV
building blocks, used to construct Ranged Martial Rng - -1 point per -1 OCV vs. Range -2 OCV vs.
Maneuvers. The various Bases are Elements, as are Range
bonuses to CV and various other abilities which you Time + -1 point if attack takes an extra Segment Take Once
use to “customize” each maneuver. to perform (landing at the end of the next
The list of Elements you can use to build ranged Segment)
MIXING HTH Rng -
AND RANGED
Element Descriptions This Restrictive Element reflects the inherent
MANEUVERS Elements not described here work exactly the difficulty or inaccuracy of a particular maneuver
A character can, with same as the corresponding hand-to-hand Element over distance. Rng - points add to the standard range
GM permission, have a (see above). modifiers imposed by the HERO System rules (refer
martial arts style with to the HERO System 5th Edition, Revised, page 373,
both hand-to-hand DCV + for information). For every 1 point of Rng -, there’s
and ranged maneuvers. DCV bonuses are a relatively rare Element an additional -1 OCV at Range for the maneuver.
For example, a skilled in ranged martial arts maneuvers. They indicate Characters may take a maximum of two points
knifefighter might want a maneuver which the character has practiced so
to add a Ranged Martial of Rng - for a maneuver, at a subtraction of -1
much and is so proficient with that he can move point each from the total cost of the maneuver. A
Maneuver to his Sevil-
around and avoid enemy attacks while still aiming maneuver may not have both the Rng - and Rng +
lian Knifefighting style
to reflect his skill with accurately at his target. DCV + costs 2 points per Elements.
thrown knives. Some +1 DCV (with a maximum of +2 DCV). A charac-
of the styles described ter may not have both DCV + and DCV - Elements Rng +
in Chapter One, such in the same maneuver. Buy Rng + for maneuvers which are inherently
as An Ch’i, have both more accurate than normal over a distance. Rng +
hand-to-hand and Disarm + points add to OCV to counteract the standard pen-
ranged maneuvers. A Disarm maneuver is used to knock a alties for ranged attacks.
Provided the GM does weapon out of an opponent’s grasp. Determining Rng + costs +1 point per point for the first
not think this unbal- whether a ranged attack knocks a weapon out of four points, and +2 points per point for the next
ances the campaign, someone’s grasp is a two-step process. First, con-
it’s perfectly accept- four points, for a maximum of +8 OCV vs. Range.
vert the Damage Classes of the attacking weapon A maneuver may not have both Rng + and
able. However, just like
Extra DCs (see below), to STR (1 DC equals 5 STR); second, make a STR Rng - modifiers.
3-point Combat Skill Versus STR Contest in the standard method for
Levels with a hand-to- the Disarm maneuver. For example, a 1d6+1 RKA Throw
hand style do not affect arrow has 4 DC, which equals 20 STR for Disarm Characters use this Element for ranged attacks
ranged maneuvers in purposes. While a ranged “Disarm” of this sort does designed to trip an opponent or knock his feet out
that style, and vice- not take the usual -2 OCV for a standard Disarm from under him.
versa. Five-point levels With larger weapons (such as arrows, spears,
maneuver, the shooter suffers OCV penalties for
with a particular style
(not with Hand-To- targeting the weapon (typically -6, as for targeting and throwing axes), the Throw Element usually
Hand Fighting, with the hand, but shooting at larger weapons such as means the weapon snags the opponent’s feet and
a specific style, such rifles or greatswords may entail lesser penalties). trips him or knocks him down. This form of Throw
as Karate) do affect to The Disarm + Element adds STR to a ranged does no damage to the opponent other than the
both hand-to-hand and weapon’s disarm ability. This reflects the attacker’s damage from the fall itself, as with a Martial Throw.
ranged maneuvers in accuracy with the maneuver and his general skill With smaller weapons (such as bullets, shuriken,
that style.
at disarming opponents with his ranged attack. A and throwing knives), this maneuver involves hit-
maximum of +20 STR may be added; the first +10 ting the opponent in the legs or feet, thereby “cut-
STR costs 1 point per +5 STR; all STR thereafter ting his feet out from under him” or knocking him
costs 2 points per +5 STR. down.
A disarmed weapon usually ends up ½d6 In the description of a maneuver, a Throw
inches away from its former holder in the direction is indicated by the use of the word “Falls,” as in
the disarming attack travels (disarming player’s “Target Falls.”
choice, within reason). The GM decides whether The Throw Element costs 2 points.
the disarmed weapon suffers damage; the Disarm +
Time +
Element itself does no damage to the weapon.
Some ranged maneuvers take an extra Phase
N-Damage to perform, simulating the character’s need to care-
This stands for Normal Damage, which adds fully aim the attack. This Restrictive Element sub-
DCs to the damage done by the missile weapon the tracts 1 point from the cost of the maneuver. In a
character uses. Remember, it takes two DCs to add maneuver’s description this Element is indicated by
one DC to a Killing Attack weapon. For this reason the words “+1 Segment.”
characters usually buy N-Damage maneuvers
v/5
with +2 DC or +4 DC, since odd numbers round
The maneuver gets a damage bonus based on
down (for example, +3 DC rounds to +1 DC when
the velocity of the target (not on the relative veloc-
used to increase a Killing Attack). See page 406 of
ity of the attacker and his target, like the hand-to-
the HERO System 5th Edition, Revised for a more
hand v/5 Element). “V” indicates the target’s veloc-
detailed description of adding DCs to K-Damage
ity. In most cases, ranged martial arts maneuvers
maneuvers and weapons. N-Damage costs 1 point
built with this Element do only v/5 damage, not v/5
per +1 DC up to 2 DC, and +2 points for every +1
plus the weapon’s damage or the character’s STR,
DC thereafter, to a maximum of +4 DC. Thus, +4
since the effect is one of tripping somebody, not
DC would cost 6 points.
of knocking them down. Characters may take v/5
OCV + once, at a cost of 2 points.
OCV + is the same as the hand-to-hand ver-
sion, except that it costs 2 points per +1 OCV
taken, to a maximum of +2 OCV.
Hero Games 101
Today, Mongoose Style remains a fairly

THE COMPLETE obscure fighting art. One isolated Buddhist mon- MANEUVERS AND
MONGOOSE STYLE astery still teaches a pure form of the style, and
rumors say that sects of Mongoose-stylist Thugs
HIT LOCATIONS
In the style write-ups
As an example of how to assemble a fully survive in the dark and shadowy corners of India. earlier in this chapter,
fleshed out martial arts style, here once again is the But mostly the art is taught by Indian martial art- you saw that many
Mongoose Style. ists, especially in larger cities such as Calcutta and maneuvers utilize Hit
You already know the maneuvers. That leaves Location rolls other
Bombay. A few instructors have migrated to the than the standard 3d6
Skills, Elements, special abilities, and some back- United States or Great Britain, and so some large roll. Your GM may or
ground. Western cities have Mongoose schools. may not adopt this
Skills: In addition to the basic KS: Mongoose optional rule. If the
Style, Acrobatics is appropriate to represent the campaign does not
mongoose’s agility. Since mongooses have short but ADDITIONAL NOTES ON use Hit Location rolls,
this rule automatically
sharp claws and teeth, it would also be appropriate
for practitioners to learn how to use short blades
MARTIAL ARTS STYLES does not apply. Even if
the campaign uses Hit
(including the shuko, page 182) with the art. AND ELEMENTS Location rolls, the GM
does not have to permit
Elements: No style requires Extra DC, so those its use. If the campaign
aren’t listed. Using the art with the short blades uses Hit Locations, and
mentioned above is appropriate. Extra Damage Classes the GM permits its use,
you should assign each
Special abilities: Mongoose practitioners are fast, You’re familiar with Extra Damage Classes maneuver one of the
both in terms of agility and general speed, so some (DCs) from the HERO System 5th Edition, Revised, following location rolls:
extra Running is common among them. page 400. On the Martial Maneuvers Table (page 2d6+1, 2d6+7, 3d6, No
384 of that book), it’s listed as +1 DC in the bottom Roll, and No Location.
So, the Mongoose Style looks like this: of the chart. The Adding Damage section of that If you’re using this rule,
book (page 405) discusses how Extra DC add to maneuvers suffer no
MONGOOSE STYLE a maneuver’s damage with unarmed and armed OCV penalty based
on the targeted loca-
attacks.
Maneuver Phs Pts OCV DCV Damage/Effect tion (even though, for
This section discusses Extra DC to summarize example, 2d6+1 and
Bite 1+ 5 -2 -2 HKA 1d6+1, Follows a few facts and clarify some points.
Grab, Extra Segment 2d6+7 ordinarily suffer
a -2 OCV [see page 277
ADDING EXTRA DC TO MANEUVER of the HERO System 5th
Dodge ½ 4 — +5 Dodge all attacks, DAMAGE Edition]).
Abort
Escape ½ 5 +0 +1 +15 STR vs. Grabs Extra DCs add to damage from martial arts 2d6+1: This is a High
Grab ½ 3 -2 +2 Grab Two Limbs maneuvers. They add both to armed and unarmed Shot. Most fist strikes
Strike ½ 4 +0 +3 STR Strike martial arts maneuvers. If the maneuver is a fist (punches), elbow strikes,
punch, Extra DCs apply; if the maneuver is a Mar- and head-butts should
Skills be assigned this loca-
Acrobatics tial Strike requiring the use of a sword, Extra DCs tion.
KS: Mongoose Style apply.
2d6+7: This is a Low
WF: Blades They do not add to any other sort of damage: Shot. It’s best suited to
Elements not to damage used with non-martial arts maneu- kicks which normally
Weapons +1 Use Art with Small Blades vers, not to unarmed attacks bought with the HA or center around the stom-
+1 Use Art with Shuko HKA Powers, and so forth. ach, groin, and legs.
Here is how Extra DCs add to maneuver 3d6: This is the normal,
MONGOOSE STYLE NOTES damage: all-around location roll.
It’s suitable for kicks
Optional Rules: The Strike and Bite take 3d6 loca- Each +1 DC from Extra DCs Adds: which can range from
tion rolls. None of the other maneuvers take loca- 1) Normal Damage: Each +1 DC from Extra DCs head to foot (which are
tion rolls. common in martial arts
adds +1d6 to Normal Damage maneuvers (armed styles) and for attacks
Special Abilities: Many Mongoose practitioners or unarmed). This is true of both unarmed maneu- from long weapons
buy extra inches of Running to reflect their speedi- vers and armed maneuvers for Normal Damage (such as swords, whips,
ness. weapons you can use with your martial art style and staves).
Mongoose Style developed in India sometime (see “Weapons,” below). No Roll: The maneuver
during the ninth and tenth centuries AD, but was 2) NND Damage: Each +1 DC from Extra automatically hits a
specific location — usu-
known only to a few Buddhist monasteries. But in DCs adds +½d6 to NND maneuvers (armed or ally the head or vitals.
the late seventeenth century, a Mongoose stylist unarmed). This is true of both unarmed maneuvers However, the damage
turned away from his faith and began worshipping and armed maneuvers for NND Damage weapons is not modified by the
Kali; he joined an order of Thugs (Indian strangler- you can use with your martial art style (see “Weap- location, either. If the
assassins) and taught them his fighting skills. ons,” below). attack automatically hits
Mongoose Style was nearly wiped out during the head (as a Choke
3) Flash effects: Each +1 DC from Extra DCs adds Hold and some head-
the British Empire’s crackdown on the Thugs +1d6 to Flash maneuvers (armed or unarmed). butts will), you do not
during the nineteenth century, but did survive multiply the maneuver’s
among descendants of the Thugs. Some of them left 4) STR bonuses: Each +1 DC from Extra DCs adds damage because of the
the path of Thuggee and practiced the art solely for +5 STR to the STR bonuses from maneuvers built
self-defense and exercise. with the “Exert” Basis. Continued on next page
Continued from last page Each +2 DC from Extra DC Adds: System 5th Edition, Revised), they can, of course, Push
location. If the attack 1) Killing Damage: Each +2 DC from Extra DCs their STR to do extra damage with a maneuver to
automatically goes to a adds +1 DC to the damage of Killing Attack maneu- which Extra DCs apply.
hand (as some nerve- vers (armed and unarmed). This is true of both
pinches could), do not
EXTRA DC IN MARTIAL ARTS STYLES
unarmed maneuvers and armed maneuvers for Kill-
halve the maneuver’s Extra DCs are never a required part of any mar-
damage because of the ing Damage weapons you can use with your martial
tial arts style — they’re options the GM may allow.
location. art style (see “Weapons,” below).
Therefore, the Extra DC Element isn’t listed with any
No Location: The LIMITED EXTRA DCS style.
maneuver hits no loca-
tion at all — it doesn’t You cannot take Limitations on Extra DCs (for EXTRA DC AND OUTSIDE MANEUVERS
need one. Either it does example, to restrict them to only one or two maneu-
Extra DCs apply to all martial arts maneuvers
no damage, so that no vers in a martial arts style). Allowing that would
location roll is needed you have bought (excepting ones like Blocks and
create significant game balance problems, so it’s for-
(for example, a Dodge Dodges, where it has no function), whether or not
bidden.
or Block), or it does those maneuvers all belong to the same style. If a
damage in such a gener- RANGED MARTIAL ARTS AND EXTRA DCS character knows maneuvers from several styles, his
alized fashion there’s no Extra DCs affect every one of them. It does not affect
chance of the damage Characters may buy Extra DCs for ranged mar-
tial arts styles. They cost 4 point apiece, just like hand- the ordinary combat maneuvers every character
being affected by the
locations hit (as is the to-hand Extra DCs. However, Extra DCs for a ranged knows (i.e., normal Strike, normal Disarm, and so
case with many throws martial arts style are relatively rare; ranged martial forth).
and takedowns). arts styles rely on accuracy rather than on power in For instance, a Kung Fu practitioner who has
Generally, ranged mar- most instances. Sometimes, though, a few Extra DCs Kung Fu maneuvers with Extra DCs, who then buys
tial arts maneuvers use simulate a character’s ability to hit particularly vul- a Kenjutsu maneuver, can apply his Extra DCs to the
a standard 3d6 roll to nerable locations on his target. Kenjutsu maneuver.
determine Hit Loca-
tion. A few of them, If a character has both hand-to-hand and
such as maneuvers with ranged martial arts maneuvers, Extra DCs bought for
hand-to-hand maneuvers do not add to the ranged
Weapons
the Disarm or Throw
Elements, may “target” maneuvers, and vice-versa. Characters must purchase Martial arts styles are initially built for use
a specific location. As Extra DCs for ranged martial arts separately. unarmed, or with one 1-point Weapon Familiar-
usual, such maneuvers ity category of weapons (see page 76 of the HERO
do not suffer Hit Loca- PUSHING EXTRA DC System 5th Edition, Revised). By spending +1 point for
tion OCV or damage Characters cannot Push Extra DC damage. In
penalties or bonuses. a Weapon Element, a character can use the appropri-
appropriate situations (see page 427 of the HERO ate maneuvers of his style with a specific 1-point
melee weapons group. For arts which normally
require the character to use a weapon, the Bare-
handed Weapon Element allows him to use appropri-
ate maneuvers unarmed.
WEAPONS ELEMENT AND WEAPON
FAMILIARITY
To buy a Weapons Element for a weapons group,
you must already have bought Weapon Familiarity
with that group. A +1 point Weapon Element does
not include a WF with that weapon group; the char-
acter must still buy that separately. Once he has both
the WF and Weapons Element, he can use the appro-
priate maneuvers from his style with that weapon
group.
NO TWOPOINT WEAPONS GROUPS
A character must purchase a separate +1 point
Weapon Element for each 1-point Weapon Familiar-
ity weapons group. Unlike the WF Skill itself, a char-
acter cannot pay +2 points for the ability to use all
Common Melee Weapons with his martial art — he
has to spend +1 point for Clubs, +1 for Axes, Maces,
and Picks, +1 for Blades, +1 for Pole Arms, and +1 for
Two-Handed Weapons, for instance.
MARTIAL MANEUVERS USED WITH
WEAPONS
When performing a Martial Arts maneuver
with a weapon, the character gets the maneuver’s
OCV and DCV bonuses and penalties in addition
to the weapon’s. He also adds any damage bonus
from the maneuver (see Adding Damage, page
Hero Games 103
When
using the normal
Dodge, you would
405 in the HERO have +11 DCV
System 5th Edi- — enough of a bonus
tion, Revised, for to make most Super-
more information). heroic-level attackers
Naturally, a character blanch. When using
can use normal (non-martial arts) maneuvers with the normal Grab,
weapons for which he’s bought Weapon Familiar- you could add
ity; the martial arts Weapons Elements has no parts of it into
bearing on this. OCV or DCV
as before, or again could be used to increase the
damage of the attack (the squeezing part of the
OTHER WAYS TO BUILD Grab) by up to +4d6, or to an amount equal to that
MARTIAL ARTS done by the character’s normal STR, whichever is
less.
There are a couple of other ways to build This is a perfectly viable arrangement. You
Martial Arts-like abilities in the HERO System. can’t do some things that Martial Maneuvers can,
Remember, the special effect matters most in the but you can achieve much higher OCVs and DCVs
HERO System, not how you define an ability in for a similar expenditure of points.
game terms. The Martial Arts Skill isn’t the only However, if your campaign limits characters
way for a character to simulate a high degree of to a maximum OCV, the “Skill Levels martial art”
proficiency at hand-to-hand fighting. still cannot exceed that maximum. If the campaign
limits characters to OCV 13, then a character
THE COMBAT SKILL LEVELS cannot buy eight +1 Skill Levels unless he has a
“MARTIAL ART” normal OCV of 5 or less (or, if he buys that many,
One way to represent a somewhat limited he cannot allocate them in such a way as to violate
but still very effective martial art is to structure it the campaign’s ground rules).
entirely with Skill Levels — not using any maneu- Additionally — and this is an absolute restric-
vers. For example, a three-point Combat Skill Level tion — you can’t buy a batch of Skill Levels, define
gives you a +1 CV with three maneuvers. Let’s them as a martial arts style, and then take a Style
say you pay 24 points to buy eight of them, and Distinctive Feature for them. Characters can only
you specify that they apply to the normal Strike, take Style for styles built with Martial Maneuvers.
Dodge, and Grab maneuvers. You call this a martial
arts style. Here’s what you can do with this “style.” POWERS AS MARTIAL ARTS
When using your normal Strike, you could A character can construct “martial arts abili-
have +8 OCV, or +8 DCV, or +4 OCV and +4 DCV, ties” with Powers. Examples include extra STR
or any other combination adding up to +8. You which only works to Grab or Disarm; Hand-To-
could also use some or all of the levels to increase Hand Attacks bought with Advantages to simulate
your damage, at +2 Skill Levels per +1 DC; if you mystic attack powers; inches of Knockback Resis-
put them all into damage, you’d have +0 OCV, +0 tance to reflect the character’s acrobatic ability to
DCV, and +4d6 normal damage (though the added avoid taking damage from Knockback; and so forth.
damage can’t exceed the maneuver’s maximum In many cases these abilities can be placed in Power
damage from your STR; you’d have to have STR 20 Frameworks to make them more affordable. Chap-
to use this effectively). ter Two, Character Creation, includes many ideas
for “martial arts Powers” and Power Frameworks.
POWER ADVANTAGES
FOR MARTIAL ARTS
S
ome characters may want to apply Power
Advantages to Martial Maneuvers to
achieve certain effects or create certain
POINT VALUE OF BASES
powers. This section contains rules for Basis Point Value
doing so. These rules are strictly optional; the GM Bind Maneuver’s total STR -10
does not have to allow them in his campaign. Block 5 points per +1 OCV and +1
DCV
CAVEAT Disarm Maneuver’s total STR -5
Two warnings are appropriate before the Dodge 5 points per +1 DCV
reader explores this section fully. Exert Maneuver’s total STR -5
First, adding an Advantage to a Martial Flash Same as equivalent Flash
Attack
Maneuver is a way of giving a character a special,
Grab Opponent Maneuver’s total STR -5
often unique, ability. It should not become common Grab Weapon Maneuver’s total STR -5
in the campaign for characters to buy “martial Strike Same as an equal number of
Advantages.” DC of Energy Blast
Furthermore, and this is an absolute restriction, Throw 25
characters must purchase each martial Advantage
The rationale for these values is relatively
separately — a character cannot buy a +½ Armor
straightforward. Maneuvers which add STR for a
Piercing Advantage for his base STR and apply it
certain purpose have that amount of STR, modified
to all of his Martial Maneuvers. That Advantage
by an appropriate “Limitation” reflecting the limited
affects the character’s basic Strike maneuver, but
nature of the maneuver’s purpose, plus the charac-
not his Martial Maneuvers. He should purchase
ter’s own STR as their base value. The character’s
the AP effect for each maneuver individually. Since
own STR gets no “Limitation” value for this purpose,
characters can’t put “naked” Power Advantages
since it is not Limited in any way.
in Power Frameworks without GM’s permission
Grab Weapon is about the same as Disarm, but
(HERO System 5th Edition, Revised, page 244), this
Disarm is less disadvantageous than Bind (because
gets expensive.
in a Bind, the target maintains control over his
Second, GMs should not allow characters to
weapon); hence the values for their point subtrac-
use the point figures in the accompanying tables to
tions. The values for Dodge and Block derive from
add effects to their STR or other abilities. A charac-
the cost of Combat Skill Levels with DCV (the +3
ter cannot gain the ability to Throw someone with
DCV a basic Dodge maneuver provides), and Throw
every punch simply by paying 15 points. He must
is considered roughly equivalent to them. Strike
buy a GM-approved martial arts package with an
is based on the cost of an equivalent Energy Blast,
appropriate maneuver to gain that ability.
Flash on the cost of an equivalent Flash Attack.
If a maneuver has multiple Bases, add their
Point Value Of Bases point values together to get the overall value of the
maneuver before applying Advantages.
To calculate the cost of an Advantage on a
Martial Maneuver, first you must determine the
Character Point value of the Base or Bases in the Modifier Value
maneuver. With some Bases (such as Strike or
Exert), this is relatively easy; with others (like Block, Of Other Elements
Dodge, or Throw), it’s a little more difficult. The The other elements used to build Martial
solution is to assign standard “Active Point values” Maneuvers are simulated as either additions or sub-
to such Bases. The accompanying table sets out the tractions to the total “Active Point value” of the Bases
value of the various Bases; GMs may adjust these in the maneuver. The accompanying table lists the
values as appropriate for their campaigns. modifier values for them.
The minimum point value of a maneuver
involving the application of STR (such as Bind
or Disarm) is the character’s base STR. In other Extra Damage Classes
words, a STR 10 character can’t build a +5 STR Bind
Extra Damage Classes for a maneuver either
maneuver and then use a point value of 5 (STR 10
add to the damage or increase the STR usable with
+ 5 - 10) to add an Advantage to it; his STR 10 is the
a maneuver, and should be figured in according to
minimum point value.
how they increase the Bases used with the maneuver.
Hero Games 105
This Offensive Strike has a simulated cost of 55 DETERMINING A

MARTIAL ARTS MANEUVER points: a base of 60 points for his 12 DC Strike MANEUVER’S POINT
attack, -10 for the -2 OCV, and +5 for the +1 VALUE: STEPS
ELEMENTS VALUE DCV. A 55-point Armor Piercing (+½) power
Element Value costs 82 points (55 x 1.5). 82 - 55 = 27 points,
1) Calculate value of
Abort +10 so that’s what the Advantage costs him. He uses Base or Bases.
DCV + +5 points per +1 DCV 3 END every time he uses this ability. To make
DCV - -5 points per -1 DCV the Advantage cost 0 END would increase the 2) Calculate additional
Disable +5 points from other Ele-
cost to (27 x 1.5) = 40 points.
Fall -5 ments.
FMove +20 Example: Emiko wants to add a Damage Shield a) Add any points from
Follow -10 Helpful Elements and
to her Martial Escape maneuver, so she can
Half-Move from Extra DC.
Required -5 injure people who Grab her as she breaks away
from them. She has a STR of 15. The maneuver b) Subtract any points
Lasting for Restrictive Elements.
Restriction -5 adds +15 STR, and she has bought +4 Extra
K-Damage See below Damage Classes, which add +20 STR, for a 3) Take the final total
N-Damage +0 total of +35 STR; however, given the nature of from Steps 1-2 and apply
NND DMG See below this Exert-based maneuver -5 is applied to the the Advantage(s) you
OCV + +5 points per +1 OCV +35 STR, reducing its cost to 30. Therefore, the wish to add.
OCV - -5 points per -1 OCV point value of the maneuver is 15 + 30 = 45 4) Subtract the Step 2
One Limb -5 points. Forty-five points with a +½ Advantage total from the Step 3
Response -15 total. This is the cost of
equals 67 points, 67 - 45 = 22 points.
STR + Same as STR added to the Advantage, from
maneuver, with appropriate which you determine
subtraction (see above) Example: Snake wants to make his Killing Strike how much END it costs.
STR - Same as STR in maneuver an Autofire Double Knockback attack (Snake is
(if STR is halved); STR is not a little disturbed). He has a STR of 15. He has +2
used to calculate Extra DCs for his Killing Strike, making it a 1d6
Active Point value if it is not HKA equivalent, worth 15 points. Thus, the total
part of a maneuver at all. point value of the maneuver is 20 points (15
Take Full DMG -10 STR. plus 15 points for a 1d6 HKA, -10 for the
Take Half DMG -5
decrease in OCV). 20 points multiplied by +1¼
Time + -5
Unbalancing -5 worth of Advantages becomes 45 points; 45 - 20
v/5 +10 = 25 points cost. It costs Snake 2 END for every
punch he throws with this Advantage (that’s 2
Flash maneuvers, Killing-Damage attacks, an
END per Autofire “shot,” not 2 END total).
NND DMG attacks are handled slightly differ-
ently than other maneuvers. Calculate the cost
of the maneuver as equivalent to the cost of a Example: Snake also wants to make his Nerve
Flash of the appropriate Sense Group, an HKA Strike an Indirect attack so his opponents can’t
(plus the character’s STR), or an NND EB, Block it. He has a base 2d6 NND(1) attack, and
respectively. See below for some examples. with his +2 Extra DCs, it becomes a 3d6 NND(1)
attack. A 3d6 Nerve Strike is the equivalent of
Endurance And a EB 3d6 NND, which costs 30 points; +1 DCV
adds 5 points, -1 OCV subtracts 5 points, for a
Martial Advantages final cost of 30 points for the maneuver. Since
Although Martial Maneuvers themselves cost the STR - Restrictive Element means no STR
no END, Advantages applied to them do cost END, adds to this maneuver, Snake’s base STR does
at the standard rate. If the character wants the not figure into this point value. To make a 30-
Advantage to be 0 END, he must pay for Reduced point power Indirect costs 15 points (30 x 1.5
Endurance on the cost of the Advantage. = 45, 45 - 30 = 15). This special ability costs
Snake 1 END every time he uses it.
Examples Example: Henri Pétion, a fencer, wants to add

a Trigger Advantage (takes no time; +½) to his
With the information in these two charts, cal-
Martial Disarm maneuver so it “goes off ” the first
culating the cost of adding an Advantage to a Mar-
time someone tries to Block his sword in a duel.
tial Maneuver becomes a relatively simple matter.
He is STR 10, and the bonuses from the maneu-
Calculate the cost of the maneuver without the
ver and his Extra DCs add +40 STR to this, for a
Advantage, then with the Advantage, and subtract
total STR of 50. He applies the -5 subtraction for
the first number from the second to give you the
added Disarm STR and derives a base value of
point value of the Advantage itself.
45 points; the OCV/DCV modifiers cancel each
Example: Kickmaster wants to add the Advan- other out, for a final cost of 45 points. 45 x 1.5 =
tage Armor Piercing to his Offensive Strike, 67 points, 67 - 45 = 22 points, which is what this
which does 12d6 damage (4d6 from his 20 STR, special ability will cost Henri.
plus 4d6 from the maneuver, +4 Extra DCs).
‘P erceive those things which cannot be seen.’
— Miyamoto Musashi, Go Rin No Sho (“A Book of Five Rings”)
T
‘One committed to dying can be slain. his chapter explores various aspects creating martial
artist characters (besides choosing their fighting
styles). It includes character archetypes and notes
One committed to living can be captured. on various Skills, Powers, Disadvantages, and other
building blocks of the HERO System as they apply to martial
artist PCs.
One easily angered and hasty to act can be
insulted.
One obsessed with being scrupulous and

untainted can be shamed.
One who loves the people can be troubled.’

Hero Games 107
MARTIAL ARTS
ARCHETYPES
M
artial artists in movies, comics, and some other Eastern MIXING AND
popular literature often fall into one or religion — and, of course, he practices Oriental MATCHING
more of several character “archetypes.” fighting techniques. He may mix in a few distinc- ARCHETYPES
Working from an archetype helps tive Americanisms, but it’s clear where most of his Not every character
many players get a handle on a character (particu- sympathies lie. represents a “pure”
larly a beginning character) and establish a basic An interesting variant on this archetype is the archetype. In many
games, few if any char-
personality from which to further develop the PC. American From Chinatown, who has spent a great acters fit into an arche-
Some of these archetypes are described below. Note deal of time learning about Asian (usually Chinese) type perfectly; most mix
that not all archetypes are necessarily appropriate for culture in his home city’s Chinatown. He’s often an and match elements of
all genres; a realistic modern-day action campaign expert on Oriental organized crime, and acts as a two or more archetypes
probably won’t feature any Alien Martial Artists. sort of “guardian of Chinatown.” to create a unique PC.
A character could be a
The Avenger martial artist and gadge-
The Alien Martial Artist teer, or a Kid who’s also
‘You should have killed me a Modern-Day Samurai.
‘I have come to test my skills when you had the chance.’
against your best.’ How you create a char-
— Bai In-Su, the Avenger acter like this depends
— Tal Varntep, from Planet 10 on what you consider
This character has been wronged in the past his primary focus.
This martial artist is from another planet. He and now his life is a continuing quest for ven- If the character’s mar-
practices an form of martial arts from his own geance. Often the campaign centers around clashes tial arts abilities are his
world, one he typically considers superior to native between this hero (and his friends) and the group main “schtick,” then
you should design him
Earth fighting styles. He usually has special abilities or clan who wronged him in the past, though this is first and foremost as a
deriving from his alien physiognomy or high tech- not a good approach to take if the other characters martial artist. Build his
nology. Oftentimes, he’s come to Earth to test his don’t want always to fight this one hero’s Hunted. identity around the style
martial prowess against humanity’s best fighters. Any other character stereotype can become you choose for him,
The Avenger for a single storyline. All it takes is a and spend a generous
The American From nasty or treacherous attacked aimed at someone the portion of his Charac-
The Orient ter Points on Martial
PC loves.... Maneuvers and martial
‘My parents were missionaries. The Avenger character tends to have martial arts-related Skills and
So I guess I’m Zen Baptist.’ arts skills including brutal, devastating maneuvers. abilities. Then add on
— Elwood Coggin, American He may have many weapons-related abilities. He the things you need to
may have a Psychological Limitation such as Code round out the rest of his
This archetype is a Westerner who has spent of Vengeance (see page 137). personality and abilities,
extensive time in the Orient — so much time that such as a bunch of Sci-
A variation on the Avenger is the Maimed ence Skills and a small
he’s an expert on Oriental culture and customs, Avenger, who has a Physical Limitation (usually a Variable Power Pool for
including martial arts. missing limb or eye) for which he wishes to exact your martial artist-gad-
Usually the American From The Orient actu- vengeance. geteer.
ally grew up in an Oriental country — his parents On the other hand, if
were diplomats, international businessmen, military The Brick Martial Artist your character is only
personnel, or something similar. While they were ‘I will crush you... now!’ secondarily a martial
too busy to pay much attention to him, he learned artist — and many such
martial arts from a servant, wandered into a new — Yokozuna, Hero of Tokyo characters exist — then
section of the city and was befriended by a martial de-emphasize his mar-
tial arts abilities. Buy his
arts master who taught him to fight, was seduced This character is a martial artist with comic other Skills and Powers
by an evil cult that taught him to be an assassin book-level Strength. He may have gained his super- first, and then use the
and from whose clutches he later escaped, or the strength after learning a martial arts style, or a remaining points (or a
like. Alternately, he might have traveled to Asia as teammate may have taught him martial arts after smaller percentage of
a young adult, been taken in by the wonders of the his points) to buy his
he gained his powers so he could vary his usual
Orient, and stayed there for years before returning Martial Maneuvers and
“I smash puny enemy!” fighting style. The most other fighting skills.
to the West. common styles for Brick Martial Artists to use are Unlike the primary
In either event, the character’s lifestyle and Boxing and Wrestling, but other are not unheard of martial artist, who prob-
philosophies are typically Eastern rather than West- (such as “Brick Tricks,” on page 64). ably has several Combat
ern: he furnishes his home in an Asian style; he Skill Levels, the second-
collects Oriental art and weapons; he lives by the ary martial artist may
tenets of Zen Buddhism, Confucianism, Taoism, or have none at all.
Fulfiller Of Prophecy an 8- KS roll with his art, and the Style Disadvan-
‘My destiny is written in the tage). He often has no other useful skills, and usu-
stars. Can you hope to stop me?’ ally has a Psychological Limitation such as Aggres-
— John Wa, the Monkey King sively Impatient (Common, Strong; 15 points).
This character fulfills, or is the culmination of, The Kickboxing Champ

some centuries-old prophecy. The prophecy can ‘My style is impetuous, my
be a good one (“A great champion will be born to defense impenetrable.’
your people...”) or a bad one (“The seventh son of — Meow Yen, World Champion
your seventh son will be cursed to destroy all he
touches”), but in either event it’s a central part of
the character’s being. Even if he tries to deny it, it The character is a professional kickboxer
influences his actions, his views on life, and/or the (probably using full-contact Karate, though any
role(s) he chooses for himself. His special destiny martial art with a professional sports version is
may grant him mystical powers (particularly if he’s appropriate). He may be an active contender, the
fated to be the defender or savior of his people). current champion in his weight division, or a
retired fighter.
Many of his adventures revolve around him
The Honorable Ninja discovering that his pals or competitors on the
‘My motives are as pristine as professional circuit have gone bad and begun using
the darkness of this night.’ their arts for crime. Sometimes the police may call
— Katso Sho, Ninja on the character to act as a consultant in martial
arts-related crimes.
The Kickboxing Champion tends to have a
This character could have been born into a well-rounded martial arts style, a few Combat Skill
Japanese ninja clan, or adopted into one. He could Levels, and Skills related to the business: Streetwise,
have been an a gaijin (an outsider or foreigner) Gambling, and the like. He often has the Psycho-
whom the clan agreed to train; or he could be a logical Limitation Overconfident.
practitioner of a type of modern ninjutsu which
claims no ties to historical ninjutsu, but which The Kickboxing Cop
works to redevelop the art. Either way, the character
‘When you walk these streets,
is a ninja... but one with an honorable soul, who’s
you need an edge.’
more than a ruthless assassin and spy. Adventures
involving him should deal as much with espionage — Detective Jessica Stinnett, HCPD
and stealthy assaults as with all-out martial arts
combat, and should occasionally bring his honor- This character is a policeman, federal agent,
able nature and loyalty to his clan into conflict. or private investigator who just happens to know
a martial arts style. In most campaigns, he’s more
The Irritable Student independent than peace officers are supposed to be:
he’s much less prone to report all the details of his
‘This is foolishness, you teach
me nothing!’ investigations, or the fact that he’s just kicked three
— Van Harris, Student minor hoodlums to pieces in the course of his case.
(This helps streamline his reports and keeps his
martial arts friends out of trouble.)
Although a promising physical specimen who The Kickboxing Cop usually has a spare,
knows some martial arts and is eager to learn more, stripped-to-the-bone martial arts style (three or
this character is saddled with a teacher who seldom four maneuvers and a few Combat Skill Levels) and
teaches him anything directly related to fighting. numerous Skills and abilities related to his profes-
Instead, the teacher makes him perform excruciat- sion: Deduction, Criminology, WF: Small Arms,
ing and meaningless exercises and chores, hardly Fringe Benefit: Police Powers, Contacts, Favors,
ever showing him actual blows or moves, speaking Streetwise, Enhanced Perception, and so forth.
in meaningless aphorisms all the time. Naturally,
the student becomes frustrated and irritable. (Of The Kid
course, the master is using these exercises and ‘Get between me and that dress
chores to condition his body and instill reflexes and I’ll put you into a wall.’
important to his art, but the student is as yet inca- — Alice Ono, 10th grade student
pable of realizing this.)
For a character to be the Irritable Student,
the campaign must feature a prominent PC or A brash youngster with an astounding affinity
NPC master who trains him (and perhaps other for the martial arts, the Kid is usually in his early
PCs) throughout the course of the campaign. The to mid-teens when he enters the story. He quickly
Student himself should be built with high physical becomes known for his fighting skill, often annoy-
Characteristics and a minimal amount of maneu- ing personality, snide comebacks and rude remarks,
vers (give him the minimum black belt equivalent: and ability to combine Eastern disciplines and
three maneuvers valued at 10 points or more total, philosophies with Western materialism and get the
Hero Games 109
best of both worlds. The Kid is often a Fulfiller of streets. He’s gullible and susceptible to the wiles of
Prophecy as well. swindlers, con men, and spies.
The Naive Hero/Heroine often has good
The Knight-Errant martial arts abilities (numerous maneuvers and
‘My cause is just, my heart is Combat Skill Levels) and some profession-related
pure. I cannot be denied.’ skill. This character should take the Psychological
— K’yokt, questing knight Limitation Naive (Common; 10 points) and role-
play it to the hilt.
This martial artist is a classic adventurer: he
travels, seeking out trouble and setting it right The Philosopher
‘How can you think and
wherever he finds it. He tends to be a professional
hit at the same time?’
adventurer; he has good martial arts abilities, but — Yogi Barrett, Zen Master
his choice of other Skills reflects the campaign
setting. In a modern campaign, he’ll probably
have several travel-related skills (Combat Driving This archetype, relatively uncommon among
or Piloting, TF: Skiing), numerous Contacts and PCs, is a thinker rather than a doer. He prefers non-
Favors, and Skills related to some adventuring pro- violent solutions to problems, even though his skill
fession (private investigator, spy, or the like). with martial arts makes even seasoned fighters wary
of him. His approach to life is generally dictated by
The Master some school of religious or philosophical thought,
‘It is in acknowledging our igno- such as Taoism or Buddhism, which he interprets as
rance that we gain wisdom.’ calling for passive acceptance of most fates, nonvio-
— Zong Hop, Master lent responses to violence, or what have you.
But the Philosopher’s not an ineffective milque-
toast. When push comes to shove, as it usually does
This character is a teacher of martial arts and in these stories, the Philosopher sheds his cloak
the philosophies of his style. He’s often built with of nonviolence and uses his fighting skills to their
most or all maneuvers from his style, and perhaps utmost. Although often trained in one of the internal
maneuvers from other styles, making him a very Chinese fighting styles, he can learn any style that
versatile fighter. Often he has somewhat lower is not overtly aggressive (i.e., he shouldn’t take Thai
physical Characteristics than the younger heroes he Kick-Boxing or some other brutal fighting styles, but
teaches, but lots of Combat Skill Levels to make up most forms of martial arts are acceptable).
for the deficit.
He may have the Age Disadvantage (though The Ronin
he doesn’t have to). He’s also likely to have the Psy- ‘My master has fallen; but my
chological Limitation Inscrutable (Common; 10 sword has blood yet to taste.’
points); this makes him reluctant to explain why — Torii Saru, Ronin
he’s ordering his students to do the things they’re
doing, which continually frustrates them.
An unemployed samurai, this character is
often forced to wander and undertake short-term
The Modern Day Samurai assignments (many of them nasty, or which put
‘My soul was forged in the past. him in moral dilemmas) to make his living.
My katana is state of the art.’
— Tajiri, Robo-Samurai The Samurai
‘The reputation of 1,000 years
A modern-day version of the feudal Japanese may be determined in one hour.’
samurai or ninja, this character lives by his role — Shin Toju, Samurai
models’ codes of conduct, practices their fighting
arts, and tries to conduct himself as they would. This character is normally a samurai in the
Some versions of this archetype combine ancient employ of a lord in feudal Japan; adventures involv-
training with modern technology and equipment, ing this character generally involve him trying to
but just as often the character limits himself to low- achieve his personal goals (such as revenge) while
tech weapons and gear. meeting his obligations to and achieving the goals
of his lord (which may directly or indirectly con-
The Naive Hero/Heroine flict with his own goals).
‘I will not sit still while my
home is under attack.’
‘T
— Nabo Rai, Heroine
he Way of the warrior is res-
This character is a prime physical specimen olute acceptance of death.’

with a fine command of his martial art; his greatest
—Miyamoto Musashi,
problem is his naivete. He may have been sheltered
all his life; he’s certainly never spent time on the Go Rin No Sho (“A Book of Five Rings”)
A GLOSSARY The Serious Student
OF MARTIAL The Unwilling Fighter
ARTS TERMS ‘I am an empty vessel for my ‘You have started what
master’s instruction.’ I must now finish.’
Terms in this Glossary — Ba Mingxing, Student — Aaron Bailey, ex-Delta Force
are in Chinese (C), Japa-
nese (D), and Korean
(K). This character, like the Irritable Student, This character, though he is a master of the
ai (J) — harmony appears in campaigns featuring a teacher as an martial arts, doesn’t want to fight. He has other
important PC or NPC. Unlike the Irritable one, this goals, such as the pursuit of philosophy or the
aiki (J) — harmony of
effort, harmony of force character is sober and studious (and, usually, more desire to be a humble gardener.
boring than the Irritable Student). The Serious For some plot-driven reason, he becomes the
bu (J) — military, mar-
tial Student is built much like the Irritable Student, but target of the villains (perhaps he doesn’t let the vil-
without Aggressively Impatient. lains maim or kill his employers, which gives them
bushi (J) — warrior
fits). Finally, the villains’ actions against him and
chambara (J) — his-
torical-period samurai The Sidekick those he protects drive him over the edge, and for
films, usually quite ‘Kid-Hostage? Bruce Lee a brief and bloody period of time he becomes The
bloody; name comes started as a sidekick!’ Avenger (see above).
from “chan-chan bara- The Unwilling Fighter is usually an excellent
— Kid-Quick, Sidekick
bara,” the spoken sound martial artist, having many Skill Levels and at least
effect for swords clash- four or five maneuvers. But the martial arts are not
ing This character is a buddy of one of the other his profession; he must have Skills pertaining to
ch’i (C) — spirit; breath; characters; if the campaign centers around a school, whatever he does to make his living.
energy he’s another student at the school. A variation of
ch’uan (C) — fist, boxing the Sidekick is the Comic Sidekick, who’s a bit goofy,
-do (J, K) — the way of; foolish or stupid.
Vigilante Martial Artist
when applied to the end This is a demanding role to play, because (by ‘Can crime really pay this
of the name of a mar- well?’ -- CRACK --
definition) the Sidekick is not as good a martial — Nightwalker, Vigilante
tial arts style, it implies
artist as the character who is his friend. He should
philosophical teachings
as well as martial arts have a minimum number of martial arts maneu-
training (for example, vers and fewer Skill Levels than his friends have. If The Vigilante Martial Artist uses his fighting
karate-do means “the no player is willing to have distinctly less fighting skills to fight crime and clean up the streets. On his
way of the empty hand”) versatility than the group’s standard, the Sidekick own he often acts as the protector of a particular
dojang (K) — training should not be a PC — if he appears at all, he should area or neighborhood (such as Chinatown); as
hall, school be an NPC (often either a DNPC or a Follower). a member of a team he usually functions as the
dojo (J) — training hall, On the other hand, he could have a variety of abili- group’s expert on gangs and Asian organized crime.
school ties which make him just as useful to the group as In either case his fists and feet have made him a
fa (C) — the way of; the top-line fighter. He could have Streetwise and force to be reckoned with on the streets of the city.
Ch’uan fa means “the dozens of street contacts, scientific and technical
way of the fist” skills the group needs, or the like.
gaijin (J) — outsider,
The Warrior-Monk
foreigner; often a derog- ‘Man at his best, like water,
atory term The Super-Soldier serves as he goes along.’
giri (J) — duty, obliga- ‘God and Country! — Brother San Jung-mo, Monk
tion Right will prevail!’
— American Eagle, WWII Hero
gup (K) — grade; ranks
below black belt in
This character is the Buddhist priest with
Korean martial arts This character became the ultimate soldier martial arts training. Usually, the Warrior-Monk
hapki (K) — harmony after treatments he received from the government role is combined with another role, such as
(or some private benefactor) made him quicker, Monk/Avenger, Monk/Knight-Errant, and Monk/
hwarang (K) — flower-
ing youth; an ancient stronger, or tougher than the average human. He Unwilling Fighter.
term for a korean may also have cybernetic implants, similar technol-
knight-general caste ogy, or even magic to aid him.
hyung (K) — forms, In addition to the abilities he gains from his THE CAREER PATH OF THE
exercises, formalized
training movements
treatments, the Super-Soldier is trained to fight, and
fight well. He usually adopts a straightforward (and
MARTIAL ARTIST
ju (J) — compliance Western) fighting style, like Commando Train- The creation and development of martial arts
-jutsu (J) — the art of; ing, Boxing, or Fisticuffs/Cinematic Brawling, but characters often follows a definite series of steps or
when applied to the end he can learn any style the player can justify to the stages. You can think of this process as the “career
of the name of a martial GM. The Super-Soldier’s combination of enhanced path” of the martial artist character.
arts style, it indicates The first step on this path is one all players have
that this is primarily reflexes, superior senses, and superb combat train-
a combat system (for ing make him a match for even highly-trained mar- to take: the creation of the character and the selec-
example, karate-jutsu tial arts masters. tion of an interesting martial arts style for the char-
means “the art of the acter to use. Often the selection of the style dictates
empty hand”) other things about the character, such as his appear-
ance, philosophy of life, and goals. Unfortunately,
Continued on next page this is as far as many character designers get — even
Hero Games 111
though there are several more stages of development. order is threatened, the main enemy of his master’s Continued from last page
The second step along the path can happen enemies, the renowned leader of the art recognized -ka (J) — suffix mean-
when the character is first created, or it may take anywhere in the Martial World, and so forth. He may ing “practitioner of ” (for
place sometime later, such as when the player even be the last living practitioner of his art. This example, judoka means
rewrites or redefines the character after playing him aspect of the character may eventually crystallize “judo practitioner”)
a while. This is the establishment of a Hunted which into a major, large-scale plotline where something karate (J) — empty
involves the character’s martial art in some signifi- threatens his style’s very existence, and only he can hand (originally, China
cant way. For example, the Hunted might be opposed save it by relying on its virtues and strengths. hand)
to the character’s martial arts order or school, a The fifth and final step along the martial artist’s kata (J) — forms, exer-
practitioner of a corrupted or evil version of the PC’s career path is when the PC becomes the master of cises, formalized train-
ing movements
style, or dedicated to some principle the PC opposes his art. Obviously, this won’t happen to all characters
because of his style. or in all campaigns. It may happen when the PC’s ken (J) — sword
At this point, the character starts to develop master dies, disappears, becomes One With The Uni- ki (J) — spirit; breath;
strong ties to his martial art. It’s no longer a just a verse, or otherwise becomes unavailable. Depend- energy
means to an end (beating up bad guys). Instead, it ing upon the feelings of the player and/or the GM, kobu (J) — old-style
becomes a Way of Life, something defining who he is reaching the fifth step may signal that it’s time to fighting
outside of the combat arena. retire the character and have him devote himself to kuen (C) — forms, exer-
The third step along the path takes place when preserving and promoting his art full-time. cises, formalized train-
ing movements
the player (sometimes with the GM’s help) develops The career path of the martial artist usually isn’t
a very detailed view of the principles and aims of nearly as pronounced in other genres as it is in the kumite (J) — free spar-
ring training exercise
his martial art. He now begins to expand its base comic book superhero and martial arts genres. Other
of maneuvers, manifest special powers associated genres generally lack the opportunities to focus on kung fu (C) — hard
work, well done
with it, and so forth. The GM now becomes more the martial artist and his world in the way superhero
involved with the character’s development as he and pure martial arts campaigns can. However, this kwon (K) — punching,
or hand
thinks about the character’s role in the Martial World is not to say the career path is totally absent — it
and begins to introduce more plotlines centered simply detours a little, based on the strictures of the kwoon (C) — training
hall, school
around the character, his style, his fellow practitio- genre in question. For example, in a fantasy game
ners, and his enemies. the GM might have created a race or tribe with its kyu (J) — grade; ranks
below black belt in
Furthermore, the PC is now proficient enough own martial art. As a result of long-standing oaths Japanese martial arts;
to begin teaching students in earnest — NPCs seek and customs, the best and brightest practitioners of also means archery
him out for instruction, perhaps at the behest of this art go to the king of a nearby powerful nation to (kyujutsu is the art of
the PC’s own sifu or sensei, perhaps on their own serve as his guards and protectors. In this situation, archery)
initiative (depending upon the character’s fame and the martial artist PC’s career path might consist of obi (J) — belt
reputation). These students may include former going out into the world to gain enough experience ryu (J) — school, style,
enemies whom the PC defeated, who now recognize with his tribe’s fighting style so he can return to the or tradition (for exam-
his wisdom and seek to learn from him. tribe, prove his worth, and become a member of ple, Nito-Ryu means
At step four, the character gradually develops the King’s Guard. Whether this requires him to be Nito Style)
into the main defender of his martial art — the removed from play would depend on the GM and sabom (K) — teacher
champion his master sends for when the style or the player. sensei (J) — teacher
sifu (C) — teacher
tae (K) — kicking, or
foot
ti (K) — belt denoting
rank
wu shu (C) — military
arts
SKILLS
T
his section reviews some special applica- ACTING
tions of Skills for martial arts characters. Martial artists can use Acting to simulate a
Many additional Skills, such as Defense greater injury than they have actually received.
Maneuver and Penalty Skill Levels, are This may make their opponent overconfident and
not mentioned here because they function nor- allow the character to make a Surprise Attack. To
mally for martial artists, but that doesn’t make them use Acting this way, make a Skill Versus Skill Con-
any less appropriate for this type of character or test against the target’s PER Roll. The GM decides,
campaign. based on how clever he feels the ploy is and how
ACROBATICS likely the target is to believe it (the Overconfidence
Psychological Limitation usually comes into play
Acrobatics is a very appropriate skill for mar-
here), how much of an OCV bonus to give the
tial artist characters. It has several uses.
character. If the ploy is not really clever, or the
Requires An Acrobatics Roll (-½) target knows the character does this all the time,
In some martial arts campaigns, characters buy or the target makes his PER Roll by more than the
the Leaping Power with the Requires An Acrobatics character makes his Acting roll, the character gets
Roll Limitation. Characters can also use this Limi- no bonus. (In fact, the GM may give the target an
tation for DCV Combat Skill Levels and similar OCV bonus, as the Acting character probably has
abilities. to reduce his mobility [and hence his DCV] to
make a fake injury look convincing.)
Acrobatics And Being Thrown Characters can also use Acting to imitate some
A character can use Acrobatics to resist being other character’s personal fighting style. This ability
thrown by any maneuver which is supposed to doesn’t necessarily have much use in combat, but
throw him to the ground (including both Martial may crop up in other situations. For example, sup-
Maneuvers and the good old Grab & Throw com- pose a villain with Acting wants to frame a PC for
bination). With a successful Acrobatics roll at a a crime. He could Disguise himself as the PC, then
-3 penalty, the character keeps his feet and is not perform some heinous crime before witnesses who
thrown down. swear it was the hero — they didn’t just recognize
However, this doesn’t keep him from taking his face, they recognized his moves. This requires a
damage from the Throw maneuver. Some Throws Skill Versus Skill Contest pitting the villain’s Acting
are fist-strikes hard enough to take a character off Skill against the PER Rolls of onlookers familiar
his feet; others are leg-sweeps where the damage with the real person. To do this, the actor must
comes from the attacker’s blow to the backs of the know at least two Martial Maneuvers in the same
character’s legs; and the standard Grab & Throw style as the person he’s mimicking. If the actor is a
still slams a character hard onto the ground even if karateka and he’s trying to imitate a jujutsuka, and
he keeps his feet. Whether his roll succeeds or fails, does not have any Jujutsu maneuvers, he’s out of
he takes full damage from the Throw maneuver. luck. A Knowledge Skill of the imitated character’s
Acrobatics And Being Prone style can act as a Complementary Skill Roll.
A character who is thrown or knocked down, ANALYZE STYLE
one who isn’t able to keep his feet, can use Acrobat-
ics another way. If he makes a half roll (e.g., if his A martial artist can buy the Analyze Skill as
roll is a 13, he must roll a 7 or under), he immedi- Analyze Style, which gives him the ability to assess
ately gets his full DCV, even though he’s prone. If an enemy’s fighting skills. He may only use it while
he fails his half roll, he suffers ordinary DCV modi- watching the enemy fight; he must observe his
fiers for being prone. But on his next Phase, he can target fighting for at least one full Turn.
try again. The information the character can gain from
The character does not have to get to his feet to an Analyze Style roll depends on how well he suc-
have his full DCV when using Acrobatics this way. ceeds, as indicated in the accompanying table.
He may prefer to remain prone. For example, per- A character with Analyze Style gets a +2 to his
haps he’s been injured so that one leg isn’t working Skill Roll if his target possesses a Style Distinctive
right, thus keeping him from standing up — he’ll Feature (see page 135). On the other hand, he has
have to stay down and use his Acrobatics to keep a harder time analyzing fighters who have Lack of
his DCV up. (Of course, he may suffer a penalty for Weakness; each point of Lack of Weakness imposes
trying to use Acrobatics with an injured leg; this a -1 on the roll.
depends on the GM.) Analyze Style is the required Skill for the
Analyze Style Aid ability described under Aid on
Hero Games 113
page 120. In this context, the character analyzes the on a character’s next action (see page 51 of the
fighting style of an opponent, then uses his own HERO System 5th Edition, Revised). If the Thrown
abilities to exploit his opponent’s weaknesses for a character makes a Breakfall roll by half, he avoids
brief time. this effect, so the characters act on their regular
Analyze Style also allows a martial artist DEXs, just like normal.
to take advantage of an opponent’s consistency. A character cannot perform a Breakfall roll
Some characters tend to favor one or two attack and an Acrobatics roll in the same Phase both to
maneuvers, usually because they offer high damage resist being thrown and to reduce the damage from
capabilities or some advantageous combination of being thrown: he can only use one of them against
CV bonuses. In this situation, a character can make a given Throw attack. However, a character could
an Analyze Style roll to prepare himself for this make one Acrobatics or Breakfall roll to avoid
favored attack. If he succeeds with the roll, he gets some of the effects of the Throw, and then make a
+2 DCV against that maneuver in this particular separate Breakfall roll to regain his feet instantly
fight. In later fights the character has to make a new (without taking a Half Phase). He could make an
Analyze Style roll, perhaps at a small bonus because additional Breakfall roll in the same Phase to over-
he made it before. Characters can also use KS: Spe- come the “first movement next Phase goes to the
cific Martial Art (see below) this way. Thrower” effect.
Breakfall is known as ukemi in Japanese and
ANALYZE STYLE TABLE nhao lan in Vietnamese.
Makes Roll By Information Gained COMBAT SKILL LEVELS

0 (Exactly) Whether the target is a poor, Characters can do several unusual things with
medium, good, or master-level Combat Skill Levels.
fighter.
Clarification: 3-Point Skill Levels With A
1 or 2 How the target compares Martial Art
to the character in terms of If a character has bought 3-point CSLs with a
fighting prowess: i.e., “I’m far single martial art (say, Karate), and has purchased a
superior to him,” “It would be
Weapons Element for that art (for example, to use
a close thing but I think I’d
win,” “It’s anybody’s guess who Karate Weapons with the Karate maneuvers), the
would win,” “He has the edge character can use those Skill Levels with weapons
over me,” or “I don’t stand a used with his Martial Maneuvers. However, if he
chance.”
3 or 4 Certain Physical Limitations
and Vulnerabilities possessed
by target (the GM decides
what Limitations the Skill can
detect; Lame would be, while
2 x BODY from Poisons would
not be, for example).
Half or Better Location of the target’s open
Gate (if target has the Breath
Control power described
under Damage Resistance on
page 122.)
BREAKFALL
A character can use Breakfall to reduce the
damage he takes from any maneuver that throws
him to the ground. With a successful Breakfall roll,
he only takes half damage for the attack. However,
he suffers a -1 penalty to his roll for every 2d6
damage in that attack. For instance, if the Throw is
supposed to do 6d6 damage, he suffers a -3 penalty
to his Breakfall roll. If he makes it, he only takes
3d6 damage. If he fails, he takes all 6d6. The hard-
ness and evenness of the surface modify the roll
(see page 152).
This works even if attacker defines the Throw
attack as a strike strong enough to knock the char-
acter down; some but not all of the damage comes
from the strike, and the successful use of Breakfall
eliminates the half of the damage which comes
from hitting the ground.
At the GM’s option, a character can make a
Breakfall roll by half to avoid the effect Throw has
NON-WEAPON buys maneuvers from outside his art (say, a Ken-
COMBAT EFFECTS jutsu sword maneuver), he cannot use the 3-point
Flexible, Lengthy: Skill CSLs with his original art with the “outside” maneu-
Levels apply to Block, vers.
Choke Hold, Strike. In general, characters are better off buying
Rigid, Intricate, Bulky: 5-point CSLs with Hand-To-Hand Combat, since
Reduced OCV with these Levels apply to the Martial Maneuvers, other
damaging attacks; Skill maneuvers bought outside the character’s style,
Levels apply to Disarm, ordinary HERO System Combat Maneuvers, and
Bind, Grab. weapons not used within the character’s style.
Rigid, Simple, Bulky:
Reduced OCV with Combat Skill Levels with Non-Weapon Weapons
damaging attacks; Skill A character could buy 3-point CSLs with Non-
Levels apply to Block, Weapon Weapons. Here’s what it means and what
Disarm, Bind. it does:
Example: A small When a character picks up a piece of furniture
bookshelf isn’t a good or other unusual item — a weapon of opportunity
weapon to hit people — and slugs a target with it, the GM usually just
with; someone using determines what sort of club the item corresponds
it to Strike with
should suffer about to and assigns damage based on that. But if a char-
a -3 OCV penalty. acter buys 3-point CSLs with Non-Weapon Weap-
But a character could ons, the GM should take a different approach. He
maneuver an attacker should consider the item being picked up and then
into stabbing at him decide which three maneuvers the character’s Skill
between the shelves, Levels apply to when he’s using this weapon. (As
and then rotate the
you know, 3-point CSLs normally only affect three Requires An Acrobatics Roll (-½). Remember, each
bookshelf to Disarm
the weapon, Bind the maneuvers.) He should make his decision based two Skill Levels (10 Active Points) result in a -1 to
weapon, or lock the on the look of the item and how he imagines the the Acrobatics roll.
attacker’s arm. There- character can use it in combat. The accompanying
fore the GM decides sidebar provides general guidelines for types of Hand-To-Hand Levels Versus A Specific Style
the character gets his non-weapons and what combat effects they might These CSLs apply Only Against [Specific
OCV/DCV bonuses have. Martial Arts Style] (-1). They simulate a charac-
with Bind, Disarm, ter who has studied a particular style extensively
and Grab maneu- Alternately, a character could buy a 1-point
Weapon Element with specific objects (Use Art and learned its weaknesses. Characters may also
vers. Small bookcases
aren’t much good for with Bicycle, Use Art with Sawhorse, and so forth). take the Limitation Requires A KS: [Specific Style]
hitting people, so the That allows him to use the object normally with his Roll for these Levels. This sort of CSL is especially
GM might give it 2d6 Martial Maneuvers. appropriate for a martial arts villain. He can use his
Normal Damage. Levels to easily defeat the PCs in an early encoun-
COMBAT SKILL LEVELS BOUGHT AS ter; later, after the PCs have gotten additional train-
Example: A sawhorse POWERS ing or learned ways to mask the weaknesses the
also doesn’t look like
much of a striking Though it’s not normally appropriate to buy villain exploited, they can return and defeat him.
weapon, though it’s Skill Levels as Powers, sometimes it’s all right to do
FAST DRAW
better than a book- so to construct certain abilities or powers. Remem-
shelf; give it a -1 OCV. ber that Combat Skill Levels bought with Limita- In Japan, this Skill is called iaijutsu; it’s the
Like the bookshelf, it tions only affect OCV (or, very rarely, only affect samurai’s ability to unsheathe his sword instantly
does have small areas and attack without hesitation. Tradition attributes
DCV); see the HERO System 5th Edition, Revised,
the character can use the creation of Iaijutsu to one Hõjõ Jinsuke, who
to trap an incoming page 53, for further information.
limb or weapon, and
developed it as part of a quest to avenge his father’s
Hand-To-Hand Skill Levels Which Cost END murder.
its shape is suited
to blocking attacks. In the movies especially, a character may go Warriors often regard Iaijutsu as a martial
Therefore the GM out to fight, find his opponent was tougher than he art in itself, but it’s sufficient for game purposes to
decides the character thought, and begin really concentrating on the fight describe it as a “companion art” to Kenjutsu. It has
can use his skill levels — fighting “above himself,” tiring himself out faster, four basic techniques: nukitsuke (the sudden draw-
with Bind, Block, and but fighting more effectively. ing of the blade); kiritsuke (the cut(s) used to injure
Disarm maneuvers. To simulate this, characters can buy 5-point
Sawhorses have rigid or kill the opponent); chiburi (the shaking of blood
legs with narrow CSLs for Hand-to-Hand Combat with the Limita- from the sword-blade; this maneuver is sometimes
points on them, so tions Costs Endurance (-½) and Increased Endur- used to blind an opponent by flicking blood into
the GM rules that ance Cost (x2 END; -½). This creates CSLs that each his eyes); and noto (resheathing the sword). Other
the weapon does 3d6 cost 1 END per Phase to use. techniques dealt with countering surprise attacks,
Normal Damage. attacks by multiple opponents, fighting in the dark,
Hand-To-Hand Levels Depending On Acrobatics,
Example: A garden DCV Only and so forth. (Thus, to truly simulate Iaijutsu, a
hose would do neg- To simulate the incredible DCV acrobatic character should purchase not only Fast Draw
ligible damage, but martial artists have when using their Acrobat- but Combat Sense and Defense Maneuver as well;
it isn’t clumsy; it Lighting Reflexes is also recommended.) Knowl-
ics Skill, you can purchase 5-point DCV CSLs
for Hand-to-Hand Combat with the Limitation edgeable characters can identify different substyles
Continued on next page of Iaijutsu by the grips they teach, the fighter’s
Hero Games 115
emphasis on certain techniques, and so forth. wise Skill, but deals only with the world of the Continued from last page
Fast Draw has another function outside of martial arts. Streetwise doesn’t do much good shouldn’t impose an
combat: a character can use it to snatch things out among martial artists, because those who belong OCV penalty. A char-
of someone’s hand before he can close it — a trick to the Martial World are rather insular and closed- acter can also use it to
often performed to impress someone. The character mouthed about it when talking to outsiders. catch incoming weap-
ons (blunt weapons
has the other person hold something in his open A successful KS: Martial World roll allows a only — sharp ones
palm, and tells the fellow he can snatch the object hero to use the Martial World grapevine to hear would cut right
out of his hand before the fellow can close his hand. about unusual events and happenings in the Mar- through), to choke a
With a successful Fast Draw roll in a Skill Versus tial World, and to send messages to other people in foe, or to swing the
Skill Contest against the target’s Fast Draw or DEX the Martial World. For example, if a hero hears that metal cap at the end
Roll, he can do this. If the character succeeds and an assassination was performed using an interest- at the target. There-
immediately makes an appropriate Presence Attack, ing but little-known Taijutsu technique, a successful fore the GM decides
the character can
grant him +1d6 for every two points by which he KS: Martial World roll might let him figure out who use his skill levels
beat the target’s Fast Draw or DEX Roll. can reveal the culprit’s identity to him (or, simply, with Block, Choke
A character can also use Sleight Of Hand, if who the culprit is). This Skill also keeps the char- Hold, and Strike
he possesses it, to make a switch. With successful acter up to date about who’s on top in the sporting maneuvers using the
Fast Draw and Sleight Of Hand rolls (the target competition forms of the martial arts and other hands (i.e., Punches,
can make a PER Roll in a Skill Versus Skill Contest current affairs in the significant martial arts schools not Kicks). Garden
hoses aren’t terribly
with the Sleight Of Hand), our hero can take the around the world. effective weapons; the
object off the other fellow’s palm and drop another GM rules they do 1d6
Knowledge Skill: Mon
in its place... without the target realizing what’s hap- Normal Damage.
Mon are symbols and designs used to repre-
pened. The target feels the object in his hand and
sent Japanese families; every major Japanese family, Non-Weapon Weapons
thinks he won the contest. are all considered Clubs
especially the more traditional ones, has a distinc-
KNOWLEDGE SKILLS tive mon design. Knowledge Skill of mon gives a for purposes of a char-
acter’s skill with them...
The following Knowledge Skills are especially character a good grounding in the recognition of and everyone auto-
appropriate for martial artist characters. these designs. He can recognize famous designs matically has Weapons
automatically, and identify others with a success- Familiarity with Clubs.
Knowledge Skill: Chinese Healing ful Skill Roll. This can be important in martial arts
KS: Chinese Healing reflects a character’s campaigns centered around Japan, where recogniz-
knowledge of ancient Chinese healing techniques. ing a character’s family by his mon can make all the
It corresponds, in game mechanics, to SS: Medicine difference in determining who is friend and who is
and PS: Doctor. foe.
Chinese Healing uses a combination of herbal
medicine and acupuncture. It works to put the Knowledge Skill: Specific Martial Art
body’s internal systems back in balance to combat You saw in Chapter One that every martial arts
disease or cope with traumatic injury. In game style recommends purchase of a Knowledge Skill.
terms, it works just like PS: Doctor (a character This skill has several functions in the campaign:
with it must buy a 1-point License To Practice Medi- History: The character has a grounding in the his-
cine Fringe Benefit separately if he wishes to prac- tory of his style. He knows the factors that led to its
tice medicine legally). development, the influences which affected the art,
Characters can use Chinese Healing to undo and the names of the persons who contributed sig-
the effects of dim mak attacks (see Drain on page nificantly to its development. With a successful Skill
123). A character with KS: Chinese Healing can Roll, he can answer more difficult questions about
make a normal Skill Roll to detect that his patient the style’s history.
is suffering from dim mak techniques. To cure his
Philosophy: The character has an understanding
patient, he must succeed in a Skill Versus Skill Con-
of the philosophical side of his style. Most Eastern
test against the Chinese Healing Skill of the charac-
martial arts have a very important philosophi-
ter who performed that dim mak attack. If he wins
cal side to them, often grounded in Buddhism.
the contest, he “turns off ” the effects of the dim mak
This is seldom important in an action-adventure
attack. This cure doesn’t instantly heal the victim
game, though wise practitioners of the art are often
back to health; it just stops the progressive effects of
inclined to baffle young adventurers with cryptic
the dim mak and allows the patient to begin healing
riddles and metaphors, which a successful Knowl-
normally. If he fails the roll, he can do nothing to
edge Skill roll can help unravel.
forestall the continuation of the dim mak effects.
Regional variations on this Skill include KS: Personalities: The character knows major practitio-
Indian Healing and KS: Korean Healing, which ners of the art, at least by name and reputation. If
are appropriate for some martial arts from those the art is practiced as a sport (for example, Karate
regions. has a full-contact sport as a sideline), he knows who
the current champions and contenders are with a
Knowledge Skill: The Martial World successful Skill Roll. In modern-day campaigns, he
In modern-day campaigns, the Martial World also knows what they look like due to appearances
is a worldwide martial arts subculture; you find it in magazines covering the style.
in any nation or city where there are martial arts
schools or traditions. Schools: The character can, with a successful roll,
KS: The Martial World is similar to the Street- recognize the precise style of another practitioner
of the same art. One karateka (Karate practitioner) through use of code-words and hand-signs casual
observing another in combat can make his Skill observers could not detect (or would not know
Roll; with a successful roll, he will know (or at the meaning of). A ninja in the field can give tacti-
least have a good idea) of which branch of the cal commands to his subordinates through spoken
style the other character learned, and may (if he words and hand-signs. A ninja can bury an impor-
makes his roll by 3 or better) know exactly who tant object at a particular site and leave a “mean-
trained this character. ingless scratch” on a wall or tree nearby; a ninja of
Symbols: With a successful roll, the character can his own clan can interpret the scratches and find
recognize the distinctive symbols used by many the buried goods.
schools or branches of his style. Where appropri- Consider this a complete language which
ate, he can recognize variations in the weapons may be performed at any time either with voice,
used by different branches of his style. For exam- or with hand-signs, or both. But it’s not a sophis-
ple, different ninja clans were supposed to have ticated language, so the GM can assign INT Rolls
different-looking shuriken; a character with KS: and INT Roll penalties to ninja trying to com-
Ninjutsu could, with a successful roll, determine a municate complicated thoughts or stories when
shuriken’s school or clan of origin (if any). using it.
Other Styles: With a successful roll at -2, the char- PROFESSIONAL SKILL: INSTRUCTOR
acter can recognize a style not his own. He might Characters who want to teach their martial
see a fighter in combat, make his roll, and recog- art to others should buy this Skill. Anyone can
nize that the other fellow was performing Savate teach, of course, but someone with PS: Instructor
maneuvers. The GM can apply additional penalties is more skilled at doing so, and better able to eval-
based on how unfamiliar he believes the character uate the best methods for instructing a particular
to be with the style he’s observing. This use of the student or class, the progress of a student, and so
Skill doesn’t allow the character to recognize spe- forth. This Skill includes knowledge of some very
cific schools or styles of the other art. basic sports medicine techniques to help with
Analyze Style: If the character has the Analyze Style common dojo injuries.
Skill, and has a KS of the same style being used by SCIENCE SKILL: SPECIFIC MARTIAL ART
the character he’s analyzing, he can use his KS as a
A Science Skill in a particular style gives a
Complementary Skill to the Analyze Style Skill.
character knowledge of the mechanical aspects
LANGUAGE: NINJA CLAN CODES AND of his fighting maneuvers, including their kine-
SYMBOLS siology and the scientific principles which make
Only ninja who belong to ninja clans may them work. At the GM’s option, this may include
learn this Skill. It’s a series of special code-words, some appropriate “sports medicine” techniques
hand-signs, and commands that allow a ninja to for common dojo injuries and/or some very
communicate secretly and silently with one of basic knowledge of human anatomy. In appropri-
his own clan. Characters must buy it this way: 2 ate circumstances, this SS and PS: Instructor are
points in a language (Ninja Clan Codes), and 1 Complementary to one another, since oftentimes
point for Literacy (Ninja the more one knows about an art, the better one
Clan Symbols). Buying can teach that art to others.
more points in the SLEIGHT OF HAND
language doesn’t
At the GM’s option, characters can use this
do any good.
Skill as a Half Phase Action to perform “feints”
Each ninja clan
or “foists” in combat. This means the character’s
has its own set of
trying to “fake out” his opponent, creating an
codes and symbols.
opening he can exploit. For every 2 points the
Consider each
character makes his Sleight Of Hand roll by, he
clan’s language
gains +1 to his OCV, up to a maximum of +3.
linguistically unre-
However, each time after the first he tries this
lated to all other
against a particular opponent, he takes a cumula-
clan languages (or
tive -2 penalty to his Sleight Of Hand roll. Thus,
any other language,
sooner or later a recurring enemy learns the
for that matter) for
character’s tricks and how to avoid them. Other
purposes of learning
characters who have watched the character fight,
more than one.
or who make the character’s Reputation roll, may
Two ninja of
also know of his tricks, thus subjecting him to the
the same clan,
same penalty even if this is the first time he’s ever
sitting together,
fought them.
could hold an
If the character fails his Sleight Of Hand roll,
ordinary conver-
and his opponent makes a PER Roll at -2, the
sation with normal
attacker suffer a -2 OCV penalty on his attack,
speech and
since his target has seen through the “feint” and
exchange secret
knows what to expect.
information
Hero Games 117
PERQUISITES
P
erquisites which are useful in martial arts “Black Belt” (1 point)
‘T he roots of
campaigns include: This optional Perk indicates the character is
recognized as a “black belt,” or expert fighter, by a
governing body of his style (or some similar orga- education
CONTACT
nization) and has the right to refer to himself as
Several types of Contacts often appear in mar- such. A character with this Perk can sometimes rely are bitter, but the
tial arts stories: on members of the Martial World for work (i.e.,
teaching martial arts), shelter, and the like.
fruit is sweet.’
The Ex-Master: The martial arts expert who trained
the character. If bought as a Contact, he won’t This Perk is strictly an optional one; its avail- — Aristotle
normally come along with the hero on his adven- ability depends on the GM’s ruling regarding how a
tures, but can often answer questions about the character qualifies to be a black belt. Refer to Black
hero’s newest opponent or give the hero additional Belt Status In The HERO System, page 13, for details.
between-adventures training. Kirisutogomen (10 points)
The Old Buddy: This character was in the armed Only characters in feudal-era Japanese cam-
forced with the hero, was a co-student with him paigns can take this Fringe Benefit. It represents a
back in the old days, or something of the sort. samurai’s right to kill anyone of a lower social class.
He’s often a lower-grade martial artist himself; In some periods, samurai all had this right, but dif-
frequently, he’s also wealthy, or a weaponsmith of ferent samurai implemented it in different ways.
some sort. He can make (normal) weapons for the More calm and philosophical samurai exercised it
hero, or protect the rescued NPC when the hero only when deliberately offended; touchier samurai
doesn’t need to be burdened with the presence of a killed anyone who accidentally stepped across their
non-fighter. blades, didn’t bow down quite far enough, or oth-
erwise inadvertently bothered them for any reason.
FOLLOWER
However, characters should remember that daimyo
The most common type of Follower for a mar- (lords) tend to frown upon the indiscriminate kill-
tial artist to have is a student. Many martial artists ing of their subjects, peasants or otherwise.
attract non-fighters or beginning fighters who
wish to learn from them. The character can guide Right To Marry (1 point)
the student’s development by deciding how much This is a necessary Perk of Buddhist monk
to spend on his Follower Perk; when the Follower characters.
reaches an ample level of ability and it’s time for the Right Of Shelter (1 point)
characters to part, the PC can “turn in” his Follower This is a necessary Perk of Buddhist monk
and get his points back. He has to use those points characters. It doesn’t mean the character has the
to buy off Disadvantages related to the Follower, or right to barge into peoples’ homes and demand
to buy other Followers, Bases, Vehicles, and such food and shelter, but rather that in predominantly
things — he cannot spend them on Characteristics, Buddhist countries or regions, someone (usually
Skills, or Powers. a peasant or a monk from the local monastery)
FRINGE BENEFITS will always offer him shelter (if he’s known to be a
monk).
Accredited Instructor (1 point)
MONEY
This Perk indicates the character has received
accreditation as an expert and instructor in a spe- Martial arts campaigns are not about money,
cific martial arts style by a recognized body which and so a martial artist character should only take
regulates that style (for example, the “World Kung the Money Perk as part of his background concep-
Fu Masters Federation” for a Kung Fu practitio- tion. If he’s a multi-millionaire who’s also a martial
ner). This increases his profile in the Martial World artist, he should take Wealthy; if he has chosen a
and helps him attract students (should he wish to lifestyle where he’s continually impoverished, he
teach). should take Destitute.
Since this Perk indicates someone who’s an REPUTATION
expert and a qualified instructor, the GM should
Many martial artists have a Reputation reflect-
ordinarily require a character to be a black belt (see
ing their fighting skill. They should buy this as a
page 13 for qualifications), or possess a similar level
Perk, since it causes others to back down rather
of skill and learning, before he can buy Accredited
than fight them, makes it easier to intimidate
Instructor.
punks, earns the character a measure of respect in with a base should also teach his “agents,” or stu-
appropriate circles, and so forth. The Martial World dents.
counts as a medium-sized group for purposes of Point-purchased special vehicles are very
buying Reputation. uncommon in martial arts campaigns.
The GM may decide that martial arts char-
VEHICLES AND BASES
acters in his campaigns do not get to buy bases or
The most common sort of base found in a vehicles with their own points — they’re limited to
martial arts campaign is the school. Only masters the sorts of bases and vehicles bought with money.
and master villains have schools, so a character
TALENTS
M
any of the Talents from the HERO reduced by half (the typical effect of invisibility
System are very useful when build- on hand-to-hand and ranged combat) — he can
ing martial arts characters. The most fight the invisible character with his full OCV. The
important ones include: character can get bonuses to his roll if he figures
out clever ways to reduce the effects of the invis-
COMBAT SENSE
ibility (making his opponent fight in an area with
Many martial artists train to fight when a lot of dust in the air or water on the floor, for
blindfolded or blinded; you can represent that example).
ability with Combat Sense. It can be a life-saver Remember that standard Combat Sense
for a martial artist when the lights go out, his stands on its own — it isn’t subject to the Simu-
opponent blows some dust into his eyes, he’s been lated Sense Rule. Characters can link it to a Sense
successfully Flashed, and so on. Blind martial art- Group if they wish. This greatly reduces its cost,
ists also have this Talent. but also makes it much more likely their Combat
Combat Sense also proves useful if the char- Sense will be Flashed or otherwise “blocked.”
acter has to fight an invis-
ible foe. A martial DANGER SENSE
artist who makes a Like Combat Sense, Danger Sense can alert
Combat Sense roll the martial artist to an attack even when there’s
will not have no obvious sign of that attack coming. This is a
his OCV Talent of skilled masters, intuitive martial artists,
and characters with animal-like senses. However,
as with all stop-sign Talents, it requires special
permission from the GM.
LIGHTNING REFLEXES
In a martial arts battle, he who strikes first
often triumphs. Thus, many martial artists buy
this Talent to reflect the almost supernatural
quickness they develop through their training. In
some cases, characters can apply the Limitation
Requires A Skill Roll (-½) to it; possible Skills
include Sense Ch’i (see below), Analyze
Style, KS: opponent’s martial arts style, or
a DEX Roll.
SIMULATE DEATH
This is an unusual, but not unheard
of, ability among martial artists. It’s most
often learned by masters who have total
control over their bodies.
Hero Games 119
POWERS
C
-½ if one or more
haracters can use many HERO System members of a specific team (the team may have
Powers to create interesting abilities, up to seven characters total) must be present. The
powers, and “super-skills” for martial “OCV/DCV Only” Limitation means the charac-
arts characters. In Superheroic games, ter doesn’t change his place on the Combat Order
they can even use Powers to create abilities deriv- Sheet; this helps to keep the power from irritating
ing from ancient Chinese sorcery or many other the GM.
strange sources. (5) The character can apply the Delayed Return
AID Rate Advantage to decrease the loss rate for the Aid,
up to wearing off at a rate of 5 Character Points per
There are many uses for Aid for martial arts
Minute (+¼).
characters, including the ones described below.
Battles are often unpredictable things, which is
If characters in an Array become separated in
why characters should build the abilities described
combat beyond the 5” range, they cannot use their
in this section with Aid — Aid’s effects are similarly
Aid bonus at that moment... but it does not wear off
unpredictable. However, some players find this
instantly. If the characters get back within range of
unpredictability frustrating — they can never know
one another before the Aid wears off, the Aid bonus
precisely how much increase a Characteristic will
is instantly restored.
receive from an Aid, making it difficult to plan or
use certain tactics. If you feel this way, apply the Example: Jiro and Eiko are a brother-and-sister
Standard Effect Rule to your Aid powers, or per- fighting Array. Each of them buys the following
haps substitute Combat Skill Levels for Aid (char- power: Aid DEX 3d6, Invisible Power Effects
acters can take many of the Limitations applicable (Fully Invisible; +1) (60 Active Points); Self
to Aid, such as the need to remain close to your Only (-½), Usable Only Within 5” of Sibling (-
partners for an Array, on the CSLs). 1), Only Increases OCV And DCV (-¼). Total
cost: 22 points.
Arrays
An Array is a fighting style where two or more If they later become part of a larger fighting
fighters have trained together so long and so well team, one with five members, they could either
that the whole is greater than the sum of its parts. decide the ability works only when all members
When fighting together, the partners in the Array were within 5”, or when any one other member
are much more formidable than when fighting was within 5”. Assuming they choose the latter,
alone or fighting alongside someone who is not the ability becomes: Aid DEX 3d6, Fully Invis-
their partner. ible (+1) (60 Active Points); Self Only (-½),
A character can buy an Array as an Aid DEX Usable Only Within 5” Of Any Member Of
for himself with these Advantages, Limitations and Five-Man Team (-½), Only Increases OCV
restrictions: And DCV (-¼). Total cost: 27 points.
(1) Array Aid powers should be limited to a maxi-
mum of Aid DEX 6d6. Ch’i Aid
Because martial arts characters often tap
(2) Characters cannot increase the maximum
into their inner strength, or ch’i, they can buy Aid
number of Character Points they can add to a
powers (with numerous Limitations) defined as
Characteristic; i.e., if you have an Aid 6d6, you
“summoning one’s ch’i.” The following guidelines
cannot add more than 36 Character Points to the
apply to Ch’i Aid abilities:
affected Characteristic (this translates into a limit
of +12 DEX). (1) Ch’i Aid powers are limited to 2-4d6 Character
Points of Aid (see below).
(3) The power must have the following Advantage:
Invisible Power Effects (Fully Invisible; +1). (2) Characters cannot increase the maximum
number of Character Points which they can add to
(4) The power must have the following Limita-
a Characteristic; i.e., if you have Aid STR 3d6, you
tions: Only For Increasing OCV And DCV (-¼), Self
cannot add more than 18 Character Points to STR.
Only (-½); Usable Only Within 5” Of [Specific Other
Person(s)] (-1½ to -½). The “Specific Other Persons” (3) All Ch’i Aid abilities must take the Invisible
Limitation is worth -1½ if all members of a specific Power Effects Advantage (Fully Invisible; +1).
team must be present; -1 if only one specific other (4) All Ch’i Aid abilities must take the Self Only
person (a permanent partner) must be present; or (-½) Limitation.
(5) The following Limitations are recommended or the Power Frameworks section, below, for more
appropriate, but not required unless the GM says information).
so: Activation Roll, Concentration, Extra Time,
Gestures, Incantation, Increased Endurance Cost. A sample of a Kiai Shout power might look
(6) Characters can buy Ch’i Aid to affect one or like this:
more of the following Characteristics: STR, CON, Example: Aid PRE 4d6, Invisible Power Effects
EGO, PRE, REC, END, and/or STUN at a maxi- (Fully Invisible; +1) (80 Active Points); Self
mum of Aid 4d6; or BODY, PD, and/or ED at a Only (-½), Only To Make Offensive Presence
maximum of Aid 2d6. Aid BODY powers must take Attacks (-½), 4 Charges (-1), Costs END (-½),
the Limitation Aid Can Only Raise Characteristics Increased Endurance Cost (x4 END; -1½).
To Starting Values (-1). See Kiai Aid, below, for Total cost: 16 points.
options for PRE Aid powers.
This represents the sort of Kiai Shout a char-
(7) Characters cannot buy Ch’i Aid to affect DEX, acter might buy initially. As he gains experience,
INT, COM, or SPD. he’d doubtless buy off the Charges Limitation, buy
(8) Characters cannot take the Delayed Return down the Increased Endurance Cost, and perhaps
Rate Advantage for this Aid. Ch’i Aids must wear increase the dice of effect.
off at the standard 5 Character Points per Turn rate
Aid With A Skill Roll
(though they could wear off sooner, if appropri-
Sometimes characters who make a successful
ately Limited).
Skill Roll can gain combat advantages against their
(9) You can only put Ch’i Aid powers into Power opponent. In HERO System terms, you can simulate
Frameworks with the GM’s permission (refer to the such bonuses by Aiding certain Characteristics.
Power Frameworks section, below, for more infor- Sense Ch’i and Analyze Style are the most common
mation). Skills used for this ability, and DEX is almost
Example: Aid STR 3d6, Invisible Power Effects always the Characteristic Aided. The examples
(Fully Invisible; +1) (60 Active Points); Self given below assume Analyze Style is the Skill used
Only (-½), Activation Roll 14- (-½), Increased and DEX is Aided.
Endurance Cost (x5 END; -2). Total cost: 15 Here are the Limitations on the power:
points. (1) A Heroic-level character may only buy up to
Aid DEX 2d6 (which results in a maximum of 12
At the GM’s discretion, some of the restric-
Character Points of DEX, or 4 points of DEX). He
tions described here may diminish or vanish in
may increase the amount of Character Points his
campaigns which are wilder, Superheroic, or more
Aid give him, up to 48 Character Points of DEX (or
oriented toward martial arts.
16 points of DEX). Superheroic characters may buy
Kiai Aid up to Aid DEX 4d6, and may increase the amount
A kiai is a war-shout — a mighty shout which of Character Points the Aid gives him, up to 63
surprises opponents, upsets their timing, some- Character Points (or 21 points of DEX).
times even stuns them. In HERO System terms, (2) Characters must take the following Limitations
a kiai is best represented as an Aid PRE bought for a Skill Roll Aid: Self Only (-½), Requires An
according to the following guidlines: Analyze Style Roll (-½), Extra Time (Full Phase;
(1) Characters cannot buy a Kiai Aid PRE shout -½), Must Watch Target Fighting Someone Else For
with more than 8d6. One Full Phase Per Skill Roll (-½), Failed Skill Roll
Or Interruption Prevents Further Skill Rolls At
(2) Characters cannot increase the maximum
This Time (-½), Concentration (½ DCV; -¼), Only
number of Character Points they can add to a
For Increasing OCV And DCV (-¼), Only Versus
Characteristic; i.e., if you have Aid PRE 3d6, you
One Observed Foe (-1). Total Limitation: -4.
cannot add more than 18 Character Points to PRE.
(3) Characters may, if they wish, use Delayed
(3) All Kiai Aid abilities must take the Invisible
Return Rate to increase the time period over which
Power Effects Advantage (Fully Invisible; +1).
the Aid’s effects wear off to as much as 5 Character
(4) All Kiai Aid abilities must take the Self Only Points per 5 Minutes (a +½ advantage), but no
(-½) Limitation. higher.
(5) The following Limitations are recommended
or appropriate, but not required unless the GM In play, what happens is this:
says so: Activation Roll, Charges, Only To Make A character with the power observes his
Offensive Presence Attacks (-½), Increased enemy fighting. (Often, he asks one of his friends
Endurance Cost. or orders his student to confront the enemy so he
can observe.)
(6) Characters cannot take the Delayed Return Rate
Each Phase the character watches his target
Advantage. Kiai Aids must wear off at the standard
fighting, he may make his Analyze Style roll; with
5 Character Points per Turn rate (though they
each successful roll, he can activate his Aid power.
could wear off sooner, if appropriately Limited).
Each application of his Aid increases his DEX,
(7) You can only put Ch’i Aid powers into Power but only to improve his own OCV and DCV, and
Frameworks with the GM’s permission (refer to only against this one opponent. It doesn’t improve
Hero Games 121
his SPD, his placement on the combat order list, his

Agility Skill Rolls, or anything of the sort. If he fights
a character other than his target, he doesn’t get the
DEX bonus; however, if he finishes with the other
character and returns to his target before his DEX
Aid wears off, then he’ll still benefit from the power.
If he fails a Skill Roll, or something interrupts
his concentration (e.g., someone attacks or distracts
him), he can make no further Analyze Style rolls
against this opponent during this fight. (The exact
length of a “fight” varies, but it’s long enough for all
hostilities to cease and for the character’s Aid bonus
to wear completely off. Until both conditions are
met, consider the “fight” to remain in effect.)
This means once he misses a roll, or some-
thing interrupts his observation, or he simply stops
making his roll for any reason, he’s gotten all the
benefit from his power he can get; he should then
start attacking his target (or running away, if that’s
what’s called for). He’ll fight his enemy with his
OCV and DCV substantially improved. Gradually,
his Aid wears off; this corresponds to his opponent
figuring out how to compensate for the weak spots
in his own fighting style.
Here’s an example of how this power is built:
Example: Aid DEX 2d6, can hold up to 48
Character Points of DEX (equalling +16 DEX),
Delayed Return Rate (points wears off at 5 per
5 Minutes; +½) (72 Active Points); Self Only (-
½), Requires An Analyze Style Roll (-½), Extra
Time (Full Phase; -½), Must Watch Target
Fighting Someone Else For One Phase Per
Skill Roll (-½), Failed Skill Roll/Interruption
Prevents Further Rolls (-½), Concentration
(½ DCV; -¼), Only For OCV/DCV (-¼), Only
Versus One Observed Foe (-1). Total cost: 14
points; -7 to Analyze Style roll.
ARMOR
Armor is inappropriate for most martial arts
characters or campaigns. If characters want Resis-
tant Defenses, they can buy Damage Resistance (see
below); limited forms of Damage Reduction also
work well. Characters can, of course, buy Armor as
equipment (see Chapter Three of this book and the
Weapons and Armor section of the HERO System CLINGING
5th Edition, Revised for details). EXAMPLES
CLINGING RAPID CLIMBING
Superheroic martial artists can buy Clinging in Clinging (normal STR)
the usual fashion. So can characters in “wild” style (10 Active Points);
martial arts campaigns, who sometimes display the Requires A Climbing
Roll (-½), Sideways
ability to run up walls and along narrow rooftops
Move At ½ Ground Rate
effortlessly. (-¼), No Ceiling Or
For Heroic characters, the GM should consider With the first Limitation shown above, a char- Angles Less Than 80o
imposing one or both of the following Limitations acter is about as slow going sideways as he is going (-¼). Total cost: 5
on Clinging (perhaps in addition to Requires A up. With the second Limitation, the character can points.
Climbing Roll): scale shallow inclines, steep inclines, vertical (90o)
Sideways Movement Is At ½ Ground Movement inclines, and even overhangs up to 80o ... but not WIRE-FU
Rate: -¼ any steeper overhangs. WALL-SCALING
Heroic characters should not be allowed to Clinging (normal STR)
No Ceiling Movement Or Angles Of Less Than buy up the STR of their Clinging; their base STR is (10 Active Points);
80o: -¼ quite enough. Requires An Acrobatics
Roll (-½). Total cost: 7
points.
DAMAGE DAMAGE REDUCTION a character to make himself much more resistant

REDUCTION Martial arts characters absorb an incredible to damage by closing off certain vulnerable energy
EXAMPLES amount of abuse in the movies and fiction, then points called “Gates,” thus protecting most of his
come back for more. You can simulate this with a body against Killing Damage. However, one Gate
RESILIENCE I limited form of Damage Reduction. must always remain open, leaving the character
Physical Damage This ability is especially appropriate for char- vulnerable to attack there; the character must define
Reduction, Resistant, his open Gate when he buys Breath Control. When
50% (30 Active Points), acters in martial arts campaigns. Having this power
can mean the difference between being a good, a location is actually two locations (for example,
Must Be Aware of Attack
(-¼), Activation Roll (- effective minion-type character and being a master location 7 is forearm, and the character has two,
¾, assuming a 12- EGO martial artist or damage-resistant hero. Therefore, right and left), the player can define which one it is.
Roll), Does Not Work only PCs and the best NPC martial artists (aged If he wishes his open Gate to be in his right hand,
Against Dim Mak (-¼). teachers, master villains, powerful minions, and the he defines it as Location 6 (Right). In combat, when
Total cost: 13 points. someone attacks him and hits the proper location,
like) should have this ability.
The GM should consider imposing the fol- unless he specifically aimed for the proper one, he
RESILIENCE II lowing Limitations and restrictions on this form of must roll 1d6; a 1-3 means he hit the left limb, a 4-6
Physical Damage Reduc- Damage Reduction: means he hit the right.
tion, Resistant, 50% (30 Rules for buying Breath Control:
Active Points), Must Be (1) Characters can buy a maximum of Damage
Aware Of Attack (-¼), Reduction, Resistant, 50%. (1) The character may only buy Damage Resistance
STUN Only (-½), Does to Physical attacks.
(2) Characters can only buy Physical and Energy
Not Work Against Dim (2) The character must take the following Limita-
Mak (-¼). Total cost: 15 Damage Reduction (or Physical only, for Heroic
characters); they cannot buy Mental Damage tions for the power: Does Not Work Against Guns
points.
Reduction. (-¼; Breath Control only works against attacks
from hand-to-hand, thrown, and muscle-powered
(3) The Damage Reduction must take these Limi- weapons); One Hit Location Left Undefended (-¼)
tations: Character Must Be Aware Of Attack (-¼), (or 15- Activation, if you’re not using Hit Loca-
DAMAGE Does Not Work Against Dim Mak (-¼). tions).
RESISTANCE (4) Optional Limitations include: STUN Only (3) If the campaign uses the Hit Location chart,
EXAMPLES (-½); Activation Roll (equal to character’s EGO and the player chooses as his open Gate a Hit
BREATH CONTROL Roll; -1 to -¼) (the character must make an EGO Location which reduces the damage of an attack
Roll whenever he takes damage, and if he fails his (Locations 6-8, 15-18), then he must take the fol-
Damage Resistance (8
PD) (4 Active Points); roll he takes full damage). (At the GM’s option, the lowing Vulnerability: 2 x BODY To Attacks To Gate
Does Not Work Versus character may substitute other appropriate rolls, (Uncommon), 10 points. This only gives him points
Guns (-¼), Location 3 such as a CON Roll.) to spend if he bought Breath Control when he was
(Forehead) Left Unde- first created. If he buys Breath Control after charac-
fended (-¼). Total cost: With this arrangement, the character must
3 points. ter creation, and defines his open Gate as being in
know he’s being attacked (this is automatic for one of the limb locations, he still gets the Vulnera-
most attacks from the direction he’s facing, but can bility, but he doesn’t get any Character Points for it.
require a PER Roll, or even Danger Sense roll for
surprise attacks). In one form of the power, he must GM’s Note: Breath Control is a very inexpensive,
force himself to ignore the pain, hence the Activa- very useful ability. If you allow it in your campaign,
tion Roll (EGO Roll) requirement. just about every character will want it. It makes
Characters with this arrangement cannot buy small bladed weapons next to useless; only martial
their Activation Rolls up higher than their EGO arts, large weapons, and guns remain effective. If
Rolls. This may make them want to have strong you prefer to keep your PCs respectful of lower-
EGOs, which is appropriate for martial arts heroes. powered Killing Damage weapons, do not allow this
If a character has an EGO Roll of 13-, he can buy a power in your campaign.
14- Activation Roll, since there is no 13- Activation DESOLIDIFICATION
Roll limitation.
Characters can use Desolidification as a defen-
DAMAGE RESISTANCE sive ability — a style of blocking or parrying incom-
Characters in martial arts campaigns can buy ing blows which is so adroit, no one can penetrate it
Damage Resistance, with this Limitation: Only to actually hit the defender. This sort of Desolidifica-
Versus Unarmed Martial Arts Killing Attacks (-1). tion is vulnerable to mystic attacks and to martial
(In campaigns where unarmed Killing Attacks are arts attacks specifically intended to overcome it.
less common, increase this Limitation’s value to -2.) Example: Desolidification (affected by magical
This allows the character to resist the worst effects attacks or any maneuver specifically designed
of martial arts Killing Attacks, but provides him to overcome this ability), Invisible Power Effects
with no extra defenses versus the knife of a mugger, (Fully Invisible; +1) (80 Active Points); Only
the claws of a bear, the gun of an assassin, or any To Protect Against Martial Arts Attacks (-1),
other type of Killing Attack. Requires A DEX Roll (-½). Total cost: 32 points.
Damage Resistance: Breath Control The GM must define which attacks are “specifi-
Breath Control is a form of Damage Resistance cally intended to overcome” this power. A martial
available to Superheroic martial artists and char- arts ability bought with Affects Desolidified (+¼)
acters in martial arts-oriented campaigns. It allows would certainly qualify (characters take Affects
Hero Games 123
Desolidified at the +¼ level in this instance to reflect

the fact that the attack only affects a single, limited
form of Desolidification). Another possibility is any
martial arts attack with the Indirect Advantage.
DISPEL
A character can buy a Dispel to give himself
the ability to use his martial arts to break small
gadgets and items of equipment. “Small
gadgets” are typically defined as those with
20 or fewer Active Points in them and/or
which take the Fragile Limitation.
Example: Hitoshi wants to be able to break
minor gadgets and similar items, since he
considers it unfair for someone to use weap-
ons and equipment against him when he only
uses his bare hands. He purchases the following
Dispel ability:
Shattering: Dispel 5d6, any small gadget power
one at a time (+¼) (19 Active Points); No Range
(-½). Total cost: 13 points.
Hitoshi encounters an attacker wearing a tinted
motorcycle helmet (defined as 5 points of Sight
Group Flash Defense). Hitoshi, a generally non- simulate the effect of the victim’s body wasting away.
violent person, would prefer to end the fight (2) Characters may not buy more than a Drain 10d6.
quickly by using Martial Flash, but the motor- If they Link non-BODY Drains to the BODY Drain,
cycle helmet offers his opponent a full defense the Linked Drains cannot exceed 6d6.
against that attack. Hitoshi decides to use his (3) Characters must buy Dim Mak powers with the
gadget-breaking power to smash the helmet. following Advantages: Invisible To Sight And Hear-
He successfully hits his target and rolls 12 on ing Groups (+¾), Time Delay (+¼), Delayed Return
his Dispel dice. This exceeds the 5 Active Points Rate (BODY returns at the rate of 5 Character Points
in the gadget, so the helmet’s faceplate shatters. per Week; +1½). (They can improve this last Advan-
Hitoshi’s attacker’s eyes are now fully exposed tage further, to 5 CP per Month or per Season, if they
to attack. wish to spend the points.)
DRAIN (4) Characters must buy Dim Mak powers with the
Gradual Effect Limitation, at either the 1d6 of effect
General Uses per 6 Hours (-1½) or 1d6 of effect per 1 Day (-1¾)
Characters can use Drain to create a wide level. The damage of a Dim Mak attack doesn’t take
variety of martial arts attacks which weaken, numb, effect all at once; the victim sickens before dying.
or otherwise debilitate a target. Most such attacks Apply 1d6 Drain at each time increment (if the
buy down the recovery time so the target does not Dim Mak technique is built as several Drains — for
recover quickly. Limitations such as Only Works On instance, a BODY, STR and CON Drain — apply 1d6
Humans (-½), Requires A SS: Anatomy Roll (-½), or of each Drain at each time increment).
Requires A Sense Ch’i Roll (-½) are appropriate for (5) Characters must buy Dim Mak powers with
most Drain-based martial attacks. Characters can this special Limitation: Can Be Cured By Chinese
also use Drain to create “feint” maneuvers (refer to Healing (-¼). A character with the Chinese Heal-
Feints, below, for details). ing Skill might be able to cure a Dim Mak attack.
Drain: Dim Mak Techniques He can’t make his roll to cure the victim until the
Dim Mak is the infamous “delayed death touch,” onset of the first 1d6 of damage. Since Dim Mak
a nearly magical method of striking (or even merely practitioners must also know Chinese Healing (see
touching) an opponent, transferring ch’i energy into item #6 below), the GM should resolve this as a Skill
him, and causing an imbalance in his body which Versus Skill Contest between the two characters
eventually kills him. This is a Chinese technique, with Chinese Healing. (Also, if the victim is below 0
and not widely known; the GM should restrict its BODY, the character trying to heal him suffers a -1
purchase so that only one or two PCs (at most) ever penalty to his Skill Roll for every 2 BODY the victim
learn Dim Mak. (If several characters know it, it is below 0 BODY.)
becomes mundane and boring, not the dangerous, (6) Characters must buy Dim Mak powers with the
mysterious art it should be.) following Limitation: Requires A Chinese Healing
In a Heroic campaign, characters buy Dim Mak Roll (no Active Point penalty, but 16+ automatically
this way: misses; -¼).
(1) Dim Mak is bought as a Drain — mostly a Drain (7) The following Advantage is appropriate for Dim
BODY, though characters can add other Drains to Mak powers but may only be taken instead of (not
in addition to) Time Delay: Trigger (Trigger can (9) Dim Mak powers are hand-to-hand and so may
change each time power is used; +½). Usually, the not be bought with the Ranged Advantage.
Trigger is a certain number of steps taken by the A character struck by a Dim Mak attack who
victim: after three steps, 100 steps, 1,000 steps, or drops below 0 BODY can be treated by a character
whatever, the target begins suffering the effects of with Professional Skill: Doctor. A successful Skill
the power. Roll merely means the character doesn’t perish
(8) These Limitations are appropriate (but not swiftly (in other words, he won’t lose 1 BODY every
required) for Dim Mak powers: Attacker Must Make Post-Segment 12 from being at 0 BODY or below);
A Special Sequence Of Blows Against Target (one Skills such as Paramedic and Professional Skill:
blow, -0; two blows, -¼; three blows, -½; four blows, Doctor cannot keep the Dim Mak effects from con-
-¾; five or six blows, -1); Attacker Must Make Very tinuing, though.
Accurate Blows Against Target (each blow is at -3 GMs should allow characters to buy Dim Mak
OCV for placement, -½; each blow is at -8 OCV for attacks which far exceed the campaign’s normal
placement, -1); Special Sequence Of Blows Does No Active Point limits. The Limitations on the power
Damage (-½); Timing Must Be Perfect: Attacker May keep it from being as lethal as its Active Point totals
Not Miss A Phase Or A Hit (-1). In other words, the would otherwise indicate.
attacker must hit his target in several places around Here’s one example of a Dim Mak attack as a
the body to set up the Dim Mak chain reaction. One PC might buy it:
(easy) way to buy it might be Five Blows (-1), no other Example: Dim Mak: Drain BODY 10d6
limitation; this means the attacker must first hit his plus Drain STR 6d6, Invisible To Sight Group
target five times, and on the sixth may apply his Dim And Hearing Group (+¾), Time Delay (+¼),
Mak attack. One (very difficult) way to buy it might be Delayed Return Rate (BODY returns at the
Five Blows, Each at -8, Do No Damage, Timing Per- rate of 5 Character Points per Week (+1¾)
fect (total Limitation: -3 ½). The attacker would have (600 Active Points!); Gradual Effect (1d6
to hit his target every Phase with a 0-damage strike BODY and STUN Drain per Day; -1¾); Can
(no damage is rolled, and there is no other combat Be Cured By Chinese Healing (-¼); Requires A
effect), each blow at -8 OCV, not missing a single Chinese Healing Roll (no Active Point penalty,
attack (he cannot miss, he cannot be blocked, and so but 16+ automatically misses; -¼); Attacker
forth, or he will have to start over); only after all that Must Make Sequence Of Five Blows, Each At -3
is set up can he, on the sixth blow, apply the Dim Mak OCV, Blows Do No Damage, And Timing Must
touch. The player and GM should decide what these Be Perfect (-3); 2 Charges/Day (-1½); Activa-
preparatory blows look like, what locations they must tion Roll 15- (-¼). Total cost: 75 points.
hit (with a -3 modifier, the character can be presumed
to hit anywhere he wishes on the character’s torso; Obviously, Dim Mak techniques are very
with a -8 modifier, the character can be presumed to costly, as the heavily-Limited example above shows.
hit any target on the body he wishes), and the like. They’re most appropriate for really evil villains or
very wise masters, but PCs can buy the technique
(if the GM approves). Player characters might
prefer to buy non-lethal versions which make the
target fall asleep, paralyze him, or the like.
Hero Games 125
ENERGY BLAST Example: Infrared Perception (Sight Group) (5

Characters can use Energy Blast to create Active Points); Costs END (-½), Extra Time (1
an unusual form of martial arts attack: the NND Turn to activate, but requires no extra time to
Breath Attack. This is an unusual power not use thereafter; -½). Total cost: 2 points.
entirely inappropriate for a martial arts campaign.
The owner of this attack lives on a special diet (a Mental Awareness: This, too, is a power permissible
‘T
to characters who are supposed to have achieved
Dependence Disadvantage is appropriate, but not
some sort of heightened awareness. However, the
he Way
required). When he wishes to, he may summon up
a huge breath of noxious, horrible stench which GM should limit things so that only one or (per- of the
overpowers, sickens, or knocks out enemies. This haps) two characters in a campaign have this power.
sort of attack comes as a great surprise. It’s very Spatial Awareness: This is appropriate for charac- warrior is to
appropriate for villain characters — it’s an attack for ters in martial arts campaigns, especially for mas-
a weird lieutenant or master criminal to pull out at ters who fight as well when blinded as not. Again, master the virtue
a dramatic moment. not all PCs in a campaign should have this power, of his weapons.’
It can be bought in this fashion: but its cost is likely to discourage everyone from
Example: EB 6d6, No Normal Defense (defense
buying it. —Miyamoto
is Life Support: Self-Contained Breathing; +1), Targeting Sense: Buying Targeting Sense for Hear- Musashi, Go Rin No
Area Effect (13” Cone; +1) (90 Active Points); ing is appropriate for a master fighter (see Spatial Sho (“A Book of
4 Charges (-1), Extra Time (Full Phase; -½), Awareness, above). Targeting Smell and Targeting
Taste are not as appropriate; don’t use them in Five Rings”)
Costs Endurance (-½), Increased Endurance
Cost (x2 END; -½), No Range (-½). Total cost: Heroic campaigns.
22 points. Telescopic: Inappropriate for Heroic human charac-
ters. A generous GM might allow a character to buy
ENHANCED SENSES a maximum of +2 to PER rolls with the Limitations
Many Enhanced Senses are appropriate for described above for Infrared Perception.
Heroic characters in martial arts campaigns. Most Tracking: This is rare, and is perhaps more appro-
are bought with various Limitations. The list of priate for the “boy raised by wolves” sort of charac-
Enhanced Senses, and whether they are appropri-
ate, follows:
Active Sonar: It would be very unusual for a human
character to have Active Sonar, because of the
need for the character to emit some sort of sound.
Human characters have to take the Limitation Vis-
ible To Sound Group (worth a -0, since Visible, a -¼
Limitation, requires that the power can be detected
by three whole Sense Groups). Basically, the char-
acter whistles or emits some other regular noise
which acts as his “sonar wave.” This power is most
appropriate for “blind master” characters.
Analyze; Discriminatory: These is Sense Modifiers
are appropriate for various Senses for characters
defined as having a “higher awareness.” Blind char-
acters often have Discriminatory Touch, for exam-
ple. No special Limitations are required.
Enhanced Perception: This is appropriate for any
alert character, but the GM should establish and
enforce limits on the amount of Enhanced Percep-
tion a character can take. A total bonus of +3 to a
Sense is more than adequate for most campaigns.
Increased Arc Of Perception: Characters can buy
this Sense Modifier only for their Hearing Group or
a special Spatial Awareness. It’s most efficient when
combined with Spatial Awareness, or with Active
Sonar or Targeting Hearing; this is common in
martial arts fiction and cinema.
Infrared Perception: A martial artist character
could have this power, if bought with Limitations
like Costs Endurance (-½) and/or Extra Time (1
Turn; -1¼). This represents a martial artist’s ability
to adjust his eyes to the darkness much faster and
better than ordinary people can; this ability must
result from some specialized training in his past.
ter... but there’s nothing that says such a character the location of his enemy’s open Gates (refer to
couldn’t be a martial artist. Damage Resistance, above); and so forth. Often a
Ultraviolet Perception: Can be purchased with the character can Link other abilities, such as Danger
same Limitations as Infrared Vision, above. Sense, Lightning Reflexes, or Combat Skill Levels,
In Superheroic campaigns, these restrictions to his Sense Ch’i ability or can use it as a Required
basically don’t exist. Superpowered martial artists Skill Roll.
can take just about any sort of Enhanced Sense jus- At the GM’s option, if a character makes a
tified by their character conception which the GM Sense Ch’i roll on himself in a particularly crucial
allows them to have. situation (such as right before a major test of his
martial abilities or an all-or-nothing attack on
ENHANCED SENSE: SENSE CH’I which great stakes depend), he may receive a bonus
The concept of ch’i (or ki in Japanese) pervades to whatever he attempts — an additional point of
many of the martial arts. Meaning literally “breath” OCV, an extra DC or two, or the like.
or “air,” ch’i signifies a sort of life force or inner Although Sense Ch’i is a form of Detect, it’s
power that flows throughout the body. Skilled mar- called Sense Ch’i and not Detect Ch’i for a reason
tial artists can make their ch’i flow correctly and use — it’s almost always bought as a Sense (+2 points),
their command of it to enhance their abilities. In not as a simple Detect. Detect requires a level of
some cases, such as the Monkey Slap of the Hsing-I concentration which a martial artist often cannot
style, one of a style’s Martial Maneuvers reflects the afford in the midst of combat, when the Sense Ch’i
practitioner’s ability to manipulate and/or project ability is most useful. Similarly, Sense Ch’i is almost
his ch’i; in other cases, it’s bought as a “special abil- always bought so that it’s usable at Range (+5
ity” or power known to masters of that art. Most of points).
the abilities listed in the “Special Abilities” section If the situation allows, a character usually takes
of each style’s description could be considered “ch’i extra time to gain bonuses to his Sense Ch’i roll. At
abilities,” even if the style does not use that particu- the GM’s option, he may gain other bonuses from
lar term for them. meditating, making an EGO Roll as a Complemen-
Some martial artists can sense the flow of tary Skill Roll, and so forth. If he’s disturbed, emo-
ch’i within others, which has all sorts of potential tionally upset, Enraged/Berserk, suffering from a
benefits for them. In HERO System terms, this is a Dependence, or subject to similar forms of
form of the Enhanced Sense Detect (ch’i counts as stress (“My mind and my spirit are going north
a 5-point Detect category, since it can have and south!”), he suffers a penalty to his Sense
a significant effect on combat). A suc- Ch’i rolls, or maybe cannot make
cessful Sense Ch’i roll allows them at all.
a character to know what Example: Sense Ch’i:
ch’i abilities his oppo- Detect Ch’i, Range,
nent is currently using Sense. Total cost: 12
(and, if the roll is made points.
by enough, to know other
abilities that he possesses,
even if they are not
currently in use);
will tell the
character
Hero Games 127
EXTRA LIMBS Lasts For One Phase (-½), and Only For Martial Arts
Characters with Extra Limbs often have an Feints (-1). If the target misses his PER Roll he suffers
advantage in martial arts combat — after all, it’s dif- -1 DCV for every two points he missed his roll by. If
ficult to defend against a large number of attacks he makes the PER Roll, the attacker suffers a -1 OCV
from a single source, particularly if the character has on the real attack which he makes that Phase (a -¼
Stretching and can launch some of them from behind Side Effect). When making the target’s PER Roll, the
the target! To simulate this advantage, characters GM should not let the player know the effect of the
with Extra Limbs can buy Combat Skill Levels with attempted Feint until after he (the player) makes his
Hand-To-Hand Attacks. real attack.
FORCE WALL Example: Sight Group Images, -2 to PER Rolls,

1” radius, Trigger (+¼) (20 Active Points); No
A character can use this Power to create a nigh-
Range (-½), DCV Reduction Only Works For
impenetrable defensive “wall” around himself, defined
Attacker (-1), DCV Reduction Only Lasts For
as his ability to block, deflect, or dodge any incoming
One Phase (-½), Only For Martial Arts Feints
attack. This sort of Force Wall should take the Limita-
(-1), Side Effects (if target makes PER Roll,
tions Self Only (-½), since the character cannot use it
attacker suffers -1 OCV on real attack; -¼).
at range or to protect others, just himself.
Total cost: 5 points.
FEINTS
A Feint is a false or deceptive move designed Combat Maneuver Feints
to trick an opponent into reacting the wrong way so At the GM’s option, characters may not need
he exposes himself to the attacker’s real attack. In the to pay for Feints at all — they may be a basic part of
HERO System, characters can simulate Feints with a the campaign rules, like Combat Maneuvers. If the
Drain DEX or with Images (also refer to the discus- GM prefers to take this route, he should come up
sion of Sleight Of Hand feints, above). with an appropriate list of Feints for the characters
to use. A character would have to have a KS of a
Drain DEX Feints particular Feint to use it; if the target has Danger
Characters can create a Drain DEX Feint with Sense or a KS in that Feint and makes his roll, he
the following Advantages: Invisible Power Effects realizes what the other character is up to and avoids
(Fully Invisible; +1) and Trigger (character’s decision the effects of the Feint entirely. Each Feint should
to use the Drain DEX; +¼). The Drain also takes the be about 6d6 of Drain (enough to reduce the tar-
following Limitations: Only For Reducing Hand-To- get’s DCV by 2 on the average).
Hand DCV (-1), DCV Reduction Only Works For
Attacker (-1), DCV Reduction Only Lasts For One GLIDING
Phase (-½). The GM may also require the Advantage Characters in Heroic martial arts campaigns
No Normal Defense (defense is making a PER Roll, cannot fly or glide (except with a boarding pass).
Danger Sense roll, or KS: Specific Style roll by 3 or However, they can purchase Gliding for one special
more; +½), since Power Defense should not normally purpose only: walking without leaving any tracks.
apply against this sort of Drain; however, this may This technique is called hing kung in Chinese. All
have the effect of inflating the cost of this ability they have to do is buy Gliding with the Ground
unnecessarily. Gliding Limitation (-¼) (see page 182 of the HERO
What these Advantages and Limitations give the System 5th Edition, Revised). That way they can
attacker is a Drain DEX that only affects the target’s walk over rice paper or nightingale floors without
DCV. The reduction in DCV only works for the leaving a trace or alerting anyone. A character can
character using the Drain (the target gets his normal also buy hing kung as Invisible Power Effects (Fully
DCV against anyone else who attacks him), and only Invisible; +1) for his Running.
lasts for one Phase. Since characters usually have to
HANDTOHAND ATTACK HA
reset Triggers after using them, the GM might rule
that a character can only use his Feint once per battle; Characters can substitute HAs for Martial
he resets the Trigger between battles. Maneuvers in many instances. This allows the
character to put an Advantage on his attack (which
Example: Drain DEX 6d6, Invisible Power can’t be done for a martial arts maneuver without
Effects (Fully Invisible; +1), Trigger (+¼) (135 GM permission) and to put his martial arts attacks
Active Points); Only For Reducing Hand-To- in a Power Framework. See page 408 of the HERO
Hand DCV (-1), DCV Reduction Only Works System 5th Edition, Revised for rules for purchasing
For Attacker (-1), DCV Reduction Only Lasts Advantages for HAs.
For One Phase (-½). Total cost: 38 points.
HEALING
Note: a character could construct a similar abil-
In Superheroic campaigns, martial artists
ity using a Suppress which could not be “continued”
could buy Healing to affect both themselves and
(i.e., all points Suppressed would return after one
others. There are two rationales for this: kiai
Phase).
(the ki-based shout of martial arts warriors, said
Images Feints to be able to heal as well as harm); and Chinese
An Images Feint is bought with the Advantage Medicine. Therefore, for a martial artist to buy this
Trigger (+¼) and the Limitations DCV Reduction power, he must take it one of these two ways:
Only Works For Attacker (-1), DCV Reduction Only
Kiai Healing: The character must take these Power “object of opportunity” Focus, as discussed on page
Modifiers for his Healing: 292 of the HERO System 5th Edition, Revised.
(1) He can only buy a maximum of Healing BODY Example: RKA 2d6 (30 Active Points); OIF
or STUN (or Simplified Healing) 4d6. (appropriate objects of opportunity; -½), Range
(2) All Kiai Healing powers must take Invisible to Based On STR (-¼). Total cost: 17 points.
Sight Group (+½), Ranged (+½).
KNOCKBACK RESISTANCE
(3) Kiai Healing powers may take the Increased
Endurance Cost Limitation, but this is not required. A character can buy Knockback Resistance to
simulate his ability to avoid damage from Knock-
Example: Simplified Healing 4d6, Invisible to back and similar occurrences: as a form of “super-
Sight Group (+½), Ranged (+½) (80 Active Breakfall” or “super-agility,” if you will. This means
Points); Increased Endurance Cost (x5 END; he uses his acrobatic talents to avoid the effects of
-2). Total cost: 27 points. Knockback, including the resulting damage. At the
GM’s option, based on the nature of the attack used
Chinese Medicine Healing: Characters must buy against him, the character may actually be “knocked
Healing based on the application of Chinese Medi- back” several inches, but he won’t take any damage
cine this way: from this and automatically “bounces to his feet”
(1) They can buy a maximum of Healing BODY or without taking any time or having to make any
STUN (or Simplified Healing) 8d6. The GM may, additional rolls.
if he wishes, also allow the character to buy up to
Example: Knockback Resistance -8” (16 points);
Healing 4d6 to other Characteristics listed on page
Nonpersistent (-¼), Requires A DEX (or Break-
119 under Ch’i Aid.
fall) Roll (-½). Total cost: 9 points.
(2) All Chinese Medicine Healing powers must
take Invisible Power Effects (Fully Invisible; +1). LACK OF WEAKNESS
(3) All Chinese Medicine Healing powers must This Power is usually appropriate for martial
take these Limitations: Requires A KS: Chinese artist characters. Heroic-level martial artists may
Healing Roll (-¼); Does Not Work Versus Dim Mak buy up to 5 points of Lack Of Weakness, for just
Unless Skill Versus Skill Contest Succeeds about any defense they have; Superheroic ones may
(-¼); Extra Time (at least 1 Turn (-1); longer times buy as much as they wish and the GM allows.
are acceptable); OIF (either herbs or acupuncture
needles, character’s choice; -1). LEAPING
(4) The following Limitation is optional; the GM In many martial arts films, masters of martial
might permit a character to take a Healing power arts can leap prodigious distances, though this
exceeding the recommended limit if it has this seems to require acrobatic training. To simulate
Limitation: Healing Wears Off Instantly When this, buy Leaping with the Limitation Requires An
Acupuncture Needles Removed (-1). In other Acrobatics Roll (-½). Heroic-level martial artists can
words, the acupuncturist can apply his techniques only buy enough Leaping to double their basic leap.
to get a badly-wounded warrior back on his feet, Example: A STR 20 character can normally
but the recovery only lasts as long as the needles leap 4”. Therefore, in a Heroic martial arts
remain in the body; a Grab or Disarm remov- campaign, he can buy no more than 4” of Leap-
ing a needle makes the Healing benefit disappear ing. This costs 4 points, with a -½ Limitation
instantly. for Requires An Acrobatics Roll, resulting in a
Example: Healing BODY 4d6, Invisible Power final cost of 3 points. Four Active Points does
Effects (Fully Invisible; +1) (80 Active Points), not result in a minus to the Acrobatics roll.
Requires A KS: Chinese Healing Roll (-¼), Does Superheroic-level martial artists have no
Not Work Versus Dim Mak Unless Skill Versus restriction on the amount of Leaping they can buy,
Skill Contest Succeeds (-¼), Extra Time (5 other than whatever limit the GM sets. In some
Minutes; -2), OIF (Acupuncture Needles; -½). movies and comic books martial artists can leap to
Total cost: 20 points. the horizon; PCs should be allowed to have similar
abilities if it suits the campaign.
KILLING ATTACK, RANGED
LUCK
A character could buy a Ranged Killing Attack,
up to the campaign’s limits, based on a Obvious Luck is a good Power for simulating char-
Inaccessible Focus defined as any weapon of oppor- acters who are “blessed by the gods” or who have
tunity (any Focus which he happens to pick up, and achieved such a state of enlightenment that are “at
which the GM agrees is suitable to be used for a one with the universe” and therefore things always
thrown Killing Attack). He can’t use the power with seem to go their way.
an olive, a foam rubber ball, or a pastry — but can MENTAL DEFENSE
use it with practically anything harder or sharper
Mental Defense is appropriate for martial art-
(including silverware, pebbles, broken-off chair
ists, who often have extraordinary willpower and
legs, playing cards, bicycle spokes, and so forth).
keen senses which help them resist most Mental
OIF, not OAF, applies to this power because it’s an
Powers. Heroic-level martial artists may buy any-
Hero Games 129
where from 5 points to a maximum of 10 points of This will protect them against the sort of abilities
Mental Defense; Superheroic ones can buy as many described under Drain, above, and Transform,
points as they wish, up the the maximum allowed below. At the GM’s option this form of Power
by the GM. Defense might also offer protection against certain
kinds of Oriental sorcery.
MISSILE DEFLECTION AND REFLECTION
Power Defense would normally work against
A classic cinema martial artist trick is to bat away Dim Mak, since that ability is built with Drain.
incoming arrows, thrown knives, shuriken, and so However, Dim Mak is supposed to be scary; for
forth — even to snatch them out of the air and throw this reason, GMs should not let Heroic-level mar-
them back at the attacker. In HERO System terms, this tial artists buy Power Defense to protect them-
requires Missile Deflection & Reflection. selves against it, and should require Superheroic
Heroic-level martial artists can buy Missile martial artists to take a -¼ (or -0, if the GM pre-
Deflection up to the 10-point level, which lets fers) Limitation on the Power Defense because it
them deflect arrows, sling stones, and other non- offers no protection against the death touch.
gunpowder projectiles. Many martial artists just
buy this Power at the 5-point level (versus thrown STANCES
objects only). Superheroic martial artists can buy Stances and footwork are very important in
Missile Deflection to any level. Any character can many martial arts styles. Characters can, if they
buy bonuses to his Missile Deflection roll, and wish, use minor applications of several Powers to
Deflection to affect attacks not aimed directly at simulate stances and other body positioning. At
them, normally. To buy the +1 Advantage to deflect the GM’s option, a character can group his stances
attacks at range, the character will also have to have together into a Power Framework.
some sort of Focus (i.e., he throws objects in the The examples given here are taken from
path of incoming missile attacks to deflect them). stances frequently used in Kung Fu, Karate, and
Martial artists can buy Reflection, but for other common martial arts. Players are encour-
Heroic characters it’s only usable against thrown aged to research their character’s style and devise
weapons. If a Heroic character’s Deflection affects a set of stances appropriate specifically to it.
attacks other than throw weapons, he must apply a Cat Stance: A short stance in which one foot is
-¼ Limitation, Only Works Against Thrown Weap- drawn up on its ball close to the other foot, so that
ons, to the cost of Reflection. the character is ready to attack quickly: +2 Light-
Some characters prefer to buy Deflection with a ning Reflexes (3 Active Points); Costs END (-½).
Focus; war-fans, swords, shields and other weapons Total cost: 2 points. (Alternately,
are especially appropriate for this. If a character Cat Stance could provide +1 to
takes the Focus Limitation with the explana- Fast Draw rolls.)
tion that he can use anything he
picks up to Deflect incoming Crab Stance: A high stance in which the char-
attacks, he takes it as OIF since acter stands with his knees turned inwards
it’s an “object of opportunity.” and his fists on his hips: +1 OCV with
The classic cinema-ninja trick of Punch and similar maneuvers (some Kill-
catching an enemy’s thrown knife or ing Strikes, Nerve Strikes, and so forth) (3
shuriken and hurling it back at him would Active Points); Costs END
preclude use of the OIF Limitation; if (-½). Total cost: 2 points.
you want that ability, buy the power Crane Stance: A high stance
without a Focus Limitation. in which the character draws
A typical purchase of Missile one knee up (so that he stands on
Deflection & Reflection might look one leg) and keeps his hands in front of his
like this: face and upper chest: +1 OCV with Block
(2 Active Points); Requires A DEX Roll (-½),
Example: Missile Deflection (non-gunpow-
Costs END (-½). Total cost: 1 point.
der projectiles); At Range (adjacent hexes;
+½) (15 Active Points); OIF (objects of oppor- Horse Stance: A low, solid stance in which the
tunity; -½) (total cost: 10 points) plus Reflec- character spreads his legs and squats down
tion, Can Reflect Attacks At Any Target (30 (so that he appears to be riding an imaginary
Active Points); Only Works Against Thrown horse): Knockback Resistance
Weapons (-¼); OIF (objects of opportunity; -1” (2 Active Points); Costs
-½) (total cost: 17 END (-½). Total
points). Total cost: cost: 1 point.
27 points. Phoenix Stance:
A low stance in
POWER DEFENSE which the character
Martial arts charac- bends his rear leg and
ters may purchase Power squats down on it while
Defense with the Limitation extending the other leg
Only Protects Against Drain- in front of him: +1
Based Martial Attacks (-1). OCV with Block and
TELEKINESIS
If the GM permits, a character could buy Tele-
kinesis, defining it as “martial arts usable at range
through the character’s extension of ch’i.” Such
Telekinesis could not exceed the damage done
by the character’s normal martial arts attacks, and
must take the Advantage Invisible Power Effects
(Sight Group; +½). Remember that, at the GM’s
option, characters can use their Martial Maneuvers
and any other Combat Maneuver they’ve paid
points for with their Telekinesis (see page 230 of
the HERO System 5th Edition, Revised). Characters
can only perform Nerve Strikes and other maneu-
vers requiring precise targeting with Telekinesis if
they have the Fine Manipulation Adder.
TRANSFER
The GM might allow some accomplished mar-
tial artists to use Transfer to create abilities which
involve “stealing” an opponent’s ch’i and using it to
aid themselves.
TRANSFORM
You should use Transform to create any
ability which can permanently injure the
target in some way — for example goug-
ing an opponent’s eyes out, Transforming
him from a “sighted human” to a “blind
human.” Other examples include attacks
which permanently deafen, cripple,
or weaken another character in some
way.
TUNNELING
A few characters (including some
film ninja) can escape capture by digging
into soft terrain and then covering themselves
Legsweep (3 Active Points); Requires A DEX Roll with a thick coating of the earth. (They usually do
(-½), Costs END (-½). Total cost: 1 point. this when concealed by smoke from a smoke gre-
nade, by darkness, and the like.) To simulate this in
Snake Stance: A low stance in which the character Heroic campaigns, characters can buy a maximum
squats sideways with his legs underneath him: +1 of 1” of Tunneling, with the Limited Medium (soil;
OCV with Block and Dodge (3 Active Points); -½) and Maximum Distance 1” (-1) Limitations.
Costs END (-½). Total cost: 2 points. This means the character can dig his way into the
Tiger Stance: In this stance the character leans earth to conceal his entire body, but can’t keep dig-
forward and keeps his hands up in a claw shape, ging a tunnel through the earth. Characters cannot
ready to take advantage of a momentary lapse in an buy the “dig through +1 DEF for +3 points” func-
opponent’s defense: +1 OCV with a Crush or Kill- tion; they can only dig through soft, 1 DEF mate-
ing Strike maneuver (depending upon the style) (2 rial such as sand, fresh-turned soil, mud, a bog, or
Active Points); Costs END (-½). Total cost: 1 point. the like. They must buy the Fill In Adder, and must
always use that function.
At the GM’s option, characters may not need To make the area he has dug into look natural
to pay for Stances at all — they may be a basic part (i.e., undisturbed), a character should use Conceal-
of the campaign rules, like Combat Maneuvers. ment Skill; the GM can assign severe minuses on
If the GM prefers to take this route, he should terrain where it’s hard to conceal signs of digging
come up with an appropriate list of Stances for the (such as a neat grass lawn, where sod would be
characters to use. Each Phase during a combat, torn up and flung in all directions). Dusty and
characters declare what Stance they’re using; they sandy terrain is much better for this purpose.
may change or “shift” Stances in the same manner (Another option is to buy the Tunneling with
as Combat Skill Levels. Invisible Power Effects.)
Example: Tunneling 1”; Fill In (15 Active
Points); Limited Medium (soil; -½), Maximum
Distance 1” (-1). Total cost: 6 points.
Hero Games 131
no Hand-To-Hand Killing Attack, and he’s defin-

POWER ADVANTAGES ing his Damage Shield as a counterpunch, then the
See page 408 of the HERO System 5th Edition, Damage Shield should do 6d6 Normal Damage (or
Revised for rules regarding the application of Advan- less) — not an HKA 2d6 or a HA +8d6.
tages to HAs, and page 104 of this book for informa- (3) Remember that the Attack Power used for the
tion on placing Advantages on Martial Maneuvers. Damage Shield must be Constant, or the character
AREA OF EFFECT must purchase the Continuous Advantage for it. In
either case, the character must take the Limitation
One Hex Power Stops Working Instantly If Character Is Stunned
Characters can use this Advantage to simulate Or Knocked Out (-¼). Ordinarily, such powers keep
an attack so swift and powerful the target cannot functioning until the end of the Phase; this one
avoid it except by Diving For Cover. Abilities ceases to work as soon as the character is Stunned
bought with this sort of Advantage should take or Knocked Out. Characters cannot buy counter-
the Accurate (-0) Limitation (and, possibly Can Be strike Damage Shields with the Persistent Advantage,
Blocked [-¼]). though they may buy Reduced Endurance.
Selective (4) Characters must take the Requires A Success-

One way to build a “punch-several-guys-at-the- ful Attack Roll (-½) Limitation for this power.
same-time” ability is to buy an HA or HKA with the Counterpunch/counterstrike Damage Shields can’t
Advantage Area Of Effect (One Hex, Doubled, Selec- hit automatically — they depend on a successful
tive; +1). This way, the character could make one Attack Roll, just like any other attack. (However, an
attack each on every enemy in his hex and in sur- advantage to this power is that it doesn’t take a char-
rounding hexes. Because it’s bought with Selective, acter’s attack action; after his Damage Shield coun-
the character doesn’t have to hit everything in those terstrike, or even several, he still has an action left.)
hexes ... just enemies he wishes to target. Remember, (5) Characters may take the Limitation Not When
though, with Selective, he doesn’t hit every target as Grabbed (-¼) for one of these Damage Shields, but
if it were DCV 3; he must attack against each target’s are not required to. This represents the fact that if
normal HTH DCV. the character is restrained, he can’t lash out with his
counterstrike or properly flourish his weapon.
Example: HKA 1d6, Area Of Effect (One Hex,
Doubled, Selective; +1). Total cost: 30 points. (6) If the ability depends on a weapon (i.e., it’s
defined as a weapons flourish), then it should
AUTOFIRE be bought with the Limitation Cannot Do More
Damage Than The Weapon Being Used Would Nor-
Applying Autofire to an HA or HKA simulates mally Do (-¼). For example, let’s say a character who
the quick-handed martial artist who can punch his can do HKA 2½d6 with his katana buys a Damage
foe so fast and so often he looks like a blur. Damage Shield which he defines as a deadly weapons flour-
for the attack should not exceed the character’s usual ish. He’s limited (by note #2 above) to HKA 2½d6
martial arts damage (and the GM may prefer for it to damage with the Damage Shield, and he does that
be one or two DCs less). damage when using his katana. However, during a
An example of such an attack might look like fight, he loses his katana and must use his dagger,
the following. Let’s say a character has a STR of 20 with which he can only do HKA 1d6+1. His Damage
and gets +6d6 from his best maneuver (a Martial Shield only does HKA 1d6+1 while he uses the
Strike). For the character to have a similar Autofire dagger. Later, in the same fight, he switches to a
attack, he’d buy: greatsword with which he can do 3d6 damage.
Example: HA +6d6, Autofire (5 shots; +½), However, his Damage Shield is still limited to only
Reduced Endurance (½ END; +½) (60 Active HKA 2½d6 — that’s what he paid for, so that’s limit
Points); Hand-To-Hand Attack (-½). Total cost: of his power. (In other words, characters who want
40 points (5 END per blow). to use a weapon flourish Damage Shield with any
weapon they find should buy this ability for use with
DAMAGE SHIELD the highest-damage weapon commonly used in the
campaign.)
Damage Shield For Powers
Example: Counterstrike: HA +6d6, Damage
A character can purchase an HA or HKA with
Shield (+½), Continuous (+1), Reduced Endur-
the Damage Shield (+½) Advantage to simulate effec-
ance (½ END; +¼) (82 Active Points); Hand-To-
tive counterpunch and counterstrike techniques, or a
Hand Attack (-½), Requires A Successful Attack
weapons flourish.
Roll (-½), Not When Grabbed (-¼). Total cost:
Some notes on the way to purchase this: 36 points.
(1) If the ability is bought as an HA, the character
must define it as a Physical attack. Example: Blade Kata: HKA 2d6, Damage Shield
(+½), Continuous (+1), Reduced Endurance (½
(2) The damage done by the Damage Shield may
END; +¼) (82 Active Points); OIF (any weapon
not exceed the amount of damage the character does
of opportunity; -½), Requires A Successful Attack
with the attack the power “substitutes for.” In other
Roll (-½), Cannot Do More Damage Than The
words, if the character has a 6d6 Punch attack, but
Weapon Being Used Would Normally Do (-¼),
Power Stops Working Instantly If Character Example: HA +6d6, Indirect (always comes
Is Stunned Or Knocked Out (-¼), Not When from the same location; +¼) (37 Active Points);
Grabbed (-¼). Total cost: 30 points. Target Must Be Touching Barrier (-1), Attack
Must Be Made Through Barrier (-½). Total cost:
When a character with this ability is hit in
15 points.
HTH combat, the Damage Shield automatically acti-
vates. Use the character’s base OCV, plus any OCV When placed on Martial Maneuvers or other
and DCV modifiers from the weapon or situation. HAs, this Advantage has an extremely powerful effect
Combat Skill Levels must stay as they were arranged — it prevents the attack from being Blocked (unless
before he was struck; other Skill Levels do not apply. the defender has bought the Advantage Hardened for
With a successful Attack Roll, the character coun- his Block maneuver). Particularly when combined
terstrikes his opponent; if his roll fails, the Damage with the Area Of Effect (One Hex) Advantage, which
Shield does no harm to the target. prevents an attack from being dodged, this Advantage
may create an attack which unbalances the campaign;
Damage Shield For Martial Maneuvers
GMs should be cautious about allowing its use.
Placing a Damage Shield on a Martial Maneu-
ver can lead to all sorts of interesting and potentially INVISIBLE POWER EFFECTS
game-unbalancing consequences. Imagine, for exam- Characters use Invisible Power Effects to create
ple, the effects of a Martial Throw Damage Shield martial arts attacks so swift an opponent cannot
— every time someone attacks the character, the see them. If he applies this Advantage to an HA, the
attacker gets thrown to the ground! Not only will he character must pay for it for his STR as well as for
be hurt, he’ll be placed in a highly disadvantageous the HA, regardless of the Active Points involved. If
position, and the character with the Damage Shield he doesn’t buy the Invisible Power Effects for his
may still have an action left in the Phase. STR, the attack is invisible only when used at its
Therefore, GMs should be very wary about purchased damage; whenever the character adds
allowing characters to take this Advantage for a damage from his STR, the attack becomes visible.
Martial Maneuver. At the very least, all restrictions This rule also applies if the Advantage is applied to a
and guidelines outlined above for counterstrikes Martial Maneuver (see Chapter One).
should apply. GMs should allow characters to buy Invisible
INDIRECT Power Effects for one Sense Group only. If they’re
allowed to buy a Fully Invisible attack (other than
When bought for an HA, HKA, or RKA, this
in the examples provided elsewhere in this book),
Advantage allows the character to simulate the
they’ll be able to get away with murder (literally and
showoff technique of stacking bricks, striking the top
figuratively) in the campaign.
one, and leaving it unharmed while destroying one
of the bricks beneath. It has some pos- TRIGGER
sible combat uses as well (for example, This is another Advantage which can have
when a villain is on the other potentially devastating effects if added to a Martial
side of a wall, our hero Maneuver. Imagine a fencer whose Martial Disarm
could hit the wall is Triggered by his opponent’s attempt to block his
and transmit Martial Strike; a character whose Killing Strike is
all the damage Triggered whenever he’s Grabbed; or a wrestler with
of his blow to the target, a Grab maneuver Triggered whenever a character
without the wall itself acting escapes from a Grab the wrestler already had him in!
as armor against the attack). Characters can use Trigger to create “one-two”
To buy this ability, start punches and similar combination attacks. Some-
with an HA and apply the times they can apply the Limitation Requires A Suc-
Advantage Indirect (always cessful Second Attack Roll (-½) so that they have to
comes from the same location; make another Attack Roll to hit the target with the
+¼) and the Limitations Target second part of the attack.
Must Be Touching Barrier Since Trigger has the effect of giving a character
(-1), and Attack Must Be a Zero-Phase Action attack, often in addition to some
Made Through Barrier other attack, the GM should look long and hard at
(-½). These Limita- any Triggered Martial Maneuvers. Those which seem
tions mean that unduly effective or which would adversely affect cam-
unless the target paign balance should be disallowed.
is touching the
barrier through VARIABLE ADVANTAGE
which the character Adding this Advantage to a Martial Maneuver
transmits the force of the attack, the attack won’t or HA at the +½ Advantage level is quick and easy
work. As usual, a character may not buy this abil- way of giving a character access to a large selection
ity with more damage than the best of his normal of “special attacks” and powers, particularly in cam-
Martial Maneuvers. paigns which do not allow the use of Power Frame-
works. For the same reason, though, this Advantage
makes an attack unpredictable and possibly unbal-
ancing, so the GM should ensure it’s not abused.
Hero Games 133
a GM allow a character to buy his Armor Piercing

POWER LIMITATIONS HKA (a fist blow), his NND Breath Attack, and his
Hing Kung Gliding in the same Multipower? No.
ACTIVATION ROLL Though they’re remotely linked by the buzzword
This Limitation is a good way to simulate “Martial Arts,” they are, in game terms, three wildly
attacks which require such precise targeting or different effects and should not be in the same
timing that they don’t always work. The Attack Roll Multipower. They might, however, be allowed in an
indicates the character hit his target, the Activa- Elemental Control, depending upon the campaign
tion Roll indicates he hit the target in the right way. and the GM’s standards for such things.
Other Limitations which characters can apply to The GM should never allow questionable or
this sort of attack are Concentration and Extra Time. potentially unbalancing powers in a Power Frame-
‘K nowl-
work. This includes some of the ones described in
GESTURES this section (such as Skill Levels bought with Limi-
As a Limitation on some martial arts powers, tations). They don’t belong in Power Frameworks. edge
Gestures indicates the character has to have his They’re already on the verge of being abusive; put-
hands (and/or feet) free to perform the ability. For ting them in a Framework definitely makes them studies others,
example, a Force Wall ability defined as the char- abusive. Just Say No.
acter blocking all incoming attacks might take this Wisdom is
Limitation, since the character can’t do any block- MULTIPOWER
ing if he’s restrained or Entangled. GMs should be Below are some examples of Multipowers self-known;
wary of allowing characters to take this Limitation appropriate for most Superheroic martial artists.
on offensive abilities, however, since some players
Muscle masters
The Multipower Martial Art Style
may try to take it on any martial arts attack (claim-
The following Multipower is (approximately) brothers,
ing they have to use their hands to punch, strike, or
a Martial Art. Essentially, it’s a series of attacks the
whatever). This leans towards abusiveness, so GMs
character defines as a Martial Art. This Multipower Self-mastery is
should almost always disallow it.
assumes a STR 20 character and a 10 DC cap on
REDUCED PENETRATION campaign damage.
bone.’
A character can use this Limitation to create a This sort of Multipower doesn’t count as a style —Lao Tzu,
“one-two punch” special ability. He simply buys a for purposes of the character acquiring a Style Dis-
tinctive Feature. Characters may only take Style Dis- Tao Te Ching
large HA (or other hand-to-hand Attack Power) and
uses Reduced Penetration to simulate a rapid-fire tinctive Features for martial arts styles built with the
two-punch sequence. This makes it easy to Stun a rules from the “Designing Martial Maneuvers” section.
foe without injuring him severely. He can take the
Limitation Separate Attack Rolls Required (-¼) on MARTIAL ARTS MULTIPOWER
this ability if he wishes, but it’s not required.
Cost Powers END
Example: Kagamite (“Mirrorhand”) possess
knowledge of a secret technique allowing him 75 Martial Arts Attacks:
to instantly follow a right-handed punch with Multipower, 75 point reserve
a left-handed punch, such that if the first punch 4u 1) Slashing Fist: 0
connects, the second surely will as well! He buys HA +6d6, Armor Piercing
this ability as follows: (+½), Reduced Endurance (0
END; +½); Hand-To-Hand
Kagamite Punch: HA +7d6 (Kagamite has STR Attack (-½)
25, so it is a 12d6 HA total) (35 Active Points);
Hand-To-Hand Attack (-½), Reduced Penetra- 5u 2) Flashing Fist: 0
tion (-¼). Total cost: 20 points. HA +6d6, Autofire (5 shots;
+½), Reduced Endurance (0
With this ability, Kagamite has a good chance END; +1); Hand-To-Hand
of Stunning his foes (it’s a 12d6 HA for purposes Attack (-½)
of calculating Stunning), but relatively little
3u 3) Whirlwind Fist: 5
chance of severely injuring them (the two 6d6
HA +6d6, Area Of Effect
attacks have their BODY applied to defenses
(One Hex Doubled, +¾);
separately).
Hand-To-Hand Attack (-½)
4u 4) Yama Fist: 0
HKA 2d6, Reduced
POWER FRAMEWORKS Endurance (0 END; +½)
Superheroic martial artists can put martial
arts abilities and attacks in an appropriate Power Naturally, used with a STR 20, all the HAs go up
Framework, such as a Multipower of HA attacks. to 10d6, and the HKA goes up to 3d6+1. Of course,
Heroic-level martial artists cannot do this without the character spends the END for his STR in addi-
the GM’s permission. tion to any listed for the Multipower slot.
The GM should make sure all the powers in the This set of abilities is too expensive for most
Power Framework link together logically. Should games, but is not at all inappropriate for Superheroic
games... and it can be quite effective.
The Kiai Multipower The Ch’i Multipower
Kiai, the art of shouting and utilizing ki (ch’i) As discussed elsewhere in this book, characters
energy, allows a character to do more than surprise can use ch’i to improve one or more of their Charac-
(Presence Attack) an enemy. A trained kiaijutsuka teristics for a brief period of time. A typical Multip-
can, according to tradition, knock an enemy out cold, ower using the Aid Power looks like this:
promote healing, and even injure or kill an oppo-
nent. A Multipower utilizing all of these abilities CH’I POWERS
might look like this:
Cost Powers END
KIAI POWERS 27 Ch’i Powers: Multipower, 80
point reserve, all powers Self
Cost Powers END Only (-½), Extra Time (Full
Phase; -½), Concentration (0
40 Kiai Powers: Multipower, DCV; -½), Increased Endur-
80 point reserve, all slots ance Cost (x2 END; -½)
Increased Endurance Cost (x3
END; -1) 3u 1) Powerful Ch’i: 16
Aid STR 4d6, Invisible Power
3u 1) Healing Kiai: 24 Effects (Fully Invisible; +1);
Healing 4d6 (Simplified Common Limitations (-2)
Option) Invisible Power
Effects (Normal Sight; +¼), 3u 2) Mind Ch’i: 16
Ranged (+½); Increased Aid EGO 4d6, Invisible Power
Endurance Cost (x3 END; -1) Effects (Fully Invisible; +1);
Common Limitations (-2)
3u 2) Daunting Kiai: 24
Aid PRE 4d6, Invisible Power 3u 3) Restoring Ch’i: 16
Effects (Fully Invisible; +1), Aid REC 4d6, Invisible Power
Self Only (-½); Increased Effects (Fully Invisible; +1);
Endurance Cost (x3 END; -1) Common Limitations (-2)
2u 3) Painful Kiai: 12 1u 4) Iron Ch’i: 8
EB 4d6, No Normal Defense Aid PD 2d6, Invisible Power
(defense is ear coverings [such Effects (Fully Invisible; +1);
as earmuffs] or making an Common Limitations (-2)
EGO Roll at -3; +1); Increased 1u 5) Iron Ch’i: 8
Endurance Cost (x3 END; -1) Aid ED 2d6, Invisible Power
1u 4) Deadly Kiai: 9 Effects (Fully Invisible; +1);
RKA 1d6+1, Invisible Power Common Limitations (-2)
Effects (Normal Sight; +¼), +1
Increased STUN Multiplier A character with this Multipower can only use
(+¼); Increased Endurance one of the first three slots at a time, but can have
Cost (x3 END; -1) both the fourth and fifth on at the same time. How-
Hero Games 135
ever, since each use takes a Full Phase to activate,

the character cannot turn them both on at the same
time; he could use one on one Phase, and the other
on a later Phase.
DISADVANTAGES
Many of the HERO System Disadvantages are
especially appropriate to martial artist characters,
or have special functions in a martial arts cam-
paign. On the other hand, some of the Disadvan-
tages are quite inappropriate.
AGE
Age is a very uncommon Disadvantage in mar-
tial arts adventures. For example, despite his seeming
age, the ancient Chinese kung fu master who trains
the hero is usually lithe, vigorous, and tough enough
to thrash the hero (at least, until the final stages of
training). For this reason, GMs should never require
characters in martial arts campaigns to take the Age
Disadvantage; they can be 90 years old and still have
the same Characteristic Maxima as younger charac-
ters. (Like younger characters, they have to pay double
for any INT, EGO, or PRE above the campaign Char-
acteristic Maxima.) Since Age doesn’t affect DEX and
SPD, an aged character with Extra DC to make up for
his lack of physical strength can still be a very effective
martial artist.
DEPENDENT NPC it is some strange, secret art, in which case he rec-
DNPCs in martial arts adventures are more at ognizes that fact). If the character does not have a
risk than in many other genres. Martial arts adven- Style Distinctive Feature, it takes a successful KS
tures are often revenge melodramas, so DNPCs roll of the art being practiced, or with the GM’s per-
are abused and killed a lot more frequently than in mission an INT Roll at a -2, to recognize the style.
other genres. Characters taking DNPCs should bear Second, since (in martial arts adventures) many
this in mind. martial arts styles and schools are enemies or
That doesn’t make the DNPC less of a limitation competitors, the Style Distinctive Feature acts as
than in other genres, though. DNPCs get in trouble a “Major Prejudice” factor to practitioners of the
just as often, and the trouble is often worse. If an enemy style. (On the other hand, other practitio-
enemy kills a DNPC, you can be sure that the PC has ners of the same style may decide to help the char-
quite a few other cousins, naive younger siblings, and acter against their mutual enemies.)
lovers to act as the DNPC in the next adventure.
If the PC gets tired of this, he should buy off Third, a character using the Analyze Style skill on a
the Disadvantage. If he doesn’t, and just starts let- target with a Style Distinctive Feature receives a bonus
ting his DNPCs get maimed or killed because it’s to his Skill Roll; see the description of that skill.
inconvenient to rescue them, or he gets bored with Other Types Of Distinctive Features
the whole affair and decides not to avenge them, Other Distinctive Features which frequently
then he’ll certainly pick up a nasty Hunted to appear in martial arts adventures include:
replace the DNPC — the family and friends of the
Bearing: The character has a distinctive attitude
DNPC, intent on killing the PC for his neglect of
which makes him easier to recognize. The feudal
his responsibilities and/or the insult to their clan.
samurai has this Disadvantage. It becomes a
DISTINCTIVE FEATURES strong habit of the character, a habit which is very
hard to break, so it is bought this way: Conceal-
Distinctive Features: Style able (with major effort), Is Noticed And Recog-
The martial arts Style Distinctive Feature nizable: 10 points.
which accompanies most styles is bought as a con-
Ninja Night-Suit: The ninja night-suit (also called
ditional Distinctive Feature, built this way: Not
the igabakama) is a common Distinctive Feature in
Concealable (15 points), Always Noticed And Rec-
many martial arts campaigns. If the character usu-
ognizable (+0 points), Detectable By Large Group
ally wears traditional ninja garb when performing
(-5 points). It has three functions.
his martial arts heroics, he should take this Disad-
First, any martial arts practitioner observing the vantage. (Note that a ninja character doesn’t have to
character with the Style Distinctive Feature will, wear a distinctive ninja outfit. Most players prefer
with a simple PER Roll, recognize the style (unless for their characters to do so, however.)
HUNTED
Hunted is a Disadvantage which is both very
common and quite rare in martial arts adven-
tures. This is because in the HERO System, Hunt-
eds are ongoing Disadvantages. The characters
are often Hunted by the same villain across years
of play-time.
In martial arts adventures, characters are
Hunted all the time... but it’s not usually the same
Hunter. At the end of one adventure, the charac-
ters obliterate their enemy; at the beginning of
the next, they make a new enemy who won’t rest
until the heroes are dead. Sometimes the new
enemy has some connection to the last one (for
example, he’s the former Hunted’s brother); other
times he’s brand new. Therefore, in campaigns
dedicated to martial arts adventures, characters
could take a Hunted Disadvantage which looks
like this:
Example: Hunted 11- (As Pow, NCI): 20
points.
The exact character(s) Hunting the heroes
change from adventure to adventure as they’re
killed and replaced... but enemies constantly
Hunt the PCs, so the PCs should get the Disad-
vantage points for that.
PSYCHOLOGICAL LIMITATION
Several Psychological Limitations, mostly
codes of behavior, are appropriate in these cam-
paigns. They include:
Igabakama Distinctive Feature (Modern):
Ninja Night-Suit (Easily Concealable, Code Of The Buddhist Monk (Common,
Noticed And Recognizable): 5 points. Strong: 15 points): This is the code of most
Buddhist monks. It mandates that the char-
Igabakama Distinctive Feature (Feudal acter cannot initiate violence (though he can
Japan): Ninja Night-Suit (Easily Conceal- defend himself); he must remain celibate;
able, Causes Extreme Reaction [fear and he cannot eat red meat. Historically, many
loathing]): 15 points. monks did not take this limitation; it’s not
required of the Buddhist monk, merely rec-
Scars: The character has facial scars, usually ommended.
from a previous martial arts fight with an oppo-
nent who will appear in some later adventure. Code Of The Bushi (Common, Total: 20
Bought as Concealable with Disguise Skill, Is points): This is the code of the Japanese war-
Noticed And Recognizable: 10 points. rior/retainer. Samurai had it; so did many
ninja. The Bushido Code demands absolute
Tattoo: The character wears tattoos, either
obedience to one’s lord, even if he orders the
purely decorative ones or ones which identify his
character to kill himself or destroy every-
clan, business, or martial arts school. Bought as
thing he loves. This means a samurai char-
Easily Concealable (under clothes), Is Noticed
acter often finds himself in situations where
And Recognizable: 5 points. If the tattoo is of a
his own goals conflict with his lord’s, and his
famous, hated order, it might instead be: Easily
Psychological Limitation demands he follow
Concealable (under clothes), Causes Extreme
his lord’s dictates above his own desires.
Reaction (hatred). If only martial artists recog-
nize the tattoo, subtract 5 points because only a A cruel thing to do to a samurai character is
Large Group sees the feature as distinctive. to insult or dishonor him, then have his lord
Yakuza Mutilation: Some members of the Japa- order him to leave the person who insulted
nese yakuza (organized crime families) apologize him alone. This places the character in a
for grievous mistakes by cutting off parts of their position where he either has to kill himself or
fingers and offering them to their lords (a practice wait, suffering from the insult and resulting
known as yubitsume); if this token of apology is loss of face, until his lord rescinds the order.
accepted, he does not have to kill himself for his
mistake. Characters can buy this as Easily Conceal-
able (wear gloves), Causes Major Prejudice.
Hero Games 137
Code Of The Chinese Knight (Very Common, REPUTATION

Total: 25 points): The Chinese knight’s code Many positive Reputations, such as being a
of behavior demands he right any wrongs he master or highly skilled fighter, should be bought
sees, correct any social injustices, keep any as Perks, since they benefit the character in many
oaths of loyalty he takes, and meet all obli- ways. Such a Reputation may also draw challeng-
gations he accepts. He must always honor ers and the like to the character, but that doesn’t
good people and spend all his money on good make the Reputation a Disadvantage.
deeds and good times. Some disadvantageous Reputations for
martial artists include:
Code Of The Chinese Master (Common,
Strong: 15 points): The Chinese master’s
code of behavior demands he never refuse
a challenge from another fighter. He can, if
he chooses, answer a challenge by directing
one of his students to meet the challenger; he
usually does this to “screen” challengers so he
only has to fight the best opponents.
Code Of Vengeance: A character with

this Disadvantage is driven to acts of
vengeance. How often he feels the need
to take revenge determines how much
the Disadvantage is worth.
Must Avenge All Insults to Friends, Family,

Protected Parties or Self (Very Common,
Total: 25 points): The character must exact
revenge on anyone who insults his friends
or relatives, anyone under his protection
(or whom he suddenly decides to protect),
or himself. Most insults require only the
‘W hen you
vengeance of a good beating. Maiming, an
attempted assassination, or any other vicious
insult requires him to kill the insulter. take up
Must Avenge All Insults To Self (Common, a sword, you
Total: 20 points): This is like the one above,
but only applies to insults directed at the PC. must feel intent
This Disadvantage can also be defined as
Must Avenge All Insults To Self And Lord for
on cutting the
the same point value (a samurai would buy enemy.’
the Disadvantage that way).
—Miyamoto
Must Avenge Murder Of Any Friend, Family Musashi, Go Rin No
Member, Or Protected Party (Uncommon,
Total: 15 points): The character must kill Sho (“A Book of
the murderer and anyone who collaborated Five Rings”)
with him or ordered the murder. This really
becomes a limitation when the relative was
killed “properly” — he was a crook and was
killed by a cop or a hero, for instance.
Gunslinger Mentality (Common, Strong: 15

points): A character with this Psychological
Limitation must challenge any martial artist
whom he hears referred to admiringly or who
demonstrates great skill in his presence. He
must find out who’s the better fighter, and
won’t rest until the other fellow fights him. (A
particularly unscrupulous gunfighter-mental-
ity villain will capture or kill a hero’s DNPCs
and friends to force him to fight.)
“Hands Registered as Lethal Weapons,” 8-, their art from this specific school have a (usu-
Extreme Reputation (10 points): Actually, ally not-too-fierce) rivalry with another specific
the character’s extremities aren’t registered as school. Rivals from the other school should show
weapons — that’s a braggart’s conceit — but up in numerous adventures, always challenging
the character is known to the police, who or interfering with the PC. They’re not the villains
consider him a fighter and a trouble-maker. of the adventures — they’re nuisances, sometimes
Police officers who check his name in their very capable ones, who delay the hero, intrude
records tend to be hostile to him and consider on him when he’s doing something much more
him a suspect in any martial arts-related important, and so forth. If a Rivalry between
attacks where the identity of the perpetrator schools is a bloody feud, characters should usu-
is not known. ally buy it as a Hunted.
SOCIAL LIMITATION
Vicious Fighter, 11-, Extreme Reputation (15
points): Characters who are known for need- Plenty of Social Limitations work well for
lessly killing or maiming opponents should martial artists. Martial arts are often developed
take this Reputation; they usually also have by oppressed or enslaved peoples who can’t
several villainous Psychological Limitations. carry weapons, and Social Limitations reflect
This isn’t a “Gosh, He’s a Tough Dude” Disad- that status. A well-known martial arts movie star
vantage for PCs (they should buy a Reputa- might have Famous or Public Identity. One who
tion Perk if they want to be known for their fights crime in a superheroes campaign may have
toughness and skill); it’s a Disadvantage for a Secret Identity. A martial artist who belongs to a
thugs, brutes, and villains in need of a quick strict school run by a domineering master might
trip to the cemetery. be Subject To Orders.
VULNERABILITY
RIVALRY
Ordinary Rivalries between two PCs are Attacks To One Location
perfectly acceptable. Martial artists can also take Some martial artists take extra damage from
“Rivalry with another school” as a Professional blows to one specific body location (an Uncom-
Rivalry. This means all characters who learned mon attack). Buy this Vulnerability as follows:
Hero Games 139
Name, 1½ x STUN (or BODY), Attacks to Killing Attack. With Location 15, this normally
One Location (Uncommon): 5 points. results in 3 BODY and 3 STUN. This character,
who receives 2 x STUN to that knee, actually
Name, 2 x STUN (or BODY), Attacks to One takes 3 BODY and 6 STUN.
Location (Uncommon): 10 points. With Normal Damage attacks, the character
first applies the multiplier for the Vulnerability,
then subtracts his PD from the attack, then modi-
A character can have one of these Vulner- fies the damage for the location roll. For instance,
abilities, or several. Some examples include: a character takes 1½ x STUN to Stomach (Loca-
Glass Jaw (2 x STUN, Location 5 — chin): tion 12) blows. He has PD 8. He’s hit in the
10 points. stomach with a Punch doing 25 STUN, 8 BODY.
Because of his Vulnerability, he actually takes 37
Old Internal Injuries (2 x STUN, 10 points, STUN and 8 BODY. Now he subtracts his PD, and
and 1½ x BODY, 5 points, Location 12 so takes 29 STUN and 0 BODY. Then he applies
— stomach): 15 points. the modifications for the location; Stomach loca-
tion does x1.5 to Normal STUN, x1 to BODY, so
For each Vulnerability, the player defines a the character has taken a grand total of 43 STUN
specific body location which, if hit, activates the from the attack.
Vulnerability. Each location should correspond If the campaign doesn’t use the Hit Locations
to one number from 3-18 on the Hit Locations chart, then the GM has a choice. Either he can
Chart, just as the two examples above showed. use the Hit Locations chart, not using their usual
When a Hit Location result actually indicates two damage modifiers, or he can treat each Vulner-
body parts (for example, there are two Locations ability has having an 8- Activation Roll.
6 — i.e., two hands), the character only has to Many players will wish to take this Limita-
define one of them as receiving the Vulnerability tion on arms and legs, because in campaigns
(for example, Left Hand). utilizing Hit Locations they start out with a x½
If the campaign uses Hit Locations, then multiplier (for location) on damage. That’s fine, if
any blow which rolls that location activates the you’re using the optional Hit Location rules from
Vulnerability. This can be from a random roll on Chapter Three; these locations are hit more often
the Hit Location chart, or can be a Placed Shot by 2d6+1 and 2d6+7 Hit Location rolls than by
against that precise body part. If the character 3d6 Hit Location Rolls, and so they’ll be hit often
chooses a body part which normally modifies enough to keep this Disadvantage balanced.
damage, use both the location damage modifier
and the Vulnerability modifier. For example, a To Specific Styles
character takes 2 x STUN to his Left Knee (Loca- Likewise, a character could take a Vulner-
tion 15). He’s hit in the left knee with a 6 BODY ability to a specific martial arts style. The com-
monness of that style in the campaign would
determine how much the disadvantage was worth.
Obviously, major styles would be more common
than rarer ones: Karate (all types) is going to be
more common than White Crane Kung Fu. This is
a good Disadvantage for aged masters who teach
player characters. It explains why they can’t go
out and attack the bad guys themselves; they’re
Vulnerable to the bad guys’ style.
Style To Style
You can take the concept of Vulnerability
to a style one step further: some styles may be
inherently Vulnerable to other styles. For exam-
ple, if Style A is Vulnerable to Style B, this would
signify that all users of Style A are at a significant
disadvantage when attacking or defending against
Style B.
Vulnerability of Style A to Style B’s attacks
means all of Style A’s defensive maneuvers are
performed at a minimum of -2 (to DCV or
OCV, as appropriate) when used against Style B’s
attacks. Additionally, Style B’s attacks may do 1-3
extra DC of damage when they hit. The value of
the Disadvantage depends upon how common
Style B is.
Vulnerability of Style A to Style B’s defenses
indicates that all of Style A’s offensive maneuvers
are performed at a minimum of -2 OCV when
used against Style B’s defenses. Additionally, Style
A’s attacks may do 1-3 fewer DC of damage when
they hit. The value of the Disadvantage depends
upon how common Style B is.
At the GM’s option, Style Vulnerabilities may
always cover both offensive and defensive maneu-
vers, or characters can buy the offensive and
defensive aspects of the Vulnerability separately
(the same way characters can purchase STUN and
BODY Vulnerabilities separately).
The GM should normally declare Style Vul-
nerabilities at the beginning of the game so all
players know about them when designing char-
acters. Players cannot declare that their style is
Vulnerable to some other style without GM per-
mission.
Some suggestions for possible Style Vulner-
abilities: external styles may be Vulnerable to
internal styles (or vice-versa); linear styles may be
Vulnerable to circular styles (or vice-versa); styles
from one nation or region may be Vulnerable to
styles from another nation or region.
‘T oday is victory over yourself

of yesterday; tomorrow is
your victory over lesser men.’
—Miyamoto Musashi, Go Rin No Sho
(“A Book of Five Rings”)
‘I f the enemy opens the door, you must race in.’
T
A Zen master and one of his students were his chapter presents revised and expanded infor-
mation on Combat Maneuvers, optional rules for
walking in a field. They frightened a unusual combat situations or forms of attack, and an
pheasant, which flew away from them and hid expanded list of weapons for use by martial artists.
in a thicket.
Seeing a chance to impress his master with

his powers of observation, the student pro-
claimed, “Birds are so weak and defenseless!”
The master turned around and rapped the

student sharply on the shins with his walking
stick. “Fly,” he ordered.
— Zen Koan
COMBAT
MANEUVERS
T
BINDS IN his text supplements the Combat If the attacker
FANTASY HERO Maneuvers section from the HERO wins another, immediate STR Roll (which takes no
System 5th Edition, Revised, pages time but may only be attempted once per Phase),
383-400. These rules apply to martial he may also elect to shove his opponent back 1”,
In Fantasy Hero, arts-oriented campaigns, and in other types of cam- maintaining the Bind, as long as there’s room for the
Weapon Bind is a Stan- paigns at the GM’s discretion. defender to move backwards; if the attacker fails or
dard Combat Maneuver
merely ties this second STR Roll, he may not do this.
which any character
On each of the Bound character’s Phases, both
can use. This is because
weapons-based combat
Bind characters again roll the STR Versus STR Rolls, as
(particularly sword- To use Bind, a character performs an OCV before. This takes the Bound character a Half Phase;
play) is a much more versus OCV attack as with a Block; a successful hit resisting an attempt to escape the Bind is an action
common aspect of fan- binds his opponent’s weapon, resulting in a tempo- which takes no time. The Bound character can follow
tasy games than of other rary deadlock. The attack does no actual damage. his attempt to escape with an attack or movement. (If
genres. You might con- the weapon remains Bound, the character cannot use
Normally, the attacker uses a weapon, and binds the
sider making Weapon it in an attack.) The defender can also break a Bind
Bind a free maneuver in target’s by pinning it up against the target’s body.
However, characters can use this maneuver bare- automatically by moving 1” backward in one of his
other sorts campaigns
handed, usually by pinning the target’s weapon arm Phases.
featuring frequent use
of weapons. Or, if you against his body, or pinning the target’s weapon While the characters remain Bound together,
prefer more consistency under the target’s own arm after a wild swing. they may still talk, attack with their free hands (if
from genre to genre, you If the character’s Attack Roll succeeds, the any), and so forth. They are at their normal OCV
can remove Weapon target’s weapon is momentarily bound; both fighters and DCV against one another, but the Bound char-
Bind from the list of immediately make STR Rolls. If the target possesses acter is at ½ DCV against attacks from third parties,
free maneuvers available the Escape maneuver or the Bind maneuver, he can while the attacker is at full DCV against attacks from
to Fantasy Hero charac- third parties.
use its STR bonus in the STR Versus STR Rolls. If he
ters. Refer to Converting
Martial Arts Maneuvers knows both, he can only use the bonus from one of
them. If the attacker wins or the roll is a tie, the Bind
To Standard Maneuvers
for more information. stays in effect; if the defender wins, he breaks the
Block
Bind and the fight can resume normally. Don’t forget the visual element of the combat
you’re describing. A Block is a Block, but visually it
can be any number of things. A martial artist can
Block a punch or weapon by catching the incoming
wrist on his own wrist or forearm; he can Block a
kick by using the forearm or a counterkick; he can
Block a sword attack by clapping the incoming blade
between his two hands (a popular technique in the
movies).
Blocking and Missile Deflection
In martial arts-oriented campaigns, Blocks can
aid Missile Deflection in some ways. (Gamemasters
may apply these rules in other types of campaigns if
they wish.)
■ Ifthe GM permits, a character can use his Martial
Block maneuver with his Missile Deflection instead
of his normal Block, thereby gaining the Martial
Block’s CV bonuses with his Missile Deflection.
■ Ifa character has Missile Reflection defined as
catching a weapon and immediately throwing it back,
he can instead just catch the weapon. He may then
use it himself or throw it on a later Phase. Throwing it
on a later Phase constitutes an Attack Action, not as a
continuation of his Missile Reflection.
■ Weapons which have large striking surfaces (like
war fans and shields) can add their OCV bonuses
Hero Games 143
to the Missile Deflection Block attempt. his Sight Group PER Roll; or REDEFINING BLOCK
Blocking For Someone Else ■ ifhe makes a DEX Roll by more than the Cover-
A character can Block for someone else — for ing character makes his DEX Roll. The basic Block maneu-
example, to try to defend an injured or defenseless ver allows the character
person from an attacker. To do this, he must be Before attempting to break the Cover, the char- to avoid all damage
in range of either the attacker or the target with a acter must decide which of the three methods to from a Hand-To-Hand
hand-to-hand weapon. If the weapon is Short or use. If he fails his roll, the character Covering him attack and then go first
Medium, he must be in the same hex or an adjacent can choose to attack him with the Covering attack. in the next Phase if both
hex to either; if the weapon has a range of 1” or combatants have their
next Phase in common.
more, he must be within that range. He performs
the Block at a -2 OCV, as usual against the attacker’s
Disarm If the GM prefers, he
can redefine Block
OCV. If it succeeds, he Blocks the attack. Remember, Disarms aren’t automatically suc- slightly to allow differ-
See also the rules for Interposing in the cessful when the Disarming character succeeds ent combat dynamics.
Combat Modifiers, Special Cases, And Optional with his Attack Roll. As soon as he makes his roll to The following are some
Rules section of this chapter. hit, he must make a STR Versus STR Roll with his suggestions along these
victim. If the attacker rolls higher or the rolls tie, lines:
Blocks Combined With Other Elements
the Disarm succeeds; if the victim of the Disarm
Some maneuvers, such as Defensive Throw 1) A Block deflects all
wins the contest, he keeps hold of the weapon.
and Grappling Block, combine Block with a Non- damage from an attack,
Two optional rules may apply to Disarms if
Exclusive Basis such as Grab or Throw. Since these but does not let the
the GM wishes. First, a character attacked with a
maneuvers have an offensive or aggressive aspect to Blocker go first in the
Disarm while completely unaware of the attack
them, a character cannot Abort to them (even if he next Phase. This sort
only gets his Casual STR (half his normal STR) to of Block is sometimes
wants to use just the Block part of the maneuver).
resist the Disarm. Second, characters with Disarms referred to as an “active
can use the maneuver’s STR bonus to resist being Dodge.”
Choke Hold Disarmed. This option prevents fencers and similar
characters from constantly Disarming each other. 2) A Block deflects half
Choke Hold’s Grab element Grabs one limb of the damage from an
— the head. Thus, a character in a Choke Hold can’t Disarming Two-Handed Weapons
attack, and allows the
speak or shout. This is why it’s a preferred tech- It’s a little more difficult to Disarm a two- Blocker to go first in the
nique for taking out guards. handed weapon than a weapon held in one hand. A next Phase.
A character who renders a target unconscious character trying this should take a -2 OCV penalty
with a Choke Hold can kill him by continuing to on his Disarm. Alternately or in addition, the target 3) A Block deflects half
apply the maneuver. Once the target falls uncon- gets +5 STR in the STR Versus STR Roll to keep of the damage from an
scious, a maintained Choke Hold inflicts 1 BODY hold of his weapon. attack, and does not
per Phase (the only defense against this is not allow the Blocker to go
Disarming Incoming Attacks first in the next Phase.
needing to breathe). (See the Holding Breath and Often a character delays his attack to Disarm
Drowning rules from the HERO System 5th Edition, an incoming attack. This happens especially often
Revised, page 424.) 4) A Block deflects all
when a character makes a Half Move and then of the damage from
A character may make a Choke Hold one- Holds his Action, waiting for his attacker one attack only, and
handed, using the usual rules for Grabbing with to reach him. But a Disarm versus an provides its DCV
only one hand (see below under Grab). This only incoming attack doesn’t automati- bonus against all other
affects the STR of the Grab part of the maneuver; it cally mean the character Disarms attacks that Phase. In
still does 2d6 NND(2). other words, characters
For more information about martial arts cannot use Block to
NNDs, refer to Nerve Strike, below. avoid successive attacks
in the same Phase,
though they get the
Cover DCV bonus from
the maneuver.
In martial arts movies, charac-
ters seem to be able to break out of
being Covered with considerable
ease; it doesn’t require a distraction
or a momentary lapse on the Covering
character’s part to effect this. Therefore,
in martial arts campaigns (but not other sorts of
campaigns, unless the GM permits), a character
can make an attack (usually a Disarm) while Cov-
ered, without the Covering character going first,
under the following circumstances:
■ if he has Fast Draw and makes his roll by
more than the Covering character makes
his Sight Group PER Roll;
■ if he has Sleight Of Hand and makes
his roll by more than the Covering character makes
ROLEPLAYING his target before the target hits him. bearhug-type holds, such as those used in Wres-
COMBAT To decide who goes first, have both parties tling, may Grab three or more limbs. Of course, a
make a DEX Roll. If the Disarming character makes character can always choose to Grab fewer limbs
the DEX Roll by more, he goes first. If he success- than the maximum allowed by his maneuver.
As you read through fully Disarms his opponent, the opponent doesn’t A character can Sweep a Grab maneuver to
this chapter, remember get his attack this Phase. If the Disarm misses or Grab more than the maneuver’s basic number of
not only the strategic
does not succeed, the opponent gets an attack limbs. Each limb (or group thereof, if the maneuver
aspects of the rules, but
the roleplaying aspects this Phase. If the attacker makes his DEX Roll by immobilizes two or more limbs at its basic level)
as well. All too often more, he goes first and attacks before the Disarm counts as a separate attack.
players and GMs look attempt. If the Disarming character is not Stunned
Example: Okamura Hiromi is using her
at combat solely as an or Knocked Out by the attack, he can then perform
Jujutsu to fight a big, tough street thug wield-
exercise in tactics, strat- the Disarm.
egy, and power-gaming, ing a pair of knives. She wants to capture him
Throws are handled the same way: they don’t
but in fact it has a lot of for interrogation. However, her Joint Lock
automatically negate the incoming attack.
role-playing potential. maneuver only immobilizes one limb (typi-
cally, one arm), leaving her vulnerable to
When using martial Flying Kick being stabbed by the knife the thug is
arts, you can best real- carrying in his other hand. She also
ize this potential if you Several styles, such as Kung Fu and Tae prefers to prevent him from kick-
“talk out” your battles as Kwon Do, have a flying kick of some sort as ing her with his hobnail boots.
much as possible. This one of their maneuvers. In HERO System
simply means describ- terms the flying kick is represented as a Since she has a 12 OCV and the
ing what your character Sacrifice Strike, not a Passing Strike, to thug only has a 5 DCV, Hiromi
does in real-world terms achieve the necessary level of power (the decides to try to Grab both of
rather than just game +v/5 element of the Passing Strike rarely his arms and one of his legs.
terms. “I hit him with adds enough damage to equal the +4 This requires her to Sweep him
my Offensive Strike” is with her Joint Lock. The Joint
DC of the Sacrifice Strike). However, in
a lot less exciting than Lock immobilizes one limb, so
“I step to his side, pivot, Superheroic games, where characters
often have large amounts of movement, each additional limb counts as
and kick him hard in
the ribs!” Roleplaying a Passing Strike might more accurately a separate target, imposing a -
combat is fun, adds an reflect this sort of attack. 4 on each of her Attack Rolls.
important dimension She rolls a 14, an 11, and a
to the battle, and can 10, hitting all three times. In
even result in some Grab the space of but a second, she
tactical bonuses — such has used her martial arts to
as when the GM likes a CHANGES TO almost completely immobi-
maneuver’s description GRAB lize the thug. Now she
so much he awards a can bear him to the
Surprise Move bonus to The basic Grab
maneuver from the HERO ground so he can’t
the character.
System 5th Edition, and Martial stomp on her foot
Maneuvers built with the stan- with his free leg.
When describing attacks
this way, you don’t have dard Grab Opponent Element, Had Hiromi missed one of
to use Hit Location only immobilize two of the her rolls, no further rolls
penalties. A player can Grabbed character’s limbs (of course, would be allowed and all
say, “Okay, I punch him some targets have no limbs, so this remaining target limbs
in the head!” without aspect of the maneuver is unimport-
taking a -8 OCV pen- would have been free
ant). Characters can build to move.
alty. So long as the char-
maneuvers that Grabs
acter doesn’t receive the
game benefits of hitting more than two limbs, Example: Suppose the
someone in the Head of course. If a character’s thug in the above example
(x2 BODY, x2 NSTUN, Martial Maneuver only faces Strongarm, a low-level
and so forth), he doesn’t Grabs one limb (like many joint- “brick” superhero. Strongarm
suffer the penalties locks), the basic Grab provides a distinct tactical isn’t any more willing to be stabbed or stomped
either. A “described option (the joint-lock probably has more STR for on by this miscreant than Hiromi was, even
shot” to the Head does purposes of Grabbing, but the Grab maneuver
ordinary damage, it’s though he’s harder to hurt. Since a basic Grab
immobilizes more limbs). immobilizes two limbs, each additional two
just portrayed that way
to make the combat Available Limbs limbs impose a cumulative -2 on each of his
more enjoyable. Of Characters are considered to have five limbs: Attack Rolls. He decides to Sweep his Grab,
course, if the character two arms, two legs, and one head. The head counts so he can Grab the thug’s arms and legs. This
wants the extra damage as a limb because a character can use it to attack imposes a -2 to both of his rolls, since the arms
for hitting his opponent (i.e., headbutt) an opponent close enough to Grab count as his first two limbs, and the legs as his
in the Head, he can take second two limbs. He rolls a 7 and a 10, easily
him. Thus, to completely and totally immobilize
the -8 OCV penalty for hitting both times. The thug is now trussed up
his attack in the usual someone adds 3 points to the cost of a Martial
Grab-type maneuver. Joint-locks and similar like a Thanksgiving turkey.
way.
attacks normally Grab one to two limbs, “pins” and
Hero Games 145
ACTIONS WITH GRAB acter in the same or an adjacent hex as the wielder. GRABBING AND
In the HERO System 5th Edition, the Grab If his normal STR is enough to use the weapon, COMBAT VALUES
maneuver allows you to do a couple of important he doesn’t suffer an OCV penalty. However, he
things: Grab and Squeeze, or Grab and Throw. only does the weapon’s base damage; because the
wielder of the weapon resists him, the character Performing, or being the
We’re going to add to that list. Characters can victim of, a Grab affects
now perform six possible actions with a Grab: doesn’t get to use any of his STR which exceeds the
a character’s OCV and
weapon’s STR Minimum to increase the damage
Grab and Block DCV. See page 256 of
done by the weapon. the HERO System 5th
Grab and Control Edition for details.
Grab And Shove
Grab and Redirect Once a character has Grabbed someone, he
Grab and Shove may attempt to Shove the victim backwards. He
makes a STR Versus STR Roll. If he succeeds, he
Grab and Squeeze
may shove the victim back a maximum of 1”. He
Grab and Throw moves with the victim and continues to hold on to
A character can only perform one of these him as he does so.
additional elements in a Phase. Having Grabbed a A character may perform this option even
target, the character cannot Block and Redirect in after he’s performed a Half Move and Grab/Shove.
the same Phase, or Squeeze and Throw, or any other For example, a character with 7” of Running moves
combination. 4” forward and Grabs his target successfully. He
can now elect to Shove his target back 1”, even
Grab And Block
though, at Phase’s end, he’s moved a total of 5”
With this combination, a character Grabs
(more than his half-move) and still performed an
someone — and then, at any time while the Grab
attack.
is still in effect, Blocks an incoming attack with the
Shoving does no damage to a target unless he’s
Grabbed character’s body. To do this, he performs
shoved into a surface such as a wall; in that case,
the Grab normally. If the Grabbed character does
he takes the character’s STR damage. A STR 18
not immediately escape, the Grabber can perform
character shoving a target into a wall will do 3½d6
a Block with his body. Roll the Block maneuver
Normal Damage to that target. If the campaign
(or Martial Block maneuver) at a -2 to OCV. If it
uses Hit Locations, this is just generalized damage.
succeeds, the Grabber has Blocked the attack; the
Anyone who Grabs can Shove. There’s also
Grabbed character takes the damage of the incom-
a special martial Shove maneuver which allows
ing attack. You can only Block this way once per
Phase, unlike ordinary Blocks.
This is a very useful maneuver for PCs. But
villains can also Grab and Block, and are fond of
doing so with captured DNPCs and other inno-
cents.
Grab And Control
When a character Grabs someone, he can also
attempt to Control that person, meaning turn the
victim so he cannot attack the character as easily.
To do this, he makes a STR Versus STR Roll with
the victim. (If this is immediately after he Grabbed
the victim and the victim’s Phase hasn’t yet come
up, he does get a Casual STR roll.) If he rolls 2
BODY more than the victim on the STR Versus
STR Roll, he can turn the victim so the victim
cannot strike him this Segment. To maintain con-
trol, the character must make a similar roll on each
of his Phases.
Grab and Control is very good for subdu-
ing someone a character wishes to speak to but
not hurt; it does the victim no harm and gives the
character a Phase or two to speak. A character can
also use Grab and Control to force someone to the
ground without hurting him (to force him to the
ground and do STR damage to him in the process,
Grab and Throw them (see below).
Grab And Redirect
Redirect follows a Grab of someone’s weapon.
If a character Grabs a weapon, he may then make
a STR Versus STR Roll to attack with it. If he suc-
ceeds (i.e., he ties or betters the victim’s BODY
total), he can attack the weapon’s wielder or a char-
characters to shove more effectively. Refer to Shove, NUMBER OF HANDS REQUIRED
below, for more details. TO GRAB SOMEONE
Grab And Squeeze The basic Grab maneuver/element presumes
Grab and Squeeze allows the character to do the character uses both hands. Grabs which only
his regular STR damage to the victim. If the cam- immobilize one limb (i.e., which take the “One
paign uses Hit Locations, a Grab maneuver hitting Limb” restrictive element) only require one hand to
Location 5 (the Head) both does extra damage perform at full STR.
(Head locations take 2x STUN and BODY from If a character uses only one hand for a Grab
Normal Damage attacks) and cuts off the target’s requiring two hands, he is at -5 STR, and can only
breath, making him unable to shout or talk (see the use half of the STR bonus his Martial Maneuver
rules above for Choke Holds). A Grab maneuver provides to Grab. But if he manages to hold on, he
hitting Locations 3 and 4 does the extra damage, can use his free hand for other attacks.
but doesn’t cut off the victim’s breath. Example: Ken the sumo
Grab And Throw wrestler is STR
‘E
20. He
xistence Grab and Throw acts just as
executes a
described in the HERO System
is infi- 5th Edition. The Grabber may Sumo Grab
choose whether to main- on his
nite, not to be tain the Grab after the opponent,
Throw (of course, if he but uses only
defined.’ throws the victim a long one hand, the
distance rather than simply better to pummel
—Lao Tzu, dashing him to the ground, his foe with the other. Ken
Tao Te Ching he cannot maintain his normally uses his full STR of
hold). Refer to Throw, below, 20 and gets a +10 STR from the
for more information on Grab maneuver. But
throwing characters; the effects this time, using only
of a Grab and Throw usually match one hand, he gets
those of any other Throw in terms of only STR 15 and
effect on placement in the combat +5 STR from the
order in the next Phase, damage Grab maneuver
taken, and so forth. However, (total of STR 20).
because in many situations a Grab
and Throw has less “finesse” than a GRABBING AND WEAPONS
full-blown Martial Throw, the A Grabbed character finds it
GM may rule that some of the harder to use weapons. Depending
benefits of a Throw maneu- upon what limbs he has free, he
ver are not available when may not be able to use any weapons
using Grab and Throw. at all — if the Grabbed character
only has a sword, and an attacker
GRABBING AND
immobilizes his sword-arm,
HIT LOCA
he can’t use the sword (at least
TIONS
not in that hand; if it’s possible to draw the sword
In the with his off-hand, he could try to use it with the
HERO System usual off-hand penalties). Assuming weapons use
5th Edition, Grab is possible, a Grabbed character can use any Short
immobilizes the target’s arms and accessible Foci. weapon at no additional penalty, any Medium
That approach presumes the Grabbing character weapon at a -2 penalty to OCV, and any Long
either specifies the arms as a target or does not weapon at a -5 penalty to OCV.
specify any particular target.
Within the bounds of realism, characters can
choose which limbs to immobilize with a Grab Grab Weapon
maneuver. With a standard Grab, the maneuver
When one character Grabs another’s weapon
almost always affects the two arms, but with a Mar-
(whether with the Standard Grab Maneuver or a
tial Grab just about any combination is possible.
Martial Maneuver with the Grab Weapon element),
Regardless of which limb the character
this does not affect the DCV of either character.
chooses as a target, Hit Location Attack Roll and
The Grabbing character take no damage from
damage modifiers do not apply, just like with any
touching or grabbing hold of the weapon.
maneuver defined as specifically targeting a Hit
Location. At the GM’s option, a character may
suffer penalties to a standard Grab maneuver if he
tries to Grab anything other than the arms or the
head.
Hero Games 147
Joint Locks And

Related Maneuvers
Several types of maneuvers — the Joint Break,
the Joint Lock/Throw, and Grabs defined as “Joint
Locks” — are performed by grabbing hold of a limb
and bending it in such a way the target cannot use
it. Sometimes this involves bending the limb in the
direction it’s designed to move, but in a manner
which “locks” it. More commonly, these maneuvers
bends a joint in a way it’s not supposed to bend.
This causes great pain (simulated by the NND
DMG Element of the Joint Lock/Throw maneuver).
This may also break the joint (the Killing Damage
and Disable elements of the Joint Break) or force
the target to fall down (the Throw element). The
holding and locking aspect of these maneuvers is of
course simulated with the Grab element.
In adjudicating the effects of joint-breaking
maneuvers, the GM should carefully consider the
nature of the attack. Standard resistant defenses,
such as a superhero’s “bulletproof spandex” or a
soldier’s flak jacket, offer little (if any) protection
against having one’s joints bent backwards. On
the other hand, suits of metal armor and similar
equipment might completely protect the joint from
bending the wrong way. The GM might want to HERO System 5th Edition, Revised for guidelines.
grant these attacks a sort of NND effect where the If a maneuver which has Escape as one of its
“defense” against the attack is wearing something features also has some other element which affects
which keeps the joint from being bent backwards, the person whose Grab is being Escaped from
having pliable limbs (i.e., Stretching), buying an (such as Target Falls or Disarm), the second ele-
Exert maneuver to fight the effect of the joint- ment only works if the Escape succeeds.
break, or something similar. However, this could At the GM’s option, a character does not have
make joint-breaks more effective than other types to make a complete escape from a Grab or Entan-
of Killing Damage maneuvers, so the GM should gle. Instead, he can try to free only one limb, and
be careful not to unbalance the campaign by doing then use it as he sees fit. This allows +5 STR on the
this. attempt to “Escape,” since the character can concen-
GMs should also keep the Impairing and trate his efforts on freeing just one limb.
Disabling rules (HERO System 5th Edition, Revised,
pages 416-17) in mind when characters use joint-
breaks; refer also to the discussion of Disabling Move By/Move Through
Attacks in the Combat Modifiers, Special Cases, And Move By and Move Through can increase
Optional Rules section of this book. the damage done by a weapon (see pages 389-91
and 406 of the HERO System 5th Edition, Revised
Killing Throw for details). At the GM’s discretion, Move Bys and
Move Throughs may add damage to NND attacks.
Killing Throws divide into two types. The Each 5” velocity from a Move By, or 3” velocity
first type, discussed under Joint Locks And Related from a Move Through, adds +½d6 NND to the
Maneuvers, above, involves twisting a joint to break NND attack. The NND attack has to be some sort
it and force the target to fall down. The damage of physical punch or blow rather than a nerve
occurs during the throw, not as a result of the tar- touch or energy discharge, of course.
get’s impact with the ground. The other is a throw Move By and Move Through are specific
intended to make the target fall in such a way that Combat Maneuvers. You can’t do an “Offensive
he takes Killing Damage (broken bones and the Strike Move Through,” adding both +4d6 from the
like) because of his impact with the ground. Play- Offensive Strike maneuver and +v/3 damage from
ers and GMs should keep these “special effects” in the Move Through. You use only the basic damage
mind when creating Killing Throw maneuvers and for the attack (for instance, STR from a punch, or
adjudicating their effects. weapon damage plus STR bonuses for a weapon)
plus the velocity modifier. This means if a character
has a Killing Strike Martial Maneuver, he cannot
Martial Escape use it with a Move By or Move Through: they’re
The time required to perform a Martial Escape two distinct, separate maneuvers he cannot com-
(or to use the Escape Element of any maneuver) bine.
depends upon the situation. See page 399 of the
VITAL POINTS so forth. In campaigns featuring a wide variety of
AROUND
Nerve Strike humanoid species, such as some science fiction
THE WORLD settings, a martial artist may have to buy a Sci-
DEFENSES FOR NERVE STRIKES ence Skill reflecting his knowledge of a particular
The HERO System 5th Edition describes two species’s anatomy to use this type of Nerve Strike
The body’s vital points basic types of NND strikes and their possible against that species. An NND(1) may have no
are known in Japan as defenses: solid Armor (resistant PD) or a PD effect, or reduced effect, on some species (particu-
kyusho (and an attack Force Field or Lack of Weakness for a Nerve Strike larly non-humanoid ones).
against those points
(“NND(1)”); solid Armor (resistant PD) on the
is an atemi strike); in NND 2: Rigid resistant PD on the neck or not
China as tien-hsueh; neck or not having to breathe for a Choke Hold
having to breathe: This is the defense for Choke
in Korea as kuepso or (“NND(2)”). These options are perfectly accept-
Holds and other NND strikes which cut off the
keupso; in Vietnam as able for most campaigns, but can cause problems
target’s ability to breathe. The general comments
huyet; in Indonesia as in Superheroic campaigns or other games where
about defenses appropriate for NND(1) apply here
rahasia; and in India as those defenses are common (which makes the
as well.
marman. maneuvers useless).
If this problem exists in your campaign, NND 3: Rigid resistant PD on a specific Hit Loca-
there’s a twofold solution: first, define the defenses tion: NND(3) is the defense for a Nerve Strike
to a Nerve Strike better; second, offer more poten- which always targets a specific nerve cluster or
tial defenses, so Nerve Strikes have some variety. vital point. The character must define the target
As always, the GM has the final say on what point when he buys the Nerve Strike. As with
defenses are acceptable. Here’s an expanded list of other attacks targeting a particular Hit Location,
AVLDS possible defenses, with explanations: such a strike should not receive any to-hit or
damage modifiers because of the location struck.
NND 1: Rigid resistant PD on vital areas or Lack
If you’re having trouble of Weakness NND 4: Solid ear coverings: NND(4) is the
making NND strikes defense for a Nerve Strike defined as clapping
NND 2: Rigid resistant PD on the neck or not
effective in your games one’s palms against the target’s ears, causing ter-
having to breathe
after using the other rible pain (and sometimes disorientation). A “bul-
suggestions offered NND 3: Rigid resistant PD on a specific Hit Loca- letproof spandex” mask or super-strong skin offers
in this book, consider tion no protection against this sort of attack; a helmet,
converting the NND earphone-like gadgets, or having no ears would.
damage to AVLD NND 4: Solid ear coverings
damage. This may have NND 5: Resistance NND 5: Resistance: NND(5) attacks cause so
major effects on cam- much agony that only characters who can with-
paign balance, however, NND 6: PD Force Field or Power Defense stand a high level of pain (i.e., who have bought
so treat such a change NND 7: Various defenses against joint-bending; the Talent Resistance) have any defense against
carefully and remain see below them. In some cases, unusual nervous systems and
willing to return to the certain other powers or abilities might also act as
old system if it becomes NND 1: Rigid resistant PD on vital areas or Lack
of Weakness: The NND(1) defense requires the a defense against this NND.
too unbalancing or inef-
ficient. target to have solid, rigid resistant PD over his NND 6: PD Force Field or Power Defense:
vital points. “Rigid” means a sufficiently solid NND(6) usually represents some sort of mystical,
defense to prevent the attacker from being con- ch’i/ki-based ability to hurt a target by attack-
tacting the target’s vital points. The stereotypical ing his life force. Only a PD Force Field or Power
“bulletproof spandex” worn by many superheroes Defense offers enough protection to save someone
is not stiff enough for this purpose. Nor does the from this sort of attack.
super-strong skin of most “brick” characters suf- NND 7: Defenses against joint-bending: Charac-
fice, since they still have nerve endings a trained ters use NND(7) to simulate the excruciating pain
martial artist can find and strike. A brick with caused by maneuvers which bend or torque a joint
tough “plates” in place of skin, or who transforms in a way it’s not supposed to move. The defenses
into rock or metal, probably has “rigid” defenses, against this include Resistance, having rigid armor
as does any brick who took Reduced Sense Of on the joint in question which prevents improper
Touch as a Physical Limitation because his super- bending, Powers with a similar effect (such as
tough skin prevents him from feeling things Stretching), or STR (as a Characteristic or Exert
properly. Suits of powered armor, kevlar backed by maneuver) double or more that of the STR used
ceramic or steel plates, PD Force Fields, and simi- to bend the joint. In some cases the Talent Double-
lar types of resistant PD block this Nerve Strike, as Jointed may have the same effect. Refer to the
do most forms of Lack of Weakness (though not, discussion of joint-locks and similar maneuvers,
for example, a Lack Of Weakness defined as pre- above, for more information.
venting the attacker from seeing the weak points).
“Vital points” are particularly vulnerable DISABLING NERVE STRIKES
places on the body. They include nerve clusters Characters can use Nerve Strikes to tempo-
close to the skin, places where an attack can rarily Impair or Disable a limb. Refer to the dis-
quickly and easily cut off blood flow (such as the cussion of Disabling Attacks in the Combat Modi-
neck), places where vital organs are relatively close fiers, Special Cases, and Optional Rules section of
to the skin, locations where an attack can easily this book.
interrupt the flow of ch’i throughout the body, and
Hero Games 149
TWO OR MORE NERVE STRIKES

As described on page 265 of the HERO System
5th Edition, Revised, characters should not normally
have more than one NND attack (at least, not without
GM permission). Gamemasters may want to consider
carefully whether a character should have more than
one Martial Maneuver with the NND DMG Element
(including Choke Holds). In many cases, NND strikes
are different enough that it doesn’t unbalance play for
a character to have more than one.
Partial Maneuvers
Many maneuvers have more than one Ele-
ment or “aspect.” In most cases it’s not necessary
for a character to use all aspects of a maneuver
— he can use only those aspects he wants to. For
example, a Reversal allows a character to Escape
a Grab, and then Grab the person who Grabbed
him. A character with this maneuver does not have
to perform the Grab if he doesn’t want to; he can
simply Escape, and then end his maneuver at that
point. Another good example is the Joint Lock/
Throw, which involves Grabbing the target’s limb
and bending it to force the target to the ground. A
character doesn’t have to use either the “NND” or
the “Throw” aspects of this maneuver if he prefers
not to. (Of course, an attack or maneuver which
“Must Follow” a particular maneuver or which is
a “Response” to a maneuver cannot be used on its
own.)
However, sometimes one element acts as a
“prerequisite” for another. An example here is the
Choke Hold maneuver — a character cannot use
the “NND” element of this maneuver without first
using the “Grab” element. The GM is final arbi-
ter over whether an element has to be used in a
maneuver.
Root
Characters use the Root maneuver to counter Shove
the Shove maneuver (see below). Use the STR from The discussion of “Grab And Shove,” above,
a Root to calculate the total STR opposing a Shove. generally applies to the Shove maneuver as well.
Of course, if the character resists the Shove suc- However, Shove offers several additional benefits.
cessfully, he does not move at all, and the character First, when using Shove, a character does not have
attempting the Shove is left looking foolish. to Grab his opponent, which can be time-consum-
Note, however, that Root also has the “Block” ing and potentially dangerous.
element. This is just another way of defining the Second, a character using Shove can propel
resistance to being Shoved: if the character Blocks his target back more than 1”, and does not have
the Shove, it has no effect on him at all. The special to move with him. For every 10 STR in the Shove
effect in this case is “immovability,” not the typi- maneuver, a character can push a target back 1”;
cal block associated with most martial arts — the thus, at even its lowest level a Shove moves its
Shover has struck the Rooted character solidly, but target back 2”. A Shoved character can make a DEX,
has not moved him! If the Block fails, the character Breakfall, or Acrobatics roll (his choice) at -1 for
can still use the extra STR from the Root to resist every point by which the Shoving character made
Shove. In most cases, the GM should not allow his Attack Roll to fall down at any point during his
characters to use the Block element of the Root “move.” This eliminates any further movement and
maneuver to Block attacks other than Shoves, but halves the damage the Shove would have caused.
this depends upon the situation. However, the fallen character is at the same disad-
Characters with the Root maneuver may add vantage as a Thrown character — the Shoving char-
its STR to their own when they brace to resist acter gets to attack him first on their next Phase (if
Knockback (HERO System 5th Edition, Revised, page they both have their next Phase in the same Seg-
421). ment), regardless of relative DEX.
The third advantage to Shove is that the extra ing capacities together, then use that figure and the
STR of the maneuver not only adds to the distance Strength Table to determine their combined STR for
a character can move his target, it adds to any the purpose of resisting a Shove.
damage he does if he shoves the target into a solid
Example: Three thugs attack Cheng Fei, a prac-
object. The target cannot take more dice of damage
titioner of Tai Ch’i Ch’uan. Cheng gets his fore-
than the (DEF+BODY) of the object he hits (just
arm between himself and the three thugs as they
like Knockback).
try to knock him down, so he decides to push
The fourth advantage to Shove is that a char-
them away from him, using his Shove maneuver;
acter can use it on more than one target at a time,
he has STR 40 for this purpose. The thugs have
in two ways. First, an attacker can Shove one target
STRs of 10, 15, and 10. Their lifting capacities
into another target, causing damage to both of them.
are 100, 200, and 100 kilograms, respectively, for
The attacker needs to make a separate Attack Roll
a total of 400 kg. This equals STR 20 for pur-
to hit the second target; any OCV bonuses bought
poses of resisting Shove. Cheng rolls 9 BODY
with the Shove maneuver do not apply to hitting the
on his dice, the thugs roll 3 on theirs, so they’re
second target.
thrown back 4” from their intended target!
Second, in some instances a character can use
his Shove maneuver on several characters simul-
taneously — for example, when he’s holding a staff
and several thugs grab it and he Shoves all of them Standard Maneuvers
off of him. In this sort of situation, the Shoving Players of martial artist characters sometimes
character uses his base STR plus Shove maneuver forget that their characters can still use the Standard
bonus STR. To calculate the combined STR of the Maneuvers — the non-martial maneuvers described
characters resisting the Shove, determine their lifting on pages 383-98 of the HERO System 5th Edition,
capacity, based on the Strength Table on page 34 of Revised. Any player character who forgets or turns
the HERO System 5th Edition, Revised. Add their lift- up his nose at the Standard and Optional Combat
Maneuvers unnecessarily limits himself. Most
beginning martial artist characters won’t start the
game with Martial Maneuvers of every type... so a
martial artist without Martial Grab should still use
the standard Grab, one without the Martial Disarm
can still use the standard Disarm, and one without
the Martial Dodge can still utilize the standard
Dodge. Three-point Combat Skill Levels with a mar-
tial arts style do not apply to Standard Maneuvers,
but 5-point CSLs with Hand-To-Hand Combat do.
CONVERTING MARTIAL MANEUVERS TO
STANDARD MANEUVERS
In some campaigns, the GM may wish to make
a Martial Maneuver (such as a kick or Bind) a Stan-
dard Maneuver. There’s nothing wrong with this, if it
doesn’t unbalance the campaign and the GM keeps
two things in mind.
First, there should be some justification in real-
ism or the genre for making a Martial Maneuver
Standard. For instance, in Fantasy Hero Weapon
Bind is a Standard Maneuver, since weapons combat
is such a prevalent part of that genre. Another
example is campaigns which allow any character
to perform some sort of “kick” maneuver, on the
grounds that anyone can kick somebody else and do
more damage than a punch, it’s just not as easy as
punching them.
Second, Standard Maneuvers derived from
Martial Maneuvers should never be as effective as
their martial counterparts, so characters who buy
Martial Maneuvers still benefit from doing so. For
example, a standard “kick” maneuver should impose
CV penalties a standard Strike does not, and should
not add as much damage as a comparable martial
arts “kick” maneuver. As a good rule of thumb, a
Standard Maneuver should cost about 0-1 points
when built using the Martial Maneuver construc-
tion rules.
Players should also remember that liberal
Hero Games 151
application of special effects can “convert” a Stan- together constitutes Sweeping a Grab and Crush.
dard Maneuver into a Martial Maneuver. For Generally, a character can only perform a
example, you could define a Grab and Throw as a Sweeping Martial Grab on two targets. The excep-
“footsweep” or “takedown” of some sort. tion is when the character tries to Grab more than
one of a single target’s limbs, as detailed above
under Grab. In that situation, a martial artist may
Sweep attempt to Sweep as many limbs as he wants; this
The Sweep maneuver is very useful in martial reflects his ability to tangle an enemy up so he can’t
arts combats. Characters can use it to simulate a use his limbs properly.
wide variety of unusual and colorful attacks against Sweep does not work with maneuvers such
multiple foes. as Root and Escape (which are not attacks), Crush
Characters can perform Sweeps with non- or any other attack with the Follow Element (the
damaging maneuvers as well as damaging ones. Sweep would have to be performed with the origi-
Sweeps are especially effective (and flashy) when nal attack, such as the Grab part of a Crush), and
combined with Martial Maneuvers like Legsweep, Shove (which a character can already use on several
Martial Throw, Flying Tackle, and Disarm. people at once, refer to Shove, above).
A character can perform a Sweep Passing
Strike (or other maneuver with the “FMove” ele-
ment), even if all the targets do not occupy hexes
adjacent to him. However, all targets must occupy
hexes adjacent to one another, and must be in some
sort of relatively straight line so he can get a clean
shot at each of them.
A character can only perform a Sweeping
Choke Hold, Crush, Takeaway, or Bind on two tar-
gets. Each attack requires a hand, and the martial
artist only has two. (A martial artist with Extra
Limbs could Sweep these maneuvers on more than
two opponents, at the GM’s discretion.) Grabbing
the heads of two opponents and banging them
-1 per 2d6 of damage the Throw does. Neither that
Takeaway modifier nor the ones described in this chart apply
Visually, a Takeaway can look as rough as to a Breakfall roll made simply to stand up without
grabbing a weapon and yanking it out of the target’s taking a Half Phase.
hand, or can be more elegant, resembling a Disarm
in which the weapon flies out of the target’s hand THROW MODIFIERS TABLE
and into the attacker’s. In any event, the attacking
character takes no damage from the weapon when Surface Damage Breakfall
he takes it away.
Soft (water, a cushion — -0 - +1
When a character performs a Takeaway, he can or mat, extremely soft
immediately toss the weapon to someone or hand earth)
it to a character in his hex or an adjacent hex as an
Average (carpeted floor, +1d6 -1
Action which takes no time. Tossing the weapon at
average earth or sand)
someone to hurt or even distract him constitutes an
attack, so he can’t do it until his next Phase. Hard (wooden or tile +2d6 -2
floor, packed earth)
Extremely Hard (cement +3d6 -3
Throw or asphalt, metal)
Evenness
DAMAGE FROM THROWS
Smooth or even surface — -0
The damage a character takes from a Throw (floor, most sidewalks)
depends in part on the surface he lands on. The
surface also modifies the Breakfall roll the charac- Sloped surface (hillside, — -0 to -1
ramp)
ter can make to only take half damage (see accom-
panying table). These penalties are cumulative; an Bumpy, uneven surface; +1d6 -1
extremely hard, uneven surface (say, a sidewalk cluttered surface (stairs,
with a lot of broken bricks and trash lying around) trash-strewn alley, rocky
ground)
adds +4d6 damage and imposes a -4 to the target’s
Breakfall roll.
Remember that the Breakfall roll to halve the
damage taken from a fall also suffers a penalty of THROWING DISTANCE
Normally a Thrown character lands in the
attacker’s hex or an adjacent hex. However, a target
can be thrown further, depending upon the char-
acter’s STR. Throwing a target further away from
you does not add to the damage done by the Throw
maneuver. Consult the STR Table and the Throw-
ing Table, on pages 34-35 of the HERO System 5th
Edition, Revised, for further information; a human
or other living creature is an unbalanced, non-aero-
dynamic object.
Example: “Bull” Robinson is a STR 20 wrestler
who wants to use his Slam maneuver to Throw
his opponent out of the ring. According to the
STR Table, it requires 10 STR to lift a man, leav-
ing Bull 10 points of STR for throwing purposes.
Based on the Throwing Table, he can throw his
opponent 4”. If he wants to hit something with
his opponent (say, an obnoxious fan), he suffers
a -4 penalty to the Range Modifier.
A characters can also increase the distance he
Throws a character by subtracting damage from the
Throw. For every -1d6 of damage, he can Throw the
target +1”. This reflects the way he uses his skill and
his opponent’s momentum to increase the distance
of the Throw rather than the damage the Throw
does.
Hero Games 153
THROWS AND INCOMING ATTACKS Density Increase, Growth, And Heavy Targets
When you delay to Throw an incoming If the attacker’s Pushed STR (whether he’s
attacker, your Throw does not automatically pre- currently Pushing it or not) is inadequate to pick
vent his attack. See the rules for Disarm, above. up the target, then his attack cannot Throw the
target down. The rule keeps human-strength char-
RESISTING THROWS WITH SKILLS acters from Martial Throwing 700-ton mecha,
for instance, but it applies to all situations using
Acrobatics Martial Throw maneuvers, not just those involv-
A character may attempt to resist being ing Density Increase or Growth. The GM has final
Thrown if he has the Acrobatics Skill (this applies authority over which characters/objects are too
to both Grab and Throw, and maneuvers with the heavy for a martial artist to pick up and/or throw.
“Target Falls” Element). As described on page 112, Note the phrase “...the attacker’s Pushed STR
if the Thrown character makes his Acrobatics roll (whether he’s currently Pushing it or not)...” This
at a -3 penalty, he keeps his feet. (Visually, he may means a character can Martial Throw anything he
have been thrown and somersaulted instantly could pick up with his fully-Pushed STR, regardless
back to his feet, or have jumped above the attack- of how much STR he’s currently using. For instance,
ing Legsweep, and so forth.) However, he still a STR 5 character in a Superheroic campaign could
takes full damage from the attack (including sur- Push his STR to 15 and pick up 200 kg; therefore,
face modifiers, as detailed in the accompanying a STR 5 character could Martial Throw any target
table). weighing up to 200 kg. A STR 10 (i.e., normal)
Breakfall character could Martial Throw something weighing
As explained on page 113, a character can in at 400 kg — 880 pounds!
make a Breakfall roll to halve the damage taken A character can build a Martial Throw-type
from a fall (he can also use Breakfall to stand up maneuver with a STR bonus from the Exert basis,
without taking a Half Phase, but that requires a with the STR bonus applying not to increase the
separate roll). He suffers a penalty of -1 per 2d6 damage done by the Throw but to add to the char-
to the roll; if he fails the roll he takes full damage acter’s Throwing strength. Extra DC bought with
from the Throw. Additional penalties for the type the martial art with such a maneuver would either
of surface are described in the accompanying add to STR damage or to the Exert bonus, not to
table. These penalties do not apply to a Break- both (the character must choose which aspect of
fall roll made to stand up without taking a Half the maneuver the Extra DC increase when he buys
Phase. them; he does not get to switch them around on an
attack-by-attack basis).
RESISTING THROWS WITH POWERS The GM can adjudicate the effects of these
Many Powers enable a character to resist Throwing rules as he sees fit; some campaign styles
maneuvers built with the Target Falls Element. A may call for characters to be able to Throw heavy
power which allows the character to resist being objects; some may not.
thrown sometimes also prevents him from taking
Flight
damage from the maneuver. This works as follows.
Characters can use Flight to resist Throws. If
If the maneuver is one where the attacker’s impact the character is not currently flying, has his Flight
knocks the target to the ground (such as Flying power available to him, and knows the attack
Tackle and some Killing Throws), the target who is coming, he can use his Flight to resist being
uses Powers to resist being Thrown still takes full Thrown; he will not be Thrown down. However, if
damage. he’s already flying, he can’t do this; the attacker is
If the maneuver is one where the attacker knocks already using his Flight against him with the Throw
the target’s feet from under him (such as Leg- maneuver.
sweep and Takedown), the target who uses Knockback Resistance
Powers to resist being Thrown takes only half If a character has any Knockback Resistance
damage from the maneuver. and is prepared to use it (i.e., is not attacked from
If the maneuver is one where the attacker levers, Surprise), he does not fall when struck by Throw
unbalances, or redirects the target into hitting maneuvers where the attacker’s impact knocks the
the ground, and all the damage comes from the target to the ground (such as Flying Tackle and
impact with the ground (maneuvers such as some Killing Throws). However, all other Throw
Grappling Throw, Martial Throw, and Sacrifice maneuvers work normally on him.
Throw), the target who uses Powers to resist being
Stretching; Shape Shift
Thrown takes no damage from the maneuver.
Throws may not work on characters with mal-
Clinging leable bodies — a character with Stretching, and
When a martial artist uses a maneuver with some forms of Shape Shift, simply manipulates or
the Target Falls Element on a character with “moves” his body so the attacker cannot get lever-
Clinging, he must also roll and win a STR Versus age to throw him. GMs should adjudicate this effect
STR Roll: his STR versus the STR of the target’s on a case-by-case basis.
Clinging. If he fails, the target does not fall down.
If he ties or wins, the target does fall.
SPECIAL CASES AND

OPTIONAL RULES
T
his section includes some rules for However, when a character Grabs another
combat in unusual situations, as well as character, he gets a bonus in hand-to-hand combat.
some new types of Combat Modifiers. Grabbing and holding onto another character auto-
In some cases, these rules supplement matically gives the attacker a successful PER Roll
the rules for environmental conditions on page 379 with a Nontargeting Sense (Touch) against that foe.
of the HERO System 5th Edition, Revised. The GM However, he’s still at ½ DCV against the person he
decides whether to use these rules in his campaign. has Grabbed.
In other words, if a blinded character can
Grab his foe, he’ll be only at -1 OCV and ½ DCV
BLINDED CHARACTERS when fighting his opponent. He’s at 0 OCV against
anyone he’s not Grabbing, and is at 0 DCV at range.
AND MARTIAL ARTS
As you know, when blinded, a character is at ½
DCV, ½ OCV in Hand-To-Hand Combat, and 0 OCV BOUND CHARACTERS
with Ranged Combat; if he can make a PER Roll with
a Nontargeting Sense, then he is only -1 DCV, ½ OCV
AND MARTIAL ARTS
in Hand-To-Hand, and ½ OCV at range. When a martial artist is bound, he suffers OCV
and DCV penalties.
Hands Bound in Front: The character is at -1 DCV,
and is at -1 OCV for all Hand-To-Hand attacks and
Combat Maneuvers (including Martial Maneuvers).
The GM may rule that he cannot use certain weap-
ons (such as bows).
Hands Bound in Back: The character is at -1 DCV,
and is at ½ OCV for all Hand-To-Hand attacks and
Combat Maneuvers (including Martial Maneuvers).
The GM may rule that he cannot use any hand
weapons or punching maneuvers.
Feet Bound Apart: The character is at -1 DCV,
and his running speed is cut in half. He is at -1
OCV because he cannot move in on his foe as fast
as normal. (This OCV minus is eliminated if he
is Grabbing his opponent; see Grab, above.) Feet
Bound Apart means they are shackled together
with chains which allow the character a very short,
hobbled stride (usually one to two feet). The GM
may rule that the character cannot use any kicking
maneuvers (except through use of Acrobatics, or
when kicking from a prone position).
Feet Bound Together: The character is at ½ DCV, and
his running (hopping) speed is reduced to 1” per
Phase. He is at ½ OCV because he moves in on his
foe so slowly. (This OCV minus is eliminated if he is
Grabbing his opponent; see Grab, above.) The GM
may rule that the character cannot use any Kicking
maneuvers (except through use of Acrobatics, or
when kicking from a prone position).
Combinations: These modifiers are cumulative. Two
-1 modifiers means a ½ multiplier to the CV, and
two ½ multipliers or a ½ and a -1 mean a 0 CV.
For example, a character with his hands bound
in front and his feet bound apart is at ½ OCV, ½
DCV, and half running speed. A character with his
Hero Games 155
Offensive Strike (kick) adds 4d6, for a total of

7d6; therefore half of that is 3½d6. The GM
rules the door has 2 DEF, 2 BODY. David
rolls his 3½d6, coming up with 4 BODY, just
enough to get through. David can do his full
Kick damage to his unseen foe.
CONCEALED WEAPONS
AND GADGETS
The Concealment rules from the HERO
System presume you’re concealing Obvious,
hands bound in back and his feet bound together is Accessible Foci, and require a PER Roll versus
at 0 OCV, 0 DCV, and cannot run (though if he is Concealment roll (with various modifiers) to detect
able to get up, he can hop at 1” per Phase; the GM the object. But many of the weapons built for mar-
should require a DEX roll at -3 or an ordinary Acro- tial artist characters (the “Concealed” versions of
batics roll to stand up unassisted, and one DEX or the weapons in the Weapons section of this book)
Acrobatics roll per Phase of hopping). are built as Inobvious Accessible Foci. Though
they’re in “plain sight” most of the time, they’re
Acrobatics Skill: A character with Acrobatics can
either artfully built into another object, or clever
negate the effects of being bound for each Phase he
decoration or construction cleverly disguise their
successfully makes his Skill Roll. If the character’s
true purpose.
hands are bound in front, he receives a -1 to Acro-
The Inobvious part of the Focus Limitation
batics; if his hands are bound in back, he receives a
corresponds to a Concealment “Skill” of 13- (11-
-3; if his feet are bound apart, he receives a -2; if his
base roll, +2 for the fact that the weapon is built
feet are bound together, he receives a -5; and com-
into an object); extremely well made concealed
binations of the above are cumulative (i.e., hands
weapons may merit higher Concealment “Skills.”
bound in back and feet bound together mean a -8).
Therefore, when someone tries to spot an Inobvi-
Each Phase the character makes his Acrobatics roll at
ous (or concealed) object, that person makes a PER
the listed penalties; if he succeeds, he can ignore the
Roll against the object’s Concealment roll in a Skill
OCV and DCV penalties of his bound state during
Versus Skill Contest. A successful roll only reveals
that Phase.
Contortionist Skill: Contortionist, of course, allows a
character to slip out of bonds. Also, if the character
has missed his Contortionist roll to slip his bonds,
but the situation warrants (i.e., the GM says it’s pos-
sible), the character with Contortionist can change
“hands bound in back” to “hands bound in front” by
contorting his bound wrists over his legs.
CASUAL STRENGTH
VERSUS BARRIERS
In martial arts films, characters often punch or
thrust through a door, wall, or even roof to stab the
assassin on the other side. This can already be done
in the HERO System, but it’s not as effective as in
the martial arts films, because the DEF and BODY
of the intervening surface reduce the damage done
by the attack.
You can use this optional rule: if the charac-
ter’s Casual Strength attack (half the character’s
Strike damage or half his weapon damage, modified
by half his STR) does enough to penetrate a barrier,
the barrier does not reduce the damage his attack
causes.
Example: David Li knows his opponent is on
the other side of the door. He cannot see his foe
and so attacks at ½ OCV; however, his foe is
trying to be still and stealthy, and does not see
the attack coming, so he is at 0 DCV. David’s
Attack Roll succeeds. His STR is 15, and his
that there’s something unusual in the construction Characters may only do critical hits to living
of the item; the perceiving character has to perform targets. Critical hit results against targets like doors,
a hands-on search with another PER Roll versus walls and cars are ignored (it would be far too easy
Concealment Roll contest to open the weapon up to get a critical hit on a DCV-0 door, for instance).
or determine what it does.
Naturally, once the Inobvious weapon is
used as such, it’s no longer Inobvious. When you DISABLING ATTACKS
pull your ninja-to out of its sheath disguised as a
Sometimes a character benefits most in
vacuum cleaner, the other fellow doesn’t have to
combat not by doing raw STUN to an opponent
make a PER Roll to realize what it is; its function is
but by disabling or weakening him so he fights less
now obvious.
effectively, making it easier to defeat him. In the
HERO System, there are four ways to attack to dis-
CRITICAL HITS able. Also refer to the rules on breaking limbs on
page 412 of the HERO System 5th Edition, Revised.
Warning: These critical hits rules, if added to a
STANDARD IMPAIRING AND DISABLING
campaign, make combat more dangerous and
RULES
unbalancing. The GM should only add them to
his campaign if he wants unpredictable and The first is to do enough damage to a limb
lethal combats. to Impair or Disable it, as described in the HERO
A “critical hit” is a blow so accurate it does a System 5th Edition, Revised, pages 416-17. This form
lot of extra damage. One occurs when a character’s of Disabling usually results from an attack which,
roll to hit is less than half of what he needed to hit though not specifically intended to disable, does
the target. enough damage to Impair/Disable the area anyway.
Attacks of this sort suffer the standard Attack Roll
Example: An OCV 6 character strikes at a and damage modifiers for the location struck (but
DCV 5 character. He needs a 12 or less to hit. of course, the damage modifier does not matter for
To critical, he needs less than a (12/2) 6 to hit purposes of determining whether a limb has been
— i.e., he must roll a 5 or below. Impaired or Disabled).
The advantage to using this form of disabling
Example: An OCV 7 character strikes at a attack is that it’s likely to result in long-term
DCV 5 character. He needs a 13 or less to hit. Impairment or Disablement. The drawbacks are the
To critical, he needs less than a (13/2) 6.5 to hit Attack Roll and damage modifiers, and the possibil-
— he must roll a 6 or less. ity of severely injuring the target.
If a character makes a critical hit, he does max- THE DISABLE ELEMENT
imum damage for the attack. Therefore, a Killing The second way is to buy a Martial Maneuver
Attack 2d6 does 12 BODY. An 8d6 Normal Damage with the Disable Element. Maneuvers of this sort
attack does 48 STUN, 16 BODY. A 2d6 NND attack are specifically intended to target limbs, and do not
does 12 STUN. suffer either to-hit or damage penalties for the loca-
If the campaign uses the Hit Location rules, a tion targeted.
Killing Attack does the normal STUN Multiplier A Disable-based attack makes it easy to Impair
for the location; 12 BODY to the Vitals corresponds or Disable a limb, or even to break or destroy one.
to 48 STUN, for instance. If those rules are not in On the other hand, characters can normally only
use, a Killing Attack does the maximum possible use an attack with the Disable Element for that one
STUN; if the STUN Multiplier is 1d6-1, as with purpose, and it may be too severe in some situ-
most Killing Attacks, then 12 BODY corresponds to ations. Characters should consider Pulling their
60 STUN. Punch or using fewer dice in situations where too
Hero Games 157
much damage to a limb will have inappropriate or The advantage of using a disabling Nerve
undramatic consequences. Strike are that the opponent suffers no permanent
injury. The drawback is the temporary nature of the
DISABLING NERVE STRIKE
Impairment/Disability.
The third way to disable a limb is to use a
Nerve Strike to temporarily Impair or Disable it. DECLARED DISABLING ATTACKS
To Impair a location, the STUN done by the blow
must equal or exceed the target’s BODY score, The fourth and final way to disable a limb is
either before or after modifiers for the Hit Location. the Declared Disabling Attack (DDA). This attack,
If a character has 12 BODY, the Nerve Strike must in effect a new Combat Maneuver, is entirely
inflict 12 STUN. To Disable a location, the STUN optional and is subject to GM approval — it’s a
done by the blow must equal or exceed 2x the “caution sign” ability.
target’s BODY score, either before or after modifiers A DDA allows a character to declare that a
for the Hit Location. If a character has 10 BODY, particular hand-to-hand attack will be a disabling
the Nerve Strike must inflict 20 STUN. attack (at the GM’s option, this might require a
Nerve Strike disabling attacks suffer the stan- DEX roll or other Skill Roll). The attack suffers
dard Attack Roll penalties for the area they are the usual Attack Roll modifiers for that particular
aimed at. target. If the attack hits, convert the BODY damage
The precise effects of the Impairing or Dis- rolled on the dice into Phases of Impairment: one
abling blow are listed on the accompanying table. Phase for each BODY rolled. The target takes the
Of course, a character can make no attacks with a STUN rolled as normal, with the standard modifi-
disabled limb. ers for Hit Location. Thus, a DDA doesn’t cause any
real injuries, but does hamper a character signifi-
cantly for a short but crucial period of time.
DISABLING RESULTS TABLE At the GM’s option, an especially high DDA
BODY roll may Impair the limb for a longer time:
Area Effect Of Disabling Attack
the entire combat, the rest of the day, or whatever
Head Target is conscious, but seems appropriate and dramatic. Alternately, it
unable to act, and at ½ DCV might do some actual BODY to the limb.
Hands, Arms,
Shoulders Target loses use of limb
Example: Jean-Claude, a savateur, realizes he
from that point down; any- needs to weaken his opponent Francois before
thing in his grasp is dropped he can get in a really telling blow. He decides
to use his coup de pied bas (low kick) to target
Chest, Stomach Character cannot take
Recoveries and is at -2 OCV
Francois’s right knee with a DDA. His normal
and -2 DCV 10 OCV will suffer a -6 penalty for targeting the
Legs. If he hits he will do normal STUN damage
Vitals Target is conscious, but
to his target, with the x½ modifier, and the
nearly paralyzed; he’s at half
movement, ½ OCV, and ½
BODY he does will become Phases of Impair-
DCV ment. He rolls a 5 and hits! He does 8 BODY
and 29 STUN. Francois has 10 PD; his right leg
Thighs, Legs, Feet Target loses use of limb
becomes numb and useless for 8 Phases, and he
from that point down; he’s at
half movement and ½ DCV
also takes 4 STUN ([29 x ½] - 10). The GM
rules Francois’s movement is reduced by half,
he’s at -2 DCV, and he cannot perform several
types of kicks because of his Impairment.
Impairing and Disabling results from a Nerve

Strike do not last very long. To determine how long
they do last, roll 1d6 and consult the Nerve Strike DISGUISING DAMAGE
Impairing/Disabling Time Table. Sometimes a character wants to “disguise” the
sort of damage he’s doing — usually to keep Kill-
ing Damage from looking like Killing Damage, so
NERVE STRIKE IMPARING/ onlookers won’t suspect the level of force he’s using
DISABLING TIME on his opponent. Another possible use is to make a
Nerve Strike look like a Normal Damage attack, so
1d6 Time Condition Lasts observers don’t know the pacifistic attacker is reluc-
1 1 Phase tant to use more damaging maneuvers.
2 2 Phases To do this, the attacker must make his Attack
Roll at -1 OCV for every 2 Damage Classes in the
3 1 Turn attack — thus, an HKA 2d6 would impose a -3
4 1 minute penalty. If the Attack Roll succeeds, the target takes
5 5 minutes the damage in the usual method for that type of
damage, but to anyone else observing the attack, it
6 1 hour or more (GM’s option)
looks like a Normal Damage attack.
If the GM allows characters to buy Power
Advantages for Martial Maneuvers (see page 104), two per wound and requires bandages of some sort;
you can also achieve this effect without the OCV even a wound defined as a nasty bruise should be
penalty by buying a +¼ Invisible Power Effects taped up and supported. Thus, the rule is not useful
Advantage for the maneuver you want to disguise. to characters during combat... only afterwards.
The character could take a Requires A DEX Roll
(-½) Limitation on the Advantage if the GM desires.
HINDERING
HEALING CIRCUMSTANCES AND
This is an optional rule for campaigns in which MARTIAL ARTS
characters find themselves nicked to death before Not every fight takes place when the character
ever reaching the story’s climax. If this is happening is at his best on clear, level ground. This section
and you don’t like it, use this rule: offers some guidelines on determining the effects of
In combat, characters should keep track not various hindering circumstances to supplement the
just of how much BODY they lose, but to which rules in Chapter Two of the HERO System 5th Edi-
attacks. Instead of just saying “I’ve lost 7 BODY,” a tion, Revised.
player needs to be able to say, “I took three blows, In many cases, a character can eliminate the
one doing 1 BODY, one doing 2 BODY, and one effects of hindering circumstances if he succeeds
doing 4 BODY.” with a roll for a particular Skill. He must make such
Characters with PS: Doctor or KS: Chinese Skill Rolls each Phase; if he fails a roll he’ll suffer
Healing (or other ethnic healing KSs, but not Para- whatever penalties are involved for that Phase. The
medics) can cure a little BODY damage from each appropriate Environmental Movement Talent also
wound. The character rolls his PS: Doctor or KS: eliminates some or all of the penalties associated
Chinese Healing Skill once for each wound. For with hindering circumstances.
each successful roll he makes, the character regains
1 BODY from that wound. Each wound may only ARMOR
be treated once, and may not regain more than 1 Most martial arts styles aren’t designed for use
BODY from this treatment. while the fighter is wearing armor — armor often
The treatment of each wound takes a minute or impedes a fighter’s ability to move and to see, which
robs a martial artist of many of
the benefits of his fighting style.
If forced to use his martial arts
in armor, a character may suffer
the standard DCV penalty for
wearing armor (see the HERO
System 5th Edition, Revised, pages
379 and 487-88, for more infor-
mation), and always suffers a -1
to -3 penalty to OCV. The extent
of this penalty depends on the
amount and type of armor, and
the character’s fighting style
(some styles, such as Wrestling,
adapt more easily to armor than
others). For example, full plate
armor would impose a -3 to just
about any style, whereas a chain
mail shirt might only impose a
-1 to -2 on most styles.
To eliminate this OCV pen-
alty, characters need only buy a
1-point Element for their martial
arts style, Use Art in Armor. To
eliminate the DCV penalties,
characters can buy Penalty Skill
Levels or CSLs with DCV.
Styles specially intended for
use by armored fighters (such as
Kenjutsu or Weapons Combat)
do not require their practitioners
to purchase this Element; it’s a
“default” Element of that style.
CLIMBING
Hero Games 159
Penalties for fighting while Climbing

are described on page 379 of the HERO
System 5th Edition, Revised. A character can
eliminate these penalties with a successful
Climbing roll. If he fails the roll, the penal-
ties still apply; if he fails it badly, he probably
falls as well.
CLUTTERED AND CRAMPED AREAS
Penalties for fighting in cluttered and
cramped areas are described on page 379 of
the HERO System 5th Edition, Revised. Based
on the type of area, a character may not be
able to use certain types of maneuvers (such
as Flying Kicks, maneuvers with the FMove
Element, and various kinds of kicks and
sweeps) at all; this also affects the type of
weapons he can use (see below for details). A
character may be able to eliminate some of GROUNDFIGHTING
these penalties with a successful Acrobatics roll.
Sometimes fights end up with two characters
FALLING AND FLYING struggling on the ground, rather than standing up
Every now and then a character may have to trading blows. Unfortunately, many martial arts
fight during a long fall. The parachuting sequence styles do not teach maneuvers for groundfight-
from the James Bond movie Moonraker probably ing (though they may teach a “grounded” fighter
provides the classic example of this sort of thing to dodge attacks from an upright attacker by using
— two falling characters fighting for a single para- Acrobatics; see page 112).
chute. Groundfighting has several effects on the use of
Falling characters are severely restricted in martial arts. First, it restricts the maneuvers a charac-
their use of martial arts. Attacks requiring them to ter can use. Obviously he cannot use many kicks, and
use their legs — just about all kinds of kicks and all maneuvers which damage a character by causing
sweeps, for example — are difficult or impossible to him to fall are useless; characters are often limited to
perform, as are most throws and dodges. Punches punches, grappling, and similar maneuvers. Second,
or hand attacks are allowed, and grappling and a character not trained in groundfighting suffers a
choking attacks are the easiest of all (and often the -2 OCV and ½ DCV penalty. He can eliminate these
most logical choice, too). There’s no way to elimi- penalties as to his groundfighting opponent if he
nate these penalties. makes a PS: Groundfighting roll (at the GM’s option,
In some situations characters need to remem- characters could use a special Element, Use Art while
ber the possibility of doing Knockback, something Prone, in place of this Skill). The ½ DCV penalty
they’ll often want to avoid — if your opponent has normally applied to prone characters targeted by
the only parachute, you want to stick close to him non-prone characters still applies even if that roll is
and take it from him, not knock him away from made (or Element known).
you. MOUNTS
Parachuting characters often use the reverse
of these rules — punching and grappling attacks Sometimes martial artists have to fight while
are not really possible, but some kicks are. The GM riding a horse or some other mount. This is of course
should determine what maneuvers a character can more common in fantasy campaigns, but can occur
use based on the situation. in other settings as well. If the mount is unruly
Refer to Zero Gravity And Martial Arts, below, and bucks, the character is at -3 OCV while
for information about fighting in situations where fighting. Characters can eliminate this penalty
there is no gravity at all. by succeeding with a Riding roll. See page 368
of the HERO System 5th Edition, Revised for
FOOTING/SLIPPERY GROUND more information on mounted combat.
Penalties for fighting when the footing is poor, TIGHTROPES AND NARROW SUR
such as on icy or muddy ground, are described on FACES
page 379 of the HERO System 5th Edition, Revised.
The GM may impose additional penalties on some Penalties for fighting on narrow surfaces,
attacks, such as kicks. A successful Breakfall roll such as tightropes and some ledges or tree
eliminates these penalties. Some styles, such as limbs, are described on page 379 of the HERO
Pentjak-Silat, specifically train fighters to fight on System 5th Edition, Revised. Additionally, some
slippery ground. maneuvers (such as kicks) are not practical in
such a situation, and using them may involve
additional penalties. A character can elimi-
nate all of these penalties if he succeeds with
an Acrobatics roll. On wide enough surfaces,
he may even receive a bonus to his roll.
WATER only ½ his DCV against the attack.

INTERPOSING If the character moves right up to the fellow
EXAMPLE Penalties for fighting underwater or in water
are described on page 379 of the HERO System 5th waiting to attack him and stops there, or moves
Edition, Revised. The GM may restrict maneuvers past in a Move Through and attacks him, he keeps
Lt. Harry Cho tries his normal DCV. After moving up to that hex and
to defend his injured characters can use in such circumstances; kicks, for
example, are often harder or impossible. performing a maneuver (Strike, Block, Dodge,
partner, Mace, from
the attacks of an anything) the character can continue on during his
assassin. He moves next Phase and suffers no DCV penalty... but he
between Mace and
the assassin, Interpos-
HIT LOCATIONS must spend at least one Phase in conflict with his
enemy or he suffers the penalty.
ing himself. He puts Some HERO System GMs dislike Killing
his Skill Levels into Damage weapons in their campaigns because they
DCV and has a base
DCV of 10; he opts
don’t put victims down with even the spotty regu- INTERPOSING
larity of real-world weapons.
to reduce it by 5, to That’s a fair criticism. The HERO System was In the HERO System, it’s very difficult to defend
5. This tells the assas- written and developed to simulate heroic action. someone else. You can attack whomever is attack-
sin he’s going to have That means characters can take a lot of damage and ing him. Using the Block rules on page 142, you can
to expose himself even Block some attacks made against him. You can
keep going. A GM can use the Disabling/Impairing
to Cho’s attack if he Dive for Cover in front of damage coming at him,
attacks Mace — Cho rules to get around this, but those rules are a little
complicated. but that’s a desperation move: you’ll automatically
gets a +5 OCV on
But it’s easy to institute a simpler fix. If you take the damage he would have taken.
attacks against the
assassin (which he want Killing Damage weapons to do more damage, If you want to have a more aggressive (but
could use for a Block but don’t want to use the Disabling/Impairing rules, dangerous) way to defend someone, you can use this
or an offensive attack). or (worse) have to change all the damage dice for optional rule (for Hand-To-Hand Combat only).
His base OCV is 7; it’s weapons, try this simple tactic instead: double the These rules are complicated and not particularly
12 versus the assassin BODYx Column of the Hit Location Chart for Kill- intuitive, so only GMs who have felt a particular
only, and only if the ing Damage attacks. need for more “defend-someone-else” options
assassin attacks Mace should introduce them into their campaigns.
With this approach, the Head and Vital loca-
instead of him. To Interpose himself into a fight, a character
tions have a BODYx multiple of x4, instead of x2,
with Killing Damage only (Normal Damage would moves in between the attacker and the person he
still use x2). Hands, Arms, Legs and Feet would be wants to defend. Then he tells the GM what sort of
x1 instead of x½, and Shoulders, Chest, Stomach, a DCV penalty he wants to take. Every -1 he takes
and Thighs would be x2 instead of x1. This makes to his DCV is a +1 to his OCV if the attacker again
Killing Damage weapons much more fearsome, but attacks the person he’s defending. The attacker
you don’t have to fiddle with the damages listed for knows this; he can tell what the character’s doing
weapons in all Hero Games rulebooks and supple- and the potential consequences. The DCV pen-
ments. alty and OCV bonus apply only against that one
This approach is not recommended for martial attacker; against all others, the character has his
arts-oriented campaigns, but it is appropriate for usual OCV and DCV.
gritty, “realistic” campaigns in which martial arts A character who doesn’t want to be defended
sometimes appear. can cancel the Interpose attempt by moving 1” in
the direction of his attacker or otherwise declaring
that he chooses not to be defended. If the Interpos-
IGNORING OPPONENTS ing character is aware of the decision, the Interpos-
ing effects go away; he gets his full DCV back. If the
In the HERO System, it’s possible to run right Interposing character is not aware of the decision,
past and ignore an opponent standing in your his DCV stays reduced... but he does not get an
way, even if he’s delaying to hit you, and you won’t OCV bonus if the other fellow attacks the person
suffer any sort of penalty. But that’s inappropriate the character thinks he’s defending.
for many martial arts campaigns. The following A character can Interpose to protect a doorway
optional rule corrects this problem: or window, to keep someone from getting through
If one character moves right past (i.e., through it. If the attacking character tries to get past him, the
the same or an adjacent hex) a foe using a Held interposing character gets his OCV bonus.
Action to strike at him, the moving character has
Hero Games 161
additional Knockback. The player declares his

KNOCKBACK AND desire to have his character make a Pushback attack
MARTIAL ARTS instead of a regular attack. If the attack hits, the
player decides how much damage to trade off. For
every 1 DC sacrificed, the attack does +2 BODY
solely for purposes of calculating Knockback. Visu-
Increasing Knockback ally, the character may use an attack to “throw” an
In some source material, such as Japanese opponent away from him, or project ch’i into an
animation, martial arts attacks often do tremen- enemy to force him away.
dous amounts of Knockback — much more than Example: Two karateka, Maeda and Egami, are
characters normally do with the regular HERO fighting on a bridge over a deep gorge. Maeda
System rules, which restrict the amount of Knock- Throws Egami, injuring him and putting him
back from martial arts attacks. If you want more near the edge of the bridge. Egami decides to fake
free-wheeling combat in your campaign, with lots
of Knockback from martial arts attack,
you have several options. First, you can
have characters roll the standard 2d6,
rather than the 3d6 dictated by the
regular rules, to determine Knockback
from Martial Maneuvers (or even 1d6).
Second, you can encourage characters
to add the Double Knockback Advan-
tage to their Martial Maneuvers (see
page 104) (perhaps even allowing char-
acters to purchase Double Knockback
on their STR and apply it to all of their
Martial Maneuvers).
Lastly, you can work with a player
to decide that a particular maneuver
always does a set amount of Knockback
(no roll necessary). This “free Knock-
back” usually shouldn’t exceed 3-5”, but
it’s up to each GM to determine what’s
appropriate and balanced for his cam-
paign.
Decreasing
Knockback
Conversely, sometimes a character
wants to make sure he doesn’t do any
Knockback — such as when he’s using
a sequence attack (see below), or when
he doesn’t want to risk knocking his
enemy off of a bridge and into the river,
where he can escape.
As an optional rule, characters in
this situation can “pull” their Knock-
back, similar to Pulling A Punch. The
character takes a flat -2 penalty to his
OCV, and if his attack hits, it does no
Knockback at all.
Pushback
Pushback is a character’s ability
to shove an opponent away from him.
In some cases he does this to put some
space between himself and his foe,
but sometimes it has other advantages
(such as slamming an opponent into a
wall or knocking him off a roof).
To use Pushback, a player trades
damage for the possibility of doing
a serious injury rather than get to his feet and STUN Multiplier.
risk being knocked off of the bridge by Maeda’s To get an idea of how bad the wound is, he must
next attack. He makes his Acting roll by 3; Maeda use a Half Phase Action to look at it. At that point,
misses his PER Roll and falls into Egami’s trap. the GM should say nothing more than: “It looks shal-
Maeda leaps at Egami, planning to knock him low,” or “It looks deep but you’ve had worse,” or “It’s
off the edge. Egami tries a Pushback attack to deep and nasty-looking.” Thus, characters won’t know
move Maeda far enough away from him that he when they’re mortally wounded, though the GM can
can get up and move away from the edge before tell them how they’re bleeding like stuck pigs and
Maeda’s next attack. He uses his 10d6 side kick swiftly growing weaker and weaker.
and decides to sacrifice 5 DC for +10 BODY for
MYSTERY DAMAGE WITH HIT LOCATIONS
Knockback purposes. He hits Maeda and rolls
5d6 for damage: 17 STUN and 5 BODY. For When you use Hit Locations in your game,
purposes of Knockback, this means 15 BODY. mystery damage becomes a bit more complicated. A
The Knockback roll comes up 9, and Maeda goes character who’s stabbed in the stomach and takes 12
flying back 6”. The GM explains that Egami got STUN automatically knows he took 3 BODY. There-
his foot in the pit of Maeda’s stomach and shoved fore, in campaigns using Hit Locations, you have to
him away. Unfortunately for Maeda, the bridge do things a little differently.
is only 4” wide.... In this sort of campaign, you don’t just use the
STUNx column from the Hit Location chart. You use
GMs should only adopt this rule if it’s appropri- that column, but also make two quick rolls. The 1d6
ate and useful in the campaign. In some games it may roll is for subtract/add: a 1-3 means subtract, and a 4-
have the effect of making the Shove maneuver and 6 means add. The 2d6 roll is how much STUN to add
the Double Knockback Advantage effectively useless. or subtract to the STUN done by the attack.
Example: Sonoda Toshio is hit in the Chest for 8
MYSTERY DAMAGE BODY. That 8 BODY to the Chest normally does
24 STUN. The GM now rolls 1d6 and gets a 1:
This is an option which only works for GMs who Subtract. He rolls 2d6 and rolls a 7. He takes the 24
are willing to keep track of more details in combat. It STUN, subtracts 7, and gets 17. He tells the player,
is not recommended for any GM unless he likes being “You’ve been hit in the chest; take 17 STUN.” The
the one to keep track of character damage, or has a player has no way of knowing how that amount
special reason in a one-shot game to keep his players was reached; it isn’t possible for him to calculate
off-balance. how much damage he took.
In real life, a person cannot take an injury and
Alternately, the GM can simply keep track of the STUN
know “Ah-ha, I’ve taken 4 BODY, it hurts but I’m not
of the attack, along with the BODY.
in any danger yet.” He just knows he’s hurt; he may
have some vague idea of the wound’s severity, but
can have no confidence in his ability to shrug off the
injury.
SEQUENCE ATTACKS
If you want to simulate this in the game, the GM A sequence attack (also known as a pattern
himself must keep track of all BODY damage done attack) is an attack built up over several Phases to
by Killing Attacks; he can let the players keep track of gain an advantage over an opponent in the end.
their own STUN damage from Killing Attacks, and Visually, a sequence attack usually requires
of STUN and BODY damage from Normal Damage the attacker to make several feints or attacks whose
attacks. He’ll have to know how much BODY the main purpose is to force the target into a disadvanta-
characters start with, and their Resistant Defenses geous position for the final blow — setting the enemy
(and what parts of the body they protect). He must up for the kill, in other words.
make sure the players tell him about any BODY their Characters can use two types of sequence
characters take from Normal Damage attacks, and attacks: unstructured and structured. The GM
must record that BODY with the Killing Damage should decide which of these two types of sequence
they’re taking. attacks to allow in his campaign, if any. Although
sequence attacks are intended primarily for Hand-
MYSTERY DAMAGE WITHOUT HIT
To-Hand Combat, in some situations it might be
LOCATIONS
possible to use them with Ranged Combat (for
Whenever an NPC hits a PC with a Killing example, deliberately missing someone with three
Attack, the GM rolls the damage, rolls the STUN shots to force him into an open area where he has no
Multiplier, and announces something like this: “Ed, cover to hide behind).
he’s stabbed you in the chest, right below the ribs. It
hurts a lot: take 12 STUN.” UNSTRUCTURED SEQUENCE ATTACKS
Now, Ed knows only that it “hurts a lot” from the In an unstructured sequence attack, the attacker
STUN total he took; he doesn’t know how bad the does not have to specify in advance which maneu-
injury is. He doesn’t know if the GM rolled 3 BODY vers he’ll use against his target — in fact, maneuvers
and a 4x STUN Multiplier; perhaps it was 6 BODY aren’t really used at all. To begin an unstructured
and a 2x STUN Multiplier; maybe it was 2 BODY sequence attack, the character declares the length (in
and a 6x STUN Multiplier (from the Increased STUN Phases) of the sequence he intends to attempt. An
Multiplier Advantage) or even 12 BODY and a 1x unstructured sequence attack can be of any length,
Hero Games 163
but tends to have a practical limit of three to five any of these Skills, the GM may at his option allow UNSTRUCTURED
Phases. the character to make a PER Roll at -4. Regardless of SEQUENCE ATTACK
To execute the sequence, the character makes which Skill the target usea, the attacker may attempt EXAMPLE
an attack against his target in each Phase of the an Acting or Sleight Of Hand roll to make his
sequence. He makes this attack against the target’s sequence attack harder to detect; for every 2 points Inohara Mitsuo and
base DCV (DCV as derived from DEX, without any he makes the roll by, he imposes a -1 to the target’s Sotomura Takuji, two
maneuver modifiers or Combat Skill Levels). The roll. karateka, fight one
attacker may use any Combat Skill Levels he has A character can avoid a sequence attack in another for the hand
with Hand-To-Hand Combat or with a martial arts many ways. The first is to not get hit — if the target of the beautiful Prin-
style; he may not use Levels which only apply to one can block or dodge even one of the sequence’s blows, cess Miyoko. Inohara,
or two specific maneuvers. A hit does no damage the whole sequence falls apart. Second, he can Stun, the younger and less
experienced fighter,
— it doesn’t actually contact the target at all, it simply Knock Out, or do Knockback to his attacker, or hit
is DEX 20, SPD 4.
indicates the target was moved into position for the him with a maneuver that ruins the sequence (such Sotomura is DEX 23,
next part of the sequence. as a Martial Grab). Third, he can simply move far SPD 4, and does an
For the unstructured sequence attack to suc- enough away from his attacker to force him to make average of 2 DC more
ceed, the character has to “hit” his target during each a full move to catch up — this is enough to break damage per maneuver
Phase of the sequence. If he stops the sequence at up the sequence, since the attacker has to forego an than Inohara. After
any time, if he misses even one of the attacks, or if attack to follow his quarry. Fourth, the GM might the first two Phases
he takes Knockback/Knockdown, is Stunned, or is rule that some Surprise Moves (HERO System 5th of combat, Inohara
Knocked Out, the sequence is disrupted and ruined. Edition, Revised, page 381) disrupt the sequence knows his chances to
(However, if he takes damage without being knocked because they startle the attacker. defeat Sotomura in a
straightforward battle
back, Stunned, or Knocked Out, the sequence is not
SEQUENCE ATTACKS BETWEEN PLAYER are slim. Desperate to
disrupted — sometimes a fighter deliberately sub- win the hand of the
CHARACTERS
jects himself to punishment to deliver a truly telling Princess, he decides to
blow against his enemy.) It’s even more difficult for a PC to use a risk all on an unstruc-
The character realizes the benefits of making a sequence attack on another PC, because it’s virtually tured sequence attack
sequence attack in the first Phase after the sequence impossible to hide the fact that the character is using 4 Phases long.
ends. That benefit is: for every Phase of the a sequence attack. Once the other player realizes
sequence, the attacker may add +1 to his OCV or +1 what’s going on, he can easily have his character dis- The sequence begins
DC to the damage he does to the target. The attacker rupt the sequence. in Phase 6. Sotomura
The only way for a PC to use a sequence attack attacks and does 22
must pick one option or the other; he cannot, for
on another PC without giving himself away is to STUN, 6 BODY to
example, use half of his Phases for an OCV bonus Inohara, no Knock-
and half for a damage bonus. Thus, a sequence attack enlist the help of the GM. Usually this is done in
back. The young war-
offers the attacker the chance to set a superior fighter advance, but it can also be done by passing the GM rior (PD 12, CON
up for a devastating blow. a note or speaking with him privately. The player 19, STUN 38) shrugs
should inform the GM of what he wants to do, and off the pain and
STRUCTURED SEQUENCE ATTACKS the GM helps him by maintaining a deceptive front. begins his sequence
Structured sequence attacks are similar to This requires a high level of player and GM coopera- attack. He puts all of
unstructured sequence attacks, with a few important tion, and may require the player to give false read- his Levels into OCV,
differences. ings of his die rolls in some cases (for example, in an giving him a total
First, the attacker must specify in advance which unstructured sequence attack, OCV of 10. Sotomu-
maneuvers he will use in each of the Phases of his telling the other player that ra’s base DCV is 8, so
Inohara needs a 13-
attack. Each maneuver must be offensive in nature, an attack made against
to hit him. He rolls an
whether it’s a Strike, Throw, Disarm, Bind, or what his character just 11, and his first feint
have you — no Dodges, Blocks, or other primarily missed, while secretly succeeds. (Note that
defensive maneuvers allowed. All normal modifiers signalling the Sotomura takes no
apply, and the attack is made against the target’s DCV GM that the damage.)
as modified by maneuvers, levels, and the like. attack hit for
Second, if the attacks made during a structured purposes of In Phase 9, Sotomura
sequence attack hit, the target does take damage, but maintaining the attempts a Knifehand
only half damage. sequence). Strike and misses.
Inohara counters
Third, after the attacker successfully completes
with a Spin Kick. He
the sequence, he gains a bonus of +1 OCV or +1 keeps his levels in
DC damage per Phase of the sequence, and he may OCV and rolls a 13,
divide his bonuses between OCV and damage as he barely succeeding and
pleases. forcing Sotomura fur-
ther into position. In
DETECTING AND DEFENDING AGAINST Phase 12, Sotomura
SEQUENCE ATTACKS punches Inohara and
One of the reasons sequence attacks are so dif- does 27 STUN, 9
ficult is that they’re relatively easy to detect and avoid. BODY, no Knockback.
To detect a sequence attack (of either type), Inohara is still stand-
the target can make a roll against any of the following, but the wear and
tear are beginning to
ing Skills: Tactics, KS: Analyze Style, KS: [attacker’s
specific martial arts style]. If the target does not have Continued on next page
Continued from last page
take their toll. He per- WEAPON LENGTHS Shields And Longer Weapons
forms the third part A shield constitutes a Short weapon when used
of his sequence and This optional rule is for use in Heroic games;
to attack a target (i.e., a shield-bash attack). There-
rolls a 7, easily draw- Superheroic campaigns don’t need to worry about
fore, a character trying to shield-bash a target hold-
ing Sotomura further it. Gamemasters of Heroic campaigns do not need
ing a spear suffers a -2 OCV.
into his trap. to include it if they find it inconvenient. All weap-
However, the shield does not suffer an OCV
ons in the Martial Arts Weapons section are listed
In Phase 3 of the next penalty when its bearer chooses a Block maneu-
as Short, Medium, and Long for
Turn, Sotomura once ver, regardless of the length of the weapon being
convenient reference when you
again tries his knife- Blocked. A shield blocks a dagger, a sword, a battle
use this rule.
hand attack, and axe, and a pike with the same OCV.
again misses. Inohara
feints at him again,
rolls a 10, and suc-
Weapon Ranges Weapon Lengths
cessfully completes A Short or Medium weapon
his sequence attack. (including unarmed combat) can strike And Enclosed Space
In Phase 6, Soto- targets in the character’s own hex or
mura connects with Long weapons aren’t much good
in adjacent hexes. when you’re fighting in a space the size
his Knifehand Strike,
doing 8 BODY, 24 Long weapons have of a telephone booth, and this optional
STUN, no Knock- ranges of 1” or 2”. A weapon rule simulates that fact. The accompanying
back. Inohara is on with a 1” range can strike table lists a variety of different fighting
the ropes, but now he characters in adjacent hexes environments and their effects on dif-
has Sotomura right or 1” further than that. A ferent types of weapons.
where he wants him. weapon with a 2” range can
He chooses to add strike characters in adjacent hexes or
+4d6 to his normal
6d6 attack, puts all
up to 2” further than that. WOUNDS
of his Levels into
OCV, and launches a
side kick. Sotomura’s
OCV Penalties Targeting
DCV is currently 10, Unarmed combatants and wielders
Inohara’s OCV is 8. of Short weapons are at a disadvantage Injured Areas
He rolls an 8 and when fighting opponents with Long
connects! He rolls 43 Sometimes a char-
weapons. When a character with a acter wants to target
STUN, 11 BODY, and Short weapon (including unarmed
2” Knockback, Stun- an opponent’s existing
characters) fights a target with a injuries or infirmities
ning Sotomura and
knocking him out of Medium weapon, the character is at - as a way of weakening,
the ring. The Princess 1 OCV. When he fights a target with disabling, or torturing
is his at last! a Long weapon, he is at -2 OCV. him. This isn’t always
When a character with a Medium very heroic, of course
weapon fights a target with a Long — but then
weapon, the character is at -1 OCV. again, not all
The character with the longer weapon characters are
STRUCTURED doesn’t get a bonus to OCV. heroes.
SEQUENCE ATTACK Now, this OCV penalty only lasts For purposes of
EXAMPLE as long as it takes the character with the these rules, an injury
shorter weapon to hit the target with or wound is defined as
In the example given the longer weapon. As soon as he’s hit any point on the body
above, suppose that the target, it means he’s gotten inside his
Inohara had declared where a character has
target’s range, and the situation reverses. The target taken BODY damage,
a structured sequence with the longer weapon now has an OCV penalty
attack using these regardless of the
identical to the penalty the character previously type of attack
maneuvers: Punch,
Punch, Knifehand had. To get rid of the penalty, he has to back up 1” used to inflict
Strike, and Spin Kick. to get his range back, or has to hit his foe in spite that damage
His attacks are made of the OCV penalty (that means he has once again or whether the
against Sotomura’s thrown his foe back to his preferred fighting range). area is visibly
regular DCV (his Now, when a character has a weapon the injured. Cuts and
base of 8, plus any same length as his foe’s (for example, if both have stab wounds from
levels or maneuver polearm Long Weapons), but decides to make an
modifiers available). swords and knives, claw
unarmed attack (for instance, kicking his oppo- wounds from animals,
Each hit damages nent), he does not suffer the OCV penalty; because
Sotomura, but he only bullet wounds, and the like are all “injuries.”
he has a weapon of length similar to his foe’s, he Targeting an existing injury can be easy or
takes half damage. At
the end, after each fights at no range disadvantage. difficult, depending on the size of the wound. A
attack hits, Inohara large wound (for example, a long cut from a sword)
gets a bonus of +4, imposes a -4 to -5 OCV modifier. A medium-sized
which he may split
Hero Games 165
wound (for example, claw wounds from a tiger)

imposes a -5 to -7 OCV modifier. A small wound (for ENCLOSED SPACE AND WEAPON LENGTH
example, a stab wound or a bullet wound) imposes
a -7 to -12 OCV modifier. These modifiers take the Short Medium Long
place of the Hit Location modifiers normally used for Setting Unarmed Weapon Weapon Weapon
Placed Shots (in effect the wound becomes a separate Coffin -2 -3 n/p n/p
target).
Phone Booth -1 -2 -3 n/p
Hitting a wound or injured area has several
painful effects. The first hit to an existing wound is so Narrow Hallway (3’ wide) — — -1 -2
painful that negative damage modifiers (such as x½) Room Crowded w/Fur- — -1 -2 -3
for STUN and BODY for the location of the wound niture
are ignored. The victim takes full damage, calculated Doorway (3’ wide) — -1 -2 -3
with any positive modifiers (such as x1½ or x2).
The second hit to an existing injury has the same Room w/ Low Ceiling (6’) — — — -1
effect as the first hit, plus it Impairs the area (the GM —: Combat abilities are unaffected.
should roll the Impairment Time normally). The n/p: Use of this weapon is not possible.
third and any subsequent hits to an existing injury
have the same effect as the second hit, plus the BODY Classes added to it), against which the target gets no WEAPON LENGTH
damage done by the attack is Penetrating. (At the defenses at all. Twisting the blade in this way is a Half EXAMPLE
GM’s option, the attack may instead automatically be Phase Action (but may only be performed once per
Disabling.) Phase), so the character can make another attack, if Harry Cho fights
possible. Nakagawa Shiro. Cho
is unarmed (corre-
Twisting The Blade Example: Isamu (CV 7) and Takeshi (CV 6), two sponding to a Short
kenjutsuka, hate each other bitterly. They begin weapon); Nakagawa
A favorite trick of many villains (and a few to duel with katanas. Isamu decides he will try is using the kwan
vengeful heroes) is to stick a weapon into an enemy to hit Takeshi and then twist the blade, to make dao, a polearm (a
and then twist the blade, causing intense pain and a Takeshi suffer. Isamu uses a Lightning Stroke; his Long Weapon). Cho
worse wound. To do this in HERO System combat, OCV is 7 (base of 7, +2 for the maneuver, +1 for is at a -2 OCV pen-
the attacking character must declare his intention to the weapon, -3 for the attempt to impale). He alty to hit Nakagawa.
twist the blade before he makes the initial attack; fur- rolls a 9 and hits. The weapon does a base 1½d6 On his first Phase of
thermore, characters can only perform this maneuver HKA, and Isamu is STR 10, so the attack does combat, he fails to hit
with Short or Medium length weapons. The attack is Nakagawa; he’s kept
2d6+1 HKA total. He rolls 8 for damage, pene-
at -3 OCV (to reflect both the difficulty of impaling back at the range of
trating Takeshi’s 4 PD Armor and doing 4 BODY. the kwan dao. On the
someone this way and certain game balance consid- The Hit Location Roll says Takeshi was struck
erations), and must do BODY damage to the target. second Phase, he hits
in the stomach, so he takes 32 STUN against his Nakagawa, even with
If the target takes Knockback, the attempt automati- defenses. Isamu’s katana is now stuck in Takeshi’s the -2 OCV penalty.
cally fails. If the attack succeeds, does BODY, and body. This means he’s gotten
does no Knockback, and the target cannot escape (see inside the weapon’s
below), then in his next Phase the attacker may twist Takeshi decides he’d better get off of Isamu’s reach. On the third
the blade in the wound, doing half of the weapon’s katana before he’s hurt worse. He decides to try Phase, Nakagawa
base damage (i.e., damage without STR or Damage a DEX Roll at -4 (-1 per BODY taken), and fails now has the -2 OCV
miserably. Because of his failure, he takes half penalty, while Cho
of the weapon’s base damage, with no defense. isn’t penalized. Nak-
Isamu rolls ½d6+1 for damage, for a total of 3 agawa suffers the -2
BODY and 12 STUN, which Takeshi takes all OCV until he backs
of (he gets no defense). In Isamu’s next Phase, up 1” or hits Cho even
with the penalty.
he twists the blade, doing 3 more BODY and 12
STUN. Takeshi is unconscious and bleeding to
death.
The victim of this sort of attack can escape
having the blade twisted in several ways. First, TARGETING
he can Knock Out, Stun, or kill his attacker WOUNDS EXAMPLE
with an attack of his own. Because the attacker
has to get extremely close to the target to try The tongs hire Xiu
an attack of this sort, he is at -2 DCV against Kwan, the lin kuei
assassin, to kill a
attacks the target makes against him. Second,
prominent shop-
he can use a Full Phase Action to try to move keeper who refused to
off of the weapon without injuring himself. pay them protection
This requires the target to step away from his money. The killing is
attacker and make a DEX Roll at -1 per BODY supposed to be painful
taken from the initial attack. If the DEX Roll to set an example. Xiu
succeeds, the target extracts the blade without ambushes his target
sustaining further injury. If the roll fails, the target during the working
takes damage just as if the attacker had twisted Continued on next page
Continued from last page the blade. If the target cannot move away from his PROFESSIONAL SKILL: ZEROG OPERA
day where several attacker (for example, if he’s been backed against a TIONS
customers and other wall), then he cannot remove the blade from him- If a character wants to cancel Zero-G penal-
merchants can see self in this fashion. ties, he should buy the PS: Zero-G Operations. This
him. First he throws is a 3-point, DEX-based Professional Skill (+1 to
a volley of shuriken, the roll for +1 point). A character with this Skill
doing 2 BODY to the
victim’s Right Leg, 1
ZERO GRAVITY can perform all ordinary tasks in Zero-G with
BODY to his Chest, AND MARTIAL ARTS none of the penalties listed above; when the task is
especially difficult or complicated, he must make
and 1 BODY to his
Left Arm. Then he It’s not likely to come up very often, but a his PS: Zero-G Operations roll. Failure merely
moves in to make his martial artist could find himself in Zero-G (no means he suffers the usual penalties, not that he
victim suffer. The GM gravity). This could occur in a diving plane or in a can’t perform the tasks.
rules the leg wound is space station adventure.
small and imposes a The effects of Zero-G on Hand-To-Hand
-8 OCV modifier on Combat fall into four categories: OCV Penalties,
Xiu. With all of his DCV Penalties, Damage Penalties, and Action/
levels in OCV, Xiu Reaction. These penalties all apply when the char-
targets the leg wound
acter is in free fall in Zero-G. If he’s braced against
and hits it, causing
full STUN (no x½ a surface (for instance, if he wears magnetic shoes
modifier is applied). and stands on a steel surface), they do not apply.
Then, to make sure OCV/DCV PENALTIES
the shopkeeper won’t
run away, Xiu hits All side kicks, spinning kicks, and other
the leg wound again, attacks requiring the character to have his feet on
causing full STUN the ground take a -3 OCV when performed in free
and Impairing the leg fall. In some situations the GM may rule that char-
for 1 hour (GM rolls acters cannot use these maneuvers at all. Martial
4 on the Impairment arts characters are at ½ DCV when in free fall.
Time Table). If he hits
it a third time, the DAMAGE PENALTIES
BODY damage done All martial arts Strikes take a -1 DC damage
is Penetrating.
penalty when performed in free fall, as they nor-
mally benefit from the character’s secure contact
with the earth or momentum arising from a leap
from the earth.
ACTION/REACTION
Combat in free fall should always use the
Knockback rules, even if the campaign normally
only uses Knockdown rules.
You always roll Knockback in free fall with
1d6 less than normal, as if the characters are
flying — which they are. You roll 2d6, not 3d6, to
calculate Knockback from martial arts or Killing
Damage attacks in Zero-G combat; you roll 1d6,
not 2d6, to calculate Knockback from Normal
Damage attacks in Zero-G.
However, instead of applying Knockback just
to the target, divide it between attacker and target.
If an attack does 4” Knockback, then the target
doesn’t sail back 4” — both attacker and target sail
away from one another 2”.
The amount of Knockback rolled is not the
total Knockback. It’s the rate at which the charac-
ters move every Segment (just like falling). A char-
acter who takes 2” of Knockback sails back 2” that
Segment, 2” the next Segment, 2” the Segment after
that, and so on until he runs into something.
GRAPPLING
Grabbing someone negates OCV penalties
for strikes and the Action/Reaction effect (when
you’ve Grabbed someone and hit him, doing
Knockback, neither of you goes anywhere).
Hero Games 167
MARTIAL ARTS
WEAPONS
T
his section describes weapons (and STRMin: STR Minimum. See pages 478-79 of
other gear) appropriate for martial the HERO System 5t Edition, Revised for rules.
arts characters and campaigns. Costs Remember to apply the rules in Adding Damage,
for each weapon are given, so you can pages 405-09, when using STR to increase the
use them in Superheroic campaigns; for Heroic damage of a weapon bought with Advantages.
campaigns, characters don’t have to pay points for BODY: The weapon’s BODY.
these weapons, but are subject to the listed STR
Minimum (see below). DEF: The weapon’s DEF.
OCV: This is applied as a bonus or penalty against Mass: The weight of the weapon in kilograms.
all attacks made with the weapon. OCV bonuses Shots: The number of Charges a ranged weapon
are bought as 5-point Combat Skill Levels with the has (usually Recoverable Charges [RC]).
OAF, Required Hands, and Real Weapon Limita-
Max Range: The weapon’s maximum Range in
tions. OCV bonuses that apply only to a tight group
game inches (hexes). Of course, its effective range
of maneuvers (normally, the Bind, Disarm, and
— the range over which it’s likely to hit a target
Takeaway maneuvers) are bought with a -½ Limita-
— is much less, thanks to the Range Modifier.
tion. OCV bonuses that apply only to one type of
maneuver (normally Block) are bought with a -1 A/N/C Cost: The Active Point cost and Real Point
Limitation. OCV penalties are a minor Side Effect cost of the weapon for Normal (OAF, -1) and
(automatically occurs; -½) for the weapon. Concealed (IAF, -½) versions.
RMod: This represents a modifier to the weapon’s Cultr: The culture or nation which created the
accuracy at Range. Positive values (bought as 3- weapon. The entries in the “Master List” of weap-
point Penalty Skill Levels versus the Range Group ons descriptions often contain information about
with the Focus and Required Hands Limitations) equivalent weapons from other cultures.
help to offset the standard Range Modifier; nega- Length: The weapon’s length — Short, Medium,
tive values (a minor Side Effect (automatically or Long. See page 480 of the HERO System 5t
occurs; -½)) add to it. RMod can never raise a Edition, Revised for information on how these
character’s base OCV, it can only negate penalties. are bought, and see page 186 of Fantasy Hero and
Damage: The damage done by the weapon. page 164 of this book for more information on
Weapon damage appearing without parentheses weapons lengths generally.
— for instance, 1d6+1 — refers to Killing Damage Notes: This catch-all category includes any
(built using HKA or RKA), while weapon damage information not listed elsewhere; refer to the
appearing in parentheses — for instance, (4d6) Notes And Key section after the chart for more
— refers to Normal Damage (built using EB information.
or HA). Throwable melee weapons have the
Advanted Range Based On STR (+¼). Ultimate Martial Artist PDF Note: The weapons
tables in this PDF have been redone to format
STUNx: This is the STUN Multiplier for Killing them like the weapons tables in Fantasy Hero,
Damage weapons (a 0 means “no modification”; and revised to take into account new rules and
use the standard 1d6-1 STUN Multiplier). Apply procedures in the HERO System 5t Edition,
the STUNx modifier to the STUN Multiplier roll Revised rulebook and Fantasy Hero. Therefore
(or to the STUNx for the Hit Location struck, they may differ in some respects from the tables
if the campaign uses Hit Location rules). For in the printed Ultimate Martial Artist book; in
example, if a character with a War Flail (STUNx that case, the information in this PDF supersedes
+1) hit an opponent in the Head, the total STUNx the information in the printed book.
would be 6.
BOWS
STR Max A/N/C
Weapon OCV RMod Damage STUNx Min BODY DEF Mass Shots Range Cost Cultr Notes
Arrows
Dragon’s Tongue 0 0 +1 point — — 1 1 0.04 — — var Japan
Frog-Crotch 0 0 +1 point — — 1 1 0.04 — — var Japan
Hikime 0 0 (3d6) — — 1 1 0.04 — — var Japan
Skinsplitter 0 0 +2 points — — 1 1 0.04 — — var Japan
Willow Leaf 0 0 +1 point — — 1 1 0.04 — — var Japan
Chu-ko-nu 0 0 1d6+1 0 10 † 5 4 6.4 10 RC 125” 25/7/8 China 2H
Hankyu 0 0 1d6 0 7† 2 3 0.9 24 RC 130” 26/6/7 Japan 2H, Conc
Yumi, One-Man 0 +1 1d6+1 0 10 † 2 3 1.0 24 RC 175” 38/9/11 Japan 2H, Conc
Two-Man 0 +1 1 ½d6 0 13 † 2 3 1.1 24 RC 220” 47/11/14 Japan 2H, Conc
Three-Man 0 +1 2d6 0 16 † 2 3 1.2 24 RC 260” 55/13/15 Japan 2H, Conc
Four-Man 0 +1 2d6+1 0 18 † 3 3 1.3 24 RC 305” 64/14/16 Japan 2H, Conc
Seven-Man 0 +1 2 ½d6 0 21 † 3 3 1.4 24 RC 350” 73/16/18 Japan 2H, Conc
SHURIKEN
STR Max A/N/C
Bo Shuriken 0 0 1d6-1 0 5 1 5 0.4 9 RC RBS 21/8/9 Japan AF5
Endokuken 0 0 1d6 0 7 1 5 0.4 9 RBS 52/15/17 Japan Poison smoke
Large Star 0 0 1d6+1 0 9 1 5 0.6 9 RC RBS 35/12/14 Japan AF5
Small Star 0 0 1d6-1 0 5 1 5 0.4 9 RC RBS 21/8/9 Japan AF5
Tsubute 0 0 (3d6) — 7 1 5 0.4 9 RC RBS 26/9/10 Japan AF5
MISCELLANEOUS RANGED WEAPONS

STR Max A/N/C
Arare
Joarare 0 0 1d6+1 0 10 3 5 0.8 1 RC RBS 20/5/5 Japan See text
Chuarare 0 0 1d6-1 0 10 2 5 1.3 9 RC RBS 36/18/22 Japan AF5
Koarare 0 0 ½d6 0 8 1 5 0.9 9 RC RBS 30/13/15 Japan AF5
Comet Star Hammer 0 0 1d6+1/Ent 3d6 10 4 5 1.6 1 RC RBS 37/11/12 China See text
Dropped Marbles — — See text — — 1 4 1.2 2 RC — See text Japan NWF
Fukimi-bari 0 0 ½d6 0 2† 1 2 0.03 1 RC — 10/—/2 Japan Ninja Weapon
Fukiya 0 0 1 point -1 2† 2 2 0.2 8 RC 25” 5/½ Japan Conc
Grenade, Smoke 0 0 Dkns 1” — — 2 2 1.0 8 RBS 10/¾ Japan NWF
Iron Mandarin Duck 0 0 ½d6 0 8 3 5 2.0 1 RC RBS 10/2/3 China
Kapak 0 0 ½d6 0 6 3 4 0.6 1 RC RBS 10/2/3 Indon
Metsubishi
Grenade 0 0 Flash 2d6 — — 2 2 1.0 8 RBS 12/4/5 Japan
Blown powder 0 0 Flash 2d6 — — 1 — 0.01 1 — 10/2/2 Japan
Nagedeppo 0 0 1d6 0 4 2 2 1.0 9 RBS 22/7/9 Japan AE1, NWF
Sling Bow 0 0 1d6 0 9† 2 3 0.9 12 RC 95” 19/4/5 China 2H, Conc
Steel Olive 0 0 ½d6 0 6 1 5 1.3 12 RC RBS 12/4/5 China
Steel Toad 0 0 ½d6 0 6 3 5 1.8 1 RC RBS 10/2/3 China
Tetsubishi 0 0 1d6 0 — 1 5 0.8 2 RC — 45/17/21 Japan NWF, see text
Toami
Small 0 0 Ent 4d6 — 1 3 2 2.0 1 RC RBS 50/13/15 Japan See text
Normal 0 0 Ent 4d6 — 1 4 2 3.0 1 RC RBS 70/19/21 Japan See text
Large 0 0 Ent 4d6 — 1 5 2 4.0 1 RC RBS 90/24/28 Japan See text
Wishful Steel Ball 0 0 1 point 0 3 1 5 1.3 12 RC RBS 6/2/3 China
Hero Games 169
HAND-TO-HAND WEAPONS TABLE

Weapon OCV Damage STUNx STR Min BODY DEF Mass A/N/C Cost Length Cultr Notes
Axes and Maces
Axe, Chinese 0 1d6 0 11 6 4 1.4 26/9/11 M China Thr
Copper Hammer 0 1d6+1 0 10 5 4 1.3 30/11/13 M China
Hand Mace 0 1d6 0 11 5 5 1.6 22/8/10 M China
Soft Hammer 0 1 ½d6 0 15 4 4 1.5 46/15/18 M China
Blades
Arit 0 1d6 0 11 3 4 0.4 22/8/10 M Indon
Bokken 0 (5d6) — 10 3 3 0.9 44/13/15 M Japan Thr, 1½H
Bundi 0 1d6 0 10 3 4 0.7 27/9/12 M India +1 OCV w/ Block
Butterfly Sword 0 1d6+1 0 10 3 5 0.8 30/11/13 M China
Cutlass 5 5 1.1 40/14/17 M Euro +6 DEF on Hand; 1
Blade 0 1d6 0 10
Hilt 0 (3d6) — 10
Cymbal 0 1d6 0 10 2 5 0.6 26/9/11 S China Thr
Darn Do 0 1d6+1 0 12 5 5 1.1 30/11/13 M China
Epee 0 (2d6) — 7 3 5 0.7 15/5/5 M Euro
Foil 0 (1d6) — 5 3 5 0.5 7/2/3 M Euro
Hook Sword 0 1d6+1 0 13 5 5 1.2 58/19/21 M China +2 OCV w/Bind, Block,
Disarm, Takeaway; +6 DEF
on Hand on Act 11-; 2
Jien 0 1d6 0 10 5 5 1.2 22/8/10 M China
Katana +1 1 ½d6 0 12 5 5 1.5 49/17/21 M Japan Thr, 1½H
Knuck-Knife 0 ½d6 0 7 3 5 1.0 33/9/11 S USA +6 DEF on Hand on Act
11-; 2
Ko-Gatana 0 ½d6 0 4 2 5 0.3 17/7/8 S Japan Thr
Kris
Knife 0 ½d6 0 7 3 5 0.8 15/5/7 S Indon
Normal 0 1d6 0 11 4 5 1.0 22/8/10 M Indon
Sword 0 1d6+1 0 15 5 5 1.6 30/10/12 M Indon
Kukri 0 1d6 0 10 3 5 0.8 26/9/11 S India Thr
Main-Gauche 3 5 0.8 46/16/20 S Euro +6 DEF on Hand; 1
Using Blade 0 1d6-1 0 7
Using Hilt 0 (2d6) — 7

Navaja 0 ½d6 0 5 2 4 0.4 15/6/7 S Euro
Nine-Ring Sword 0 1d6+1 0 12 5 5 1.1 35/13/16 M China +1 OCV with Disarm,
Takeaway
Ninja-To 0 1 ½d6 0 15 5 5 1.6 44/28/36 M Japan Thr, 1½H; Ninja Weapon,
see text
No-Daichi 0 2d6 0 17 7 5 3.5 52/15/17 L Japan 2H
Parang 0 1d6+1 0 10 5 5 1.1 35/13/15 M Indon Thr
Pedang 0 1d6 0 10 5 5 1.2 26/9/11 M Indon Thr
Puňal 0 1 point 0 5 2 4 0.4 7/3/3 S Euro
Rapier +1 1d6 0 10 5 5 1.0 27/10/12 M Euro
Razor, Straight
Large 0 1d6 -1 7 2 4 0.2 22/7/8 S Var RP
Small 0 ½d6 -1 5 1 4 0.1 15/5/6 S Var RP
Sabre 0 1d6 0 10 5 5 1.1 22/8/10 M Euro
Schlaeger 0 1d6 0 10 5 5 1.1 22/8/10 M Euro
Shinai 0 (2d6) — 5 3 4 0.8 15/5/6 M Japan 1½H
Spread-The-
Water Knife 0 1d6 0 10 4 4 1.2 22/8/10 M China
Tanto 0 1d6-1 0 6 3 5 0.8 21/8/9 S Japan Thr
Tetsu-To 0 2 ½d6 0 20 8 5 4.0 60/17/20 M Japan 1½H
Tjaluk 0 ½d6 0 8 3 5 0.9 15/5/7 S Indon
Urumi 0 1d6 0 12 4 5 1.4 See text M India May be up AF (4 shots)
Wakizashi 0 1d6 0 8 3 5 1.1 26/9/11 M Japan Thr
Yoroi-Toshi 0 1d6-1 AP 0 6 3 5 0.8 24/9/11 S Japan
Chain and Rope Weapons
Kusari 0 (4d6) — 9 3 5 1.0 50/18/23 L2 Japan Thr, 2H
Kusarigama or
Kyogetsu Shoge 4 5 1.3 See text L2 Japan Thr, 2H, Ninja Weapon; see
Kama, Kusari
Manriki-Gusari
or Kusari-fundo 0 (3d6) — 8 3 5 1.0 26/7/8 M Japan Thr, 2H, Ninja Weapon
Rante 4 5 1.4 29/13/15 L Indon
Chain 0 (3d6) — 5
Blade 0 ½d6 0 5
Hero Games 171

Clubs (Do Not Require Weapon Familiarity)
Chakar 0 (6d6) 20 6 3 3.9 45/11/12 M India 2H
Gada 0 (5d6) — 13 5 3 1.8 37/10/11 M India 2H
Hanbo 0 (3d6) — 7 4 3 1.1 22/7/8 M Japan
Jo 0 (3d6) — 9 4 3 1.2 22/7/8 M Japan
Makila 3 3 1.0 22/10/12 M Euro
Stick 0 (3d6) 8
Spike 0 1d6 8
Fist-Loads (Do Not Require Weapon Familiarity)
Ashiko 0 ½d6 0 5 3 4 1.0 17/7/8 S Japan +1 Climbing, Ninja
Weapon; 3
Brass Knuckles 0 (2d6) — 3 3 5 1.0 33/10/11 S Var +6 DEF on Hand on Act
11-; 2
Cestus 0 +1 point 0 — 3 3 0.8 19/10/13 S Greek Adds 1-point KA to Punch,
+4 DEF on Hand
Fist-Load 0 (2d6) — 3 1 3 0.2 15/5/6 S Var
Nekote 0 1 point 0 3 2 5 0.2 7/3/3 S Japan Ninja Weapon
Ring Needle 0 ½d6 0 5 1 4 0.2 17/7/8 S China Thr
Shuko 0 1d6-1 0 5 3 4 1.0 20/8/10 S Japan +1 Climbing, Ninja
Weapon; 3
Polearms
Arbir 0 1d6 0 10 4 4 1.6 22/7/8 M Indon 2H
Chai-Dao 5 4 2.1 37/15/17 L China 2H
Blade 0 1d6+1 0 12
Shaft 0 (3d6) — 12
Chiang 5 4 2.0 37/15/17 L China 2H
Blade 0 1d6+1 0 12
Shaft 0 (3d6) — 12
Ghi 5 4 2.1 47/19/22 L China 2H, +2 OCV w/Bind, Block,
Disarm
Blade 0 1d6+1 0 13
Shaft 0 (4d6) — 13
Naginata 5 4 2.1 44/16/19 L Japan 2H
Blade 0 1 ½d6 0 15
Shaft 0 (4d6) — 15
Nine-Dragon Trident 5 5 2.3 47/19/22 L China 2H, +2 OCV w/Bind, Block,
Disarm
Blade 0 1d6+1 0 13
Shaft 0 (4d6) — 13
Tai-Dao/Kwan Dao 5 4 2.1 44/16/19 L China 2H
Blade 0 1 ½d6 0 18
Shaft 0 (4d6) — 18
Tiger Fork 5 5 2.2 44/16/19 L China 2H
Blade 0 1 ½d6 0 15
Shaft 0 (4d6) — 15
Wolf ’s Teeth Staff 4 4 1.8 44/16/19 L China 2H
Blade 0 1 ½d6 0 15
Shaft 0 (4d6) — 15
Yari 5 4 2.0 44/17/20 L Japan 2H
Blade 0 1 ½d6 0 14
Shaft 0 (4d6) — 14
Yari (Kamayari) 5 4 2.0 44/20/23 L Japan 2H, Thr, +2 OCV w/Bind,
Block, Disarm, Takeaway
Blade 0 1 ½d6 0 17
Shaft 0 (4d6) — 17

Miscellaneous Weapons
Bo (Staff ) +1 (4d6) — 8 4 3 1.0 42/13/16 L Japan 2H, Karate Weapon
Bunot-Page 0 1 pip — 8 2 2 0.5 7/2/3 S Phil Poisoned (see text)
Chain Sword 0 1d6 0 10 3 5 1.1 22/8/10 M China
Chain Whip 0 1d6 0 8 3 5 1.1 29/10/12 L China
Fang 3 5 1.3 15/7/9 S China
Blade/Point 0 ½d6 0 8
Rod — (2d6) — 8
Flying Claw 0 1d6 0 10 3 4 1.0 37/15/19 L2 China
Flying Guillotine -1 1d6 0 10 3 4 1.0 37/12/15 L2 China 2H, aimed at extremities
Fo 0 (2d6) 0 5 2 3 0.4 15/5/6 M Euro
Garrotte
Strangling 0 (3d6) — 5 1 1 0.1 30/7/7 S Var 2H, see text
Wire 0 ½d6 0 5 1 2 0.2 20/5/5 S Var 2H, see text
Lajatang 0 1d6+1 0 12 3 4 0.6 30/11/13 M Indon
Kama 0 1d6 0 11 3 4 0.5 26/9/11 M Japan Thr, Karate Weapon
Kanzashi 0 ½d6 -1 5 2 3 0.2 15/5/7 S Japan Ninja Weapon
Kiseru 0 (2d6) — 5 2 5 0.6 15/6/7 S China
Mourn Staff 0 1 ½d6 0 14 3 4 1.1 37/13/16 M China
Nunchaku 0 (3d6) — 8 3 3 1.0 22/8/10 M Japan Karate Weapon
Pendjepit 0 ½d6 0 10 2 4 0.7 20/7/9 S Indon +1 with Grab, Grab
Weapon, Takeaway
Petjat 0 1d6 0 10 2 1 0.4 22/8/10 L Indon
Rings 0 (3d6) — 8 2 4 0.5 26/9/11 S China Thr
Rope Dart 0 ½d6 0 8 2 2 0.6 30/12/16 L2 China
Sai — Karate Weapon
Cinematic 0 ½d6 0 8 3 5 1.1 27/10/11 S Japan Thr, +2 OCV w/Bind, Block,
Disarm, Takeaway
Normal 0 (3d6) — 8 3 5 1.1 36/13/15 S Japan Thr, +2 OCV w/Bind, Block,
Disarm, Takeaway
Shinobi-Zue 0 (4d6) — 10 4 3 1.2 50/18/22 L2 Japan 2H, Ninja Weapon
Sword-Spear 0 1d6 0 12 3 3 0.9 26/9/11 M China Thr
Tetsubo +1 (6d6) — 15 6 4 2.4 57/17/19 L Japan 2H
Three-Section Staff 0 (4d6) — 10 5 3 1.5 47/15/17 Var China 2H, +2 OCV w/Bind, Block,
Disarm, Takeaway
Timbe 0 ½d6 0 10 2 3 0.6 17/6/7 S Japan Thr
Tonfa +1 (3d6) — 7 3 3 0.8 27/10/13 S Japan Karate Weapon
Umebi 0 1 ½d6 0 — 2 2 1.0 44/—/12 S Japan AE1, Trigger (stepped on)
War Fan, Basic 0 (3d6) — 6 2 3 0.7 32/11/14 S Japan +2 OCV w/Block
War Fan, Edged 2 3 0.7 32/13/16 S Japan +2 OCV w/Block
Blunt Attack 0 (3d6) — 6
Razor Attack 0 ½d6 0 6
Wind/Fire Wheels
Saw-Blade 0 ½d6 0 8 3 5 0.8 27/10/11 S China Thr, +2 OCV w/Bind, Block,
Disarm, Takeaway
Traditional 0 (3d6) — 8 3 5 0.8 36/13/15 S China Thr, +2 OCV w/Bind, Block,
Disarm, Takeaway
Hero Games 173
NOTES AND KEY MASTER LIST

OF WEAPONS
Notes To see which weapons require which Weapon
Familiarities, refer to the Weapon Familiarity
All the weapons above are built as follows: Table on page 76 of the HERO System 5th Edition,
1. This weapon has an additional Power: Armor Revised.
(6 PD/6 ED) (18 Active Points); Only Protects Arare: “Hailstones,” a Japanese missile
Location 6 (i.e., the hand holding the weapon) weapon in the form of a spiked ball.
(-2), OAF (-1) for normal form or IAF (-½) for It came in three sizes: joarare (large,
concealed form. Cost: 4 points (normal form) or thrown one at a time); chuarare
5 points (concealed form). This cost is added to (medium, thrown like shuriken, could
the weapon cost. be used as tetsubishi as well [see below]);
2. This weapon has an additional Power: Armor (6 and koarare (similar to chuarare, but smaller).
PD/6 ED) (18 Active Points); Only Protects Loca- Cost Power
tion 6 (i.e., the hand holding the weapon) (-2), 16 Chuarare: Multipower, 36-point reserve, 9
Activation Roll 11- (-1), OAF (-1) for normal form Recoverable Charges (+¼) for entire Multip-
or IAF (-½) for concealed form. Cost: 4 points ower; all OAF (-1), STR Minimum (10; -½),
(normal or concealed form). This cost is added to Real Weapon (-¼)
the weapon cost. 1u 1) Thrown: RKA 1d6-1, Autofire (5 shots;
3. This weapon is built with an additional Power: +½); OAF (-1), Range Based On STR (-¼)
+1 to Climbing Rolls (2 Active Points); OAF (-1) 1u 2) Dropped: RKA 1d6-1, Area Of Effect
or IAF (-½). Cost: 1 point (either form). This cost is (One Hex; +½), Continuous (+1), Uncon-
added to the cost of the weapon. trolled (removable by spending a Full Phase
See page 478 of the HERO System 5t Edition, to sweep them aside; +½); OAF (-1), Activa-
Revised for more information on building weapons. tion Roll 14- (-½), STR Minimum (10; -½),
Real Weapon (-¼), Only Affects Characters
Moving On The Ground (-¼), DEX Roll
Key Cancels Effect (-¼), Automatically Targets
Hit Location 18 (-0)
†: STR Minimum Doesn’t Add Damage (a -½ Total cost: 18 points (or 22 points for IAF (-½)
Limitation) version)
1½H: One-and-a-half-handed weapon (a -¼ Limi- Koarare: total cost 13 points (or 15 for IAF (-½)
tation) version)
2H: Two-handed weapon (a -½ Limitation)
Joarare: Change to just RKA 1d6+1 (20
Act: Activation Roll Active Points); OAF (-1), STR Minimum (10;
AE1: Area Of Effect (One Hex) -½), Real Weapon (-¼), Range Based On STR
(-¼), 1 Recoverable Charge (-1¼). Total cost: 5
AF5: Autofire (5 shots; +½)
points (or 5 points for IAF (-½) version)
AP: Armor Piercing
Conc: Concentration (½ DCV “throughout” the
loading and/or firing process; -½)
Arbir: A polearm used in some styles of Pentjak-
Dkns: Darkness to Sight Group
Silat. It is a 5’-long weapon consisting of a shaft, a
Ent: Entangle convex chopping blade at one end, and a sharpened
Euro: Europe metal spike on the other end. It’s used two-handed
to slash and stab; the pole is not generally used as
Flash: Sight Group Flash a staff.
Indon: Indonesia Arit: The Indonesian sickle, adapted for combat.
L: Long-length weapon (see pages 164, 167) Its blade is much rounder than that of the kama. A
L2: A Long-length weapon that’s 2” long similar weapon is the tjelurit.
M: Medium-length weapon Arrows: The Japanese created many unusual types
of arrowheads for their arrows (ya). Several of
NWF: No Weapon Familiarity required the more interesting ones are listed in the Ranged
RBS: Range Based On STR Weapons Table; they add damage to, or otherwise
change the effect of, the damage caused by a stan-
RC: Recoverable Charges
dard arrow (their exact cost depends on the type
RP: Reduced Penetration of bow used; if necessary recalculate the bow’s cost
S: Short-length weapon with the enhanced damage). Each of these arrows is
more expensive and rarer than the average arrow.
Thr: Weapon can be thrown (i.e., it has the Range
Based On STR (+¼) Advantage)
CONCEALED The Dragon’s Tongue arrow is finely- Brass Knuckles: This classic street weapon is a ridged
AND INOBVIOUS crafted, with a slightly rounded point brass knuckle-protector which protects the striking
WEAPONS that penetrates armor easily. hand, allowing the character to strike harder. Brass
The Frog Crotch arrow is shaped Knuckles also provide 6 DEF (physical and energy,
roughly like a V, with a sharpened on an 11- Activation Roll) to the hand wearing them.
Almost every weapon The Japanese tetsu and tekko and the Indonesian roti
described in this sec- inner edge; it’s especially useful for
cutting cords and similar objects. kalong all use these statistics.
tion can be carried as
a normal weapon or as The Hikime is an arrow with a wooden ball, not Bundi: Also known as a katar or a
a concealed weapon. It’s punch-dagger, the bundi is a broad,
an arrowhead, on the tip. It is used to stun, not
a tradition in martial- double-edged knife-blade set into a
arts films — especially kill, an opponent.
frame/handle grasped in the fist (thus,
ninja movies — that The Skinsplitter is an extremely the wielder’s arm appears to have a
characters can disguise wide, heavy arrowhead. GMs should blade on the end rather than a hand).
many unusual weapons consider adding +1 to the STR Min of the Bow
as ordinary objects. Two panels of the frame/handle extend
whenever a character uses this arrowhead. down the sides of the arms for about a
Following are some
examples of weapons The Willow Leaf is a long, straight foot, helping the user block an enemy’s
and ways characters arrowhead which can slip easily between armor attacks. Use the bundi’s statistics (minus
could disguise them: plates and the like. the +1 OCV for Blocks) for any sort of
modern punch-dagger or T-knife.
Blowgun: As a flute, These are just a few of the many different types of
or a walking stick; it Oriental arrowheads available; with a little research Bunot-Page: This weapon is simply the tail of a sting-
can be combined with you can uncover many others. ray, cut from the animal and used to strike an oppo-
a jo or a used as a nent. Some Arnis/Kali/Escrima exponents fight with
sword scabbard. The yazuka, or standard length, of an arrow (with-
it. The stingray spine itself does relatively little damage
out arrowhead) is from the top of the archer’s ster-
— but the poison in it can kill. Usually enough poison
Bokken, Katana, Jien, num to the tip of his middle finger. This allows him
Ninja-to, No-daichi, remains in the tail for about two good hits. The effects
to achieve extra power, since he has to draw the
Wakizashi: Con- of the poison are not included in the cost listed in the
bow back as far as he possibly can to shoot.
cealed within a bo table, since it varies in amount and potency; the aver-
staff that acted as its Ashiko: These are climbing claws strapped onto a age poison would work roughly as follows:
sheath; about a foot ninja’s feet; they are the companions to the shuko.
and a half of the staff They can become weapons when the wearer uses Stingray Poison: RKA 1d6, NND (defense is
would actually be the a kick attack. They provide a +1 to the wearer’s Life Support [appropriate Immunity]; +1),
hilt of the blade. Climbing roll if he has the Climbing skill. The char- Does BODY (+1) (45 Active Points); Linked (to
acter must wear both ashiko to get the +1 to his HKA; -¼), Spine HKA Must Do BODY (-½),
Brass Knuckles: This Climbing roll. No Range (-½), 2 Charges (-1 ½). Total cost:
weapon could be fash- 12 points.
ioned as the lining of
a pair of gloves or as Butterfly Sword: This short sword has
the handle of a suit- a heavy, flat cleaver-like blade with one
case.
cutting edge. It is used by ninja and by
Cestus: This could Axe, Chinese: This weapon has a medium-length Kung Fu practitioners, often in pairs.
be an ordinary-look- handle and a single broad blade; it’s chiefly used by The Willow Leaf Knife, the Korean dan
ing pair of gloves. An southern Chinese kung fu fighters. sang gum (twin short swords), and the to of
observer would not Kuntao are all very similar in appearance to
notice that the inner the butterfly sword and share the same statis-
lining is Kevlar and tics. Don’t confuse the Butterfly Sword with
that the first heavy Bo: A 5’-6’ hardwood staff, also known as a the balisong, a switchblade-like Filipino knife
blow with these make sometimes called a “butterfly knife.”
short spikes poke
rokushakubo (“six-foot staff ”). Use these game
through the outer statistics for the Chinese staff (kuen), the Indone- Cestus: This weapon is a glove with spikes or
lining. sian staff (toya), the Korean staff (jang bong), the jagged protrusions along its knuckles and back. The
Thai staff (plong), and the Okinawan oar (eiku; also character using it does his normal Punch damage,
Chain Whip, Kusari, known as a chizikunbo or sunakakebo). and also does 1 point of Killing Damage (he cannot
Manriki-gusari: Easily The bo is one of the principal weapons of add to this with his STR; it always does only 1 point
worn as a belt. Karate (the others are kama, nunchaku, sai, eiku, of Killing damage). The Cestus provides 4 DEF
tekko, timbe and rochin, and tonfa). (physical and energy) to the hand wearing it.
Climb line, Kusari,
Manriki-gusari,
The kuen is one of the most famous weapon
Cost Power
Marbles, Tetsubishi: of Kung Fu; these statistics can also be used for two
2 Cestus Spikes: HKA 1 point, Reduced
Often carried inside other Chinese weapons, the Long Rod (gunn) and
Endurance (0 END; +½) (7 Active Points);
the hollow hilt of Water & Fire Rod (shui for gunn).
OIF (-½), Linked (to wearer’s Punch; -½), No
another weapon. Bokken: This is a wooden practice sword shaped STR Bonus (-½), Real Weapon (-¼)
Fist-Load: A fist-load
like a katana. It does Normal, not Killing, damage.
3 Cestus Wrappings: Armor (4 PD/4 ED) (12
can look like practi- It’s no toy or mere practice blade, though; it’s made
Active Points); OIF (-½), Only Protects Hand
cally anything: a of heavy, tough wood, unlike the shinai. Many duels
Wearing It (-2)
in feudal Japan were fought with bokken; it is pos-
Continued on next page sible to kill an opponent with one. Total cost: 5 points (or 7 points for IIF (-¼)
version).
Hero Games 175
Chiang: The Chinese spear, which comes in dozens Continued from last page
of unusual styles (use the write-up of the Chai-Dao,
above, for its game statistics). Often the spear has a statuette, a strangely-
Chai-Dao: This Chinese polearm is also called the red tassel tied behind its head, partly for decoration heavy telephone
“Bandit’s Encampment Broadsword.” It is usually and partly to keep blood from running back down receiver, and so forth.
about 5’3” tall, with 2’6” of that length a wicked the shaft and fouling the spearman’s grip. Use these Garrotte: This weapon
curved blade; the rest is haft. Traditionally, it was statistics for the following weapons in addition to can be an ordinary-
used in camp defense, often to chop at the legs of the standard spear: mao chiang (“snake spear,” a looking (though rein-
horses riding through. wavy-bladed spear); the Eyebrow Spear (a spear forced) scarf or belt;
Cost Power with a crescent-shaped head); ba (“rake,” a combat wire garrotes can be
11 Chai-Dao: Multipower, 30-point reserve; rake with sharp tines); ba tou (a hoe converted to built into the lining of
all OAF (-1), STR Minimum (12; -½), Real combat uses); chan (“shovel,” a term for several clothes or into decora-
types of polearms with heads shaped like large tive hair-ribbons.
Weapon (-¼)
1u 1) Blade: HKA 1d6+1 (plus STR), Reduced coins, crescent moons, shovels, and other objects);
Grenades, Flash and
Endurance (0 END; +½); OAF (-1), STR chang (Korean spear); sodegarami (a T-shaped Smoke: Disguised
Minimum (12; -½), Real Weapon (-¼) Japanese spear with barbs all around the end to flash and smoke gre-
1u 2) Shaft: HA +3d6, Reduced Endurance entangle an enemy’s sleeve); tombak and tjio (two nades can look like
(0 END; +½); OAF (-1), Hand-To-Hand of dozens of different types of Indonesian spears); cufflinks, marbles,
Attack (-½), STR Minimum (12; -½), Real kuntham (Indian spear); kue (an Okinawan hoe pebbles, fresh fruit,
Weapon (-¼) used as a weapon by some Kobujutsu practitioners); juggling balls, or any-
thuan (Thai spear). thing small, roundish,
2 Long Weapon: Stretching 1”, Reduced Endur- and inconspicuous.
ance (0 END; +½) (7 Active Points); OAF (- Chu-ko-nu: This is the famous Chinese repeating
1) [or IAF (-½) for concealed form], Always crossbow. It resembles an ordinary crossbow, except Hanbo: A bo could
Direct (-¼), No Noncombat Stretching (-¼), that it has a box on top of it holding ten bolts. The break down into twin
Only To Cause Damage (-½), No Velocity shooter works a lever to reload the crossbow by hanbo.
Damage (-¼) (total cost for IAF cocking it and dropping one of the quarrels into
place. The chu-ko-nu is heavier and has a shorter Kusarigama: A kama
(-½) version: 2 points) (sickle) with a chain
range than a standard crossbow, but can be fired
Total cost: 15 points (or 17 points for IAF (-½) in its hollow hilt could
much more quickly: the STR Min listed is the mini- be instantly converted
version).
mum to carry and hold the weapon, not to reload it, into a kusarigama.
Chain Sword: This weapon, called lien tzu jen in and a character can load the weapon in a half Phase
Chinese, consisted of two sword-like blades about and fire the weapon in a half Phase. Nunchaku: A hanbo or
as long as a human forearm connected by 1-2’ of an innocuous-looking
chain. Sometimes the blades can be detached for walking cane could
throwing (this would be bought by turning the pull apart or unscrew
weapon into a Multipower: one slot for the con- into nunchaku; a
nected blades, one with two Recoverable Charges bo staff could break
down into two pair.
of RKA).
Any normal-looking
Chain Whip: This Chinese weapon (bian) is like length of stout mate-
a whip, but its length consists of metal plates con- rial, such as a tent
nected by chain links; it has a slashing blade at the Comet Star Hammer: This missile weapon, called pole, a flag staff, or a
tip. It shares a Weapon Familiarity with the normal lieu shen chuai in Chinese and also known as a chair leg could con-
bullwhip, but does not have that weapon’s range. Shooting Star Hammer or Wolf’s Teeth Hammer, ceal nunchaku....
This weapon’s statistics also apply to the bian tzu consisted of a chain linking two spiked metal balls. Sai: One interesting
chiang, or Whip Spear, a 6’-plus length of chain It was typically thrown at the legs of horses or sol- prospect is that of the
whip with a spearhead attached at both ends. diers to snare and injure them. Some versions of this high-tech sai, an ordi-
weapon had only one spiked ball; the damage and nary-looking stick
other effects are the same. which (at the press of
a button) pops out the
Cost Power
extra tines.
9 Comet Star Hammer: Multipower, 37-point
reserve; 1 Recoverable Charge (-1 ¼) for Shuriken: Small star
entire reserve, all OAF (-1), STR Minimum shuriken can be dis-
Chakar: This unusual weapon, used by Gatka (10; -½), Real Weapon (-¼), Range Based On guised as buttons,
practitioners, resembles a wagon wheel with a STR (-¼) loose change, the glit-
heavy weight at the end of each spoke. To use it, 1u 1) Deadly Hammer: RKA 1d6+1; OAF (-1), tering baubles sewn
the wielder spins it, building up momentum and STR Minimum (10; -½), Real Weapon (-¼), onto the skirt of an
power, and then strikes with it to cause serious Range Based On STR (-¼) exotic dancer, or the
crushing injuries. dangling elements
1u 2) Snaring Hammer: Entangle 3d6, 3 DEF,
of a mobile. They
Entangle And Character Both Take Damage and bo shuriken can
(+¼); OAF (-1), No Defense (-1½), Cannot also be hidden in the
Form Barriers (-¼), STR Minimum (10; -½), hollow hilt of another
Real Weapon (-¼), Range Based On STR (-¼) weapon.
Total cost: 11 points (or 12 points for IAF (-½)
Continued on next page
version)
Continued from last page Copper Hammer: A short-hafted hammer with Darn Do: The Chinese sabre, a long, heavy, single-
a large ball of copper on the striking end. You can edged sword with a curved blade. It is also known
Three-section Staff: also use this weapon’s statistics for other types of as a dau. The Vietnamese equivalent is the ma dao.
Perhaps a character Chinese hammers (chuai), and for the ton zen (a
could have a piece of Dropped Marbles: Characters can drop these
type of mace in the shape of a 2-3’ tall solid brass where they think targets will run. Marbles do not
lawn furniture break
down into a pair of
statue of a man, somewhat similar in appearance require a Weapon Familiarity.
three-section staves. to the “Oscar” statuette given to Academy Award Dropped marbles can be bought one of three
winners). ways. The first is as a form of Telekinesis:
Tonfa: As any normal Cutlass: This is a European weapon, a short slash-
cane or baton, with the Dropped Marbles: Telekinesis (20 STR), Area
ing blade with a heavy guard to protect the hand;
perpendicular handle Of Effect (One Hex; +½), Continuous (+1),
a locking swing-out
fencers use it. The hand-guard provides 6 DEF to
Uncontrolled (removable by spending a Full
mechanism. the hand holding it; the character can attack with
Phase to sweep them aside; +½) (90 Active
the blade or punch with the hand-guard. The Viet-
Points); OAF (-1), Activation Roll 14- (-½),
War Fan: The best dis- namese counterpart to this weapon is the song dao.
guise for this weapon
Cannot Be Used To Cause Damage (-1), Only
Cost Power To Throw Target To Ground (-2), Only Affects
is to make it look like
a normal fan, carried
8 Cutlass: Multipower, 22-point reserve, all Characters Moving On The Ground (-¼), DEX
by some fashionable OAF (-1), STR Minimum (10; -½), Real Roll Cancels Effect (-¼), Real Weapon (-¼), 2
lady martial artist, Weapon (-¼) Recoverable Charges (-1). Total cost: 12 points
and used for the 1u 1) Blade: HKA 1d6 (plus STR), Reduced (or 13 points for IAF (-½) version).
normal purposes of Endurance (0 END; +½); OAF (-1), STR
keeping cool and flirt- Minimum (10; -½), Real Weapon (-¼) 0 The drawbacks to this form of Dropped Mar-
ing... until it’s time for 1u 2) Hilt: HA +3d6, Reduced Endurance bles are that they cover only a small area (1” radius)
combat to begin. (0 END; +½); OAF (-1), Hand-To-Hand and do no damage to the target when he falls. At
Attack (-½), STR Minimum (10; -½), the GM’s option, a character can buy the One Hex
Wind and Fire Wheels: up to a full Area of Effect (Radius) and can buy off
Worn as the brim of
Real Weapon (-¼) 0
the Cannot Be Used To Cause Damage Limitation.
a hat. 4 Protective Hilt: Armor (6 PD/6 ED); OAF The second form uses Change Environment to
(-1), Only Protects Hand Used To Hold It make it harder to remain standing in the area cov-
(-2) (or 5 points for the IAF (-½) version) ered by the marbles:
Total cost: 14 points (or 17 for the IAF (-½)
Dropped Marbles: Change Environment 2”
version)
radius, -5 to DEX Rolls to move through, Uncon-
Cymbal: This weapon is a small, hand-held cymbal trolled (removable by spending a Full Phase to
with sharpened edges. Warriors can use it as a sweep them aside; +½) (33 Active Points); OAF
punching/slashing weapon, or throw it. This weap- (-1), Only Affects Characters Moving On The
on’s statistics also apply to the Tooth Saber, a sort Ground (-¼), Real Weapon (-¼), 2 Recoverable
of half-cymbal that comes in two varieties: the Sun Charges (-1). Total cost: 9 points (or 11 points
Tooth Saber, with sharp teeth along its cutting edge; for IAF (-½) version).
and the Moon Tooth Saber, which is smooth-edged.
Tooth Sabers cannot be thrown. This version has the advantage of being
easier to understand and adjudicate in most
game situations.
The third form of Dropped Marbles utilizes
the “Power Advantages For Martial Arts Maneu-
vers” rules on page 104.
Dropped Marbles: The following Advantages for
Martial Throw: Area Of Effect (One Hex; +½),
Continuous (+1), Uncontrolled (removable by
spending a Full Phase to sweep them aside;
+½) (75 Active Points); OAF (-1), Activation
Roll 14- (-½), Only Affects Characters Moving
On The Ground (-¼), DEX Roll Cancels Effect
(-¼), Real Weapon (-¼), 2 Recoverable Charges
(-1). Total cost: 18 points (or 20 points for IAF
(-½) version).
The advantage to this form of Dropped Mar-
bles is that it damages the target, and includes the
target’s velocity when calculating damage, causing
a fast-moving enemy to really hurt himself when
he hits a patch of marbles. The drawback is that the
character has to have the Martial Throw maneuver
to use this weapon (unless the GM permits you to
include the cost for Martial Throw with the cost of
the weapon itself).
Hero Games 177
Dropped marbles are often bought as IAFs unsuspecting target, he can drop the Guillotine
because they’re supposed to be inconspicuous when over the target’s head and yank. It’s somewhat less
dropped. Depending on the situation, this might not effective in active combat; the weapon only does
be the case. damage if it hits an extremity (head, hand, arm, leg,
Endokuken: A type of shuriken that doesn’t just or foot). The attacker can roll Hit Locations normally
impale the target with a blade. It also emits a 1” (with attacks to Locations 9-14 simply failing to do
radius cloud of poisonous smoke when it contacts damage); or he can choose to aim for specific loca-
its target: tions, taking the OCV penalties for aiming.
In game terms, the requirement to hit an
RKA 1d6, NND (defense is Life Support [Self- extremity is a -½ limitation. In campaigns that
Contained Breathing or appropriate Immu- don’t use Hit Locations, the attacker always suffers a
nity]; +1), Does BODY (+1), Area Of Effect -6 OCV penalty.
(One Hex; +½) (52 Active Points); OAF (-1),
Fo: A weighted cloak hem, used as a weapon by
STR Minimum (10; -½), Linked (to shuriken’s
some fencers. At the appropriate moment, the fencer
RKA; -¼), Range Based On STR (-¼), Real
flicks his cloak at his opponent, causing the weight
Weapon (-¼), 9 Charges (-¼). Total cost: 15
sewn into the hem to strike him.
points (or 17 points for the IAF (-½) version)
(in addition to the cost for the blade of the Foil: This weapon is much like the epee, but even
shuriken itself). lighter and more flexible. You can also use its sta-
tistics for the daab, a Thai sword used in Krabi-
Epee: A light steel practice sword used by fencers. Krabong.
Modelled after the rapier, it has a light, flexible blade Fukimi-bari: Tiny darts a character hides in his
ending in a blunt steel tip (which is itself covered by hand (to throw at an enemy) or in his mouth (to
a plastic cap), and is used only for thrusting. blow into an enemy’s face). They’re always bought
Fang: The fang, a Chinese weapon developed from as IAFs because it’s so easy to conceal them. The
an Indian elephant goad, is a heavy iron rod about 2’ attack has No Range (-½), since the character can
long with a point at one end. About one-third of the only throw/blow the darts a few feet at most. (This
way from the top a curved blade projects to one side, weapon doesn’t grant an automatic head shot, but
similar to the blade of a kama (see below). The fighter most users who place fukimi-bari in their mouths
can use the blunt portion of the rod to stun his foes, or try to achieve a surprise result and take a Placed Shot
the point or blade to injure and kill them. at the head). This is a ninja weapon. You can also use
this weapon’s statistics for the Chinese mei far chen
Cost Power
(Plum Flower Needles).
5 Fang: Multipower, 15-point reserve, all
OAF (-1), STR Minimum (8; -½), Real Fukiya: The classic blowgun, a weapon consisting
Weapon (-¼) of a long, hollow tube and numerous light darts to
1u 1) Blade/Point: HKA ½d6 (plus STR), fire through it. The darts themselves do very little
Reduced Endurance (0 END; +½); OAF (-1), damage, but are usually tipped with some sort of
STR Minimum (8; -½), Real Weapon (-¼) poison. The darts are nearly invisible and are fired
1u 2) Rod: HA +2d6, Reduced Endurance silently, but can certainly be felt upon impact. A
(0 END; +½); OAF (-1), Hand-To-Hand character who wants darts so light they can’t be felt
Attack (-½), STR Minimum (8; -½), Real will have to buy an Invisible Power Effects (Fully
Weapon (-¼) Invisible; +½ [because the source of the power
remains visible]) blowgun with his own Character
Points. Use this weapon’s statistics for the Filipino
version).
blowgun, or sumpit.
Fist-Load: This is a small, heavy rod held in in the
Gada: The gada is a heavy wooden club used by
character’s fist. A thong or ring protruding from
Kalaripayit exponents. It has a relatively thin shaft
the center of the rod goes around one or two of the
and a large, bulbous head, making it look something
wearer’s fingers to hold it in place. A fist-load is also
like a large wooden mace. It requires great strength
known as a yawara.
to wield effectively.
Flying Claw: Similar to the Rope Dart (see below), this
Garotte: This is a strangling cord or wire. It comes
weapon is a large, clawed metal hand on the end of an
in two varieties: the Strangling garotte, which may
up to 25’ long rope. The user whirls the hand around
be any strong rope, scarf, or cord; and the Wire
and slashes people with it; sometimes the claws are
garotte, a piece of strong, sharp wire with a handle
poisoned. The Chinese call it a fei chua. You can also use
tied to either end. The attacker loops either kind
this weapon’s statistics for: the Dragon’s Beard Hook
around the victim’s neck and applies pressure; there-
(don shu gao), which resembles a U with a serrated,
fore the garotte is usually used from surprise — it’s
barbed outer edge; the Iron Lotus (tai lien far), which
an assassin’s weapon.
resembles a bladed lotus flower; and the Rope Hook
The Strangling garotte chokes the victim to
(gin tao sou), a large, barbed hook.
death, and is no good against any Hit Location
Flying Guillotine: This peculiar Tibetan weapon except the Head. The Wire garotte can slice through
consists of a metal hoop with a very sharp inner flesh, and can therefore cut a throat or cut a head
edge; the hoop attaches to a rope. It’s an effective entirely off; it harms any body part the attacker can
ambush weapon; if the attacker can get above an loop it around.
Any chain weapon described in this section Hanbo: This is a fighting-stick weapon, from
can be used as a Strangling Garotte; the manriki- 2’ to 3’ in length. Use these statistics also for
gusari is especially appropriate. the scabbard of a short sword (any blade with
Cost Power a base damage of 1d6) when used as a weapon,
7 Strangling Garrotte: Energy Blast 2d6, NND for the pentjong (a knobbed club used in
(defense is having rigid armor on the neck, Bhakti Negara Pentjak-Silat), and for the fol-
a PD Force Field, or Life Support [Self-Con- lowing weapons from India: kettukari (cane),
tained Breathing]), Continuous (+1) (30 lathi (heavy cane), muchan (a tapered 2’ long
Active Points); OAF (-1), STR Minimum staff ), and the otta (curved heavy sticks).
(5; -¼), Real Weapon (-¼), Two-Handed Hand Mace: This term refers to a number of
(-½), Must Follow A Successful Grab Maneu- mace-like Chinese weapons in the shape of hands,
ver (-¼), Must Be Aimed At The Head Loca- fists, or claws. Some of the hands hold objects,
tion (-¾), No Range (-½) (total cost for IAF such as pens or brushes, or have one or two fin-
(-½ version: 7 points) gers upraised, which helps the mace pierce armor.
5 Wire Garrotte: RKA ½d6, Continuous (+1) Examples of this sort of weapon include the ch’uan
(20 Active Points); OAF (-1), STR Minimum bi (“fist pen”), chua (long-handled claw), and fu sou
(5; -¼), Real Weapon (-¼), Two-Handed (“Buddha hand”).
(-½), Must Follow A Successful Grab Maneu- Hankyu: This is a short, comparatively weak, easily-
ver (-¼), Must Be Aimed At A Target It Can carried bow favored by ninja. One variant, the tabiumi,
Loop Around (Head or Arm, typically; -½), was collapsible and hence easily hidden when neces-
No Range (-½) (total cost for IAF (-½ ver- sary; hidden arrows could be carried as the ribs of a
sion: 5 points) straw hat or in many other ways.
Ghi: The Chinese halberd, which consists of a spear
with one or two crescent moon-shaped blades set just
below the spearhead. The Vietnamese equivalent is the
dai dao; the Thai equivalent is the ngow.
Cost Power
11 Ghi: Multipower, 30-point reserve; all OAF (-
1), STR Minimum (13; -½), Real Weapon (-¼) Hook Sword: This is a Chinese sword popular in
1u 1) Blade: HKA 1d6+1 (plus STR), Reduced some Kung Fu styles. It includes a straight, double-
Endurance (0 END; +½); OAF (-1), STR edged blade, a forward-curving hook at the end
Minimum (13; -½), Real Weapon (-¼) of that blade, a bladed crescent-shaped guard for
1u 2) Shaft: HA +4d6, Reduced Endurance the hand (providing 6 DEF to the hand on an
(0 END; +½); OAF (-1), Hand-To-Hand 11- Activation Roll), and a butt-spike protruding
Attack (-½), STR Minimum (13; -½), Real from the hilt. This weapon has a +0 OCV bonus
Weapon (-¼) for most maneuvers, but because of its unusual
configuration gets a +2 OCV for maneuvers includ-
2 Long Weapon: Stretching 1”, Reduced Endur-
ing the Bind, Block, Disarm, and Takeaway (i.e.,
ance (0 END; +½) (7 Active Points); OAF
Grab Weapon) maneuver elements. The Fire Wing
(-1) [or IAF (-½) for concealed form], Always
sword, Elephant Trunk sword, and the sang kauw of
Direct (-¼), No Noncombat Stretching (-¼),
Kuntao use the same statistics.
Only To Cause Damage (-½), No Velocity
Damage (-¼) (total cost for IAF (-½) version: Iron Mandarin Duck: A throwing weapon made out
2 points) of iron and shaped like a mandarin duck. Thanks to
the duck’s weight and sharp points (feathers, wings,
4 Skillful Weapon: +2 OCV with Block, Bind,
beak, and so forth), it’s a lethal weapon.
and Disarm; OAF (-1), Only Applies To The
Three Listed Maneuvers (-½) Jien: The Chinese broadsword, often used in Kung
Fu styles. The weapon’s blade is straight, light, and
double-edged; it’s a thrusting weapon, and nor-
version).
mally only the four inches at the tip of the blade
Grenades, Smoke: Some warriors (especially are used in combat. Sometimes it comes in unusual
ninja) use these grenades to blind and confound an configurations, such as: the sher ther jien, or snake-
opponent, or to cloak their next action — such as tongued sword, which has a forked tip; the giau tzu
hiding or preparing a new attack. Smoke grenades jen, which has tiny serrations along both edges; and
do not require a Weapon Familiarity. the wu grou jen, or Centipede Hook, which has a
hook protruding from one side. The Vietnamese
Smoke Grenades: Darkness to Sight Group 1”
equivalent to the jien was the kiem.
radius (10 Active Points); OAF (-1), Limited Effect
(Normal Sight only; -¼), Range Based On STR Jo: This is a single stick around 4’ in length. Use
(-¼), Real Weapon (-¼), 8 Continuing Charges these statistics also for these weapons: the scab-
lasting 1 Extra Phase each (-¼). Total cost: 3 bard of a long sword (any sword with a damage of
points (or 4 points for the IAF (-½) version). 1d6+1 or better) when used as a weapon; the sticks
used in the escrima martial art; the tieh tzu (“iron
ruler,” a flat iron bar used as a weapon); the chuu, a
weapon derived from the Chinese grain pestle; for
Hero Games 179
the Indonesian sticks, tongkat and tekken (the latter The kris has the same significance for
resembles a small walking cane); the Korean sticks, Indonesians that the katana has for the
dan bong and joong bong; and the Vietnamese stick, Japanese. Every part of the weapon has its
tien bong. own designation and lore. A large number
Kama: This is the Okinawan sickle, which consists of magical abilities, or tasawwaf, are attrib-
of a short handle topped by a short curved sickle uted to it (see page 50); they are allegedly
blade. It is one of the principal weapons of Karate implanted in the blade by the pande, or
(the others are bo, eiku, nunchaku, sai, tekko, timbe master smith, who crafts it. Every male
and rochin, and tonfa), and is often used in pairs. is supposed to possess a kris, and it is a
You can also use the statistics for the kama for the father’s duty to see that his son is furnished
Chinese sickle (lian). with one. Kris from different areas of the
Indonesian archipelago can be told by their distinc-
Kanzashi: The kanzashi is a wooden or metal hair tive styles or forms.
needle, about 12-20 cm long, with two tines run-
ning parallel. It could be used as a weapon, and was Kukri: An Indian knife which is also frequently
a favorite of the kunoichi, or female ninja. used by Bando practitioners and by the Gurkas of
Nepal. It has a recurved blade and a slightly oval or
Kapak: A small throwing hatchet used by the rounded point. It can be thrown. You can also use
Batak people of Indonesia. You can also use this for the kukri’s statistics for the badik, a type of Indone-
any number of small, hatchet-like throwing weap- sian dagger, which is not normally thrown.
ons used by many different cultures.
Kusari: A flexible weapon consisting of a chain
about 12’ long with a weight on one end and a
metal ring on the other. It can be thrown at a target
to do him harm or to grab him (e.g., grab his legs
Katana: This is the traditional samurai sword; it to trip him, or wrap around his arms to bind him).
is the larger of the daisho, the pair of blades worn For this reason, the kusari’s Stretching is not bought
by the samurai. The odachi is an older-style blade with the Only To Do Damage Limitation, though it
using the same game statistics. The katana is worn doesn’t provide full manipulation at range.
in the belt, edge upwards. The tachi, another long Kusarigama: This is a kusari with a kama (sickle)
Japanese blade, has identical game statistics to the on one end. The wielder of the kusarigama holds
katana, but is slightly more curved than the katana; the kama by the hilt and swings the chain to strike
the tachi is either worn in the belt (with the edge or grab a foe; once he snares the target, he follows
down) or worn over shoulder instead of in belt. up with the sickle end.
Use the katana’s statistics for the traditional Several variants of the kusarigama deserve
Korean sword (gum), the Vietnamese sword mention. The first is the bakuhatsugama, a
(guom), for the Chinese Seagull Sword (a double- kusarigama with a nagedeppo (explosive grenade,
bladed sword with a bulbous tip), and for the to see below) or metsubishi (flash grenade, see below)
sangto, a form of twin swords used in Kuntao. attached to the weighted end of the chain. The
Kiseru: This weapon is a metal smoking pipe about second is the mamukigama, a kusarigama with
1’ long. It is easily concealed and can actually be a live poisonous serpent loosely attached to the
used for smoking. chain! In theory, the snake will bite an enemy
wrapped in the chain. Last is the oh-gama, an
Knuck-Knife: This is a normal folding, lock-back extremely large (4’+) battlefield version of the
blade... except that its handle is a set of brass knuckles. kusarigama; it does double the damage of the
Ko-Gatana: A small knife attached to one side of kusarigama but has a correspondingly larger STR
the scabbard of a wakizashi (q.v.). Minimum in Heroic campaigns.
Kris: This weapon is the Malaysian double-edged, Kyogetsu Shoge: This weapon is much like the
wavy-bladed sword/dagger. It is mainly a thrusting kusarigama, but has a bladed grappling hook on the
weapon, and the waves in the blade make wounds end instead of a kama. It is also carried as a grap-
very, very painful and more likely to bleed pro- pling hook, its chain acting as its climb-line.
fusely. Kris blades vary in length from 5 inches to Lajatang: A weapon used in the Indonesian fight-
over 30 inches. The Kris Knife stats shown are for a ing style of Kuntao, consisting of a short wooden
blade in the 5-10 inch range, the Normal Kris stats staff with a crescent moon-shaped blade set per-
are for a blade in the 10-20 inch range, and the Kris pendicular to it at each end.
Sword stats are for a blade in the 20-30 inch range.
Main-Gauche: A European fencing dagger. It has ended sword sheath, a small pillbox, or a similar
a heavy hand-guard (6 DEF on the hand holding device. This type of metsubishi has No Range, since
it) and extra-long quillions. It is especially good at, it can only be used effectively within a few feet.
and so receives an extra +2 OCV for, maneuvers
Metsubishi (thrown): Sight Group Flash 2d6,
with the Bind, Block, Disarm, and Takeaway (Grab
Area Of Effect Nonselective (One Hex; +¼)
Weapon) maneuver elements.
(12 Active Points); OAF (-1), Range Based On
Cost Power STR (-¼), Real Weapon (-¼), 8 Charges (-½).
6 Main Gauche: Multipower, 18-point reserve; Total cost: 4 points (or 5 points for IAF (-½)
all OAF (-1), STR Minimum (7; -½), Real version).
Weapon (-¼)
1u 1) Blade: HKA 1d6-1 (plus STR), Reduced Metsubishi (blown powder): Sight Group Flash
Endurance (0 END; +½); OAF (-1), STR 2d6 (10 Active Points); OAF (-1), No Range
Minimum (7; -½), Real Weapon (-¼) (-½), Real Weapon (-¼), 1 Charge (-2). Total cost:
1u 2) Hilt: HA +2d6 , Reduced Endurance 2 points (or 2 points for IAF (-½) version).
(0 END; +½); OAF (-1), Hand-To-Hand Chinese du sar, “poison sand,” uses the same
Attack (-½), STR Minimum (7; -½), Real statistics as the blown metsubishi.
Weapon (-¼)
4 Protective Hilt: Armor (6 PD/6 ED); OAF
(-1), Only Protects The Hand Used To
Grasp It (-2)
4 Skillful Weapon: +2 OCV with Block, Bind, Mourn Staff: Known as a Thorn Staff or, in Chinese,
Disarm, and Takeaway; OAF (-1), Only as a san men barn, this weapon actually resembles a
Applies To The Four Listed Maneuvers (-½) sword more than it does a staff. It consists of a 3-4’
Total cost: 16 points (or 20 points for IAF (-½) wooden or metal shaft, with three-quarters of its
version). length studded with metal “teeth.”
Makila: Used by Zipota practitioners, this is a 1.5 Nagedeppo: A type of primitive explosive grenade.
meter-long stick traditionally used as a shepherd’s Its explosion covers a One Hex radius. In feudal Japa-
tool. One end has an iron cap, and the handle nese campaigns, the bang and flash from this grenade
unscrews to reveal a long, sharp needle-like thrust- are as disorienting as its damaging effects, since such
ing weapon. weapons were extremely uncommon in that period.
Cost Power Naginata: This Japanese weapon consists of a 2-3’

8 Makila: Multipower, 22-point reserve, all edged blade on long staff; the weapon is usually 7-8’
OAF (-1), STR Minimum (8; -½), Real long. It is traditionally a very popular weapon with
Weapon (-¼) female Japanese fighters. Warriors use it as both a
1u 1) Stick: HA +3d6, Reduced Endurance bladed weapon and as a staff; it is very versatile. You
(0 END; +½); OAF (-1), Hand-To-Hand can also use this weapon’s statistics for the nagemaki
Attack (-½), STR Minimum (8; -½), Real or nagakami, which has a somewhat longer and
Weapon (-¼) heavier blade but a shorter handle.
1u 2) Spike: HKA 1d6 (plus STR), Reduced Cost Power
Endurance (0 END; +½); OAF (-1), STR 12 Naginata: Multipower, 37-point reserve;
Minimum (8; -½), Real Weapon (-¼) all OAF (-1), STR Minimum (15; -¾), Real
Total cost: 10 points (or 12 points for IAF (-½) Weapon (-¼)
version). 1u 1) Blade: HKA 1½d6 (plus STR), Reduced
Endurance (0 END; +½); OAF (-1), STR
Manriki-gusari: Also called a manriki or a kusari- Minimum (15; -¾), Real Weapon (-¼)
fundo, this is a 3’ chain with weights at both ends. It 1u 2) Shaft: HA +4d6, Reduced Endurance
can be swung to strike a foe or thrown to ensnare (0 END; +½); OAF (-1), Hand-To-Hand
him, just like the kusari. You can also use this Attack (-½), STR Minimum (15; -¾), Real
weapon’s statistics for the following weapons: the Weapon (-¼)
suruchin, a weighted rope used by some Kobujutsu 2 Long Weapon: Stretching 1”, Reduced Endur-
practitioners; the kabit, a chain weapon used in ance (0 END; +½) (7 Active Points); OAF (-
Arnis; the panu, a scarf or handkerchief weighted 1) [or IAF (-½) for concealed form], Always
with coins used by some Arnis exponents; and the Direct (-¼), No Noncombat
sarong, a type of waistcloth worn in the Philippines Stretching (-¼), Only To Cause Damage
and Indonesia which is used like the panu, but is (-½), No Velocity Damage (-¼) (total cost
much heavier — there are reports of skilled prac- for IAF (-½) version: 2 points)
titioners “flicking” the sarong at thick boards and
snapping them in two! Total cost: 16 points (or 19 points for IAF (-½)
version).
Metsubishi: Small grenades which can momen-
tarily blind an opponent. Grenades do not require a Navaja: A large folding knife used by European knife-
Weapon Familiarity. Alternatively, a “flash grenade” fighters, with a very slight curve toward the tip of the
could be one use’s worth of eye-irritating dust, three to six inch-long blade.
either thrown at a foe or blown through an open-
Hero Games 181
Nekote: Nekote, or “cat’s claws,” are a set of five metal Cost Power
claws fitting on the fingertips. By themselves they do 22 Ninja-to And Saya: Multipower, 44-point
relatively little damage, but they are often poisoned. reserve, all OAF (-1)
Use this weapon’s statistics for Chinese fingernail 1u 1) Blade: HKA 1 ½d6 (plus STR), Range
razors (small blades that fit underneath the finger- Based On STR (+¼), Reduced Endurance
nails) and the Japanese kakute, or “horn finger” ring. (0 END; +½); OAF (-1), STR Minimum (15;
This ring has a small spike on one side that is nor- -¾), Real Weapon (-¼), One-And-A-Half-
mally poisoned, making even the lightest punch fatal. Handed (-¼)
Net: See Toami. 1u 2) Hilt/Saya As Club: HA +2d6, Reduced
Endurance (0 END; +½); OAF (-1), Hand-
Nine-Dragon Trident: This Chinese polearm To-Hand Attack (-½), STR Minimum (15;
consists of a 6’ shaft with a trident on top, plus -¾), Real Weapon (-¼), One-And-A-Half-
two cross-bars further down (turned at 90o to Handed (-¼)
one another) which bear an indescribable array 1u 3) Saya And Sageo As A Climbing Platform:
of flanges and protrusions. It grants a +2 OCV to +1 to Climbing Roll; OAF (-1)
maneuvers including the Bind, Block, Disarm, and 1u 4) Blinding Powder In Saya: As Metsubishi,
Takeaway (Grab Weapon) Bases. In Chinese, it is Blown, above
called the gao loon cha. 1u 5) Sageo As Strangling Garrotte: refer to
For the Nine-Dragon Trident’s game statistics, “Garrotte,” above, for details on that weapon
use the Ghi, above. 1u 6) Saya As Breathing Tube (Takezutsu): Life
Nine-Ring Sword: A single-edged, sabre-like weapon Support (Breathe Underwater); OAF (-1),
with nine rings set into its back edge. The rings help Only Works Close To The Surface (-1)
to catch an enemy’s weapon and disarm him. Another Total cost: 28 points (or 36 points for IAF (-½)
name for this weapon is Ghost Hat Sword. version).
No-daichi: This is a Japanese two-handed sword.
Nunchaku: This weapon, one of the principal
weapons of Karate (the others are bo, eiku, kama,
sai, tekko, timbe and rochin, and tonfa), is an Oki-
Ninja-to: This weapon, also called the shinobi- nawan wooden flail. It consists of two pieces of
gatama, shinobigatana, and ninja-ken, is the tra- wood (each 12” to 14” long) connected by short
ditional ninja sword. It has a blade about 24” long chain or cord (itself 1” to 5” long). Nunchaku are
and is about 40” long overall. It looks something often used in pairs.
like other Japanese swords such as the katana, but
the blade is straight and the handguard (tsuba) is Parang: A cleaver-like Indonesian blade, about 10
square instead of round. inches to three feet in length. You can also use its
The ninja-to is a tool as much as a weapon — statistics for other Indonesian weapons, including
to use a modern comic book analogy, it is a sort of the golok (which has a more convex cutting edge
“utility belt” for the ninja. It can be used for climb- and a sharper point than the parang).
ing and for digging holes in the earth as well, an Pedang: A straight or curved Indonesian short
indignity the owner of a katana would never sub- sword (10-35” long). It is used one-handed. Other
ject his blade to. Its scabbard, or saya, is longer than Indonesian blades using similar statistics include
the sword itself and can be used to carry concealed the kělewang (a single-edged sword with a pro-
powder weapons or bo shuriken. The scabbard cord, nounced notch near the tip on the blunt side).
or sageo, has a variety of uses. These additional uses Pendjepit: A weapon used in Prisai Sakti Pentjak-
are bought as part of a Multipower. Silat. It is a metal pincher with sharp, tiny teeth in
Ninja only use a ninja-to on stealth missions; the ends which are used to tear at the flesh grabbed.
when disguised as ordinary people, they use what-
ever weapons are appropriate to those folk. Ninja Petjat: A 4-6’ whip used in some parts of Indo-
also often use the katana. nesia. You can also use this weapon’s statistics for
the chemeti, another type of Indonesian whip with
a 1-2’ wooden handle, and a 2-3’ buffalo-hide or
human hair whip.
Puñal: A folding knife similar to the navaja, but
somewhat smaller and more streamlined, without the
slight curve at the tip.
Rante: A chain weapon from Indonesia. The chain receives an additional +2 OCV when
can be used in typical fashion, to whip and snare, performing maneuvers which include
but many rante also have some sort of blade or barb the Bind, Block, Disarm, and Takeaway
attached to one end, making the weapon more lethal (Grab Weapon) Bases (thus receiving a
than it otherwise would be. total of +3 OCV with these maneuvers).
Cost Power These statistics are also used for
9 Rante: Multipower, 22-point reserve, all OAF the jutte and nunte weapons. The jutte
(-1), STR Minimum (5; -¼), Real Weapon (-¼) (or jitte) looks like the sai but with one
1u 1) Chain: HA +3d6, Reduced Endurance tine missing; this makes it easier to
(0 END; +½); OAF (-1), Hand-To-Hand conceal, and thus popular among ninja.
Attack (-½), STR Minimum (5; -¼), Real The nunte looks like the sai but with
Weapon (-¼) one tine bent backwards. The sai, jutte and nunte
1u 2) Blade: HKA ½d6 (plus STR), Reduced can be thrown; the three weapons share an identical
Endurance (0 END; +½); OAF (-1), STR Weapon Familiarity.
Minimum (5; -¼), Real Weapon (-¼) Sai, Cinema: Though historical sai appear never to
2 Long Weapon: Stretching 1”, Reduced Endur- have been sharpened, sai in movies are sometimes
ance (0 END; +½) (7 Active Points); OAF (- stabbing weapons. The statistics for this weapon can
1) [or IAF (-½) for concealed form], Always also be used for the Chinese char, or trident dagger,
Direct (-¼), No Noncombat Stretching (-¼), and for the siangkam, a Kuntao weapon resembling a
Only To Cause Damage (-½), No Velocity metal arrow about 1-2’ long.
Damage (-¼) (total cost for IAF (-½) version: Schlaeger: A duelling sword favored by German
2 points) students, particularly during the latter half of
Total cost: 13 points (or 15 points for IAF (-½) the 1800s. It has a straight, double-edged blade, a
version). large basket hilt (to allow the wrist a full range of
motion), and a dull point (it was used for slashing,
Rapier: A long, narrow stabbing sword, a European not stabbing).
fencing weapon.
Shinai: This is a bamboo practice sword shaped
Razor, Straight: This is the normal shaving imple- like a katana and used in the sport of kendo.
ment; the large variety is larger than the types nor-
mally used to shave. It is ineffective against Armor Shinobi-zue: This ninja weapon is a bamboo staff.
(it has the “Reduced Penetration” Limitation) and One end is loaded with lead for a harder impact
doesn’t do as much STUN as cleaving or stabbing when it hits. The other is capped with a metal plug;
weapons. It is the preferred weapon of capoeiristas. when removed, this releases a concealed 6’ chain. The
Two types of Straight Razors are shown on the chart, staff is used as a bo; the chain is used like a kusari
one of ordinary length and one extra-long. but cannot be thrown. This weapon is also known
You can also use the statistics for the smaller as a shikomi-zue. You can also use the shinobi-zue’s
Straight Razor for the Justice Pen (bi), a Chinese statistics for the chigiriki, a staff or spear with a 3-10’-
stabbing weapon which resembled a large metal long chain with a weighted end attached to it (use the
brush or pen. yari’s statistics for the spearhead).
Ring Needle: Also known as an er mei tzu, or “sting,” Shuko: These are the ninja climbing claws worn on
this weapon consists of a ring attached to a thin, the hands, usable in hand-to-hand combat to slash
sharpened metal rod. It was originally designed for a target. They provide a +1 bonus to Climbing rolls
underwater fighting. Pakua practitioners use it to stab (when wearing both the shuko and the ashiko, or foot-
or thrust, and can throw it. claws, the ninja gets a total bonus of +2 to Climbing
rolls). A character cannot carry a weapon in a hand
Rings: Steel rings about 8’ in diameter, used as blud- which has a shuko in it. And the characer must wear
geoning weapons or missiles. both shuko, one on each hand, to get the +1 to his
Rope Dart: A small blade on the end of an up to Climbing rolls. Shuko are also known as tekkokagi.
25’ long rope. The weapon was used by whirling the
dart around and slashing people with it. The Indo-
nesian equivalent for this weapon is the suk piao,
used in Kuntao.
Shuriken: Commonly called throwing stars and
Sabre: This is the European fencing sabre, a sharp, throwing spikes, these are ranged weapons used by
curved weapon used principally for slashing. You ninja and by modern martial artist heroes and vil-
can also use the sabre’s statistics for the krabi, a lains. They come in three basic types:
sabre-like sword used in Krabi-Krabong.
Bo Shuriken are sharply-pointed metal spikes a
Sai: This Japanese weapon, known as gen or cha in few inches long. One to five bo shuriken may be
China and as a tjabang or titjio in Indonesia, is one thrown at a time.
of the principal weapons of Karate (the others are bo,
eiku, kama, nunchaku, tekko, timbe and rochin, and Large (Star) Shuriken are star-shaped metal disks
tonfa). It is is trident-shaped truncheon, some 15-20” several inches across, about half an inch thick,
long, made of metal. The point is blunted; it is not a and possessing three to eight sharp points.
stabbing implement. Due to its trident shape, the Sai
Hero Games 183
Small (Star) Shuriken are shaped the same as Tai-Dao: This Chinese polearm is two meters long
Large Star Shuriken, but are only about an and topped with a heavy, curved blade. (Use the
eighth of an inch thick and a couple of inches Naginata’s write-up for its game statistics.) It was
across. One to five small star shuriken may be used both from foot and horseback. The kwan dao
thrown at a time. (also spelled quan tao, meaning “General Kwan’s
Star shuriken are called hira shuriken in Japa- Knife”), da dau (a long-handled broadsword-like
nese. The four-pointed star, the most popular type, weapon), bisento (a Japanese weapon), and the
is called a senban shuriken. Shuriken made out of chun jung whule-do (“heavenly dragon moon
flat metal bars with sharpened ends are itaken. knife,” a Korean weapon) use the same statistics as
The Chinese have a weapon called a Sleeve this weapon, as do the kwanto and sjang sutai, two
Dart (shouu gen, darts easily concealed in a sleeve weapons used in Kuntao.
or in various spring-loaded tubes hidden in Tanto: A Japanese dagger, sturdily constructed,
one’s clothes) which has the same statistics as bo with a curved, single-edged, chisel-pointed blade. It
shuriken. The Chinese also created razor-edged is 9” or so long and has no hand-guard.
coins (lo han chain [Japanese, nasare en]) and Use these statistics for two other Japanese
oddly-shaped Dart Knives (biau dau) which have blades, the aikuchi and hamidashi, and for several
the same statistics as small star shuriken, as does short Chinese bladed weapons, including the shaou
the piau, an Indonesian throwing blade vaguely dau (“scrape saber,” a small version of the Chinese
shaped like a hatchet-head. The Indian chakram or saber) and shou li jen (“sleeve sword,” a sword about
cher-khi, a razor-edged throwing ring also called the size of a dagger with a concealed spring that
a quoit, uses the statistics for a large shuriken. The allowed to to expand to twice its length). The tanto’s
paku, a sort of sharpened throwing stick weapon statistics also apply to a number of Indonesian dag-
used in Indonesia, uses the bo shuriken’s statistics. gers, including the pisau.
Many dart weapons, including specially-thrown
nails or the narrow darts sometimes slipped into Tetsubishi: These are caltrops — four-pointed
war fans, correspond to bo shuriken. spikes which, when dropped on the ground, always
The Ranged Weapons Chart shows a load of 9 to land with one spike pointed up. When the char-
12 shuriken. Ninja traditionally carried nine, because acter throws his tetsubishi onto the ground, he
that number has special significance to them. rolls versus DCV 3 to hit his target hex. When a
target walks into the hex where tetsubishi have
Sling Bow: This missile weapon is a bow designed been thrown, the attacking player (or GM) rolls the
to fire small iron balls — sort of a cross between 14- Activation Roll; if it succeeds, the target takes
a bow and a slingshot. In Chinese it is known as a damage. In campaigns which use Hit Locations,
dan kurn. this damage is always to the character’s feet (loca-
Soft Hammer: This Chinese weapon (nuan chuai) tion 18). A character who sees the caltrops ahead
is the same as the European morningstar: a metal of time may move through the hex without step-
ball (spiked or not) connected to a wooden shaft by ping on them. Tetsubishi do not require a Weapon
a short length of chain. Familiarity.
Spread-The-Water Knife: A bladed weapon Characters often buy tetsubishi at IAFs
shaped like a thin D, with the curved edge being because they’re generally inconspicuous when
the blade and the straight bar being a wooden shaft. dropped — though depending on the circum-
The straight bar averaged about 2-3’ long. stances, this may not be the case. In a pinch, a char-
acter can use his tetsubishi as an improvised missile
Steel Olive: An olive-shaped throwing weapon. weapon, doing 1d6 to all targets in a 1” radius.
The ends taper down to sharp points, giving the You can also use the tetsubishi write-up for
weapon an eye-shaped profile. igadama (spiked iron balls similar to arare), hishi
Steel Toad: A throwing weapon in the shape of a (dried water chestnuts with spiky shells), and
toad! The toad’s head tapers to slightly more of a dokubari (spiked balls of plant matter).
point that a normal toad’s does, so the weapon can Cost Power
do more damage than it would if it were blunt. 15 Tetsubishi: Multipower, 45-point reserve;
Sword-Spear: A type of short (3-4’) Chinese spear, all OAF (-1), 2 Recoverable Charges (-1) for
known as a jen chian. Also use these statistics for entire Multipower
a Double Hook Arrow (shunn gou shih), a type of 1u 1) Dropped: RKA 1d6, Area Of Effect (One
large arrow with two hooks which curve away from Hex; +½), Continuous (+1), Uncontrolled
the arrow head. (removable by spending a Full Phase to
sweep them aside; +½); OAF (-1), Activa- Toami: A net. Its statistics depend upon its size:
tion Roll 14- (-½), Only Affects Characters
Small Toami: Entangle 4d6, 4 DEF, Entangle
Moving On The Ground (-¼), DEX Roll
And Character Both Take Damage (+¼) (50
Cancels Effect (-¼), Automatically Targets
Active Points); OAF (-1), Range Based On STR
Hit Location 18 (-0)
(-¼), Real Weapon (-¼), 1 Recoverable Charge
1u 2) Thrown: RKA 1d6, Area Of Effect (One
(-1 ¼). Total cost: 13 points (or 15 points for
Hex; +½); OAF (-1), Range Based On STR
IAF (-½) version).
(-¼), Inaccurate (user is at half OCV, and
Range Modifier increment drops to 3”; -¼) Normal Toami: Entangle 4d6, 4 DEF, Entan-
Total cost: 17 points (or 21 points for IAF (-½) gle And Character Both Take Damage (+¼),
version) Area Of Effect (One Hex; +½) (70 Active
Points); OAF (-1), Real Weapon (-¼), Range
Tetsubo: A Japanese hardwood war-staff 6’ long Based On STR (-¼), 1 Recoverable Charge
and covered with studded iron plates at the end; (-1 ¼). Total cost: 19 points (or 21 points for
the plated area of the shaft is octagonal rather than IAF (-½) version).
round. You can also use the tetsubo’s statistics for
the konsaibo, a hardwood staff reinforced with Large Toami: Entangle 4d6, 4 DEF, Entangle
metal strips and iron studs, and for the kanabo, an And Character Both Take Damage (+¼),
iron club. Area of Effect (5” Radius; +1) (90 Active
Points); OAF (-1), Real Weapon (-¼), Range
Tetsu-To: A heavy iron sword, curved in the Japa-
Based On STR (-¼), 1 Recoverable Charge
nese fashion, used by samurai and ninja alike as a
(-1 ¼). Total cost: 24 points (or 28 points for
strength-training weapon. It is too heavy for most
IAF (-½) version).
people to use effectively in combat (see the weap-
on’s STR Min).
Three-Section Staff: A Kung Fu weapon, known
as shan gieh kun in Chinese. It consists of three
wooden rods connected by rings; each rod is 18”-
20” long. Fighters use it like a flail for long strikes,
or like a jo for close-in attacks.It’s very useful for Tonfa: This is one of the traditional weapons of
maneuvers containing the Bind, Block, Disarm, Karate (the others are the bo, eiku, kama, nunchaku,
and Takeaway (Grab Weapon) Bases: it grants a sai, tekko, and timbe and rochin). It consists of a trun-
+2 OCV with them. If you’re using the Weapon cheon with handle protruding at 90 degrees near one
Lengths rules (page 164), the Three-Section staff end. It is often used in pairs. Unlike clubs, it requires
is a special weapon: other weapons attack against a Weapon Familiarity (it’s part of the WF for Karate
the Three-Section Staff as if the staff were a Long Weapons). However, ordinary people can pick up a
weapon, but the wielder of the Staff is never at an tonfa and use it as ordinary club, keeping the normal
OCV penalty when the attacker gets inside his weapon damage but losing the OCV bonus.
guard and strikes him. The Indonesian counterparts to the tonfa are
The Indonesian equivalent of the Three-Sec- the segu, which is used in Tapak Sutji Pentjak-Silat,
tion Staff, used in Kuntao, is the sa tjat koen. and the kwai, which is used in Kuntao.
You can also use these statistics for the Tsubute: A “blunt shuriken,” used to knock an
“Sweeper,” or shao-tzu, a weapon consisting of a enemy unconscious. The same statistics apply to
short staff with an even shorter length of wood blunt Chinese throwing coins, shouu chuan, or the
attached to one end by a chain (a two-section staff, Sleeve Ring (a blunt metal ring hidden in the sleeve
if you will). The Sweeper was most often used to and thrown at an enemy’s face).
attack a horse’s legs.
Umebi: A form of primitive land mine used by the
Tiger Fork: The Tiger Fork, or hu cha, is a large, ninja:
trident-like weapon with broadly-spread tines.
(Use the Naginata’s write-up for its game statistics.) Umebi: RKA 1 ½d6, Area Of Effect (One
You should also use these for various types of Chi- Hex; +½), Trigger (when stepped on, takes 1
nese tridents, such as the shan char, and the Korean Turn to reset; +¼) (44 Active Points); IAF (-
trident, or dang pah. ½), 1 Charge (-2), Real Weapon (-¼). Total
cost: 12 points.
Timbe: A 1-2’ shaft with a small spearhead on one
end. It is used in combination with a tortoiseshell Urumi: The urumi, or spring-sword, is a flexible
shield called a rochin and is one of the principal sword from India. It consists of a hilt with 1-4
weapons of Kobujutsu. blades of metal (sharpened on both edges) project-
Tjaluk: A blade weapon used in Setia Hati Pentjak- ing from it. The blades are thin and flexible, allow-
Silat. It consists of a hilt (with a curved metal hand- ing them to be whipped through the air and into an
guard) from which a sickle-like curved blade about enemy. When not in use the urumi can be carried
1’ long emerges. The sharp edge of the weapon is around the waist like a belt.
the reverse, or outside, edge — so parrying it can Cost Power
be a risky proposition. It is best used in surprise or 8 Urumi (Single-Bladed): HKA 1d6 (plus STR),
assassination attacks, not in open combat. Reduced Endurance (0 END; +½) (22 Active
Hero Games 185
Points); OAF (-1), STR Minimum (12; -½), Real Wolf ’s Teeth Staff: This weapon, called lan yar
Weapon (-¼) (total cost with IAF (-½): 10) barn in Chinese, consists of a staff approximately 6’
13 Urumi (Multi-Bladed): HKA 1d6 (plus STR), long. About 1’ of one end of it is covered with small
Autofire (up to 4 shots, depending on number metal spikes. Use the Naginata’s write-up for its
of blades and wielder’s desire; +½), Reduced game statistics.
Endurance (0 END; +1) (37 Active Points); Yari: This is the Japanese spear. It comes in two
OAF (-1), STR Minimum (12; -½), Real basic versions. The normal version works just like
Weapon (-¼) (total cost with IAF (-½): 16) any other spear. Another version, the Kamayari,
Wakizashi: This is the companion sword of the comes with a back-hook (a backward-point-
katana; it is the smaller of the daisho pair of samu- ing spike mounted at the head), which gives the
rai blades. The kodachi is the older form of the weapon a +2 OCV bonus when used with maneu-
same blade. vers with the Bind, Block, Disarm, and Takeaway
(Grab Weapon) Bases. There are several other vari-
War Fan: This weapon, known in Japanese as a eties with different spearhead and combinations of
tessen or gunsen and in Chinese as a san, looks hooks and and other projections. The Vietnamese
like a normal hand-fan, but is larger than purely counterpart to this weapon is the thuong.
decorative fans and is made of hardier materials. It
is used two ways: closed, it is a punching weapon; Cost Power
open, it is effective at blocking attacks (+2 OCV 13 Yari: Multipower, 37-point reserve; all
with Block maneuvers). Special War Fans come OAF (-1), STR Minimum (14; -½), Real
with an additional blade option. The blade may be a Weapon (-¼)
razor edge on the vanes of the fan, used in a slicing 1u 1) Blade: HKA 1½d6 (plus STR), Reduced
motion when the fan is open, or it may be a spike Endurance (0 END; +½); OAF (-1), STR
at the base of the fan, used when the fan is closed. Minimum (14; -½), Real Weapon (-¼)
Both types are shown on the Melee Weapons Table. 1u 2) Shaft: HA +4d6, Reduced Endurance
War Fans are sometimes made with small darts (0 END; +½); OAF (-1), Hand-To-Hand
hidden in the vanes; if a character uses them, treat Attack (-½), STR Minimum (14; -½), Real
these darts identically to Bo Shuriken. Weapon (-¼)
Cost Power 2 Long Weapon: Stretching 1”, Reduced
8 War Fan, Edged: Multipower, 22-point Endurance (0 END; +½) (7 Active Points);
reserve; all OAF (-1), STR Minimum (6; -½), OAF (-1) [or IAF (-½) for concealed form],
Real Weapon (-¼) Always Direct (-¼), No Noncombat Stretch-
1u 1) Folded Fan Attack: HA +3d6, Reduced ing (-¼), Only To Cause Damage (-½), No
Endurance (0 END; +½); OAF (-1), Hand- Velocity Damage (-¼) (total cost for IAF
To-Hand Attack (-½), STR Minimum (6; -½), (-½) version: 2 points)
Real Weapon (-¼) 4 Kamayari: +2 OCV with Bind, Block, Disarm,
1u 2) Spread Fan Attack: HKA ½d6 (plus STR), and Takeaway; OAF (-1), Only Applies To
Reduced Endurance (0 END; +½); OAF (-1), The Four Listed Maneuvers (-½)
STR Minimum (6; -½), Real Weapon (-¼) -1 Kamayari: Increase STR Min to 17
3 Skillful Weapon: +2 OCV with Block (10 Total cost (Yari): 17 points (or 20 points for IAF
Active Points); OAF (-1), Only Applies To (-½) version).
Block (-1), Real Weapon (-¼)
Total cost (Kamayari): 20 points (or 23 points for
Total cost: 13 points (or 16 points for IAF (-½) IAF (-½) version).
version).
Yoroi-toshi: This weapon, the same approximate
Wind and Fire Wheels: These are Chinese weap- size and shape as the tanto, is a dagger designed to
ons. They consist of broad metal hoops a foot or pierce armor. It is very heavy and very sharp, and
two in diameter. Some feature protruding spikes does armor-piercing damage.
and handles; other are plain hoops. Fighters use
them to punch and slash, and receive a +2 OCV Yumi: This is the Japanese bow, also known as a
bonus when used with maneuvers with the Bind, daikyu. It can be anywhere from five to eight feet
Block, Disarm, and Takeaway (Grab Weapon) long, and, unlike Western bows, is not held in the
Bases. The statistics for this weapon also apply to middle; the handle is about one-third of the way
the lun, which is similar in function but shaped from the bottom. Therefore it is easily used by
more like a coin, and the yue, which is eye-shaped. horsemen. The “One-Man, Two-Man, Three-Man”
designations indicate how many men it theoreti-
Wishful Steel Ball: A small steel ball similar to a cally takes to string the bow; for HERO System
modern ball-bearing, used as a weapon by flicking purposes, the STR Min of the weapon is also the
it at high speed at the target. STR Min it takes to string the bow.
ARMOR Kendo Armor

Though body armor isn’t very common in The armor used by kendoka (practitioners of
martial-arts adventures, a few types do show Kendo, the modern sport form of Kenjutsu) in their
up with some regularity: samurai armor, kendo practices consists of several items.
armor, and body armor for full-contact karate The men, or helmet, has a wire-frame mask
sparring, for example. and padded armor which covers the top and back
Superheroic characters generally create of the head and the throat. Accompanying this are
armor which provides consistent defense over a heavy chest-plate and gloves which cover the
all the body locations, which does not have an forearms, both made of resilient padded material; a
encumbrance rating, and so forth. In superhero padded apron; and a lighter protective jacket.
campaigns, such armor is usually built with In HERO System terms, it looks like this:
higher DEF ratings than real-world armor, and
simply looks identical to the real-world armors KENDO ARMOR
described below, which are designed for Heroic-
level campaigns. Name Hit Defense Weight
of Armor Locations R/N (kg)
Men (Helmet) 3-5, 9 6/0 1.8
Full-Contact Karate Armor Kote (Sleeevs) 6-7 4/2 .5
This is a set of vinyl or leather-covered pad- Do (Breastplate) 10-11 4/2 1.1
ding designed to minimize risk of injury while Keikogi (Jacket) 8-11 1/1 .6
characters are sparring or training. It includes Tare (Apron) 12-13 2/2 .6
the following pieces (not all of which have to be
worn): The Men has an additional Limita-
tion: it acts as Armor 0 versus Guns.
The Kote and Do have a similar
FULL-CONTACT KARATE ARMOR Limitation: Half-Value versus
Guns. In other words, bul-
Name Hit Defense Weight
lets automatically bypass the
of Armor Locations R/N (kg)
armor of the helmet, and are
Face Guard 4-5 2/6 .1
automatically Armor-Piercing
Full Face Guard 3-5 2/6 .2 attacks against the Kote and Do.
Gloves (2) 6 2/6 .2
Forearm
Guards (2) 7 2/6 .1 Leather Hand-
Torso Guard 9-11 2/6 .8
Chest Guard 10-11 2/6 .7
Wrappings
Rib Guard 12 2/6 .4 Practitioners of ancient
Athletic Cup 13 2/6 .2 boxing (see Boxing, Ancient in
Shin Guards, the Martial Arts section) pro-
Sm (2) 16 2/6 .1 tected their hands by wrap-
Shin Guards, ping them in leather strips;
Lg (2) 16-17 2/6 .2 this was the sort of protec-
Leg Guard (2) 15-17 2/6 .3 tion that ultimately evolved
into the boxing glove. A
character who wraps his
The two columns listed under “Defense” are hands in this fashion has a
R for Resistant and N for Non-Resistant. Resis- piece of equipment that
tant Defenses are bought as Armor (PD and ED); looks like this:
Normal Defenses are bought as Physical Defense
and Energy Defense.
The Weight column is included for those LEATHER HAND-WRAPPINGS
Heroic campaigns using the HERO System Name Hit Defense Weight
encumbrance rules (see the HERO System 5th Edi- of Armor Locations R/N (kg)
tion, Revised, page 379). If your campaign doesn’t Hand-
use those rules, don’t worry about the Weight Wrapping (2) 6 4/0 .2
column except to determine whether a character
can lift the equipment at all. Weights are given in
tenths of a kilogram. Rawhide Hand-Wrappings
You cannot “stack” armor; a character cannot
Rawhide hand-wrappings are just like leather
wear a Face Guard and a Full Face Guard and get
hand-wrappings, with one exception. Rather like
the benefits of both. He only gets the benefit of
the cestus (see above in the melee weapons listing),
the greater of the two.
rawhide wrappings can cause a little extra Killing
Damage to the target.
Hero Games 187
With each punch that successfully hits a

target, the character with rawhide hand-wrappings CREATING WEAPONS
should make a 3d6 roll. On an 8-, the rawhide do 1
point of Killing Damage in addition to the regular
damage of the attack. If the character has rawhide Powers Used In
wrappings but uses some sort of NND DMG or K-
damage attack, the rawhide adds nothing. Weapon Creation
The HERO System Powers used
to create most weapons and armor
Samurai Armor described in this section include:
This armor is arranged much like the Kendo Armor (either for armor suits or to
armor described above, except that it is designed provide a weapon with protection for
to provide protection in real warfare. It is made of the hand holding it);
metal and hardened leather plates, usually brightly
ornamented with decorative enamels. Entangle (for nets);
Flash (for metsubishi and other blinding
SAMURAI ARMOR weapons);
Hand-To-Hand Attack;
Name Hit Resistant Weight
of Armor Locations Defense (kg) Hand-To-Hand Killing Attack (some-
Hachi/Shikoro times with “Ranged” Advantage, some-
(Helm/Shoulders) 4-5 6 1 times with +1 Increased STUN Multi-
Happuri (Facemask) 3 6 .5 plier);
Kote (Sleeves) 6-7 4 1 Ranged Killing Attack (sometimes
O-Sode (Shoulers) 9 6 2 bought with Autofire, such as with small
Tateage shuriken); and
(Breastplate) 10-13 6 9.5
Stretching (to give extra range to some
Haidate (Apron) 14-15 6 2.5 long melee weapons).
Sune-ate (Greaves) 16-17 4 .75
Telekinesis and Change Environment (for
This armor has a Limitation: it is Half Value dropped marbles).
Versus Guns (-¼). For instance, the Hachi and
Shikoro, DEF 6 versus most attacks, is only DEF 3
versus bullets. Hand-To-Hand Versus
Killing Damage
Many weapons are built as Normal Damage
attacks instead of Killing Damage attacks. In the
chart above, Normal Damage weapons are built
with the Hand-To-Hand Attack Power, while Killing
Damage weapons are built with the Hand-To-Hand
Attack Power. Thrown weapons take the Ranged
Advantage (+½). Ranged-only Killing-damage weap-
ons are built with the Ranged Killing Attack Power.
See page 405 of the HERO System 5th Edition,
Revised for rules on adding damage to weapons.
New Limitations
The new Limitations that have been intro-
duced in this section are all examples of the “Lim-
ited Use” Limitation. They include:
Value Description
-¼ Weapon Does Less Damage From Added STR:
The weapon receives +1 DC for every 10
STR above STR Min. This is a Limitation for
weapons in Heroic campaigns. It simulates
weapons deliberately designed to do less
damage than they could otherwise.
-1 Cannot Be Used To Cause Damage: This
Limitation for Telekinesis indicates a form of
TK that does no damage at all. (It’s still pos-
sible to harm someone by shoving him over a
cliff, though.)
-2 Only To Throw Target To Ground: This Limi- varies Must Be Aimed At Specific Location Or Has No
tation to Telekinesis means the power cannot Effect: This Limitation on any Attack Power
be used to carry people or objects around, to means the power does not work if it strikes
catch someone who is falling, and so forth. It the wrong location. This Limitation only
is distinct from “Cannot Be Used To Cause applies in campaigns using the Hit Locations
Damage,” and the two Limitations can be chart. The value for the Limitation depends on
taken together on a TK power. how hard the location usually is to hit. If the
-¼ Only Affects Characters On The Ground: This Hit Location modifier is usually a -1 to a -3,
Limitation on an Attack Power means it there is no Limitation. If it is usually a -4 to a
does no harm to characters not touching the -5, there is a -¼ Limitation. If it is usually a -6
ground. You can use it to simulate an electrical to a -7, there is a -½ Limitation. If it is usually
attack that requires the character be grounded, -8 or worse, there is a -¾ Limitation. The user
or to build attacks where the character must of this power can increase his chance to hit by
step on some object to receive the damage. striking from ambush, which usually reduces
-½ Only To Grab: This Limitation on Stretching the Hit Location penalties for aiming at spe-
means the character cannot use it to Strike his cific hit locations.
target, only Grab and manipulate him. -¼ Must Follow A Successful Grab Maneuver: This
-2 Only Protects One Location (or Two Locations): Limitation for any Attack Power means the
This is a Limitation for Defense Powers in character cannot use the power unless he has
campaigns using the Hit Locations chart. The Grabbed his target. If the target is not in his
builder of the power defines which one loca- grasp, he cannot use the power.
tion is protected, or which two are protected. -¼ Half Value Versus Guns: This Limitation to
Each location covered must be one of the Resistant Defense Powers means bullets and
number locations on the Hit Locations chart; other super-high-speed projectile attacks
a character cannot say “This armor covers two have an automatic Armor Piercing Advan-
of my locations, Head and Shoulders” because tage against this type of armor. (If the bullet
Head is already three locations (3-5) and is already Armor Piercing, then only one-
Shoulders is another (9), making that a total fourth of the defense is applied to the weapon
of four locations. This Limitation roughly cor- damage.)
responds to an 8- Activation Roll.
Hero Games 189
BIBLIOGRAPHY
Amberger, J. Christoph. The Secret History of the —Ninja Secrets of Invisibility
Sword —Secrets of the Ninja
Anglo, Sydney. The Martial Arts of Renaissance Lawler, Jennifer. The Martial Arts Encyclopedia
Europe
Lee, Bruce. The Tao of Jeet Kune Do
Balin, Michael. T’ai Chi Ch’uan: The Martial Side
Loriega, James. Sevillian Steel: The Traditional
Birch, Cyril. Chinese Myths and Fantasies Knife-Fighting Arts Of Spain
Carella, C.J. GURPS Martial Arts Malizewski, Michael. Spiritual Dimensions of the
Capoeira, Nestor. The Little Capoeira Book Martial Arts
Chow, David, and Richard Spangler. Kung Fu: His- Marinas, Amante Sr. Pananandata
tory, Philosophy, and Technique McCubbin, Chris, C.J. Carella, and Stephen
Clements, John. Medieval Swordsmanship Dedman. GURPS Martial Arts Adventures
—Renaissance Swordsmanship McNeil, James. Hsing-I
Corcoran, John. The Martial Arts Companion Park, Bok Nam, and Dan Miller. The Fundamentals
—The Martial Arts Sourcebook of Pa Kua Chang
Corcoran, John, and Emil Farkas. The Original Piggott, Juliet. Japanese Mythology
Martial Arts Encyclopedia: Tradition, History, Ratti, Oscar and Adele Westbrook. Secrets of the
Pioneers (formerly Martial Arts: Traditions, History, Samurai
People) Reid, Howard, and Michael Croucher. The Way of
Cowie, A.P., and A. Evison. The Concise English- the Warrior
Chinese Chinese-English Dictionary Soet, John. Martial Arts Around the World
Craig, Darrell. Japan’s Ultimate Martial Art: Jujitsu Spear, Robert. Hapkido: The Integrated Fighting Art
Before 1882
Stockmann, Hardy. Muay-Thai: The Art of Siamese
Crompton, Paul. The Complete Martial Arts Un-armed Combat
Crompton, Paul, trans. A Dictionary of the Martial Talhoffer, Hans. Medieval Combat
Arts, by Louis Frederic
Walters, Derek. Chinese Mythology: An Encyclope-
Daniel, Charles. Kenjutsu: The Art of Japanese dia of Myth and Legend
Swordsmanship
Warner, Gordon and Donn Draeger. Japanese
Draeger, Donn. The Weapons and Fighting Arts of Swordsmanship: Technique and Practice
Indonesia
Wujcik, Erick. Ninjas and Superspies
Draeger, Donn, and Robert Smith. Comprehensive
Asian Fighting Arts Yang, Dr. Jwing-Ming. Introduction to Ancient Chi-
nese Weapons
Evangelista, Nick. The Encyclopedia of the Sword
Yates, Keith. Warrior Secrets: A Handbook of the
Finn, Michael. Martial Arts: A Complete Illustrated Martial Arts
History
Zoran, Rebac. Thai Boxing Dynamite: The Explo-
Gygax, Gary. Oriental Adventures sive Art of Muay Thai
Hallander, Jane. The Complete Guide to Kung Fu Various martial arts magazines, including Black
Fighting Styles Belt, Inside Kung Fu and its progeny, Karate/Kung
Hatsumi, Masaaki. Ninjutsu: History and Tradition Fu Illustrated, and Tae Kwon Do Times.
Hayes, Stephen. The Mystic Arts of the Ninja Various sites on the World Wide Web
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Kim, Ashida. Ninja Mind Control
APPENDIX
This Appendix contains some additional jutsu, or Saijutsu, are defined as working with a
information about, and rules for, various Martial particular type of weapon as a default, which means
Maneuvers and other game elements frequently they only work with that weapon — the character
used by martial artist characters. cannot use them barehanded.
If a character wants to expand the scope of
PAGE 99  RANGED MARTIAL ARTS
attacks he can apply his Martial Maneuvers to,
A character can buy Ranged Martial Arts he needs to buy Weapon Elements. It may help
for innate Ranged attacks, like his Energy Blast conceptually if you think of the term “Weapon Ele-
— the rules don’t require that a Ranged Martial Art ment” as meaning “Game Element Characters Buy
involve a weapon. So, a character could develop a To Let Them Add Martial Maneuver Damage To
Ranged Martial Art for his Energy Blast or other An Attack.”
innate/natural ranged attacks, assuming the GM For example, if a character has a weapon and
didn’t object. The GM might, to keep things bal- wants to add Martial Maneuver damage and modi-
anced, let the character take one Energy Blast as a fiers to its use, he must buy an appropriate Weapon
free “Weapon Element,” then require the character Element. If a character has claws and wants to add
to buy any other Ranged attack (even a similar Martial Maneuver damage and modifiers when he
Energy Blast with an Advantage) as a separate uses them, he must buy Weapon Element: Claws.
“Weapon Element.” Of course, in either case the character could define
Characters cannot buy Ranged Martial Arts his Martial Maneuvers as working by default with
for use with Mental Powers. his weapon or his claws; then he wouldn’t need
Ranged Martial Arts DCV bonuses only apply a Weapon Element for that use, but would need
against Ranged attacks. The GM may waive this in Weapon Element: Barehanded to use the Martial
the interest of simplicity if preferred. Maneuvers with just his STR. (The same rationale
If a character wants to apply Advantages or applies to Ranged Martial Arts and Ranged attacks
Limitations to a Ranged Martial Arts maneuver, like thrown weapons or Energy Blast.)
every +1 bonus costs +3 Character Points, ever -1 One exception: characters can add Hand-To-
penalty -3 Character Points. Hand Attack damage to Martial Arts normally, as
PAGE 101  EXTRA DAMAGE CLASSES stated on page 185 of the HERO System 5th Edi-
tion, Revised. This only applies to HA bought as
A character cannot take a Limitation on Extra an innate power, though — if a character uses HA
DCs. However, if he wants to simulate a special to create a weapon like a club or a staff, he needs a
form of attack, he could buy some Extra DCs at full Weapon Element to use that weapon with his Mar-
price, then voluntarily restrict them to only certain tial Maneuvers.
Maneuvers for no point savings. A few Weapon Elements (e.g., Use Art In Zero
PAGE 102  WEAPON ELEMENTS Gravity, Use Art In Armor) work a little differently
— they function sort of as Limited forms of Envi-
In a Superheroic game, where a character pays
ronmental Movement, allowing characters to use
Character Points for his weapons, he does not have
their Martial Arts in situations where they would
to buy the appropriate WF to use his weapons with
otherwise be unable to use them or suffer penalties.
his Martial Maneuvers. However, he does have to
buy the appropriate Weapon Elements. PAGE 112  ANALYZE STYLE
If a character has natural weapons — claws, The Analyze Style Skill in UMA lists certain
fangs, or the like — he cannot automatically use his benefits that are different from the ones described
Martial Maneuvers to enhance the damage they do. in the HERO System 5th Edition, Revised rulebook.
He must buy a Weapon Element, Use Art with Nat- These are in addition to the benefits describe in
ural Weaponry. Alternately, he could buy Martial the rulebook, and the character gets all the benefits
Arts defined as working with his natural weaponry with a single roll.
by default (like the Red In Tooth And Claw style in
the HERO System Bestiary). PAGE 142  MARTIAL MANEUVERS
Weapon Elements And Using Martial Maneuvers Page 425 of the HERO System 5th Edition,
To Add Damage Revised rulebook notes that Martial Maneuvers
When a character buys Martial Arts, his Mar- don’t cost END. However, unless the GM rules oth-
tial Maneuvers work with one form of attack as a erwise, a character performing one must still pay
“default.” In most cases, that attack is “barehanded the full normal END cost for his STR. This applies
STR damage.” A few styles, such as Fencing, Kyu- even if the maneuver is one that doesn’t benefit
Hero Games 191
from adding STR damage or capacity, such as a who should make the call in light of game balance
Nerve Strike. considerations, common sense, and dramatic sense.
If a character has a Martial Maneuver with two The GM should not let a PC turn a 4-point Martial
bases, such as Block-Grab or Block Throw, there Maneuver into a frequently-used Drain All Powers
may be some circumstances under which the GM Emanating From The Head/Skull.
would allow him to use one “part” of the maneuver If a character has Martial Grab, or some other
without using the other. It depends on how the maneuver that adds STR to Grab, he does not get
maneuver’s defined. Most Throw-based maneuvers, the benefits of that extra STR when using Choke
for example, do their damage in whole or in part by Hold. Choke Hold and Martial Grab are completely
slamming the target to the ground, so not using the separate Martial Maneuvers.
Target Falls element makes the maneuver mean-
PAGE 143  CRUSH
ingless. Some maneuvers have the “Must Follow”
element, which obviously indicates that one part of The Crush Martial Maneuver uses the Follow
the maneuver must follow another. So, you have to element. As indicated on pages 93-94, the Follow
look at the maneuver from the perspective of spe- element means the attack takes place on the Phase
cial effects, common sense, and dramatic sense. In following the indicated maneuver/event. To use
light of that, the GM could allow a character to use Crush, a character Grabs his target in a Phase (he
only part of a maneuver if he wanted — but even in could then Squeeze the target, if desired, per the
that case, that should be the exception, not the rule. usual rules for Grab). In his next Phase, provided
Maneuvers with multiple elements are packaged the target hasn’t escaped, the character can attack
together specifically because they’re meant to be with his Crush. This requires an Attack Roll (modi-
used together; a character who doesn’t want to do fied by the maneuver’s OCV modifier, the target’s
those things together should purchase two maneu- DCV penalty for being Grabbed, and so forth). If a
vers that each do one of the things the “combo” character wants to repeatedly Crush someone, he
maneuver does all at once. has to make an Attack Roll each Phase he uses the
A character cannot Link two or more maneuver.
Martial Maneuvers together. PAGE 144  DODGE
Adding Damage A character could create a Martial Maneuver
Martial Maneuvers that don’t add dice that combines Dodge with a Non-Exclusive Ele-
of damage — such as Killing Damage strikes, ment such as Target Falls, thus allowing him to (for
NND Strikes, Exert-based maneuvers, and so on example) “trip” people who attack him. However,
— cannot be used to add damage to weapons or you must apply common sense when using such a
other attacks. If the Maneuver doesn’t add DCs to Maneuver. For example, the Target Falls part of the
an attack — if it allows the character to do a dif- maneuver would only affect HTH attackers, not
ferent type of damage than Normal (e.g., Killing or persons who attack the character at range.
NND) — it’s not going to add to weapon damage
at all. Its function isn’t to add, but to differentiate. PAGE 144  FLYING DODGE
That’s why weapons-based styles — Arnis, Fencing, If a character has a Held Half Action, he may
Gatka, Kenjutsu, and the like — don’t have Killing use it to use Flying Dodge. In that situation, he gets
Damage-based maneuvers, and why their NND a Half Move and the +4 DCV bonus.
maneuvers (like the Atemi Strike in Naginatajutsu) If a character Aborts to a Flying Dodge, he gets
are expressed as straight damage, not a bonus to the the Full Move worth of movement normally associ-
weapon like the other Maneuvers. ated with the maneuver.
If a character with Flying Dodge moves out
PAGE 142  BLOCK of the way of an area-affecting attack, compare the
Generally, a character cannot Block an inches moved to where the attack hits (typically the
attack he cannot perceive. That means the GM hex the character was formerly standing in) and
has to decide on a case-by-case basis whether a the attack’s size — it’s possible that, as with a Dive
character can “perceive” an attack. If the attack For Cover, the character’s movement didn’t carry
is Fully Invisible (including the source of the him far enough to get out of the way. If the Flying
power), then a character probably has no chance Dodge’s movement carries him beyond the area
to Block it. On the other hand, if the character covered by the Area Of Effect/Explosion, then the
can’t perceive the attack but can perceive his attack doesn’t affect him.
attacker gesturing at him or initiating the attack, If a character uses Flying Dodge to try to
perhaps the GM would simply apply the penal- avoid a ranged non-area-affecting attack, he still
ties for fighting an invisible attacker, or perhaps a gets to move and still gets a DCV bonus from the
Surprised bonus, to the Block attempt. maneuver, but he’s not automatically missed — the
attacker still gets a roll to hit (unlike with Dive For
PAGE 143  CHOKE HOLD
Cover, where the attack would automatically miss).
A Choke Hold prevents the use of headbutts. If it’s a HTH attack, the Attack Roll is irrelevant,
A Choke Hold does not cut off the victim’s senses, since the character won’t be in HTH combat range
but might interfere with them (i.e., cause PER Roll any longer.
penalties, as determined by the GM). It might cut If a character performs a Flying Dodge to,
off, or diminish the effectiveness of some powers for example, move around a corner so his attacker
(such as a sonic scream), but that’s up to the GM,
cannot see him, that does not mean his attacker’s PAGE 144  GRAB
attack automatically misses. The HERO System If a character has Combat Skill Levels with
combat rules model a highly dynamic situation Grab, he cannot apply them to the OCV of, or
— two or more characters acting in the midst of damage caused with, the Redirect or Block of a
battle — with a relatively rigid set of timed and Grab-and-Redirect or Grab-and-Block combina-
controlled actions. It’s not as if one character moves tion. Nor can he apply Extra DCs to increase the
while everyone else does nothing, then the next damage of those maneuvers.
person acts, and so on — all the actions in a combat Characters can use Grab-and-Redirect with
Segment are occurring more or less “at once,” but Ranged attacks, assuming appropriate special
are resolved in a certain order to manage the game. effects (such a maneuver might work very well with
The attacker’s attack might hit just as the character a gun, less well or not at all with a bow or throwing
starts his Flying Dodge or the like. The fact that knife). Characters cannot apply Range Skill Levels
he declares that he’s moving around an obstacle with a Redirect, though.
doesn’t ensure he’ll get there in time — all the
maneuver provides is a DCV bonus. Page 146 — One-Handed Grabs
If a character Aborts to a Flying Dodge If a character Grabs another character with
against a Ranged attack, the Range Modifier that just one hand, that means both characters have at
applies to the attacker derives from the distance least one free hand. They can use their free hands
between the attacker and where the character is at to attack each other if they want to. Standard Grab
the end of his movement. For example, if a charac- modifiers (which include OCV penalties for the
ter begins a Flying Dodge 4” away from his attacker Grabbed character to attack the Grabber) apply.
(-0 Range Modifier) and ends it 12” from his Technically the Grabber could squeeze the Grabbed
attacker (-4 Range Modifier), the attacker suffers a character, but the GM might want to restrict that
-4 Range Modifier penalty. depending on the exact arrangement (e.g., if the
Grabber has only Grabbed the victim by the arm,
PAGE 144  FULL MOVE inflicting damage by squeezing probably doesn’t
If a character has a Martial Maneuver with make much sense).
the FMove element, he can perform a Half Phase If a character performs a Grab with only one
Action before using it? However, that means he can hand, he’s still at ½ DCV
only make a Half Move when using a Movement
Power with his Martial Maneuver.
Characters cannot use Martial Arts maneuvers
with the FMove element in the same manner as a
Multiple Move-By.
Hero Games 193
PAGE 147  GRAPPLING BLOCK PAGE 152  TAKEAWAY

Grappling Block allows a character to Block a If a character has a Takeaway maneuver, at
HTH attack, and at the same time Grab the person the GM’s option he can use it to defend against
making the Block. If the character just wants to Takeaway maneuvers used by persons attacking
Block, without Grabbing, he can Abort. The charac- him, using the same optional rule as for Disarms
ter cannot Abort to Grappling Block it if he wants (page 143).
to use the Grab part of the maneuver.
PAGE 152  THROWS
PAGE 149  RESPONSE The weight limit for normal Throws (the char-
If a character has a Martial Maneuver with acter’s Pushed STR) also applies to Ranged Martial
the Response Element defined that it only works Maneuvers with the Throw element.
after his opponent performs some maneuver If a character applies the Area Of Effect Advan-
or action, the opponent has to complete the tage to a Throw maneuver, the weight limit for
maneuver/action — just starting it isn’t enough. Throws applies per target, not over the entire area.
However, the opponent doesn’t have to complete With the GM’s permission, a character can
it successfully; for example, a maneuver that’s a use a Throw-based maneuver to Throw a target
Response to an attack doesn’t require that the into another target. He uses only his base OCV
attack hit or hurt the character. However, if a (OCV from DEX, without any positive modi-
maneuver Must Follow Block, the character must fiers) to roll to hit the second target. If he hits, he
successfully Block an attack with it; if the Block does the maneuver’s damage to both targets. As
fails, he can’t use the maneuver to “respond.” a default rule, the “missile” (the character being
A Response-based maneuver can only be Thrown) can’t do anything to interfere with or
used against the character who “triggers” it. For stop this attack — the assumption is that the mis-
example, if an attack Must Follow Block, a char- sile isn’t sufficiently in control to prevent being
acter can only use its attack against the person he thrown. However, at the GM’s discretion, maybe
just successfully Blocked; he can’t make an attack the missile’s flailing around imposes a small OCV
against some third party. penalty on the thrower’s Attack Roll, or perhaps the
If a character has a Martial Maneuver with missile would try to “cushion” the impact and take
Response that specifies an attack as the precondi- off a DC or two of damage by making a DEX Roll
tion for the maneuver, that means any type of that at a -1 penalty for each point by which the thrower
attack. For example, a maneuver with “Must Follow made his Attack Roll. Since the “missile” is a Ranged
Grab” works with any type of Grab — i.e., a stan- attack, he can be Missile Deflected, but not Blocked.
dard Grab Combat Maneuver, or any Maneuver A character cannot use a Throw-based maneu-
with the “Grab Opponent” Element (Martial Grab, ver to Throw a target who’s already prone.
Grappling Block, Joint Lock, or the like). The rules indicate that a character can’t Throw
someone he can’t lift with his Pushed STR. When
PAGE 149  SHOVE
using a Throw-based maneuver, a character must
Shove only works on opponents that can fight use a minimum of enough STR to lift the target. He
back; characters cannot ordinarily use it against doesn’t have to use his full STR if he doesn’t want
inanimate objects. However, a character could build to. Furthermore, he may, with the GM’s permis-
a similar Exert-based maneuver that worked on sion, use his STR only to “lift,” not to cause damage
objects, if the GM allowed. (though he still has to pay END for the STR when
The GM can apply the rules and guidelines for doing this, of course).
resisting Throws with Powers (page 153) to efforts If the target of a Throw is standing still, his
to resist Shove, if appropriate and desired. However, velocity is 0” and adds no damage to the attack. If
in general, Knockback Resistance should not have he’s moving, use his relative velocity, as discussed
any effect — Shoving is not Knockback, and doesn’t on page 97. If he’s Thrown in a Segment in which
really depend on “impact” the way some Throws do. he doesn’t have a Phase but the GM judges that he
For Clinging, use the standard “STR versus Cling- is “moving” (e.g., he’s in mid-air or mid-run in a
ing” rules on page 143 of the HERO System 5th Edi- situation when he moved last Phase and is obvi-
tion, Revised. ously going to keep moving in his next Phase),
At the GM’s option, any character can shove the GM can assign him whatever velocity seems
another character the same distance he could appropriate. As always, apply common sense and
throw him with a Prone Throw; this is a standard dramatic sense.
combat action involving STR and doesn’t require
the character to purchase any maneuver. The GM PAGE 159  GROUNDFIGHTING
may, if he wishes, allow a character with only 0 The OCV penalty for groundfighting does not
Extra STR to still shove someone ½”. The general apply to Ranged attacks, unless the GM rules oth-
rules for Shove on pages 149-50 apply to this erwise.
type of shoving.
ULTIMATE MARTIAL ARTIST INDEX

Acrobatics ................................................... 112 Choke Hold ................................................ 142 Flying Kick ................................................. 143 Jo (weapon) ........................................ 171, 178
Activation Roll ........................................... 133 Choy Lee Fut (substyle of Kung Fu) ......... 40 Fo (weapon) ....................................... 171, 177 Joarare (weapon) ............................... 168, 174
Advanced Ninjutsu ................................ 75-83 Chu-ko-nu (weapon) ........................ 168, 175 Foil (weapon) ..................................... 169, 177 Joint Locks and Related Maneuvers ........ 147
Advantages Chuarare (weapon) ........................... 168, 174 Follower ...................................................... 117 Jonin .............................................................. 75
Generally ............................................ 131 Chunin .......................................................... 75 Force Wall ................................................... 127 Jujutsu ........................................................... 30
For Martial Maneuvers ..................... 104 Cireum (substyle of Wrestling).................. 61 Frameworks, Power ................................... 133 Jukenjutsu ..................................................... 32
Age ............................................................. 135 Climbing Equipment, Ninja ....................... 82 French School (substyle of Fencing) ......... 27 Jusul (Hwarang-Do special ability) ........... 29
Aid (Power) .......................................... 119-21 Clinging ...................................................... 121 Fringe Benefits ........................................... 117 Jutsu versus Do ............................................ 15
Aikido ........................................................... 15 Combat Manuevers ........................... 142-153 Frog-Crotch Arrow (weapon) .......... 168, 174 Kage Ryu (substyle of Kenjutsu)................ 36
Alien Martial Artist (character Combat Sense ............................................ 118 Fukimi-bari (weapon)....................... 168, 177 Kajukenbo (substyle of Karate) ................. 34
archetype) ........................................... 107 Combat Skill Levels ............................. 113-14 Fukiya (weapon) ................................ 168, 177 Kalaripayit .................................................... 32
American from the Orient (character Combat Values, effect of Grab on ............ 145 Fulfiller of Prophecy (character Kama (weapon).................................. 171, 178
archetype) ........................................... 107 Comet Star Hammer (weapon) ....... 168, 176 archetype) ........................................... 108 Kamayari (weapon) ........................... 171, 185
American ninja, modern ............................ 83 Commando Training .................................. 23 Full-Contact Karate Armor ...................... 186 Kampfringen ................................................ 33
An Ch’i .......................................................... 16 Concealed and Inobvious Weapons ........ 174 Gada (weapon)................................... 171, 175 Kanzashi (weapon) ............................ 171, 178
Analyze Style .............................................. 112 Concealed Weapons and Gadgets ........... 155 Garrotte (weapon) ............................. 171, 177 Kapak (weapon) ................................. 168, 178
Arare (weapon) .................................. 168, 174 Contact........................................................ 117 Gatka ............................................................. 26 Karate ............................................................ 33
Arbir (weapon) .................................. 171, 174 Copper Hammer (weapon) .............. 169, 176 Generic Martial Arts ................................... 27 Karate Armor ............................................. 186
Archetypes for martial artist Counterpunching/counterstriking Genin............................................................. 75 Kashima (substyle of Kenjutsu) ................. 36
characters............................................ 107 techniques .......................................... 131 Gestures ...................................................... 133 Katana (weapon)................................ 169, 178
Area Of Effect ............................................ 131 Cover ........................................................... 142 Ghi (weapon) ..................................... 171, 177 Kelantan (substyle of Bersilat) ................... 20
Arit (weapon) ..................................... 169, 174 Crane Style (substyle of Kung Fu) ............. 41 Ghost Eye Techniques ................................. 66 Kendari Silat (substyle of Pentjak-Silat) ... 51
Armor (Power) .......................................... 121 Creating Weapons ..................................... 187 Ghost Palm Techniques .............................. 66 Kendo Armor ............................................. 186
Armor (various types) ........................ 186-87 Critical Hits ................................................ 156 Gikan Ryu (substyle of Ninjutsu) .............. 46 Kenjutsu ........................................................ 35
Arnis/Kali/Escrima ..................................... 17 Cutlass (weapon) ............................... 169, 176 Gliding ........................................................ 127 Kenpo (substyle of Karate) ......................... 34
Arrows (weapon) ............................... 168, 174 CVs, effect of Grab on ............................... 145 Glimae (substyle of Wrestling) .................. 61 Kerojok.......................................................... 49
Arte dell’Abbracciare .................................. 18 Cyberpunk/Near Future Martial Arts....... 84 Glossary ...................................................... 110 Ki ............................................................... 15
Ashiko (weapon) ............................... 171, 174 Cymbal (weapon) .............................. 169, 176 Goju-ryu (substyle of Karate) .................... 34 Kiai Powers (Multipower) ........................ 134
Asura (substyle of Wrestling)..................... 61 Damage Classes, Extra .............................. 101 Golden Demon Kung Fu ............................ 67 Kick-boxing, Thai ........................................ 58
Attack Versus Limited Defense Damage Reduction .................................... 122 Grab ............................................................. 143 Kickboxing (substyle of Karate) ................ 34
(AVLD) ............................................... 148 Damage Resistance .................................... 122 Grab Weapon ............................................. 146 Kickboxing Champion (character
Autofire ....................................................... 131 Damage Shield ........................................... 131 Grenade, Smoke (weapon) ............... 168, 178 archetype) ........................................... 108
Avenger (character archetype) ................. 107 Dancing Spider ............................................ 64 Gulat (substyle of Wrestling) ..................... 61 Kickboxing Cop (character archetype)... 108
AVLDs ......................................................... 148 Danger Sense.............................................. 118 Gyokko Ryu (substyle of Ninjutsu) ........... 46 Kid (character archetype) ......................... 108
Axe, Chinese (weapon) ..................... 169, 174 Darn Do (weapon) ............................ 169, 176 Gyokkushin Ryu (substyle of Ninjutsu) ... 47 Killing Attack, Ranged .............................. 128
Bando ............................................................ 19 Death touch (dim mak) ............................ 123 Hakko-Ryu (substyle of Jujutsu) ............... 31 Killing Throw ............................................. 147
Baru Silat (substyle of Pentjak-Silat)......... 50 Delima (substyle of Pentjak-Silat) ............. 51 Hanbo (weapon) ................................ 171, 178 Kirisutogomen (Fringe Benefit) .............. 117
Basis, for Martial Maneuvers ..................... 90 Dependent NPC ........................................ 135 Hand Mace (weapon)........................ 169, 178 Kiseru (weapon) ................................ 171, 178
Bear Style (substyle of Kung Fu) ............... 40 Designing Martial Arts Styles .................... 88 Hand to Hand Maneuvers ............................ 9 Kito-Ryu (substyle of Jujutsu).................... 31
Belts and Ranks............................................ 13 Designing New Martial Arts .............. 88-103 Hand-To-Hand Attack .............................. 127 Knight-Errant (character archetype) ...... 109
Bengkong ...................................................... 20 Desolidification.......................................... 122 Hand-Wrappings, leather and rawhide... 186 Knockback and Martial Arts .................... 161
Bersilat .......................................................... 19 Dim mak (death touch) ............................ 123 Hankyu (weapon) .............................. 168, 178 Knockback Resistance .............................. 128
Bhakti Negara (substyle of Dirty Infighting/Fisticuffs/Cinematic Hapkido ........................................................ 27 Knowledge Skills........................................ 115
Pentjak-Silat) ........................................ 50 Brawling ................................................ 23 Harimau Silat (substyle of Knuck-Knife (weapon) ..................... 169, 178
Bibliography ............................................... 189 Disabling Attacks ....................................... 156 Pentjak-Silat) ........................................ 51 Ko-Gatana (weapon) ......................... 169, 178
Bind ............................................................. 142 Disadvantages ............................................ 135 Healing ........................................................ 127 Koarare (weapon) .............................. 168, 174
Blade flourish ............................................. 131 Disarm ........................................................ 142 Healing ........................................................ 158 Kobujutsu (variant of Karate) .................... 34
Blinded Characters and Martial Arts ...... 154 Disguising Damage ................................... 157 Heidelberg School (substyle of Fencing) .. 27 Korogi Taijutsu ............................................ 76
Block............................................................ 142 Dispel .......................................................... 123 Hikime Arrow (weapon) .................. 168, 174 Koshti (substyle of Wrestling).................... 61
Bo (Staff ) (weapon) ........................... 171, 174 Distinctive Features ................................... 135 Hindering Circumstances and Martial Koto Ryu (substyle of Ninjutsu) ................ 47
Bo Shuriken (weapon) ...................... 168, 182 Do versus Jutsu ............................................ 15 Arts ...................................................... 158 Krabi-Krabong ............................................. 58
Bojutsu/Jojutsu ............................................ 20 Doces Pares (substyle of Arnis/Kali/ Hing kung ................................................... 127 Krav Maga .................................................... 37
Bokken (weapon) .............................. 169, 174 Escrima)................................................ 18 Hisardut ........................................................ 27 Kris (weapon)..................................... 169, 179
Bound Characters and Martial Arts........ 154 Dragon Style (substyle of Kung Fu) .......... 41 Hit Locations Kuk Sool Won .............................................. 37
Boxing, Ancient ........................................... 21 Dragon’s Tongue Arrow (weapon) .. 168, 174 Generally ............................................ 160 Kukri (weapon) .................................. 169, 179
Boxing, Modern ........................................... 21 Drain ..................................................... 123-24 Martial Maneuvers and .................... 101 Kukushinden Ryu (substyle of
Brass Knuckles (weapon) ................. 171, 174 Dropped Marbles (weapon) ............. 168, 176 Honorable Ninja (character archetype) .. 108 Ninjutsu)............................................... 47
Breakfall ...................................................... 113 Drunken Clown Kung Fu ........................... 65 Hook Sword (weapon) ...................... 169, 178 Kumango Silat (substyle of
Brick Martial Artist (character Drunken Style (substyle of Kung Fu) ....... 40 Horror Martial Arts..................................... 85 Pentjak-Silat) ........................................ 51
archetype) ........................................... 107 Dumog (substyle of Wrestling).................. 61 Hsing-I .......................................................... 28 Kumogakure Ryu (substyle of
Brick Tricks .................................................. 64 Eagle Claw (substyle of Kung Fu) ............. 40 HTH and Ranged Maneuvers, mixing .... 100 Ninjutsu)............................................... 47
Bruce Lee ...................................................... 30 Elements, of Martial Maneuvers.. 91-97, 100 Hung Gar (substyle of Kung Fu) ............... 40 Kung Fu ........................................................ 38
Building Styles ....................................... 10, 13 Enclosed spaces, Weapon Lengths and ... 165 Hunted ........................................................ 136 Kunoichi ....................................................... 75
Bundi (weapon) ................................. 169, 175 Endokuken (weapon)........................ 168, 176 Hwarang-Do ................................................ 29 Kuntao........................................................... 43
Bûno (substyle of Wrestling)...................... 61 Energy Blast ............................................... 125 Igabakama .................................................... 45 Kusari (weapon) ................................ 170, 179
Bunot-Page (weapon) ....................... 171, 175 English School (substyle of Fencing) .. 26-27 Ignoring Opponents .................................. 160 Kusari-fundo (weapon) .................... 170, 179
Butterfly Sword (weapon)................. 169, 175 Enhanced Senses ....................................... 125 Indirect........................................................ 132 Kusarigama (weapon) ....................... 170, 179
Capoeira ....................................................... 22 Epee (weapon) ................................... 169, 177 Infiltration Equipment, Ninja .................... 82 Kwan Dao (weapon).................... 171, 182-83
Career Path of the Martial Artist ............. 110 External versus internal styles ................... 15 Inobvious and Concealed Weapons ........ 174 Kyogetsu Shoge (weapon) ................ 170, 179
Casual STR Versus Barriers ...................... 155 Extra Damage Classes ............................... 101 Internal versus external styles .................... 15 Kyokushinkai (substyle of Karate) ............ 34
Cestus (weapon) ................................ 171, 175 Extra Limbs ................................................ 127 Interposing ................................................. 160 Kyujutsu ........................................................ 43
Ch’i 15 Fang (weapon) ................................... 171, 177 Invisible Power Effects .............................. 132 Lack Of Weakness ..................................... 128
Ch’i Powers (Multipower) ........................ 134 Fantasy Hero, Binds in .............................. 142 Iron Mandarin Duck (weapon) ....... 168, 178 Lacoste (substyle of Arnis/Kali/
Ch’uan Po (ancient Chinese boxing) ........ 21 Fantasy Martial Arts .................................... 84 Irritable Student (character archetype) .. 108 Escrima)................................................ 18
Chai-Dao (weapon)........................... 171, 175 Fast Draw .................................................... 114 Isshin-Ryu (substyle of Karate) ................. 34 Lajatang (weapon) ............................. 171, 179
Chain Sword (weapon) ..................... 171, 175 Feints ........................................................... 127 Italian School (substyle of Fencing) .......... 27 Language ..................................................... 116
Chain Whip (weapon) ...................... 171, 175 Fencing.......................................................... 24 Itto Ryu (substyle of Kenjutsu) .................. 36 Largo Mano (substyle of Arnis/Kali/
Chakar (weapon) ............................... 171, 181 Fictional Martial Arts............................ 64-74 Jailhouse Rock.............................................. 29 Escrima)................................................ 18
Chelak (substyle of Bersilat) ...................... 20 Fist-Load (weapon) ........................... 171, 177 Jeet Kune Do ................................................ 30 Leaping........................................................ 128
Chiang (Chinese spear) (weapon)... 171, 175 Flying Claw (weapon) ....................... 171, 177 Jien (weapon) ..................................... 169, 178 Learning Martial Arts ................................. 10
Chin Na (substyle of Kung Fu) .................. 40 Flying Guillotine (weapon) .............. 171, 177 Jigen-Ryu (substyle of Kenjutsu) ............... 36 Leather Hand-Wrappings ......................... 186
Hero Games 195
Lee, Bruce ..................................................... 30 Optional Rules and Special Cases ..... 154-66 Serada (substyle of Arnis/Kali/Escrima) .. 18 Tetsubo (weapon) .............................. 171, 183
Leopard Style (substyle of Kung Fu) ......... 41 Other Styles .................................................. 63 Serious Student (character archetype) .... 110 Thai Kick-boxing ......................................... 58
Lightning Reflexes ..................................... 118 Pakua ............................................................. 47 Setia Hati (substyle of Pentjak-Silat)......... 52 Than Vo Dao ................................................ 59
Limitations ................................................. 133 Pamur (substyle of Pentjak-Silat) .............. 51 Sevillian Knifefighting ................................ 54 Thang-Ta ....................................................... 58
Limitations, for weapons creation ........... 187 Pankration .................................................... 48 Shaolin Animal styles (substyles of Three-Section Staff (weapon) .......... 171, 183
Lin Kuei .................................................. 16, 83 Parang (weapon) ................................ 170, 181 Kung Fu) ............................................... 41 Throw .................................................... 152-53
Long Fist (substyle of Kung Fu) ................ 40 Partial Maneuvers ...................................... 149 Shinai (weapon) ................................. 170, 182 Thunder Dragon Kung Fu .......................... 73
Lua 44 Patai Silat (substyle of Pentjak-Silat) ........ 51 Shinden Fudo Ryu (substyle of Tiger Fork (weapon) ......................... 171, 183
Luck ............................................................. 128 Paths of the Seven Ghost Sisters ................ 67 Ninjutsu)............................................... 47 Tiger Style (substyle of Kung Fu) .............. 41
Maashira ....................................................... 86 Pauh Silat (substyle of Pentjak-Silat) ........ 51 Shinobi-Zue (weapon) ...................... 171, 182 Timbe (weapon) ................................ 171, 184
Main-Gauche (weapon) .................... 169, 179 Pedang (weapon) ............................... 170, 181 Shinobifuku .................................................. 45 Tjaluk (weapon)................................. 170, 184
Makila (weapon)................................ 171, 179 Pekiti Tersia (substyle of Arnis/Kali/ Shinobijutsu ................................................. 75 Tjampur Silat (substyle of
Mallayuddha (substyle of Wrestling) ........ 61 Escrima)................................................ 18 Shinobizukin ................................................ 45 Pentjak-Silat) ........................................ 52
Mana ............................................................. 15 Pendjepit (weapon) ........................... 171, 181 Shito-Ryu (substyle of Karate) ................... 34 Tjimande (substyle of Pentjak-Silat) ......... 52
Maneuvers and Weapons ............................ 10 Pentjak-Silat ................................................. 49 Shorei-Ryu (substyle of Karate) ................. 35 Tjingkrik (substyle of Pentjak-Silat) ......... 52
Maneuvers Basis .......................................... 90 Perisai Diri (substyle of Pentjak-Silat) ...... 51 Shorin-Ryu (substyle of Karate) ................ 35 Toami (Net) (weapon) ...................... 168, 184
Manriki-Gusari (weapon) ................ 170, 179 Perquisites................................................... 117 Shorinji Kempo (substyle of Kung Fu) ..... 41 Togakure Ryu (substyle of Ninjutsu) ........ 47
Martial arts Petjat (weapon) .................................. 171, 181 Shotokan (substyle of Karate) .................... 35 Toledo (substyle of Arnis/Kali/Escrima) .. 18
Archetypes .......................................... 107 Philosopher (character archetype) .......... 109 Shove ........................................................... 149 Tonfa (weapon) .................................. 171, 184
Designing new ones/styles ......... 88-103 Poluraathkaa ................................................ 85 Shuai-chiao (substyle of Wrestling) .......... 61 Transfer ....................................................... 130
Fictional .......................................... 64-74 Power Advantages Shuko (weapon) ................................. 171, 182 Transform ................................................... 130
In other genres ..................................... 84 Generally ............................................ 131 Shuriken (weapon) ............................ 168, 182 Tridharma (substyle of Pentjak-Silat) ....... 52
Maneuvers, designing ......................... 89 For Martial Maneuvers ..................... 104 Shurikenjutsu ............................................... 54 Trigger ......................................................... 132
Other ways to build .......................... 103 Power Defense ........................................... 129 Sidekick (character archetype) ................ 110 Trulkor .......................................................... 83
Power Advantages for ....................... 104 Power Frameworks .................................... 133 Silent Path Taijutsu ...................................... 77 Tsubute (weapon) .............................. 168, 184
Real world............................................. 15 Power Limitations ..................................... 133 Silken Blade Kung Fu .................................. 70 Tuju 50
Weapons ....................................... 167-86 Powers Simgomdo .................................................... 55 Tunneling.................................................... 130
Martial Escape ........................................... 147 Generally ............................................ 119 Simulate Death........................................... 118 Twisting the Blade ..................................... 165
Martial Maneuvers Resisting Throw with ........................ 153 Skills ............................................................ 112 Uechi-ryu (substyle of Karate) .................. 35
Generally ................................................ 8 Used in Weapon Creation ................ 187 Skinsplitter Arrow (weapon) ............ 168, 174 Ueshiba, Morihei ......................................... 15
Using weapons with ............................ 10 Prana ............................................................. 15 Sleight Of Hand ......................................... 116 Umebi (weapon) ................................ 171, 184
Master (character archetype) ................... 109 Praying Mantis Style (substyle of Sling Bow (weapon) .......................... 168, 182 Unsinbbop (Hwarang-Do special
Melee Weapons Table ........................ 169-172 Kung Fu) ............................................... 41 Snake Style (substyle of Kung Fu) ............. 41 ability) ................................................... 29
Mental Defense .......................................... 128 Prisai Sakti (substyle of Pentjak-Silat) ...... 51 Social Limitation ....................................... 138 Unwilling Fighter (character
Metsubishi (weapon)................... 168, 179-80 Professional Skill........................................ 116 Soft Hammer (weapon) .................... 169, 182 archetype) ........................................... 110
Mijin (substyle of Kenjutsu) ...................... 36 Professional Wrestling ................................ 62 Sosuishitsu-Ryu (substyle of Jujutsu) ....... 31 Urumi (weapon) ................................ 170, 184
Miscellaneous Equipment, Ninja............... 83 Psychological Limitation .......................... 136 Spanish School (substyle of Fencing) ....... 27 Variable Advantage .................................... 132
Missile Deflection And Reflection .......... 129 Pulp Era Martial Arts .................................. 85 Special Cases and Optional Rules ..... 154-66 Variant Styles of Taijutsu ...................... 76-78
Mist Viper Taijutsu ...................................... 76 Puñal (weapon).................................. 170, 181 Speedster Martial Arts ................................ 71 Vigilante Martial Artist (character
Mixing and Matching Archetypes .......... 107 Pushback ..................................................... 161 Splendid Fist ................................................. 71 archetype) ........................................... 110
Mixing HTH and Ranged Maneuvers .... 100 Qwan Ki Do ................................................. 52 Spread-The-Water Knife Villabrille (substyle of Arnis/Kali/
Miyamoto Musashi................................ 35, 37 Ranged and HTH Maneuvers, mixing .... 100 (weapon) ..................................... 170, 182 Escrima)................................................ 18
Modern American ninja ............................. 83 Ranged Martial Arts Stances......................................................... 129 Vital Points ................................................ 148
Modern Day Samurai (character Generally ...................................... 99-100 Standard Maneuvers ................................. 150 Vovinam Viet Vo Dao ................................. 59
archetype) ........................................... 109 And Weapon Types ............................. 10 Steel Olive (weapon) ......................... 168, 182 Vulnerability......................................... 139-40
Modifying and Building Styles .................. 10 Ranged Martial Maneuvers Table................ 9 Steel Toad (weapon) .......................... 168, 182 Wado-Ryu (substyle of Karate).................. 35
Money ......................................................... 117 Ranged Weapons Table ............................. 168 Sterlak Silat (substyle of Pentjak-Silat) ..... 52 Wakizashi (weapon) .......................... 170, 184
Mongoose Style .................................... 97, 101 Rante (weapon) .................................. 170, 179 Style Descriptions .......................................... 8 War Fan (weapon) ............................. 171, 184
Monkey Style (substyle of Kung Fu) ......... 40 Rapier (weapon) ................................ 170, 181 Style Distinctive Feature ........................... 135 Warrior-Monk (character archetype) ..... 110
Mourn Staff (weapon) ....................... 171, 180 Razor Dancing ............................................. 84 Styles Water Equipment, Ninja ............................. 82
Move By/Move Through ........................... 147 Razor, Straight (weapon) .................. 170, 181 Additional ones not described Way of the Night Dragon ........................... 77
Muay Thai (Thai Kick-boxing) .................. 58 Re-Efi Areh-Ehsee ....................................... 53 elsewhere .............................................. 63 Weapons
Muk’na .......................................................... 58 Real World Martial Arts.............................. 15 Designing new ones .................... 88-103 Creating .............................................. 187
Mundane Ninja Abilities............................. 78 Reduced Penetration ................................. 133 Modifying and building...................... 10 Flourish ............................................... 131
Musashi, Miyamoto ............................... 35, 37 Redundant Maneuvers ................................ 89 Suio (substyle of Kenjutsu) ........................ 37 Lengths ......................................... 164-65
Muto (substyle of Kenjutsu)....................... 36 Repeticion (substyle of Arnis/Kali/ Sulsa .............................................................. 83 Martial arts weapons ................... 167-86
Mystery Damage ........................................ 162 Escrima)................................................ 18 Sumo Wrestling............................................ 55 Martial Maneuvers used with .... 10, 102
Mystic Ninja Abilities .................................. 79 Reputation (Disadvantage) ...................... 137 Super-Soldier (character archetype) ....... 110 Ranges ................................................. 164
Naban (substyle of Wrestling) ................... 61 Reputation (Perk) ...................................... 117 Superhero Martial Arts ............................... 87 Weapons Combat ........................................ 59
Nagedeppo (weapon) ........................ 168, 180 Resplendent Dragon Kung Fu ................... 68 Sweep .......................................................... 150 Whipfighting ................................................ 60
Naginata (weapon) ............................ 171, 180 Ring Needle (weapon) ...................... 171, 181 Sword-Spear (weapon) ..................... 171, 182 White Crane (substyle of Kung Fu) .......... 42
Naginatajutsu/Sojutsu ................................. 45 Rings (weapon) .................................. 171, 181 Tabi 45 White Eyebrow (substyle of Kung Fu) ...... 42
Naive Hero/Heroine (character Rivalry ......................................................... 138 Tae Kwon Do ................................................ 55 Wild West Martial Arts ............................... 87
archetype) ........................................... 109 Rokushakubo (Staff ) (weapon) ............... 174 Tai Ch’i Ch’uan............................................. 56 Willow Leaf Arrow (weapon) .......... 168, 174
Navaja (weapon) ................................ 170, 180 Roleplaying Combat.................................. 144 Tai-Dao (weapon)........................ 171, 182-83 Wind and Fire Wheels (weapon)171, 184-85
Nekote (weapon) ............................... 171, 180 Ronin (character archetype) .................... 109 Taijutsu, Variant Styles of ...................... 76-78 Wing Chun (substyle of Kung Fu) ............ 42
Nerve Strike ................................................ 148 Root ............................................................. 149 Takagi Yoshin Ryu (substyle of Wishful Steel Ball (weapon) ............. 168, 185
New and Multiple Styles, learning ............. 12 Rope Dart (weapon).......................... 171, 181 Ninjutsu)............................................... 47 Wolf ’s Teeth Staff (weapon) ............. 171, 185
Nine-Dragon Trident (weapon) ...... 171, 180 Sabre (weapon) .................................. 170, 181 Takeaway..................................................... 152 Wounds ....................................................... 165
Nine-Ring Sword (weapon) ............. 170, 180 Sai (weapon) ................................. 171, 181-82 Takenouchi-Ryu (substyle of Jujutsu) ....... 31 Wrestling....................................................... 61
Ninja Saijutsu .......................................................... 53 Takijutsu ....................................................... 72 Wrestling, Professional ............................... 62
From Other Lands ............................... 83 Sambo (substyle of Wrestling) ................... 61 Talents ......................................................... 118 Yaghliguresh (substyle of Wrestling) ........ 61
Gear and Equipment ........................... 82 Samurai (character archetype) ................. 109 Tameshiwara ................................................ 34 Yagyu Shinkage (substyle of Kenjutsu)..... 37
Package Deal ........................................ 75 Samurai Armor .......................................... 187 Tang Soo Do ................................................. 57 Yari (weapon) ..................................... 171, 185
Special Abilities .................................... 78 Sandang Silat (substyle of Pentjak-Silat) .. 51 Tanto (weapon) .................................. 170, 183 Yoroi-Toshi (weapon) ....................... 170, 185
Ninja-To (weapon) ...................... 170, 180-81 Savate............................................................. 53 Tapak Sutji (substyle of Pentjak-Silat) ...... 52 Yoshin-Ryu (substyle of Jujutsu) ............... 31
Ninjutsu Schlaegar Swordfighting (substyle Targeting Injured Areas ............................ 165 Yu-Sool.......................................................... 62
Basic ...................................................... 45 of Fencing) ........................................... 27 Tasawwaf .............................................. 50, 179 Yumi (weapon) .................................. 168, 185
Advanced ........................................ 75-83 Schlaeger (weapon) ........................... 170, 182 Tegumi (substyle of Wrestling) .................. 61 Zen Riflery .................................................... 73
Ninjutsu/Taijutsu, Variant Styles of ..... 76-78 Science Fiction/Far Future Martial Telekinesis .................................................. 130 Zero Gravity and Martial Arts ................. 166
Nito (substyle of Kenjutsu) ........................ 37 Arts ........................................................ 86 Tenjin-Shinyo-Ryu (substyle of Jujutsu) .. 31 Zero Gravity Combat .................................. 87
No-Daichi (weapon) ......................... 170, 181 Science Skill ................................................ 116 Terelak (substyle of Bersilat) ...................... 20 Zipota ............................................................ 63
Nunchaku (weapon) ......................... 171, 181 Sense Ch’i ................................................... 126 Tetsu-To (weapon) ............................ 170, 183
Okol (substyle of Wrestling) ...................... 61 Sequence Attacks ....................................... 163 Tetsubishi (weapon) .......................... 168, 183

The Ultimate Martial Artist

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HERO PLUS EDITION

ISBN: 1-58366-001-1 DOJHERO101 $24.99 • www.herogames.com

HAND-TO-HAND MARTIAL MANEUVERS

RANGED MARTIAL MANEUVERS

OUTSIDE MANEUVERS AND Example: Hitoshi knows Karate. He has pur-

BELTS AND RANKS

buy the art usable with Blades. Students can later

punches, throws, and holds (some styles are, in

ANCIENT BOXING NOTES

Generic Martial Arts HAPKIDO

takes a 2d6+7 roll. The Choke automatically targets

Jeet Kune Do JEET KUNE DO

Jujutsu; only certain schools teach them. Hakko-Ryu

Special Abilities: Characters can simulate gurus’

“soft,” though it does contain some soft techniques.

Nito Style practicality, Krav Maga practitioners do not learn

able; some relate to Taoist magic. Some of the

tion roll. The Mountain Pig Kick takes a 2d6+7 roll.

Maneuver Phs Pts OCV DCV Damage/Effect

Delima ground. Patai Silat practitioners wear a short jacket

Re-Efi Areh-Ehsee Savate

SIMGOMDO NOTES Tae Kwon Do

Thai Kick-Boxing THAI KICK-BOXING

Wrestling, Professional Yu-Sool

‘T o be the Lucha Libre, which is popular in South and Central

PROFESSIONAL WRESTLING NOTES

Koonomon Togip Baip: This is said to be a martial

GOLDEN DEMON KUNG FU NOTES

capital. Second, you yourself must make the ﬁrst

SPEEDSTER MARTIAL ARTS NOTES

THUNDER DRAGON KUNG FU NOTES

2) Saito Serpent Form: Legends say the most puis-

Silent Path Taijutsu

SILENT PATH TAIJUTSU The Way Of The Night Dragon

NINJA SPECIAL ABILITIES

Mundane Ninja Abilities

THE DRAGON’S CLAW allies. As such, characters can buy it as a Professional

Takezutsu: LS: Expanded Breathing (Expanded

Familiarity: Ninja Water-Walking Devices. Examples

RAZOR DANCING NOTES

FANTASY MARTIAL ARTS

plenty of opportunities for the creation of ﬁght-

‘A man with outward courage

DESIGNING MARTIAL Therefore, as Andy envisions it, Mongoose

maneuver or style, he may later, after suﬃcient SPECIAL ELEMENTS REDUNDANT

EXCLUSIVE VERSUS NONEXCLUSIVE

many restrictions as advantages. Additional DCV Attacks built with this

MARTIAL MANEUVERS Strike +0 points if maneuver is based on Strike Take Once

Today, Mongoose Style remains a fairly

This Oﬀensive Strike has a simulated cost of 55 DETERMINING A

Examples Example: Henri Pétion, a fencer, wants to add

One obsessed with being scrupulous and

One who loves the people can be troubled.’

— Sun Tzu, The Art of War

This character fulﬁlls, or is the culmination of, The Kickboxing Champ

This character is a prime physical specimen olute acceptance of death.’

Makes Roll By Information Gained COMBAT SKILL LEVELS

his SPD, his placement on the combat order list, his

DAMAGE DAMAGE REDUCTION a character to make himself much more resistant

Desolidiﬁed at the +¼ level in this instance to reﬂect