TEXT: ISBN: 1-58366-001-1 DOJHERO101 $24.99 • www.herogames.com
  HERO PLUS EDITION
  
  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 ﬁ rst 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, Th om 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. 
  All rights reserved.
  HERO SystemTM ® is DOJ, Inc.’s trademark for its roleplaying system.
  HERO System Copyright © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All 
  rights reserved.
  Champions Copyright © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All 
  rights reserved.
  Justice Inc., Danger International, Dark Champions, Fantasy Hero, and Star 
  Hero Copyright © 2002 by DOJ, Inc. d/b/a Hero Games. All rights reserved.
  No part of this book may be reproduced or transmitted in any form or by any 
  means, electronic or mechanical, including photocopying (except Character 
  Sheets for personal use only), recording, or computerization, or by any informa-
  tion storage and retrieval system, without permission in writing from the Pub-
  lisher:  DOJ, Inc., #1 Haight Street Suite A, San Francisco, California 94102.
  Printed in the U.S.A. First printing March 2002.
  Produced and distributed by DOJ, Inc. d/b/a Hero Games.
  Stock Number:  DOJHERO101
  ISBN Number:  1-58366-001-1
  
  TABLE OF CONTENTS
  Introduction
  How to use this book .......................6
  Author’s note ...................................6
  Chapter One
  The Way of the Hero ........................8
  Style Descriptions ............................8
  Style Disadvantages ......................8
  Martial Arts Maneuvers ....................8
  Hand to Hand Maneuvers ....................9
  Ranged Martial Maneuvers ..................9
  Maneuvers and Weapons ...............10
  Ranged Martial Arts and 
  Weapon Types ..........................10
  Learning Martial Arts ......................10
  Learning Martial Arts from Scratch ..10
  Maneuvers and Weapons ..................10
  SIDEBAR: Modifying and Building 
  Styles ...............................................10
  Rate of Learning ..........................11
  Learning New and Multiple 
  Styles .......................................12
  Building New Maneuvers 
  and Styles ................................13
  Belts and Ranks ............................13
  SIDEBAR: Belts and Ranks ................13
  Real World Martial Arts ..................15
  Jutsu vs. Do ..................................15
  Aikido .........................................15
  Aikido Maneuvers .............................15
  An Ch’i .......................................16
  An Ch’i Maneuvers ............................16
  Arnis/Kali/Escrima .......................17
  Arnis/Kali/Escrima Maneuvers ...........17
  Arte dell’Abbracciare ...................18
  Arte dell’Abbracciare Maneuvers ........19
  Bando .........................................19
  Bando Maneuvers .............................19
  Bersilat .......................................19
  Bersilat Maneuvers ...........................20
  Bojutsu/Jojutsu ...........................20
  Bojutsu/Jojutsu Maneuvers ................21
  Boxing, Ancient ...........................21
  Boxing, Ancient Maneuvers ................21
  Boxing, Modern ...........................21
  Boxing, Modern Maneuvers ...............21
  Capoeira .....................................22
  Capoeira Maneuvers .........................22
  Commando Training .....................23
  Commando Training Maneuvers .........23
  Dirty Inﬁ ghting/Fisticuffs/
  Cinematic Brawling ...................23
  Dirty Inﬁ ghting/Fisticuffs/Cinematic 
  Brawling Maneuvers ..........................23
  Fencing ......................................24
  Fencing Maneuvers ...........................24
  Gatka .........................................26
  Gatka Maneuvers ..............................26
  Generic Martial Arts .....................27
  Generic Martial Arts Maneuvers .........27
  Hapkido ......................................27
  Hapkido Maneuvers ..........................27
  Hisardut ......................................27
  Hisardut Maneuvers ..........................28
  Hsing-I ........................................28
  Hsing-I Maneuvers ............................28
  Hwarang-Do ................................29
  Hwarang-Do Maneuvers ....................29
  Jailhouse Rock ............................29
  Jailhouse Rock Maneuvers ................29
  Jeet Kune Do ..............................30
  Jeet Kune Do Maneuvers ...................30
  Jujutsu .......................................30
  Jujutsu Maneuvers ............................31
  Jukenjutsu ..................................32
  Jukenjutsu Maneuvers ......................32
  Kalaripayit ...................................32
  Kalaripayit Maneuvers .......................32
  Kampfringen ...............................33
  Kampfringen Maneuvers ....................33
  Karate ........................................33
  Karate Maneuvers .............................33
  Kenjutsu .....................................35
  Kenjutsu Maneuvers ..........................35
  Krav Maga ..................................37
  Krav Maga Maneuvers .......................37
  Kuk Sool Won ..............................37
  Kuk Sool Won Maneuvers ..................38
  Kung Fu ......................................38
  Kung Fu Maneuvers ..........................39
  Kuntao ........................................43
  Kuntao Maneuvers ............................43
  Kyujutsu .....................................43
  Kyujutsu Maneuvers ..........................43
  Lua .............................................44
  Lua Maneuvers .................................44
  Naginatajutsu/Sojutsu ..................45
  Naginatajutsu/Sojutsu Maneuvers ......45
  Ninjutsu ......................................45
  Ninjutsu (Taijutsu) Maneuvers ............46
  Pakua .........................................47
  Pakua Maneuvers .............................48
  Pankration ..................................48
  Pankration Maneuvers .......................48
  Pentjak-Silat ...............................49
  Penjak-Silat Maneuvers .....................50
  Qwan Ki Do .................................52
  Qwan Ki Do Maneuvers .....................52
  Re-Eﬁ  Areh-Ehsee .......................53
  Re-Eﬁ  Areh-Ehsee Maneuvers ...........53
  Saijutsu ......................................53
  Saijutsu Maneuvers ...........................53
  Savate ........................................53
  Savate Maneuvers ............................53
  Sevillian Knifeﬁ ghting ...................54
  Sevillian Knifeﬁ ghting Maneuvers .......54
  Shurikenjutsu ..............................54
  Shurikenjutsu Maneuvers ..................54
  Simgomdo ..................................55
  Simgomdo Maneuvers .......................55
  Sumo Wrestling ...........................55
  Sumo Maneuvers ..............................55
  Tae Kwon Do ...............................55
  Tae Kwon Do Maneuvers ...................56
  Tai Ch’i Ch’uan ............................56
  Tai Ch’i Ch’uan Maneuvers ................56
  Tang Soo Do ...............................57
  Tang Soo Do Maneuvers ....................57
  Thai Kick-boxing ..........................58
  Thai Kick-boxing Maneuvers ..............58
  Thang-Ta ....................................58
  Thang-Ta Maneuvers ........................58
  Than Vo Dao ...............................59
  Than Vo Dao Maneuvers ....................59
  Vovinam Viet Vo Dao ....................59
  Vovinam Viet Vo Dao Maneuvers ........59
  Weapons Combat ........................59
  Weapons Combat Maneuvers ............60
  Whipﬁ ghting ................................60
  Whipﬁ ghting Maneuvers ....................61
  Wrestling ....................................61
  Wrestling Maneuvers ........................61
  Wrestling, Professional ................62
  Wrestling, Professional Maneuvers .....62
  Yu-Sool .......................................62
  Yu-Sool Maneuvers ...........................62
  Zipota .........................................63
  Zipota Maneuvers .............................63
  Other Styles ................................63
  Fictional Martial Arts .....................64
  Brick Tricks .................................64
  Brick Tricks Maneuvers ......................64
  Dancing Spider ............................64
  Dancing Spider Maneuvers ................65
  
  Drunken Clown Kung Fu ..............65
  Drunken Clown Kung Fu Maneuvers ...66
  Ghost Eye Techniques ..................66
  Ghost Palm Techniques ................66
  Golden Demon Kung Fu ...............67
  Golden Demon Kung Fu Maneuvers ...67
  The Paths of the Seven 
  Ghost Sisters ............................67
  The Paths of the Seven Ghost 
  Sisters Maneuvers ............................68
  Resplendent Dragon Kung Fu .......68
  Resplendent Dragon Kung 
  Fu Maneuvers ...................................69
  Silken Blade Kung Fu ...................70
  Silken Blade Kung Fu Maneuvers .......70
  Speedster Martial Arts .................71
  Speedster Martial Arts Maneuvers ......71
  Splendid Fist ...............................71
  Splendid Fist Maneuvers ...................71
  Takijutsu .....................................72
  Takijutsu Maneuvers .........................73
  Thunder Dragon Kung Fu .............73
  Thunder Dragon Kung Fu Maneuvers ...73
  Zen Riﬂ ery ..................................73
  Zen Riﬂ ery 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
  Inﬁ ltration 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
  Pulp Era Martial Arts ......................85
  Science Fiction/Far Future
  Martial Arts .................................86
  Maashira ....................................86
  Maashira Maneuvers .........................86
  Zero Gravity Combat ....................87
  Zero Gravity Combat Maneuvers ........87
  Superhero Martial Arts ...................87
  Wild West Martial Arts ....................87
  Designing New Martial Arts ...........88
  Designing Martial Arts Styles ..........88
  Style Conception .........................88
  Style Building Blocks ......................88
  Designing Martial Arts Maneuvers ...89
  SIDEBAR: Redundant Maneuvers ......89
  Maneuvers Basis ..............................90
  Element Descriptions ...................91
  Helpful Elements ...............................91
  Restrictive Elements ..........................92
  Mongoose Style .............................97
  Ranged Martial Arts .......................99
  Designing Ranged Martial 
  Maneuvers ..................................99
  Maneuver Basis ................................99
  Helpful Elements ...............................99
  Restrictive Elements ..........................99
  Element Descriptions .................100
  SIDEBAR: Mixing HTH and 
  Ranged Maneuvers .........................100
  The Complete Mongoose Style .....101
  Moongoose Style Maneuvers ...........101
  Additional Notes on Martial Arts 
  Styles and Elements ..................101
  Extra Damage Classes ...............101
  SIDEBAR: Maneuvers and 
  Hit Locations ...................................101
  Weapons ..................................102
  Other Ways to Build Martial Arts ...103
  Power Advantages for 
  Martial Arts ................................104
  Point Value of Bases ..................104
  Point Value of Bases ........................104
  Modiﬁ er Value of Other 
  Elements ................................104
  Extra Damage Classes ...............104
  Martial Arts Maneuver 
  Element Value .................................105
  
  Endurance and Martial 
  Advantages .............................105
  Examples ..................................105
  SIDEBAR: Determining Maneuver’s 
  Point Value: Steps ...........................105
  Chapter Two
  Martial Arts Archetypes ...............107
  Alien Martial Artist Archetype ......107
  American from Orient Archetype ...107
  Avenger Archetype ....................107
  Brick Martial Artist Archetype .....107
  SIDEBAR: Mixing and Matching 
  Archetypes .....................................107
  Fulﬁ ller of Prophecy Archetype ...108
  Honorable Ninja Archetype .........108
  Irritable Student Archetype .........108
  Kickboxing Champion Archetype ...108
  Kickboxing Cop Archetype ..........108
  The Kid Archetype .....................108
  Knight-Errant Archetype .............109
  Master Archetype ......................109
  Modern Day Samurai Archetype ....109
  Naive Hero/Heroine Archetype ....109
  The Philosopher Archetype .........109
  Ronin Archetype ........................109
  Samurai Archetype ....................109
  Serious Student Archetype .........110
  Sidekick Archetype ....................110
  Super-Soldier Archetype ............110
  Unwilling Fighter Archetype ........110
  Vigilante Martial Artist Archetype ...110
  Warrior-Monk Archetype ............110
  The Career Path of the 
  Martial Artist .............................110
  SIDEBAR: Glossary of Martial
  Arts Terms ......................................110
  Skills ............................................112
  Aanlyze Style Table ..........................113
  SIDEBAR: Non-Weapon 
  Combat Effects ...............................114
  Perquisites ...................................117
  Talents .........................................118
  Powers .........................................119
  SIDEBAR: Clinging Examples ...........121
  SIDEBAR: Damage Reduction 
  Examples .......................................122
  SIDEBAR: Damage Resistance 
  Examples .......................................122
  Power Advantages .......................131
  Limitations ..................................133
  Power Frameworks ......................133
  Martial Arts Multipower ...................133
  Kiai Powers ....................................134
  Ch’i Powers ....................................134
  Disadvantages .............................135
  Chapter Three
  Combat Manuevers ......................142
  Bind .........................................142
  Block ........................................142
  Choke Hold ...............................142
  Cover ........................................142
  Disarm ......................................142
  SIDEBAR: Binds in Fantasy HERO ....142
  Flying Kick ................................143
  Grab .........................................143
  SIDEBAR: Redeﬁ ning Block .............143
  SIDEBAR: Roleplaying Combat ........144
  SIDEBAR: Grabbing and Combat
  Values ............................................145
  Grab Weapon ............................146
  Joint Locks and 
  Related Maneuvers .................147
  Killing Throw .............................147
  Martial Escape ..........................147
  Move By/Move Through .............147
  Nerve Strike ..............................148
  SIDEBAR: Vital Points Around the
  World .............................................148
  SIDEBAR: AVLDs ............................148
  Partial Maneuvers ......................149
  Root .........................................149
  Shove .......................................149
  Standard Maneuvers .................150
  Sweep ......................................150
  Takeaway ..................................152
  Throw .......................................152
  Throw Modiﬁ ers Table .....................152
  Special Cases and Optional Rules ..154
  Blinded Characters and Martial Arts .154
  Bound Characters and Martial Arts ...154
  Casual STR Versus Barriers ..........155
  Concealed Weapons and Gadgets ...155
  Critical Hits ..................................156
  Disabling Attacks .........................156
  Disabling Results Table ....................157
  Nerve Strike Imparing/
  Disabling Time ................................157
  Disguising Damage ......................157
  Healing .......................................158
  Hindering Circumstances and 
  Martial Arts ...............................158
  Hit Locations ...............................160
  Ignoring Opponents .....................160
  Interposing ..................................160
  SIDEBAR: Interposing Example ........160
  Knockback and Martial Arts ..........161
  Increasing Knockback ................161
  Decreasing Knockback ..............161
  Pushback ..................................161
  Mystery Damage .........................162
  Sequence Attacks ........................163
  SIDEBAR: Unstructured Sequence 
  Attack Example ...............................163
  Weapon Lengths ..........................164
  Weapon Ranges ..........................164
  OCV Penalties .............................164
  SIDEBAR: Structured Sequence 
  Attack Example ...............................164
  Weapon Lengths and 
  Enclosed Space .........................165
  Enclosed Space and Weapon Length ..165
  Wounds ......................................165
  Targeting Injured Areas ..............165
  Twisting the Blade .....................165
  SIDEBAR: Weapon Length Example ...165
  SIDEBAR: Targeting Wounds 
  Example .........................................165
  Zero Gravity and Martial Arts ........166
  Martial Arts Weapons ...................167
  Ranged Weapons Table ...................168
  Melee Weapons Table ...............169-172
  Notes and Key .............................173
  Notes ........................................173
  Key ...........................................173
  Master List of Weapons ................174
  SIDEBAR: Concealed and Inobvious 
  Weapons ........................................174
  Armor .........................................186
  Full-Contact Karate Armor ............186
  Full-Contact Karate Armor ...............186
  Kendo Armor .............................186
  Kendo Armor ..................................186
  Leather Hand-Wrappings ...........186
  Leather Hand-Wrappings .................186
  Rawhide Hand-Wrappings ..........186
  Samurai Armor ..........................187
  Samurai Armor ...............................187
  Creating Weapons .......................187
  Powers Used in Weapon 
  Creation ....................................187
  Hand-to-Hand Versus 
  Killing Damage ..........................187
  New Limitations ...........................187
  Bibliography .................................189
  Index ............................................190
  
  6 
  The Ultimate Martial Artist
  T
  his is the Second Edition of Th e Ultimate 
  Martial Artist, or UMA for short. Th e HERO 
  System has changed a lot since this book 
  was ﬁ rst published in 1994. Th ere’s a 5th Edi-
  tion now, and it incorporated many of the new rules 
  introduced in the ﬁ rst UMA. Th at meant a couple of 
  changes for UMA. First, I had to revise all the power 
  write-ups to make them compatible with the 5th Edi-
  tion. Second, since the deletions and changes freed up 
  some space, I had room to add some new material, 
  thus improving the book’s value for those who own 
  the ﬁ rst version. Whether you’ve got an earlier edition 
  of UMA or not, I think you’ll ﬁ nd plenty of new and 
  enjoyable material in this volume.
  HOW TO USE THIS BOOK 
  Unlike most other books in the “Ultimate” series, 
  UMA has a prior history (of sorts) upon which to 
  build:  the Ninja Hero genre book, the HERO System 
  book on martial arts-oriented campaigns. While 
  the two books have much in common, their focus is 
  slightly diﬀ erent:  Ninja Hero concentrated primarily 
  on straight martial arts campaigns, whereas UMA 
  looks at the use of martial arts in any genre, time 
  period, or setting. Nevertheless, much of the mate-
  rial in Ninja Hero was perfect for this book, and that 
  material is reprinted here (though updated for 5thEdi-
  tion, of course).
  As you read this book, remember that it looks 
  at martial arts for all genres, not just straightforward 
  martial arts campaigns. Th us, 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 Th e Ultimate Martial Artist was ﬁ rst 
  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, 
  I think I did the job well. However, there’s always 
  something to add — I seem to pick up new martial 
  arts references frequently — and even more impor-
  tantly, it was necessary to revise the abilities in the 
  book to bring them into line with the rules of the 
  HERO System 5th Edition.
  I started revising the text of UMA in June, 1999 
  with the goal of making the book compatible with the 
  HERO System 5th Edition and of updating and revis-
  ing the material. Th is meant not only deleting parts of 
  the book which the 5th Edition incorporated into the 
  core rules of the system, but reviewing the entire text 
  with an eye towards improving the general quality 
  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.
  In addition to its revised, 5th Edition compatible, 
  material, UMA has plenty of new information. I’ve 
  made every eﬀ ort to include enough new and inter-
  esting material so those of you who own the ﬁ rst ver-
  sion of this book will ﬁ nd you’ve gotten your money’s 
  worth from buying this one.
  As before, I owe thanks to Aaron Allston and all 
  of the “consultants” listed in the front of this book. 
  Th eir advice and suggestions, even when (for what-
  ever reason) I didn’t take them, were invaluable. But 
  all mistakes are still my own.
  Steven S. Long
  January, 2002
  INTRODUCTION
  
  T
  his chapter provides extensive information on dif-
  ferent martial arts styles and maneuvers, in four 
  parts.
  Th e ﬁ rst part describes over 150 real-world 
  styles and variants from all over the globe and throughout 
  history.
  Th e second section includes approximately two dozen 
  ﬁ ctional styles of the sort oft en seen in comic books and mar-
  tial arts movies.
  Th e third section deals with those ubiquitous villains, the 
  ninja.
  Th e fourth section discusses martial arts in various 
  genres, such as fantasy and science ﬁ ction, and includes some 
  sample styles appropriate to such genres.
  ‘W
  hen warriors are in great danger, then they have no fear.’
  — Sun Tzu, The Art of War
  ‘Know your enemy and know yourself and in a 
  thousand battles you will never know defeat.’
  — Sun Tzu, The Art of War
  
  8 
  The Ultimate Martial Artist
  T
  his section discusses the rules and other 
  terms used to describe martial arts styles 
  and related matters in the HERO System. 
  Gamers interested in doing their own 
  research on these subjects should consult the Bibli-
  ography at the end of this book. 
  STYLE DESCRIPTIONS
  Th e basic terms used to deﬁ ne the diﬀ erent 
  styles are:
  Maneuvers:  Th e maneuvers and techniques which 
  comprise the style. Th e accompanying table contains 
  a master list of the maneuvers used. You can also 
  make up your own maneuvers using the rules on 
  pages 88-101.
  Skills:  Skills commonly associated with the style. 
  Th ose marked with an asterisk (“*”) are required:  a 
  character cannot practice the style without buying 
  them.
  Elements:  Elements are additions to the style. Th ey 
  include Extra Damage Classes (which are never 
  required for a style, and so are listed separately) and 
  any Weapons the style teaches. Refer to the Maneu-
  vers And Weapons section, below, and the Designing 
  Martial Arts Maneuvers section on pages 88-101, for 
  more information on using weapons with martial 
  arts maneuvers.
  Optional Rules:  Th is section includes the optional 
  Hit Locations for appropriate maneuvers in the 
  style.
  Special Abilities:  Th is last section showcases some 
  of the amazing (and even mystical) abilities attrib-
  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-
  tion rules; you may simulate these abilities in other 
  ways, if you prefer.
  Style Disadvantage
  Most styles betray something about a charac-
  ter’s ﬁ ghting abilities to a trained observer. In HERO 
  System terms, a type of Distinctive Features Dis-
  advantage called Style simulates this. See page 135 
  of this book and page 333 of the HERO System 5th 
  Edition, Revised for more information. Not all styles 
  qualify for this Disadvantage, but most do.
  MARTIAL ARTS
  MANEUVERS 
  Th e maneuvers (both Hand-To-Hand and 
  Ranged) in the accompanying list include most of 
  the ones used to construct the martial arts packages 
  in this chapter.
  In the list, the Maneuver column gives the 
  maneuver’s generic name. Typically, a name spe-
  ciﬁ c 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.
  Th e 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 aft er they’re begun.
  Th e next column, Pts, gives the maneuver’s cost.
  Th e next two columns, OCV and DCV, show 
  the Combat Value modiﬁ ers 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 
  Modiﬁ er. 
  Th e last column, Damage/Eﬀ ect, describes (in 
  short form) what the maneuver does when used 
  successfully. For explanations of the terms under 
  “Damage/Eﬀ ect,” refer to the “Designing Martial 
  Arts Manuevers” and “Combat Maneuvers” sections 
  of this book.
  THE WAY OF 
  THE HERO
  
  9 
  Hero Games
  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 Th row 
  ½ 
  3 
  +1 
  +1 
  Block, Target Falls
  Disarming Th row  
  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 Th row   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/Th row 
  ½ 
  4 
  +1 
  +0 
  Grab One Limb; 1d6 NND(7); Target Falls
  Killing Strike 
  ½ 
  4 
  -2 
  +0 
  HKA ½d6 (2 DC)
  Killing Th row 
  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, Aﬀ ects 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 Th row 
  ½ 
  3 
  +0 
  +1 
  STR +v/5; Target Falls
  Nerve Strike 
  ½ 
  4 
  -1 
  +1 
  2d6 NND(1)
  Oﬀ ensive 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 Th row 
  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
  Sacriﬁ ce Disarm    ½ 
  4 
  +2 
  -2 
  Disarm, +10 STR to Disarm roll
  Sacriﬁ ce Lunge     
  ½ 
  4 
  +2 
  -2 
  STR +v/5; FMove
  Sacriﬁ ce Strike    
  ½ 
  5 
  +1 
  -2 
  STR +4d6 Strike
  Sacriﬁ ce Th row     
  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
  HAND-TO-HAND 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
  Oﬀ ensive Ranged Disarm ½ 
  5 
  +1 
  -1 
  +2 
  Disarm, +10 STR
  Oﬀ ensive Shot 
  ½ 
  4 
  -1 
  -1 
  +0 
  Strike, +4 DC
  Oﬀ ensive 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
  RANGED MARTIAL MANEUVERS
  
  10 
  The Ultimate Martial Artist
  MANEUVERS 
  AND WEAPONS
  Characters can use some martial arts with 
  weapons. But not all maneuvers apply to all weap-
  ons; a kick can’t work with a machete, and holding 
  a spear doesn’t improve a dodge.
  Th e accompanying list provides general guide-
  lines for which sorts of weapons work with which 
  maneuvers. Th e GM should use common sense 
  when dealing with a weapon not found on this list 
  — simply compare it to weapons on this list and 
  decide which one it most closely corresponds to.
  When you’re using non-martial Combat 
  Maneuvers from page 384 of the HERO System 
  5th Edition, Revised, compare the non-martial 
  maneuver to the maneuvers in the chart above. You 
  can perform a non-martial Block with the sorts 
  of weapons used with the Defensive and Martial 
  Blocks; you can perform a non-martial Disarm 
  with the sorts of weapons used with Martial and 
  Sacriﬁ ce Disarms; and so on.
  Ranged Martial Arts And 
  Weapon Types
  A character with a Ranged Martial Art style 
  is trained in the use of a speciﬁ c type of weapon, 
  and cannot use his Ranged Martial Maneuvers 
  with other weapons unless he has received the 
  proper training (i.e., purchased the appropriate 
  Weapon Element). In short, a character who knows 
  Shurikenjutsu cannot use his Ranged Martial 
  Maneuvers with a bow or riﬂ e unless he purchases 
  WE: Bows or WE: Pistols.
  LEARNING MARTIAL ARTS 
  Building a martial artist at the start of a cam-
  paign usually poses few problems — the character 
  needs, typically, at least ten points’ worth of martial 
  arts maneuvers from one style, an 8- roll in the 
  Knowledge Skill of that style, and the Style Dis-
  tinctive Feature. But things get a little more com-
  plicated when characters want to use Experience 
  Points to improve their martial arts or buy new 
  martial arts abilities.
  Learning Martial 
  Arts From Scratch
  Sometimes an existing character wants to 
  learn a martial arts style from the ground up. Find-
  ing a teacher depends on plot and storytelling, 
  things for the player and GM to work out. But the 
  actual acquisition of the abilities requires the char-
  acter to spend Experience Points, and that requires 
  rules.
  First, the character should spend at least one 
  point for a Knowledge Skill with his style. Charac-
  ters shouldn’t learn any maneuvers before taking 
  the KS.
  Second, if the style requires an Element (such 
  as Weapons Element), the character must buy it 
  next.
  Th ird, a few styles require practitioners to 
  purchase speciﬁ c Skills (the ones marked with an 
  MANEUVERS AND WEAPONS
   
  Can Be Used With 
  Maneuver Type 
  These Weapons:
  Basic Strike 
  *
  Charge 
  *
  Choke Hold 
  Staves, Weapon Shaft s, 
  Garrotes, Chain & Rope 
  Weapons, Nunchaku, Th ree-
  Section Staﬀ , Shinobi-Zue
  Counterstrike 
  *
  Crush 
  Staves, Weapon Shaft s, Chain 
  & Rope Weapons, Th ree-
  Section Staﬀ ,  Shinobi-Zue
  Defensive Block 
  *
  Defensive Strike 
  *
  Defensive Th row 
  None
  Disarming Th row 
  None
  Fast Strike 
  *
  Flying Dodge 
  None
  Flying Tackle 
  None
  Grappling Block 
  None
  Grappling Th row 
  Chain & Rope Weapons
  Head-Butt 
  Helmet Spikes, Other 
  Head-Worn Weapons
  Joint Break 
  None
  Joint Lock/Th row 
  Chain & Rope Weapons
  Kick 
  Ashiko
  Killing Strike 
  *
  Killing Th row 
  None
  Legsweep 
  Staves, Tetsubo, Shinobi Zue, 
  Polearm Shaft s, Nets
  Martial Block 
  All Melee Weapons, Shields
  Martial Disarm 
  *
  Martial Dodge 
  None
  Martial Escape 
  None
  Martial Flash 
  None
  Martial Grab 
  Nets, Whips, Chain & Rope 
  Weapons, 
  Shinobi-Zue
  Martial Strike 
  *
  Martial Th row 
  Chain & Rope Weapons
  Nerve Strike 
  *, but only normal-damage 
  weapons 
  Oﬀ ensive Strike 
  *
  Passing Strike 
  *
  Passing Th row 
  Chain & Rope Weapons
  Punch 
  All Melee Weapons
  Reversal 
  None
  Root 
  None
  Sacriﬁ ce Disarm 
  *
  Sacriﬁ ce Lunge 
  *
  Sacriﬁ ce Strike 
  *
  Sacriﬁ ce Th row 
  None
  Shove 
  All Large (L) Melee 
  Weapons, Shields
  Takeaway 
  All Melee Weapons
  Takedown 
  Staves, Polearm Shaft s, Nets, 
  Whips, Chain & Rope 
  Weapons
  Weapon Bind 
  All Melee Weapons, Shields
  *: If deﬁ ned as Punch, see Punch; if deﬁ ned as Kick, 
  see Kick; if deﬁ ned as Head-Butt, see Head-Butt
  MODIFYING AND 
  BUILDING STYLES
  Readers who practice 
  the martial arts may 
  have objections to the 
  way some of the styles 
  in this book are deﬁ ned 
  in HERO System terms. 
  Hero Games has made 
  every eﬀ ort to make this 
  book as comprehensive 
  as possible, but limita-
  tions imposed by the 
  nature of research and 
  space in the book itself 
  make it impossible to 
  depict every maneuver 
  associated with every 
  style.
  To resolve this dilemma, 
  you can build your own 
  martial arts maneuvers 
  and styles, creating from 
  scratch (or modifying 
  an existing maneuver or 
  style) to suit your own 
  opinions and tastes. 
  To learn how, refer to 
  the Designing Martial 
  Arts Maneuvers section 
  beginning on page 88.
  
  11 
  Hero Games
  asterisk [*] in the style write-ups). For example, 
  characters cannot learn Aikido and Jujutsu without 
  knowing Breakfall, or Kenjutsu without knowing 
  WF: Blades. Th e character must buy all required 
  Skills before buying any maneuvers.
  A character can only start buying maneuvers 
  aft er he’s satisﬁ ed all of these prerequisites. At that 
  point, he can learn one maneuver aft er another 
  until he’s bought at least ten Character Points’ 
  worth of them. Th e GM may let him start using 
  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.
  Th e Style Distinctive Feature
  Ultimately, the character can take the Style 
  Distinctive Feature for his style, which helps oﬀ set 
  the cost of the Martial Arts style. He can only take 
  this Disadvantage with the GM’s approval, though. 
  Th e GM may not want to let him receive new Char-
  acter Points for the new Disadvantage.
  Th ese are the diﬀ erent ways GMs may 
  approach this question in their own campaigns:
  Allow the Character to Take the Style Distinctive 
  Feature:  Th e character can add the Style Distinc-
  tive Feature to his list of Disadvantage and add the 
  value of it to his Character Points. However, the 
  Style Distinctive Feature still cannot exceed the 
  Disadvantage point limits already set for the cam-
  paign. For instance, if the campaign has a 75-point 
  cap on Disadvantage points, and the character 
  already has 70 points of Disadvantages, if he adds 
  the 10-point Style Distinctive Feature he only gets 
  5 points’ worth of value. Likewise, if the campaign 
  has a 25-point cap on Disadvantage points from 
  any one category of Disadvantage, and the charac-
  ter already has 25 points’ worth of Distinctive Fea-
  tures, then the additional Style Distinctive Feature 
  gives him 0 points.
  Allow the Character to Trade the Style Distinctive 
  Feature For Another Disadvantage:  Th e charac-
  ter can trade in another Disadvantage the player 
  has already been trying to buy down or buy oﬀ , 
  and take the Style Distinctive Feature in its place. 
  For example, recently the character has beaten his 
  10-point Hunted in a climactic fashion, and it’s 
  an appropriate time to get rid of that Hunted. Th e 
  character erases the Hunted and substitutes the 
  Style Distinctive Feature for it. Note:  GMs should 
  only allow this when a logical, plot-driven reason 
  already exists to change the Disadvantage. Reasons 
  such as “I’m tired of it” and “I like the Style Distinc-
  tive Feature better” aren’t suﬃ  cient.
  Disallow the Style Distinctive Feature:  Th e 
  character cannot take a new Disadvantage. Since a 
  character doesn’t receive points for a new Hunted 
  when he makes a new enemy, or points from new 
  Rivalries when he ﬁ nds himself competing with a 
  new character, he shouldn’t receive points from a 
  new Distinctive Feature, either.
  Require the Style Distinctive Feature... But Worth 
  Zero Points:  Th e character must take the Style 
  Distinctive Feature Disadvantage, but it’s worth no 
  points. Th is reﬂ ects both the fact that the character’s 
  style is obvious, and the philosophy that new Disad-
  vantages don’t bring new points to the character.
  Of these four approaches, the second choice, 
  Allow the Character to Trade the Style Distinctive 
  Feature For Another Disadvantage, usually works 
  best. It has the advantages of giving a point-cost 
  incentive to learn martial arts maneuvers without 
  providing the character a lot of new points out of 
  nowhere.
  Rate Of Learning
  How fast should characters learn new martial 
  arts?
  In the real world, a normal practitioner can 
  earn a black belt in an average of four years. In the 
  HERO System, that corresponds to an expenditure 
  of only three or four Character Points per year on 
  Martial Arts maneuvers and skills, far too slow for 
  most adventure genre purposes.
  However, also in the real world, some legiti-
  mate martial arts champions have attained black 
  belt rank in much less time. One famed heavy-
  weight full-contact karate champion earned his 
  in only seven months — more like spending 
  two Character Points per month on Martial Arts 
  maneuvers and Skills.
  Th erefore, for game purposes, presume PCs 
  have taken anywhere from half a year to four years 
  to earn their belts. But when PCs learn new maneu-
  vers and arts aft er they’ve begun play, you should 
  follow one of these approaches:
  One CP Every Adventure:  Th e character can spend 
  one Experience Point on Martial Arts maneuvers, 
  Skills, and Elements every adventure. Th is presumes 
  he’s receiving regular training in the campaign 
  setting. As a result, it takes quite a while (ten to ﬁ f-
  teen game sessions) to earn a black belt’s worth of 
  maneuvers and Skills. Th is approach works well for 
  Heroic campaigns not oriented around martial arts, 
  or for any campaign stressing “realism.”
  Two or Th ree CP Every Adventure:  Th e character 
  can spend two or three Experience Points (the GM 
  decides which) on Martial Arts maneuvers, Skills, 
  and Elements every adventure. Th is presumes 
  he’s receiving regular, and extraordinarily inten-
  sive, training in the campaign setting. With this 
  approach, it takes four to seven adventures for a 
  character to acquire a competitive level of prowess 
  in his style. Th is approach works well for Heroic 
  martial arts-oriented campaigns and any Superhe-
  roic campaign.
  Spend Many CP During Training Breaks:  If the 
  campaign skips a lot of time, the character, with GM 
  permission, can spend any amount of Experience 
  Points on martial arts. In other words, if the cam-
  paign skips six game-months between adventures, 
  the character could conceivably drop quite a few 
  points into his ﬁ ghting skills. Again, the character 
  must receive regular training within the campaign 
  setting. A realistic expenditure rate equals 2 Experi-
  ence Points every game month; an acceptable expen-
  diture for Heroic campaigns, presuming very inten-
  
  12 
  The Ultimate Martial Artist
  sive training, would be 4 Experience Points every 
  game month; in Superheroic campaigns, spending 
  6-8 Experience Points every game month is feasible.
  Learning New
  And Multiple Styles
  Some characters want to learn new martial 
  arts styles in addition to their basic style, and some 
  just wish to purchase individual maneuvers from a 
  number of styles to supplement their basic style. Th is 
  is ﬁ ne, logical, and realistic, but you need a few rules 
  to govern this practice.
  BUYING MANEUVERS OUTSIDE YOUR 
  STYLE 
  A character can learn a maneuver from a style 
  other than his own, or (if the GM allows) create a 
  new maneuver using the maneuver design rules. A 
  character should know at least three maneuvers in 
  his original style before he buys an “outside” maneu-
  ver.
  Th e player must have an acceptable rationale for 
  his character to learn this outside maneuver, such as 
  learning from a PC or established NPC. If he buys 
  the maneuver aft er play begins, he’s subject to the 
  time constraints chosen by the GM (see above), and 
  must have a logical way to learn the maneuver (i.e., 
  access to a teacher and time to learn).
  If a character wishes to learn only one or two 
  maneuvers outside his style, he doesn’t have to buy a 
  KS in that style.
  OUTSIDE MANEUVERS AND 
  THE WEAPONS ELEMENT
  If your basic style includes the Weapons Ele-
  ment for a particular weapon, and you buy a maneu-
  ver from a second style, you still can use the new 
  maneuver with the weapons permitted for your style. 
  For example, if you know Karate and have bought 
  the Weapons Elements for Karate Weapons and Staﬀ , 
  then buy the Fencing Takeaway, you can use the 
  Fencing Takeaway with both Karate Weapons and 
  Staﬀ .
  Th is is possible because the martial artist adapts 
  his new maneuvers to his old style. However, some 
  restrictions exist.
  First, the maneuver must be appropriate for the 
  weapon. A Fencer who learns the Side/Spinning Kick 
  can’t use the kick with a blade. See the chart under 
  Martial Arts Maneuvers And Weapons, page 10 to 
  determine which types of maneuvers work with 
  which types of weapons.
  Second, a character with at least ten points of 
  maneuvers in one style can buy an outside maneu-
  ver and use that maneuver with his style’s weapons. 
  However, he can’t use all his original style’s maneu-
  vers with the Weapons Element from the single out-
  side maneuver.
  Example: Okamura Masao knows Karate; he 
  knows ten points’ worth of maneuvers and has 
  bought the Weapons Elements Karate Weapons 
  and Staﬀ  for his Karate. He now learns the Kung 
  Fu Punch maneuver and the Kung Fu Weapons 
  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 
  Karate maneuvers with Clubs and Swords.
  However, if the practitioner knows two com-
  plete styles, he can use maneuvers from either art 
  with the Weapons Elements he’s purchased for either 
  art.
  Example: Years later, Okamura Masao has 
  learned both Karate and Kung Fu (he has at 
  least ten points of maneuvers in each). He has 
  bought the Karate Weapons and Staﬀ  Weapons 
  Elements for his Karate, and the Clubs and 
  Blades Weapons Elements for his Kung Fu. 
  Now, he can use his Karate maneuvers and 
  his Kung Fu maneuvers with Karate Weapons, 
  Staﬀ , Clubs, and Swords.
  KNOWLEDGE SKILLS AND NEW STYLES
  If a character already knows a particular mar-
  tial art (including having a KS in that art), and then 
  buys a KS in a second art, he may use any maneuvers 
  he has purchased which overlap both styles in the 
  fashion of either style. Th is can be a good way for 
  a character to vary his ﬁ ghting style to confuse an 
  opponent or avoid the eﬀ ects of a successful Analyze 
  Style roll. But remember, just purchasing a KS in a 
  style does not give a character access to any maneu-
  vers he has not paid points for.
  Example:  Hitoshi knows Karate. He has pur-
  chased all of that style’s maneuvers and has KS: 
  Karate 11-. Aft er a trip to Th ailand, he becomes 
  interested in Th ai Kick-Boxing and begins study-
  ing it. Aft er a couple of months of hard work, he 
  knows enough to buy KS: Th ai Kick-Boxing 11-.
  Karate and Th ai Kick-Boxing have several 
  maneuvers in common:  Killing Strike (called 
  Knifehand Strike (“Chop”) in Karate and Elbow/
  Knee Killing Strike in Th ai Kick-Boxing); Mar-
  tial Block (called Block in both styles); Martial 
  Strike (called Punch/Snap Kick in Karate and 
  Low Kick in Th ai Kick-Boxing); and Oﬀ ensive 
  Strike (called Side/Spin Kick in Karate and 
  Roundhouse Kick/Knee Strike in Th ai Kick-
  Boxing). Since Hitoshi has a KS in both styles, he 
  may use either version of those maneuvers when 
  he is ﬁ ghting, without having to pay for each 
  maneuver twice. 
  Hitoshi soon has the misfortune to get into a 
  ﬁ ght with Seiki, another Karate practitioner. 
  Aft er a few seconds of ﬁ ghting, Hitoshi realizes 
  Seiki has studied Hitoshi’s maneuvers and knows 
  enough about Hitoshi’s ﬁ ghting style to defeat 
  him (in game terms, Seiki made an Analyze 
  Style roll and used his Aid: Analyze Style power 
  to gain extra DEX when ﬁ ghting Hitoshi, and 
  Hitoshi made a PER Roll to realize Seiki “had 
  the drop on him”).
  
  13 
  Hero Games
  So, Hitoshi switches to using Muay Th ai maneu-
  vers whenever possible. Seiki cannot analyze 
  these new maneuvers (i.e., he fails to make 
  another Analyze Style roll), so he cannot use 
  his Aided DEX to increase his OCV and DCV 
  whenever Hitoshi uses a Th ai Kick-Boxing 
  attack. Hitoshi can use his Killing Strike, Mar-
  tial Block, Martial Strike, and Oﬀ ensive Strike 
  as Muay Th ai maneuvers and limit Seiki to 
  his regular DEX (without the beneﬁ t of the 
  Aid) when attacking or defending against those 
  maneuvers. However, if Hitoshi uses one of those 
  maneuvers as a Karate manuever, or if he uses 
  any other Karate maneuver, Seiki still gains the 
  beneﬁ t of his Aided DEX. Furthermore, Hitoshi’s 
  KS: Th ai Kick-Boxing does not allow him to use 
  that style’s Fast Strike or Shove maneuvers, since 
  he has never purchased either of them.
  Building New 
  Maneuvers And Styles 
  A character can (with his GM’s permission) 
  create all-new maneuvers or even entire styles with 
  the rules from the Designing Martial Arts Maneuvers 
  section (see page 88).
  A character who designs his own martial art, if 
  it turns out to be an eﬃ  cient and competitive style, 
  should eventually ﬁ nd himself pursued by students 
  who wish him to teach them — and of gunﬁ ghter-
  mentality martial artists who want to challenge him 
  to prove the superiority of their own style.
  Th e character who designs an all-new style and 
  ﬁ nds himself in demand as a teacher should buy 
  PS: Teacher and set up his own dojo (school). Th e 
  campaign may involve many plots about the hero’s 
  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. Th is 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). Th e 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 
  Th e term “black belt” carries a certain mystique 
  for some (particularly Westerners), who think it 
  signiﬁ es a person with superhuman ﬁ ghting skills. 
  It doesn’t, really; it simply indicates a practitioner 
  who’s trained long enough and hard enough, and 
  who possesses suﬃ  cient knowledge of and skill with 
  a particular ﬁ ghting style, for others to consider him 
  an expert at it. Th is deﬁ nition is not, perhaps, the 
  same as the one applicable in the “real world,” but it 
  suﬃ  ces for gaming purposes.
  Remember, not all ﬁ ghting styles rank practitio-
  ners with “belts” or other systems, although many do. 
  Details of some ranking systems are given above, or 
  in the style descriptions later on in this section.
  For gaming purposes, there are several ways for 
  players to simulate various levels of martial arts abil-
  ity in the HERO System.
  Th e Basic Approach 
  Th e basic way to determine if a character quali-
  ﬁ es as a black belt is the one outlined in the HERO 
  System, 5th Edition, Revised, page 401:  “Characters 
  who spend at least 15 Character Points on the style’s 
  Martial Maneuvers, have a Knowledge Skill of the 
  style on at least an 11- roll, and have bought at least 
  one 3-point Combat Skill Level with the style can 
  be considered “black belts.” True mastery involves 
  buying all Maneuvers and related Skills as well as 
  several [Combat Skill Levels] with the style.”
  Since UMA provides the opportunity to take 
  a more in-depth look at martial arts, this deﬁ nition 
  needs a little amending. In addition to those require-
  ments, to be considered a “black belt,” a character 
  must know all of the style’s required Skills and 
  maneuvers (those marked with a “*” in the style’s 
  description).
  Th is guideline is simple, straightforward, and 
  easy to qualify for. It allows characters who aren’t 
  primarily martial artists to still achieve a high 
  degree of proﬁ ciency at martial combat.
  Alternate Approaches 
  If the basic approach doesn’t satisfy you, try 
  one of these options instead. Feel free to alter them 
  to suit your personal preferences or campaign.
  Perk-based:  Require a character who wants to be 
  a black belt to purchase a 1-point Fringe Beneﬁ t, 
  BELTS & RANKS
  Kyu (Grades) 
  Grade
  Belt Initiate: White or 
   
  Red Belt
  8th Kyu: 
  White Belt
  7th Kyu: 
  Yellow Belt
  6th Kyu: 
  Orange Belt
  5th Kyu: 
  Green Belt
  4th Kyu: 
  Purple Belt
  3rd Kyu: 
  Brown Belt
  2nd Kyu: 
  Brown Belt
  1st Kyu: 
  Brown Belt 
  Dan (Degrees): 
  All are Black Belts 
  Degree Name 
  (Japanese)
  1st Dan 
  Shodan
  2nd Dan 
  Nidan
  3rd Dan 
  Sandan
  4th Dan 
  Yodan
  5th Dan 
  Godan
  6th Dan 
  Rokudan
  7th Dan 
  Shichidan
  8th Dan 
  Hachidan
  9th Dan 
  Kudan
  10th Dan 
  Judan
  11th Dan 
  Juichidan 
   
  (Judo Only)
  12th Dan 
  Junidan 
   
  (Judo Only) 
  
  14 
  The Ultimate Martial Artist
  Black Belt. Th is indicates he’s recognized as a black 
  belt by a governing body of his style (or some 
  similar organization) and has the right to refer to 
  himself as an expert in that style. A character with 
  this Perk can oft en rely on members of the Martial 
  World for work (i.e., teaching martial arts), shelter, 
  and the like.
  Th e advantages to this approach are that it’s 
  simple and cheap. Th e drawback is that characters 
  with wildly diﬀ erent levels of proﬁ ciency with 
  martial arts can end up being “black belts,” making 
  the rank seem worthless. Gamemasters may wish 
  to establish minimum requirements (such as those 
  outlined above) before allowing characters to pur-
  chase this Perk.
  Maneuver-based:  Increase the amount of points 
  worth of maneuvers (including, at the GM’s option, 
  Combat Skill Levels with the style) a character has 
  to purchase before being considered a black belt. 
  Twenty to thirty points should suﬃ  ce for most 
  styles.
  Th e advantage to this approach is that it 
  more clearly diﬀ erentiates the beginner with his 
  10 minimum points of maneuvers from a higher-
  level practitioner. Th e drawback is that it places 
  undue emphasis on acquiring lots of diﬀ erent 
  maneuvers. Remember that special eﬀ ects 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 
  kick. Th at one maneuver is “gaming shorthand,” if 
  you will, for what may be a dozen or more diﬀ er-
  ent kinds of kicks. In a ﬁ ght, a good martial artist 
  player describes the diﬀ erent types of kicks he’s 
  using, depending upon how his opponent ﬁ ghts, 
  even though he’s using just one maneuver, “Kick.” 
  Th us, it’s not unreasonable for a character to have 
  spent just 10 or so points to buy a small number of 
  maneuvers, yet still be considered to know dozens 
  of diﬀ erent kicks, strikes, and defensive techniques.
  Skill-based:  Increase the amount and/or level of 
  Skills a character has to buy before he’s considered 
  a black belt. For example, a GM might decide that, 
  regardless of the raw number of points a character 
  has spent on maneuvers and Extra DC, he cannot 
  be considered a black belt until he has at least a 14- 
  roll in his Knowledge Skill of his style. Professional 
  Skill: Instructor would allow the character to teach 
  his style properly; a Science Skill in his style would 
  give him knowledge of the mechanical aspects of 
  his ﬁ ghting maneuvers. Either Skill might include 
  some appropriate “sports medicine” techniques for 
  common dojo injuries. GMs could also require a 
  character to purchase a certain number of 3-point 
  Combat Skill Levels with his style before he quali-
  ﬁ es for black belt status.
  
  15 
  Hero Games
  W
  hen most Hero gamers think of their 
  characters learning “martial arts,” they 
  have some style from the real world, 
  like Kung Fu or Aikido, in mind. To 
  help you build such characters, this section includes 
  descriptions of numerous real-world martial arts 
  styles in HERO System terms. Th ese arts are not 
  conﬁ ned to the latter part of the twentieth century; 
  many date back into the ﬁ rst millennium BC, or 
  perhaps further back than that. You can ﬁ nd ﬁ ctional 
  martial arts styles in the next section.
  JUTSU VS. DO; 
  INTERNAL VS. EXTERNAL
  Martial artists have two ways of thinking 
  about their styles and how they work that you need 
  to know about in advance.
  Th e ﬁ rst is the distinction between jutsu and 
  do, two terms used in Japanese martial arts. Jutsu 
  means, roughly, “technique” or “art”; it signiﬁ es a 
  martial art meant for actual ﬁ ghting use. Do, mean-
  ing “way,” signiﬁ es just the opposite — a philo-
  sophically-oriented approach stressing the moral, 
  intellectual, sporting, and/or therapeutic beneﬁ ts 
  of studying a particular “ﬁ ghting” style. Do forms 
  are not generally meant for actual combat, though 
  characters can use them that way. Over time, most 
  of the jutsu forms have transformed into do forms. 
  Th us, Aikijutsu becomes Aikido, Jujutsu becomes 
  Judo, Kenjutsu becomes Kendo, and so forth. Th e 
  real-world styles described in this book are almost 
  all jutsu forms, since game characters intend to use 
  them for combat.
  Th e “internal” versus “external” dichotomy 
  (also known as “soft ” versus “hard”) is described in 
  more detail in the Chinese styles, but exists in other 
  arts as well. Styles identiﬁ ed as “internal” concen-
  trate on the development of one’s internal power, 
  known as ch’i (China), ki (Japan), mana (Hawaii), 
  prana or ting (India), or by many other names. Ch’i 
  is oft en thought to reside in the tantien (or tanden, 
  meaning “cinnabar ﬁ eld”), a point just a few inches 
  below the navel. Internal stylists try to keep it cen-
  tered there so it ﬂ ows throughout their body in the 
  correct fashion and energizes them. Internal styles 
  generally concentrate on circular motion, yielding 
  in the face of attack, and using an enemy’s force 
  against him. Tai Ch’i Ch’uan, Hsing-I, Pakua, and 
  Aikido all qualify as “internal” styles. Internal styl-
  ists can sometimes manipulate their ch’i to perform 
  astounding feats; in a gaming campaign, these 
  abilities can become even more spectacular and 
  impressive!
  External or “hard” styles, on the other hand, 
  concentrate on the development of the body and its 
  physical capabilities. Th ey generally rely on power-
  ful, linear attacks to overcome the foe. Th e Shaolin 
  Kung Fu styles, Karate, Wing Chun Kung Fu, Muay 
  Th ai, and similar ﬁ ghting arts are considered exter-
  nal styles. 
  Aikido
  Th is is a Japanese art founded in 1942 by 
  Morihei Ueshiba and derived from the earlier 
  Aikijutsu. It stresses discipline and a nonviolent 
  attitude. Th e art, as practiced in combat, concen-
  trates on balance, rhythm, and use of an opponent’s 
  force against him. It largely involves redirecting an 
  opponent’s energies, especially in throws and take-
  down maneuvers.
  Aikidoka (practitioners of aikido) tradition-
  ally wear a uniform known as an aikidogi. Students 
  wear a uniform similar to a karate gi (see “Karate,” 
  below). Masters wear a pair of wide pants (almost 
  like a split skirt) called a hakama and a jacket simi-
  lar to the karate gi, except that the sleeves are less 
  full. Th e color of the hakama and jacket sometimes 
  REAL WORLD 
  MARTIAL ARTS
  AIKIDO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Extend Ki 
  ½ 
  4 
  +0 +0 STR +15 to resist 
  Shove; Block, Abort
  Hold 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  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
  Redirect 
  ½ 
  5 
  +1 +3 Block, Abort
  Strike 
  ½ 
  5 
  +1 +3 STR Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall*
  KS: Aikido
  Enhanced Perception (Sight Group)
  Elements
  Weapons  
  +1  Use Art with Blades
    
  +1 Use Art with Staﬀ 
   
  +1 Use Art with Polearms
  ‘T
  he 
  teacher 
  is as a needle, 
  the disciple is as 
  thread.’
  —Miyamoto 
  Musashi, Go Rin No 
  Sho (“A Book of 
  Five Rings”)
  MARTIAL ARTS 
  AROUND THE WORLD
  If you’re looking for a 
  martial arts style appro-
  priate for a character 
  from a particular nation 
  or region, here’s where 
  the real-world arts 
  described in this book 
  come from:
  Africa:  Re-eﬁ  Areh-
  ehsee
  Th e Americas:  
  Capoeira (Brazil); Jail-
  house Rock; Jeet Kune 
  Do; Lua (Hawaii); Pro-
  fessional Wrestling
  China:  An Ch’i; Hsing-
  I; Kung Fu; Pakua; Tai 
  Ch’i Ch’uan
  Europe:  Arte 
  dell’Abbracciare; Fenc-
  ing; Kampfringen; Pan-
  kration; Savate; Sevillian 
  Knifeﬁ ghting; Weapons 
  Combat; Zipota
  India:  Gatka; Kalar-
  ipayit; Th ang-Ta
  Indonesia:  Kuntao; 
  Pentjak-Silat
  Israel:  Hisardut; Krav 
  Maga
  Continued on next page
  
  16 
  The Ultimate Martial Artist
  indicates the ﬁ ghter’s level of proﬁ ciency.
  Since Ueshiba’s death, his followers have 
  established their own forms of Aikido. Some of 
  these, such as Tomiki Aikido, are more philosophi-
  cally- or sports-oriented; others, such as Yoshin 
  Aikido, stress combat realism and are more similar 
  to Aikijutsu.
  AIKIDO NOTES
  Th e Strike maneuver is not from Aikido as it 
  is normally taught today, but rather from the art’s 
  ancestor, Aikijutsu.
  Some teachers of Aikido teach the relationship 
  of the art’s maneuvers to the use of blades, the staﬀ , 
  and halberd-like weapons such as the naginata.
  Optional Rules: Th e Strike may be either a punch 
  or a kick; the character can make this choice before 
  each attack with the maneuver. If a punch, it takes 
  a location roll of 2d6+1; if a kick, it takes a location 
  roll of 2d6+7; if it is not speciﬁ ed, it takes a location 
  roll of 3d6. None of the other maneuvers require 
  location rolls; those which do damage do general-
  ized damage.
  Special Abilities:  Various sources attribute many 
  diﬀ erent abilities and “powers” to Morihei Ueshiba 
  and, to a lesser extent, some of his followers. Some 
  of these abilities include:
  1)  Th e ability to ﬁ ght against many opponents 
  without being harmed, or even touched (Defense 
  Maneuver, Combat Skill Levels for DCV).
  2)  Th e ability to sense an attacker’s actions before 
  he even moved (Telepathy, Danger Sense, or Pre-
  cognitive Clairsentience).
  3)  Th e ability to move long distances in an instant 
  and virtually without being seen. For example, it’s 
  said Ueshiba could stand dozens of feet away from 
  a man with his hand on a gun, then reach him and 
  grab his wrist before he could draw the gun out of 
  the holster! Th is is best simulated in HERO System 
  terms as a form of Teleportation with the Limita-
  tion Must Pass Th rough Intervening Space (-¼).
  4)  Th e ability to paralyze opponents with but a 
  touch (a form of Entangle, Takes No Damage From 
  Attacks).
  An Ch’i
  Th is style might best be referred to as “Chinese 
  ninjutsu.” Like Ninjutsu, it concentrates on the use 
  of deception, guerrilla warfare, tricks and traps, and 
  the like. Practitioners of An Ch’i usually carry many 
  hidden weapons, and are masters with thrown 
  weapons — they can even use common objects 
  as lethal missiles! Th e lin kuei, or “forest demons,” 
  China’s equivalent of the Japanese ninja (and said 
  by some to be the ninja’s predecessors), were mas-
  ters of An Ch’i.
  AN CHI’ NOTES
  Th e character should choose which weapon 
  he uses with the Ranged maneuvers when he 
  purchases this style. Small, hand-held throwing 
  weapons like throwing knives, darts, and shuriken 
  are the most appropriate. At the GM’s option, the 
  “weapon” in question could be the character’s 
  “throwing master” ability, described below.
  Optional Rules: Th e Strike may be either a punch 
  or a kick; the character can make this choice before 
  each attack with the maneuver. If a punch, it takes 
  a location roll of 2d6+1; if a kick, it takes a location 
  roll of 2d6+7; if it is not speciﬁ ed, it takes a loca-
  tion roll of 3d6. Th e Nerve Strike does not require a 
  location roll; it does generalized damage.
  Special Abilities:  Th e lin kuei are said to be mas-
  ters of many diﬀ erent special abilities. Some of 
  these are simply highly-reﬁ ned physical skills, 
  but others are mystical in nature and supposedly 
  derive from debased Taoist magical teachings. Th ey 
  include:
  1)  Th e ability to turn any small, throwable object 
  into a lethal missile weapon. Th is ability is so 
  common among the lin kuei that the GM should 
  consider making it a required purchase. It can 
  be bought as a two-slot Multipower, one slot an 
  Energy Blast and one an RKA, each with the Limi-
  tations OIF (available throwing objects of opportu-
  nity; -½) and Range Based On STR (-¼). 
  2)  Th e ability to become invisible (Invisibility).
  3)  Th e ability to hypnotize people (a limited form 
  of Mind Control; see page 204 of the HERO System 
  5th Edition, Revised).
  AN CH’I
  HTH
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Ranged
  Maneuver Phs Pts OCV DCV Rng Damage/Effect
  Basic Shot ½ 
  4 
  +0 +0 +2 Weapon +2 DC
  Defensive 
  Shot 
  ½ 
  3 
  -1 
  +2 +0 Weapon 
  Moving Shot ½ 
  5 
  -1 
  +0 +0 Weapon; FMove
  Quick Shot ½ 
  4 
  +1 +0 +0 Weapon +2 DC
  Skills
  Combat Skill Levels with Ranged Attacks
  Contortionist
  Fast Draw
  KS: An Ch’i
  Mimicry
  SS: Pharmacology/Toxicology
  Survival
  Tracking
  WF: Common Martial Arts Melee Weapons*
  WF: Common Melee Weapons
  WF: Common Missile Weapons*
  WF: Oﬀ -Hand
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  Japan:  Aikido; Bojutsu/
  Jojutsu; Jujutsu; Juken-
  jutsu; Kenjutsu; Kyu-
  jutsu; Naginatajutsu/
  Sojutsu; Ninjutsu; 
  Saijutsu; Shurikenjutsu; 
  Sumo Wrestling
  Korea:  Hapkido; Hwa-
  rang-Do; Kuk Sool 
  Won; Simgomdo; Tae 
  Kwan Do; Tang Soo Do; 
  Yu-Sool
  Okinawa:  Karate
  Philippines:  Arnis/
  Kali/Escrima
  Th ailand, Burma, 
  Malaysia:  Bando; Ber-
  silat; Th ai Kick-Boxing
  Vietnam:  Qwan Ki Do; 
  Th an Vo Dao; Vovinam 
  Viet Vo Dao
  Various/Universal:  
  Boxing (Ancient 
  and Modern); Com-
  mando Training; Dirty 
  Inﬁ ghting/Fisticuﬀ s/
  Cinematic Brawling; 
  Generic Martial Arts; 
  Whipﬁ ghting; Wrestling
  Continued from last page
  
  17 
  Hero Games
  Arnis/Kali/Escrima
  Arnis, Kali, and Escrima are related Philippine 
  martial arts. Th ey are very much weapons-oriented 
  arts, but they include barehanded techniques taught 
  to more advanced students.
  Malays settling the Philippines from the 
  second century BC onward were experts in knife-
  ﬁ ghting techniques. Chinese ﬂ eeing their native 
  land in the ninth century AD brought their martial 
  arts to the area, and Kali emerged from the synthe-
  sis of the two combat styles.
  Arnis, or arnis de mano, the modern form 
  of the art, utilizes 30” sticks in place of the knife 
  or sword-and-knife techniques of the earlier 
  Kali. It is usually fought with two sticks (muton), 
  a single stick (solo baston), or one stick and one 
  knife (espada y daga). Practitioners have adapted 
  the art to other weapons styles as well, especially 
  nunchaku, other karate weapons, and chain weap-
  ons. However, one can still ﬁ nd plenty of traditional 
  Kali practitioners who are experts at using their 
  art with bladed weapons. Th e style’s other name, 
  “escrima,” comes from the Spanish term for “to 
  ﬁ ght”; the term “arnis” is a corruption of the Span-
  ish word for “harness.” 
  Th e style below includes both the traditional 
  and modern-day elements of the art. For Arnis or 
  Escrima, buy the art usable with Clubs (the sticks); 
  that’s the default version presented below. For Kali, 
  buy the art usable with Blades. Students can later 
  add unarmed combat and Karate Weapons via the 
  “Barehanded” and “Weapons” ele-
  ments. Some prac-
  titioners of these 
  styles learn to use 
  many unusual 
  objects, such as 
  items of clothing, 
  yo-yos, and ropes, 
  as weapons. Char-
  acters can simu-
  late specialities in 
  a particular type 
  of weapon by 
  buying 2-point 
  Combat Skill 
  Levels with the 
  weapon.
  A prac-
  titioner of this 
  style is known 
  as a bastonero 
  or estocador. 
  Male ranks 
  are known as 
  lakan; ranks for 
  female ﬁ ghters 
  are dayang. Belts 
  with colored edges indicate 
  rank.
  In any of its forms, this is a fast, eﬃ  cient, brutal 
  style of combat.
  ARNIS/KALI/ESCRIMA NOTES
  Th e Kick, also known as a Sipat, may be 
  learned only aft er the character has bought the 
  Barehanded element to use the art with unarmed 
  combat. Th e Pattern Strike, Sinawali, and Redonda 
  are stick-ﬁ ghting patterns.
  Th e WF: Clubs Skill is not listed among the 
  Skills for this package because characters have 
  Weapon Familiarity with the Clubs Group at no 
  point cost.
  Optional Rules: Th e Punch takes a 2d6+1 location 
  roll. Th e Kick takes a 2d6+1 location roll. Th e Nerve 
  Strike takes a 2d6+1 location roll unless the charac-
  ter has learned to use the art with unarmed combat, 
  at which time it takes a 3d6 location roll (since his 
  legs and feet are now also employed in that maneu-
  ver). Th e Pattern Strike, Redonda, and Sinawali take 
  a 3d6 location roll. Th e other maneuvers do not 
  require location rolls.
  Special Abilities:  Many practitioners of this style 
  strike so rapidly they can land many blows in the 
  space of a second. Characters can buy this as an 
  Autoﬁ re Energy Blast with No Range, as an Autoﬁ re 
  Advantage for one of the art’s strikes (see page 104), 
  or as a form of Two-Weapon Fighting.
  Many Arnis/Kali/Escrima practitioners blink as 
  little as possible, since an attacker could land a blow 
  in the space of a blink. Characters can buy this as a 
  bonus to the character’s Sight PER Roll which Only 
  Works In Combat (-1), as a Combat Skill Level with 
  ARNIS/KALI/ESCRIMA
  Art usable with Clubs Weapon Group; Clubs Weapon 
  Group is free.
  Maneuver Phs Pts OCV DCV Damage/Effect
  Body Shift 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  De Cadena 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Pattern Strike ½ 
  4 
  +2 +2 STR +2d6 Strike, 
  Must Follow Block
  Redonda/
  Punch 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Sinawali/Kick ½ 
  4 
  +0 +2 STR +2d6 Strike
  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
  Skills
  KS: Arnis (and/or Kali and/or Escrima)
  PS: Moro-moro Dancing
  WF: Blades
  WF: Karate Weapons
  WF: Chain & Rope Weapons
  WF: Oﬀ  Hand
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Karate Weapons 
   
  +1 Use Art with Chain & Rope
   
   
  Weapons
  Barehanded 
  +1 Use Art Barehanded
  
  18 
  The Ultimate Martial Artist
  De Cadena (the character keeps his eyes on the 
  enemy constantly, the better to anticipate and block 
  blows), or as one DCV Combat Skill Level.
  Finally, some Arnis/Kali/Escrima masters can 
  access a power called anting-anting, similar to ch’i 
  or prana. It makes them superhumanly strong (Aid 
  STR, Self Only [-½]) and resistant to harm from 
  weapons (Damage Resistance). However, for reli-
  gious and mystical reasons, anting-anting doesn’t 
  work on Th ursdays (a -¼ Limitation).
  SUBSTYLES OF ARNIS/KALI/ESCRIMA
  Hundreds of diﬀ erent substyles of these arts 
  (particularly Kali) are practiced throughout the 
  Philippines. Some of the more interesting ones 
  include:
  Doces Pares
  Doces Pares is a very ﬂ ashy, stick-oriented 
  style of Kali. Th e practitioner delivers strikes “ﬂ o-
  rete” style, meaning that he usually accompanies 
  each strike with a second strike to the spot on the 
  target’s body that circles from the attacker’s wrist.
  To practice Doces Pares, a character should 
  buy any two of the style’s Strike maneuvers, and 
  should know WF: Oﬀ  Hand as well. OCV Combat 
  Skill Levels with the style also help.
  Lacoste
  Named aft er its founder, Jon Lacoste, this sub-
  style melds many forms and skills including, but 
  not limited to, Moro-Moro, two forms of Cebu, and 
  Occidental Negro. Lacoste is also renowned for its 
  extremely deceptive footwork patterns.
  To practice Lacoste, a character should buy 
  the Body Shift , De Cadena, and Disarm maneuvers, 
  and should also buy the Blades and Chain & Rope 
  Weapons Elements. 
  Largo Mano 
  “Large Hand” style, a long-range system, 
  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 
  attempt to kill him; damaging his hands merely 
  “defangs” him.) Fighters try to maintain distance 
  between one another and ﬁ ght defensively.
  To practice Largo Mano, characters should 
  buy at least three of the following maneuvers:  
  Body Shift , De Cadena, Disarm, Redonda/Punch, 
  Takeaway, Weapon Bind. Levels with DCV are also 
  recommended.
  Pekiti Tersia 
  Sometimes known as Kali-Karate because 
  of its emphasis on patterns and its methods of 
  instruction, this substyle includes a variety of 
  maneuvers for the knife.
  To practice Pekiti Tersia, characters should 
  buy at least three of these maneuvers — Body Shift , 
  Disarm, Pattern Strike, Redonda/Punch, Sinawali/
  Kick — and the Blades Weapon Element.
  Repeticion 
  Th is substyle’s philosophy is a constant, for-
  ward-moving oﬀ ensive. To overwhelm one’s oppo-
  nent with the sheer volume of one’s strikes is the 
  Repeticion ﬁ ghter’s tactic.
  To practice Repeticion, characters should buy 
  at least three of the following maneuvers:  Disarm, 
  Pattern Strike, Redonda/Punch, Sinawali/Kick. WF: 
  Oﬀ  Hand and Skill Levels with OCV are also rec-
  ommended.
  Serada 
  Serada is a close-quarters ﬁ ghting system (it 
  concentrates on the punyo range, a term derived 
  from the inch of stick that protrudes from the 
  bottom of the exponent’s ﬁ st). It mainly uses the 
  espada y daga form, with the knife held in the left  
  hand. Th e techniques concentrate on using the stick 
  to lock an opponent’s weapon so the practitioner 
  can stab with the knife.
  To practice Serada, a character should buy the 
  De Cadena, Takeaway, and Weapon Bind maneu-
  vers, and should also buy the Blades Weapon Ele-
  ment.
  Toledo 
  Toledo stylists, considered the hardest hitters 
  of all Kali practitioners, use extra-thick sticks for 
  training and for combat.
  To practice Toledo, a character should buy any 
  two of the style’s Strike maneuvers, with at least +2 
  Extra DC.
  Villabrille 
  Named aft er its founder, a four-time full-con-
  tact stickﬁ ghting champion in the 1930s, this sub-
  style emphasizes the use of barehanded maneuvers. 
  Many ﬁ ghters get so used to being attacked with 
  the stick that they forget the hands and feet are also 
  powerful weapons, and the Villabrille stylist tries to 
  exploit this weakness.
  To practice Villabrille, a character should buy 
  any one of the style’s Strike maneuvers, and must 
  buy the Barehanded Element as well. Levels with 
  Hand-To-Hand Combat are also recommended.
  Arte dell’Abbracciare
  Arte dell’Abbracciare (“art of the embrace”) is a 
  close-combat system developed in medieval Italy. It 
  features grappling, joint-locks and -breaks, tripping, 
  striking, pressure-point attacks, and control tech-
  niques focused on the opponent’s neck and head. 
  Most attacks have several variations, each used in 
  response to speciﬁ c maneuvers employed by the 
  opponent.
  Arte dell’Abbracciare seems to have oft en 
  been learned or practiced together with arte della 
  daga, a knifeﬁ ghting art. Characters may learn 
  that art by buying a Weapon Element for Arte 
  dell’Abbracciare, or by buying maneuvers from the 
  Sevillian Knifeﬁ ghting style (see below).
  ARTE DELL’ABBRACCIARE NOTES
  Optional Rules: Th e Strike and Pressure Point 
  Strike take 3d6 location rolls. None of the other 
  maneuvers take location rolls.
  Special Abilities:  None.
  
  19 
  Hero Games
  Bando
  Bando is a ﬁ ghting art from Burma. (Accord-
  ing to some scholars, the proper name of the art, 
  strictly speaking, is Th aing; Bando is the unarmed 
  branch of the art [or one of its schools] and Ban-
  shay the armed branch.) Th e word “bando” is 
  generally interpreted to mean “art of combat” or 
  “systems of defense.” Bando is thought to have 
  developed under various inﬂ uences, including Th ai, 
  Chinese, Tibetan, and Indian; each Burmese ethnic 
  subgroup has its own form of the art. Th e British 
  banned the art in 1885, but practitioners continued 
  to teach it in secret; aft er World War II Bando was 
  organized and taught more openly than in the past.
  Bando includes both armed and unarmed 
  maneuvers. A fairly brutal style, similar in many 
  ways to Muay Th ai (Th ai kickboxing), it stresses a 
  withdrawal at ﬁ rst, then attacks to the body from 
  outside the opponent’s reach; a grab may follow 
  these strikes. Th e head, shoulder, and hips are used 
  in addition to the hands/ﬁ sts, feet, elbows, and 
  knees. Th ere are twelve primary oﬀ ensive forms 
  or strategies, each named aft er an animal:  Boar 
  (rushes, knee and elbow strikes, headbutts and 
  other close-contact techniques); Bull (charges, 
  tackles, power strikes); Cobra (attacking upper-
  body vital points); Deer (alertness); Eagle (double-
  handed blocks and strikes); Monkey (agility); 
  Paddy Bird (rapid movement); Panther (leaping, 
  tearing); Python (gripping, strangling); Scorpion 
  (nerve-point attacks); Tiger (clawing); and Viper 
  (attacking lower-body vital points).
  Another Burmese ﬁ ghting art, Lethwei, is 
  considered even “harder” than Bando. It is oft en 
  referred to as a form of “boxing,” but is much more 
  similar to Th ai Kick-Boxing than Western boxing. 
  Characters who want to practice Lethwei can use 
  the Th ai Kick-Boxing package, described below.
  BANDO NOTES
  Optional Rules:  Th e Punch (and its various sub-
  forms), Panther Claw/Tiger Claw, and Cobra Strike 
  take a location roll of 2d6+1; the Kick/Knee Strike 
  and the Viper Strike take a 2d6+7 roll. Th e Scor-
  pion Strike takes a roll of 3d6. Th e Boar Headbutt 
  and Python Choke automatically target the head/
  neck, and therefore get neither bonuses nor penal-
  ties for the location. Th e other oﬀ ensive maneuvers 
  do not take location rolls since they do generalized 
  damage.
  Special Abilities:  Bando practitioners are oft en 
  fast runners and strong leapers; extra inches of 
  Running or Leaping would be appropriate for them.
  Bersilat
  Bersilat is a martial art from Malaysia. Its 
  name means, roughly, “to do ﬁ ghting.” Its origins 
  date to the 1400s. According to Malayan legend, its 
  founder was Huang Tuah of Malaca; some other 
  legends attribute the art to a Menangkabau woman 
  of Sumatra. As its name suggests, Bersilat is very 
  similar to the Indonesian art Pentjak-Silat (q.v.) (in 
  fact, some scholars believe Bersilat derives from 
  Pentjak-Silat). It consists of both combative maneu-
  vers, called silat buah, and graceful dancelike move-
  ments (silat pulot) performed for entertainment 
  purposes.
  Bersilat is an acrobatic ﬁ ghting style whose 
  practitioners use a lot of kicks; it also features 
  ARTE DELL’ABBRACCIARE
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Grapple 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  to STR for holding on
  Joint Lock/
  Throw 
  ½ 
  4 
  +1 +0 Grab One Limb; 1d6 
  NND(7); Target Falls
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Pressure 
  Point Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  Breakfall*
  KS: Arte dell’Abbracciare
  BANDO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Kick/Knee 
  Strike 
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Panther Claw/
  Tiger Claw 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Punch/Elbow Strike/Eagle Strike/Boar 
  Headbutt 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Python Choke ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Python Crush ½ 
  4 
  +0 +0 STR +4d6 Crush, 
  Must Follow Grab
  Python Grab ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Scorpion Strike/Cobra Strike/
  Viper Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Tackle 
  ½ 
  3 
  +0 
  -1 STR +v/5 Strike; You 
  Fall, Target Falls; 
  FMove
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall
  KS: Bando
  WF: Common Melee Weapons
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Spear
   
  +1 Use Art with Staﬀ 
  
  20 
  The Ultimate Martial Artist
  punches, throws, and holds (some styles are, in 
  fact, quite similar to various styles of wrestling). It 
  teaches the use of weapons such as blades, staﬀ s, 
  and sticks. Each state or region in the country has 
  its own distinctive substyle.
  Bersilat ﬁ ghters wear a black uniform made up 
  of baggy trousers, a short-sleeved shirt, a headband, 
  and a colored belt (bengkong) denoting rank:  from 
  lowest to highest rank, the colors are white, green, 
  red, yellow, and black.
  BERSILAT NOTES
  Optional Rules:  Th e Punch, Finger Strike, and 
  Flying Kick take locations of 2d6+1; 
  the Sepak Terajang takes a 
  2d6+7 location roll.
  Special Abilities:  Bersilat 
  ﬁ ghters are oft en known 
  for their acrobatic 
  leaping ability; extra inches of Leaping, particularly 
  with the Limitation Requires An Acrobatics Roll (-½), 
  would be appropriate for them.
  SUBSTYLES OF BERSILAT 
  Like many martial arts, Bersilat has a number 
  of distinctive schools or substyles. Th ey include the 
  ones described below, plus Langka Silat, Lintan, and 
  Medan.
  Chekak
  Chekak Bersilat emphasizes open hand strike 
  techniques and downplays kicks. To practice Chekak, 
  a character must know the Block, Finger Strike, and 
  Punch (“Open Hand Strike”) maneuvers.
  Kelantan 
  Kelantan Bersilat focuses on locking and grap-
  pling techniques instead of strikes. To practice Kelan-
  tan, a character must know the Block, Elak Mengelak, 
  Escape, and Hold maneuvers.
  Terelak
  Terelak Bersilat concentrates on muscular 
  strength and powerful attacks. To practice it, a char-
  acter must known the Escape, Flying Kick, and Punch 
  maneuvers.
  Bojutsu/Jojutsu
  Th e maneuvers listed below describe two diﬀ er-
  ent, yet similar, styles:  Bojutsu (the art of the staﬀ ) 
  and Jojutsu (the art of stick-ﬁ ghting).
  Bojutsu, the art of the staﬀ , uses the bo staﬀ  (also 
  known as a rokushakubo, “six-foot staﬀ ”). Th e ﬁ ghter 
  holds his staﬀ  two-handed. Staﬀ -ﬁ ghting was oft en 
  used to help train warriors to use other weapons, 
  since warriors can practice the staﬀ  without causing 
  fatal injuries.
  Jojutsu, the art of the stick, uses the jo, a short 
  staﬀ  or stick about four feet long. According to 
  legend, the art was developed around 1500 by Muso 
  Gonnosuke. Muso, a samurai, was taking the part of 
  a mushashugyo (a samurai who travels the country, 
  testing his martial skills) to improve his Bojutsu 
  techniques, and was proving himself a superior war-
  rior. Because of his reputation, another 
  undefeated warrior, the great swordsman 
  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. Th en he sought out Miyamoto, 
  challenged him, and beat him — the only defeat 
  Miyamoto ever suﬀ ered. 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  ﬁ ghting and staﬀ -
  based arts from many other cultures, and 
  Jojutsu for many other stickﬁ ghting arts.
  BERSILAT
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Elak Mengelak 
  (Dodge) 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Finger Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Flying Kick 
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike 
  Hold 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Sepak Terajang
  (Kick) 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall
  KS: Bersilat
  PS: Silat Pulot Dancing
  WF: Blades
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Staﬀ 
  
  21 
  Hero Games
  BOJUTSU/JOJUTSU NOTES
  Optional Rules:  Th e Atemi Strike takes a 2d6+1 
  Hit Location; the Smash and Strike maneuvers take 
  3d6 rolls. Th e Legsweep automatically targets the 
  legs, of course, but does not suﬀ er any Attack Roll 
  or damage penalties because of this.
  Special Abilities:  
  1)  Rapid-ﬁ re attacks:  A practitioner of Bojutsu and 
  Jojutsu can sometimes make several attacks in rapid 
  succession before his opponent can react. You can 
  buy this as a No Range Autoﬁ re EB, as an Autoﬁ re 
  Advantage for the Strike maneuver (see page 104), or 
  as a form of Two-Weapon Fighting.
  2)  Swordbreaking:  Shijo are said to be trained to 
  break an enemy’s weapon with their short staﬀ s 
  (HKA, Only Works Against Weapons [-1]).
  Boxing, Ancient
  Th is is a martial arts style practiced by many 
  cultures in the ancient world (reaching into the 
  Bronze Age and prehistory), especially the Greeks 
  and (Asian) Indians. A form of boxing called ch’uan 
  p’o was known in China as early as 700 BC. Ancient 
  Boxing is simpler than modern boxing, nowhere near 
  as scientiﬁ c or punishing in application.
  In the Greek form of the art, ﬁ ghting stance con-
  sists of the pugilist keeping his blocking (usually left ) 
  arm outstretched before him, with the hand usually 
  open, and keeping his striking hand cocked back for 
  blows.
  ANCIENT BOXING NOTES
  Th e Jab and Punch maneuvers may be used with the 
  cestus; see the Weapons section of this book for infor-
  mation on this weapon.
  Optional Rules: Th e Jab and Punch both take loca-
  tion rolls of 2d6+1; the Block doesn’t take a location 
  roll. Alternatively, if you wish to better simulate the 
  way boxing took place in classical Greece, you can say 
  that the Jab and Punch are automatically head shots 
  but do no extra damage for striking the head (no 
  multiples of STUN or BODY), since ancient Greek 
  boxing blows were only directed at the head.
  Special Abilities:  Because they are accustomed to 
  the brutality of this style, some boxers may have the  
  ability to sustain incredible injuries without falling 
  (Damage Reduction).
  Boxing, Modern
  Modern Boxing evolved gradually from Ancient 
  Boxing. According to legend, some eﬀ ort at system-
  izing boxing as a sport took place 700 years ago, when 
  St. Bernard taught it to youths to keep them from 
  kniﬁ ng one another. In England, the practice of prize-
  ﬁ ghts began some 200 years ago, with contests fought 
  with bare ﬁ sts, though this sport was illegal and fre-
  quently raided.
  In 1865, the Marquis of Queensberry draft ed 
  his famous rules for the sport; his rules called for the 
  use of boxing gloves and timed rounds in boxing 
  matches. It is around that time that this martial arts 
  style becomes available to player characters; before 
  the middle of the nineteenth century, characters 
  should buy Ancient Boxing 
  if they want to box.
  Nobody today 
  teaches boxing 
  with the 
  cestus.
   How-
  ever, 
  BOJUTSU/JOJUTSU
  Used with Staff or Clubs Weapons Group; that Weapon 
  Element is free.
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Bind 
  ½ 
  4 
  +1 +0 Bind, +10 STR
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm       
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Jab 
  ½ 
  5 
  +1  +3 Weapon
  Legsweep 
  ½ 
  3 
  +2 
  -1 Weapon +1 DC 
  Strike, Target Falls
  Shove 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Strike 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Smash 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Skills
  KS: Bojutsu (or Jojutsu, as appropriate)
  WF: Staﬀ  (* for Bojutsu)
  BOXING, ANCIENT
  Maneuver Phs Pts OCV DCV Damage/Effect
  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
  Weapons 
  +1 Use Art with Cestus
  BOXING, MODERN
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Clinch 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Cross 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Hook 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Jab 
  ½ 
  3 
  +2 +1 STR Strike
  Skills
  KS: Boxing
  Paramedic
  Elements
  Weapons 
  +1 Use Art with Cestus
  
  22 
  The Ultimate Martial Artist
  the maneuvers work with a cestus, should someone 
  be mad enough to train with one. Th erefore, the 
  Weapons Element remains in place in the Modern 
  Boxing package, though few boxers purchase it.
  Players might consider replacing the Cross 
  (a Martial Strike) with a Fast Strike instead. Many 
  modern boxers concentrate on power and speed 
  and are willing to take a few blows if they can land 
  a few. Th e Fast Strike, with its OCV bonus, better 
  represents this strategy.
  MODERN BOXING NOTES
  Optional Rules: Th e Jab, Cross, and Hook take 
  location rolls of 2d6+1; the other maneuvers take 
  no speciﬁ c location rolls. Th e Clinch will always 
  Grab the arms or head, never the legs.
  Special Abilities:  As Ancient Boxing.
  Capoeira
  Capoeira is the national martial art of Brazil. 
  Its origins lie in Angola, where its ancestor was a 
  type of ritual dance. Th e martial art’s development 
  began aft er 1530, when the ﬁ rst Angolan slaves 
  were brought into Brazil; many of them escaped to 
  live in free communities. Capoeira was the ﬁ ghting 
  style they developed to resist attacks by government 
  forces. It was banned in 1707, and “went under-
  ground” when its practitioners converted it into a 
  dance form, disguising its combat eﬀ ectiveness.
  Capoeira relies primarily upon kicks, take-
  downs, and dodges (to block attacks is rare). Among 
  the art’s unusual features are its dance-like footwork 
  and the acrobatic prowess of the practitioners. For 
  many maneuvers, practitioners (called capoeiras or 
  capoeiristas) stand on their hands and attack with 
  powerful kicks. Th is fea-
  ture of the art arose 
  in 
  part because it allowed capoeiristas to ﬁ ght with 
  manacled hands; therefore, the art requires its practi-
  tioners to take the Acrobatics Skill. Another example 
  of this acrobatic skill is the use of the au, or cart-
  wheel, to move across the ﬁ eld of combat.
  Capoeiristas also added razor-ﬁ ghting tech-
  niques to their repertoire, so the art includes a 
  Weapon Familiarity with razors. None of the listed 
  maneuvers add CV or damage bonuses to razor 
  attacks, however, so this is considered just an addi-
  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
  Th e 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: Th e 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. Th e 
  Asﬁ xiante and vôo-do-morcego both have a 2d6+1 
  location roll. Th e 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 
  CAPOEIRA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Armado da Costa Spin Kick)/Parafuso (Jumping
  Spinning Kick) ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Bencao (Front Thrust Kick)/Asﬁ xiante 
  (Punch) 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Cabeçada 
  (Head-Butt) 
  ½ 
  3 
  +1 +0 STR +2d6 Strike
  Cocorinha/Esquiva/Queda 
  de Quatro 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Dedeira
  (Eye Gouge) ½ 
  4 
  -1 
  -1 Sight Group Flash 4d6
  Meia lua de Frente/Queixada (Crescent 
  Kick) 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Rasteira/Banda/Tesoura/Arrastão (Legsweep/
  Takedown) 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Vôo-do-morcego 
  (Flying Kick) ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Skills
  Acrobatics*
  Breakfall
  KS: Brazilian Music
  PS: Dancing
  PS: Play Instrument
  WF: Straight Razor
  
  23 
  Hero Games
  Roll (-½) to show oﬀ  their acrobatic prowess. Acro-
  batics also allows them to ﬁ ght without penalty if 
  their hands are bound (they use kicks instead of 
  punches).
  Commando Training
  Commando training is the quick-and-dirty 
  art of elimination of the enemy. Its origins are with 
  the armed forces; many a Marine in World War II 
  was taught the principles of Commando Train-
  ing. Today, systemized commando styles such as 
  Combato are taught like any other martial art, and 
  police departments, rape prevention activists, and 
  the like teach Commando Training maneuvers as 
  self-defense combat styles.
  COMMANDO TRAINING NOTES
  Characters can use the Karate “Chop”, Judo Disarm, 
  and Kung Fu Block with Clubs and Knives (if the 
  practitioner buys those Weapons Elements).
  Optional Rules: Th e Boxing Cross and Karate 
  “Chop” take location rolls of 2d6+1; the Choke 
  automatically targets the head, but gets neither 
  bonuses nor penalties for doing so; the Th row, 
  Disarm, Hold, Escape, and Block take no location 
  rolls.
  Special Abilities:  None
  Dirty Inﬁ ghting/Fisticuffs/
  Cinematic Brawling 
   Th is is not a martial art, but rather a set of 
  maneuvers skilled streetﬁ ghters can learn. It’s also 
  taught to women as a series of rape-prevention 
  maneuvers (especially the Disarm, Low Blow, and 
  Th row). Since it’s not a formal martial art, practitio-
  ners cannot take a Style Distinctive Feature for it.
  For characters who are not the sort of people 
  that would learn a “dirty” way to ﬁ ght, you can 
  characterize this style in two other ways. One is as 
  Fisticuﬀ s, the general ﬁ ghting skill of the strong-
  jawed hero so oft en 
  featured in pulp tales 
  and comics. A character 
  with Fisticuﬀ s is simply 
  a good, all-American 
  ﬁ ghter; he doesn’t have 
  any formal training 
  and doesn’t ﬁ ght 
  dirty. Alternately, 
  some characters may 
  want to know Cin-
  ematic Brawling, the 
  free-wheeling sort of 
  combat oft en seen in movies and on 
  television. Like Dirty Inﬁ ghting, Fisticuﬀ s 
  and Cinematic Brawling cannot take the 
  Style Distinctive Feature; they aren’t “styl-
  ized” enough. 
   
  Not all streetﬁ ghting characters need to 
  know Dirty Inﬁ ghting — it represents a character 
  with a lot of rough and dirty ﬁ ghting experience. 
  You can simulate many characters’ simple ﬁ ghting 
  skills as a form of “Brawling” by buying HA +1-2d6, 
  perhaps with one or two Combat Skill Levels to 
  reﬂ ect a crude “technique.”
  DIRTY INFIGHTING/FISTICUFFS/CIN
  EMATIC BRAWLING NOTES 
  Th e “clubs” most oft en used with Dirty Inﬁ ghting 
  include bottles, pool cues, and other weapons of 
  opportunity.
  Th e Block/Chin Block, Hoist ‘n’ Heave, and Two-
  COMMANDO TRAINING
  Maneuver Phs Pts OCV DCV Damage/Effect
  Aikido Throw ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Boxing Cross ½ 
  4 
  +0 +2 STR +2d6 Strike
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Hold 
  ½ 
  4 
  -1 
  -1 Grab Three Limbs, 
  +10 STR for holding 
  on
  Judo Disarm ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Karate 
  “Chop” 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Kung Fu 
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Skills
  Breakfall
  WF: Small Arms
  Elements
  Weapons 
  +1 Use Art with Clubs
   
  +1 Use Art with Knives
  DIRTY INFIGHTING/FISTICUFFS/
  CINEMATIC BRAWLING
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block/Chin 
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Eye Gouge 
  ½ 
  4 
  -1 
  -1 Sight Group Flash 
  4d6
  Hoist ‘n’ 
  Heave 
  ½ 
  5 
  -2 
  -2 Grab Two Limbs, +20 
  STR to Throw
  Kidney Blow ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Low Blow 
  ½ 
  4 
  -1 
  +1 2d6 NND(3)
  Punch/
  Backhand 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Roundhouse/Two-Fisted
  Smash 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Tackle 
  ½ 
  3 
  +0 
  -1 STR +v/5 Strike; You 
  Fall, Target Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Streetwise
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Clubs
  
  24 
  The Ultimate Martial Artist
  Fisted Smash are obviously found only in Fisticuﬀ s/
  Cinematic Brawling, since they’re far too color-
  ful to have a place in a vicious street brawl. Th e 
  Block/Chin Block can either be a standard block 
  with the forearm, or it can consist of the character 
  “blocking” the blow by taking it square on the chin 
  and “shrugging oﬀ ” the eﬀ ects — “Go ahead, mate, 
  take yer best shot!”  Th e Hoist ‘n’ Heave is the classic 
  “grab him by the shirt-front and toss him out the 
  window” maneuver; it “Grabs” two limbs because 
  characters thrown in this fashion never seem able 
  to use their arms to keep from being thrown. Th e 
  highly unrealistic Two-Fisted Smash consists of 
  lacing your ﬁ ngers together and striking the enemy; 
  the Cinematic Brawler’s ability to do this without 
  suﬀ ering intense pain is perhaps his only “special 
  ability.”
  Optional Rules: Th e Punch/Backhand, Round-
  house/Two-Fisted Smash, and Kidney Blow take 
  location rolls of 2d6+1. Th e Disarm takes no 
  speciﬁ c location. Th e Low Blow is automatically a 
  Vitals shot, but receives no extra damage (no STUN 
  multiples) for hitting the Vitals area. Th e Eye Gouge 
  automatically hits the eyes, but receives no extra 
  damage or Attack Roll penalties for doing so. Th e 
  Tackle does generalized damage.
  Special Abilities:  None.
  Fencing
  Fencing is a European sword-ﬁ ghting tech-
  nique which developed during the Renaissance (c. 
  ﬁ ft eenth century AD), though some maneuvers (or 
  at least the basis for them) may predate that time. It 
  made use of long, light blades (especially rapier and 
  sabre) and knives (including daggers, stilettos, and 
  main gauches). In combat situations, fencers oft en 
  fought “in the round” (i.e., not conﬁ ning themselves 
  to the imaginary straight line utilized by modern 
  fencers).
  Modern-day fencing makes use of much 
  lighter, springier weapons with capped tips (to keep 
  them comparatively safe); these include foil and 
  epee. Fencing weapons are divided into thrusting 
  weapons (foils, epees, rapiers, and smallswords) and 
  slashing weapons (sabers and the like). In HERO 
  System terms generally you don’t have to reﬂ ect 
  the diﬀ erences with diﬀ erent maneuvers, but GMs 
  desiring greater realism or detail may rename cer-
  tain maneuvers depending upon the class of weapon 
  a character uses, or may restrict certain maneuvers 
  to certain types of weapons. You could also use two 
  diﬀ erent Weapon Elements.
  As a martial art, Fencing is automatically 
  designed for use with the Blades weapons group. (It’s 
  intended for use with lighter fencing weapons such 
  as the rapier, sabre, foil, and epee, but in swashbuck-
  ling campaigns characters can use it with heavier 
  cutlasses, broadswords, and so forth if the GM 
  allows.) Characters may not buy Fencing maneuvers 
  for other classes of weapons (no polearms, no axes, 
  and so on), or for use in unarmed combat. Fenc-
  ers oft en do use other weapons — especially such 
  things as cloaks and bucklers — but those weapons 
  do not utilize the Fencing weapon maneuvers.
  Optional Rules: Th e Ballestra, Cut, Double a 
  Double, Fleche, Lunge, Riposte, Slash, and Th rust 
  take location rolls of 3d6 when used with a 
  medium or long blade, or 2d6+1 when used with 
  a short blade (like a dagger or short sword). Th e 
  Pasata Soto takes a 2d6+7 location roll. Th e other 
  maneuvers do not take location rolls.
  Special Abilities:
  1)  Flurry:  A highly-skilled fencer can attack so 
  swift ly he strikes his opponent several times in the 
  space of a second. You can buy this as a No Range 
  Autoﬁ re EB, or as an Autoﬁ re Advantage for a 
  favored Strike maneuver (see page 104).
  2)  Fighting Florentine:  Skilled fencers may ﬁ ght 
  with a weapon in each hand (“ﬁ ghting Florentine” 
  or with a “case of swords”). In HERO System terms, 
  this is a form of Sweep, but characters can buy the 
  Two-Weapon Fighting Skill and/or WF: Oﬀ  Hand 
  to simulate their skill with such maneuvers. One of 
  FENCING
  Usable with Blades Weapon Group; Blades Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Ballestra 
  ½ 
  5 
  +2 
  -2 Weapon +4 DC 
  Strike; Half Move 
  Required
  Cut  
  ½  3  +2  +1  Weapon
  Ceduto 
  var  4  +0 +0 +15 STR to escape 
  Bind
  Double a 
  Double 
  ½ 
  4 
  +2 +2 Weapon +2 DC 
  Strike, Must Follow 
  Predeﬁ ned Maneuver
  Fleche 
  ½ 
  4 
  +2 
  -2 Weapon +v/5; FMove
  Froissement ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Grypes  
  ½  3  -1  -2  Grab One Limb, +10 
  STR disarm 
  Lunge 
  ½ 
  5 
  +1 
  -2 Weapon +4 DC
  Parry 
  ½ 
  4 
  +2 +2 Block, Abort
  Pasata Soto  ½  3  +2  +2  Weapon + foe’s 
  v/5 Strike, You Fall, 
  Response to Balles-
  tra, Fleche, Lunge
  Prise de Fer ½ 
  4 
  +1 +0 Bind, +10 STR
  Riposte 
  ½ 
  4 
  +2 +2 Weapon +2 DC 
  Strike, Must Follow 
  Block
  Slash 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Takeaway 
  ½ 
  5 
  +0 +0 Grab Weapon, +10 
  STR to Take Weapon 
  Away
  Thrust 
  ½ 
  5 
  +1 +3 Weapon
  Trip  
  ½  3  +2  -1  STR +1d6 Strike, 
  target falls 
  Void 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Skills
  KS: Fencing
  Sleight Of Hand
  Two-Weapon Fighting
  WF: Blades*
  WF: Oﬀ  Hand
  
  25 
  Hero Games
  the many maneuvers characters can perform with 
  this ability is the scannatura, in which the fencer 
  binds the foe’s weapon with his oﬀ -hand blade and 
  strikes with his primary blade.
  3)  False Disengage:  Some fencers can perform false 
  “disengages” to trick their opponents into react-
  ing improperly. You can simulate this with the use 
  of the Sleight Of Hand Skill versus the opposing 
  fencer’s PER Roll in a Skill Versus Skill Contest. If 
  the fencer attempting the trick wins the Contest, he 
  gains +1 OCV for his next Fencing maneuver per-
  formed that Phase or in his next Phase.
  4)  Colpo d’ Arresto:  A colpo d’ Arresto is a fencer’s 
  way of living up to the old saying, “the best defense 
  is a good oﬀ ense.” In response to an attack, the 
  fencer makes a rapid attack to hit the opponent 
  before the opponent completes his own attack. It 
  requires good judgment and split-second timing. 
  In HERO System terms, this is the use of a Held 
  Action, but the fencer can buy Combat Skill Levels 
  to reﬂ ect his skill at this very impressive maneuver.
  FENCING MANEUVERS
  Fencing has many maneuvers, but few fenc-
  ers buy them all. Th is results in a wide variance 
  between the styles of individual fencers. 
  Ballestra:  A rapid step or hop forward, followed 
  immediately by a lunge to take advantage of the 
  momentum.
  Cut:  Using wrist action, the fencer delivers a swift  
  cut using the foremost edge and tip of his blade. 
  Fencers usually aim a Cut at the wrist or face.
  Ceduto:  A disengage movement in which the 
  fencer ﬂ ips the blade up or down while stepping 
  back or away.
  Double a Double:  Th is is a ﬂ exible pattern maneu-
  ver similar to a Riposte, except that instead of fol-
  lowing a Block, it follows a particular predeﬁ ned 
  maneuver. At the beginning of a fencing match, the 
  fencer must specify which maneuver his Double a 
  Double follows (he can change this maneuver from 
  ﬁ ght to ﬁ ght, but not during a particular ﬁ ght). Th is 
  simulates the fencer setting up his foe for a devas-
  tating blow.
  Fleche:  Th e fencer runs or leaps at his foe with 
  blade extended. It requires a Full Move, and the 
  momentum allows the fencer to inﬂ ict extra 
  damage.
  Froissement:  A disarming maneuver designed to 
  knock the weapon from a foe’s hand. It ranges from 
  a quick, strong “slap” at the base of the opponent’s 
  weapon to complicated bind maneuvers in which 
  the fencer locks up his opponent’s blade and then 
  “yanks” it out of his hand.
  Grypes:  Th is grab/disarm maneuver is peculiar to 
  the English school (see below). Th e fencer grabs 
  his foe’s weapon arm and applies a lock/hold to 
  force the weapon from the foe’s hand. Of course, 
  this requires a free hand, so a fencer using a main 
  gauche or buckler can’t employ it unless he drops 
  that object.
  Lunge:  A deep, powerful lunging step at the foe 
  with blade extended, most commonly used with 
  smaller weapons such as smallswords.
  Parry:  Th e fencer blocks his foe’s blade with one of 
  his own.
  Pasata Soto:  Th e fencer must execute this compli-
  cated maneuver in response to a Ballestra, Fleche, 
  or Lunge. He drops to the ground underneath the 
  incoming weapon, and, supporting himself with 
  his oﬀ -hand, performs a rapid thrust at the foe up 
  and under the foe’s guard. Although athletically 
  demanding, and prone to leaving a fencer open 
  to other attacks if he cannot get back on his feet 
  quickly, it is an impressive and oft en deadly maneu-
  ver.
  Prise de Fer:  Th e fencer presses 
  his blade against his foe’s in 
  such a way as to prevent the 
  foe from using his weapon to 
  attack. Th is is sometimes 
  referred to as “locking 
  up” the opponent’s 
  blade.
  Riposte:  Th e fencer 
  blocks one of his oppo-
  nent’s blows, then follows up 
  with a rapid counterstrike 
  before the opponent can 
  recover his guard.
  Slash:  A basic fencing 
  attack in which the 
  fencer swings his 
  blade at his foe 
  using his whole 
  arm to power 
  the blow.
  Takeaway:  Th e fencer disarms his foe. 
  Th is may involve literally grabbing some safe 
  part of the weapon (such as its ricasso) and yanking 
  it out of his hand, or a bind-like maneuver in which 
  he locks up his foe’s blade and then follows through 
  to force the blade out of his hand.
  Th rust:  A rapid jab at the foe using the point of the 
  blade and without signiﬁ cant forward motion on 
  the part of the fencer.
  Trip:  Taught primarily in the English fencing 
  school, this maneuver is a swift  kick or tripping 
  movement aimed at the foe in an attempt to knock 
  him down. 
  Void:  Th e fencer steps to one side, or shift s his 
  body out of the way of an attack. Unlike the other 
  maneuvers in the Fencing package, a fencer can use 
  this one when he does not have a blade in his hand 
  (in short, at any time).
  SUBSTYLES
  Across Europe, dozens of diﬀ erent fencing 
  schools have taught students ways to use the blade. 
  Some of the best known schools include:
  English School
  An Englishman named George Silver devel-
  
  26 
  The Ultimate Martial Artist
  oped this style of fencing as a homegrown response 
  to Italian styles. Silver preferred heavy blades, such 
  as the broadsword, and a buckler to the “ﬂ ashy” Ital-
  ian rapier-ﬁ ghting. Th e English school emphasizes 
  steady, deliberate movements, strong stances, solid 
  blocks and parries, and cuts and slashes. It even 
  incorporates some Wrestling maneuvers (bought 
  from that package if desired). To belong to the 
  English school, a character must buy at least three 
  of the following maneuvers:  Cut, Grypes, Lunge, 
  Parry, Riposte, Slash, Takeaway, Th rust, Trip, Void.
  French School
  Th e French school concentrates on maintain-
  ing a distance between the two ﬁ ghters, parrying, 
  and then counterattacking. French stylists should 
  keep most of their Combat Skill Levels (if any) in 
  DCV. To belong to the French school, a character 
  must buy at least three of the following maneuvers:  
  Ballestra, Cut, Fleche, Froissement, Lunge, Parry, 
  Prise de Fer, Riposte, Slash, Takeaway, Th rust, Void.
  Italian School
  Italian style fencing is known for its fast, 
  aggressive approach. Fencers typically concentrate 
  on attacks, oft en using a second weapon, such as a 
  main gauche, spiked buckler, or fo (a cloak with a 
  weighted hem). Many variants, such as the schools 
  of Vincentio Saviolo and Giacomo di Grassi, 
  existed. To belong to the Italian school, a character 
  must buy at least three of the following maneuvers:  
  Ballestra, Cut, Ceduto, Double a Double, Lunge, 
  Parry, Pasata Soto, Riposte, Slash, Takeaway, Th rust, 
  Void. Italian fencers usually put most of their 
  Combat Skill Levels (if any) into OCV.
  Schlaeger Swordﬁ ghting (Heidelberg School) 
  Th is late nineteenth century style, popularized 
  by students of the German university at Heidelberg, 
  is very physical. It involves holding the schlaeger 
  sword at “high prime” (hand slightly above the 
  head, tip of the blade at mouth level). Duellists 
  oft en wear goggles to protect the eyes, and metal 
  caps on the head. Th e goal is not to kill or seriously 
  injure the opponent, but to cut the opponent on his 
  head or face. In time the goal oft en became to earn 
  a duelling-scar one’s self, as fellow duellists con-
  sidered the scar a badge of honor. To belong to the 
  “Heidelberg school,” a character must buy at least 
  three of the following maneuvers:  Ballestra, Cut, 
  Parry, Riposte, Slash, Takeaway, Th rust, Void.
  Spanish School 
  Th e Spanish school emphasizes footwork 
  and movement based upon an imaginary “Mystic 
  Circle” circle encompassing the fencer and his foe. 
  Th eoretically, by knowing where an opponent is in 
  relation to himself in the circle, the fencer can move 
  at precise angles to his foe to gain a deadly advan-
  tage. Spanish fencers move with steadiness and 
  grace, almost as if dancing. To belong to the Span-
  ish school, a character must buy at least three of the 
  following maneuvers:  Ballestra, Cut, Ceduto, Fleche, 
  Froissement, Lunge, Parry, Riposte, Slash, Takeaway, 
  Th rust, Void.
  Gatka
  A martial art originating in the Punjab region 
  of northern India in, depending on which sources 
  you believe, the ﬁ ft eenth, seventeenth, or eighteenth 
  centuries, Gatka was developed by the Sikhs to 
  defend against Mongol invaders and other enemies. 
  It is a weapons-based art, focusing on the sword, a 
  one- to three-meter long stick, and ﬂ exible weapons 
  (such as chains, ropes, and whips). Practitioners 
  also know how to use the chakram (a bladed throw-
  ing ring) and the unusual chakar (a weapon like 
  a wagon wheel with a weight at the end of each 
  spoke, spun around to cause impact damage). Leg-
  ends tell of many battles in which a small number 
  of Sikhs used their Gatka skills to fend oﬀ  much 
  larger forces.
  Gatka practitioners begin training sessions 
  with meditation, oft en accompanied by music. Th ey 
  ﬁ rst learn to use sticks, then progress to the sword 
  and ﬂ exible weapons.
  GATKA NOTES
  Optional Rules:  Th e Strike and Power Strike use 
  3d6 Hit Location rolls. Th e other maneuvers do not 
  require Hit Location rolls.
  Special Abilities: According to legend, many Gatka 
  masters can ﬁ ght equally well with either hand, or 
  sometimes with a sword in both hands. You can 
  simulate this by buying Ambidexterity and/or Two-
  Weapon Fighting.
  GATKA
  Used with Club Weapon Group; Club Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bind 
  ½ 
  4 
  +1 +0 Bind, +10 STR 
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Dodge 
  ½ 
  4 
  +0 +5 Dodge All Attacks, 
  Abort
  Power Strike ½ 
  5 
  +1 
  -2 Weapon +4 DC Strike
  Strike 
  ½ 
  4 
  +2 +0 Weapon +2 DC Strike
  Skills
  KS: Gatka
  WF: Common Melee Weapons*
  WF: Chain and Rope Weapons
  WF: Chakar
  WF: Chakram
  WF: Staﬀ 
  WF: Whip
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain and Rope  
   
  Weapons
   
  +1 Use Art with Chakar
  ‘A
  ct without doing, 
  work without effort.’
  — Tao Te Ching
  
  27 
  Hero Games
  Generic Martial Arts
  Th is is a set of maneuvers for characters who 
  want to have martial arts but don’t want to bother 
  with information on or comparisons between mar-
  tial arts styles. It’s also a good way to represent the 
  ﬁ ghting skills learned by characters who train with 
  a number of tutors espousing diﬀ erent styles.
  Since it is not a formalized style, it receives no 
  Style Distinctive Feature.
  GENERIC MARTIAL ARTS NOTES
  Optional Rules: Th e Punch takes a location roll of 
  2d6+1; the kick takes a location roll of 2d6+7; the 
  Block, Th row, and Dodge don’t utilize locations rolls.
  Special Abilities:  None.
  Hapkido
  Hapkido (roughly, “the way of coordinated 
  power”) is a Korean martial art a synthesiz-
  ing several other styles, including Hwarang-
  Do, Aikido/Aikijutsu, Jujutsu, Tae Kwon 
  Do, and others. It was developed by 
  Choi Yong Suhl, a Korean martial artist 
  who emigrated to Japan following the 
  Japanese occupation of his homeland 
  in the ﬁ rst decade of the twentieth cen-
  tury. In Japan he studied Japanese martial 
  arts (particularly Daito-ryu Aikijutsu) and 
  integrated some of their techniques with his 
  Korean maneuvers. When he returned to Korea 
  aft er World War II, he opened the ﬁ rst Hapkido 
  school so he could teach his new style to others. 
  Hapkido is an art designed with ﬁ ght-
  ing, not sport or artistry, in mind. It attempts 
  to combine the best of the “hard” and “soft ” 
  ﬁ ghting styles to form a versatile, well-
  rounded combat art. Like most 
  Korean styles, it emphasizes kick-
  ing over hand techniques. It grades 
  students on a simple belt system:  
  from lowest to highest, the ranks 
  are white, blue, red, and black.
  HAPKIDO NOTES
  Optional Rules:  Th e Punch and 
  Nerve Strike take a 2d6+1 location roll, the Kick a 
  3d6 roll. Th e other maneuvers either do not require 
  Hit Location rolls or target speciﬁ c locations.
  Special Abilities:  Some Hapkido masters reputedly 
  can sense attackers and objects anywhere around 
  them, an ability known as “mind like the moon.” 
  Characters can buy this as a form of Spatial Aware-
  ness.
  Hisardut
  Hisardut is a ﬁ ghting art 
  developed in Israel. It was founded 
  by Dennis Hanover, who adapted 
  techniques from several martial arts 
  to form a practical ﬁ ghting style 
  suited for modern-day combat. 
  Intended as a practical ﬁ ghting 
  and survival art, it has few sport-
  ing applications.
  HISARDUT NOTES
  Optional Rules:  Th e Punch/
  Elbow Strike takes a 2d6+1 
  location roll, the Kick a 3d6 roll, 
  and the Knee Strike a 2d6+7 roll. 
  Th e Headbutt and Choke Hold 
  automatically strike the head, with-
  out penalty or bonus. Th e other 
  maneuvers do not require Hit 
  Location rolls.
  Special Abilities:  None.
  GENERIC MARTIAL ARTS
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls 
  Skills
  Breakfall
  WF: Common Melee Weapons
  HAPKIDO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Breaking 
  Throw 
  ½ 
  5 
  -2 
  +0 HKA ½d6 (2 DC), Dis-
  able; Target Falls
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Sweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall
  KS: Hapkido
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with ClubsWeapons 
  
  28 
  The Ultimate Martial Artist
  HSING-I
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Defensive 
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Eagle Claw 
  ½ 
  4 
  +1 
  -1 Grab One Limb, +10 
  STR for holding on
  Grappling
  Block 
  ½ 
  5 
  +1 +1 Grab One Limb, Block
  Hand Strike/
  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)
  Tiger Push 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  KS: Hsing-I
  KS: Chinese Healing
  KS: Chinese Philosophy
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Polearms
   
  +1 Use Art with Spear
  Hsing-I
  Hsing-I (or Xingyi), usually translated as 
  “heart and mind” or “shape of mind,” is one of the 
  three main “internal” styles of Chinese martial arts 
  (the other two are Pakua and Tai Ch’i Ch’uan). Like 
  the practitioners of other internal styles, Hsing-I 
  practitioners strive to unite the mind and the body 
  so the mind can freely command the body’s ch’i, 
  allowing the practitioner to perform amazing feats.
  According to legend, the founder of Hsing-I 
  was a Sung Dynasty general named Yueh Fei, who 
  lived from 1103-1141. He was supposedly 
  taught the basics of Hsing-I by a Taoist 
  named Chou Ton. His success in warfare 
  was so phenomenal that jealous 
  rivals had him imprisoned and 
  killed; he wrote the ﬁ rst book 
  about Hsing-I in prison.
  Hsing-I has two basic 
  sets of movements or 
  maneuvers. Th e ﬁ rst set is 
  made up of block-strike 
  patterns based on the ﬁ ve 
  elements:  Metal (Pi Ch’uan), 
  Water (Tsuan Ch’uan), Wood (Peng 
  Ch’uan), Fire (Pao Ch’uan), and Earth 
  (Heng Ch’uan). Each element has 
  oﬀ ensive and defensive aspects; in 
  accord with ancient Chinese philoso-
  phies, an attack based on one element 
  (say, Fire) is subject to a defense based on the 
  element it’s vulnerable to (in this example, Water). 
  Th e second set of maneuvers is based around twelve 
  animal forms:  Dragon, Tiger, Monkey, Horse, Turtle, 
  Chicken, Phoenix (T’ai Bird), Sparrow Hawk, Swal-
  low, Snake, Eagle, and Bear (some masters use other 
  animal forms as well). 
  Hsing-I practitioners combine these basic sets 
  of maneuvers into attack patterns that typically 
  involve blocking an incoming attack, grabbing the 
  attacking limb, and then striking the attacker, usu-
  ally with the hand. Hsing-I tends to be much more 
  “linear” than the other internal styles, so it’s oft en the 
  ﬁ rst internal style a student studies (then he moves 
  on to Pakua and Tai Ch’i Ch’uan).
  Some scholars divide Hsing-I into three 
  “schools”:  Honan; Hopei (the most common and 
  least internal); and Shansi (the least common). Some 
  masters of these schools teach weapons such as 
  swords, staﬀ s, and spears, but this is relatively rare.
  HSINGI NOTES 
  Optional Rules:  Th e Hand Strike, Monkey 
  Slap, and Nerve Strike all take 2d6+1 Hit 
  Location rolls; the Low Kick takes 
  a 2d6+7 roll. None of the other 
  maneuvers requires a location roll.
  Special Abilities:  Th e internal stylist’s 
  ability to project his ch’i to generate powerful 
  attacks and spectacular feats is legendary. You can 
  ﬁ nd general information on these abilities below 
  under “Tai Ch’i Ch’uan.” Some of the powers 
  attributed to Hsing-I masters include the power 
  to project ch’i through their blows to badly injure 
  or kill an enemy (reﬂ ected in the power of the 
  Monkey Slap maneuver), the ability to survive 
  devastating blows unharmed, the ability to 
  run fast enough to keep up with horses, miraculous 
  healing capabilities, and the like.
  HISARDUT
  Maneuver Phs Pts OCV DCV Damage/Effect
  Choke Hold ½ 
  4 
  -2 
  +0 Grab One Limb, 2d6 
  NND(2) 
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Kick/
  Knee Strike ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Punch/Elbow Strike/
  Headbutt 
  ½ 
  4 
  +0 +2  STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  KS: Hisardut
  WF: Small Arms
  ‘W
  hen you understand one 
  thing through and through, 
  you understand everything.’
  — Shunryn Suzuki
  
  29 
  Hero Games
  Hwarang-Do
  Th is ancient Korean martial art, which also 
  incorporates much healing knowledge, dates back 
  some 1,800 years. According to tradition it was 
  developed by a Buddhist monk named Won Kwang 
  Bopsa. He taught his technique to many young 
  nobles of his day, who were called hwarang. Th e 
  hwarang were a combination of knights, statesmen, 
  and military generals. Legend has it they lived by 
  a ﬁ ve-point code:  loyal service to the king (or, in 
  modern terms, to one’s nation); ﬁ lial piety; trust (in 
  one’s peers) and trustworthiness; courageousness 
  and valor; and justice and discrimination in the use 
  of force, especially lethal force.
  Hwarang-Do has four main “branches” of 
  study:  external power (wae gong), internal power 
  (nae gong), weapons use (moo gi gong), and mental 
  power (shin gong) (see below). Its barehanded tech-
  niques, the “external power,” include punches and 
  kicks, blocks, joint locks and joint breaking, nerve 
  strikes, chokes, and many other techniques. Th e 
  internal disciplines were similar to those taught in 
  some Chinese styles.
  Hwarang-Do practitioners wear uniforms 
  similar to Karate or Judo uniforms. 
  HWARANGDO NOTES
  As with other unarmed combat styles which allow 
  weapons use, the Hwarang-Do practitioner can 
  learn to use his art with no weapons, with only one, 
  or with several, as he sees ﬁ t.
  Optional Rules: Th e Hand Strike and Elbow Strike 
  take a location roll of 2d6+1. Th e Kick and Finger 
  Strike take a location roll of 3d6. Th e Snap Kick 
  takes a 2d6+7 roll. Th e Choke automatically targets 
  a head location, but receives no extra damage for 
  being a head location. Th e Block, Joint Break, and 
  Joint Lock do not use location rolls.
  Special Abilities:  Th e shin gong, or mental powers, 
  of Hwarang-Do masters are said to be formidable. 
  Th eir abilities include:
  1)  Telepathy
  2)  Clairvoyance
  3)  A “sixth sense” (Danger Sense)
  4)  Ch’oemyonsul:  Th e ability to put another person 
  to sleep (a form of EB, NND)
  5)  Unsinbbop:  Th e ability to “conceal one’s self in 
  front of others” (Invisibility)
  6)  Jusul:  Disease healing chants (Healing with 
  the Extra Time and Incantations Limitations) and 
  chants which cause disease (various forms of Drain 
  or Killing Attack)
  Jailhouse Rock
  According to John Soet’s book Martial Arts 
  Around Th e World, Jailhouse Rock is “the stylized, 
  organized ﬁ ghting art of the Black American, devel-
  oped in prison.” As its supposed origins indicate, it 
  is designed for eﬀ ective use in close quarters and 
  against multiple attackers or ambushes.
  JAILHOUSE ROCK NOTES
  Th e sort of weapons used with Jailhouse Rock are 
  those commonly available in prisons:  “shanks” and 
  “shivs” (homemade knives), various kinds of crude 
  club-like weapons, and so forth.
  Optional Rules:  Th e Elbow Strike takes a 2d6+1 
  location roll, the Knee Strike a 2d6+7 roll. Th e 
  Groin Blow automatically targets the Vitals, but gets 
  neither penalties nor bonuses for this.
  Special Abilities:  None.
  HWARANG-DO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Finger Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Hand Strike/Elbow Strike/
  Snap Kick 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Throw 
  ½ 
  5 
  -2 
  +0 HKA ½d6 (2 DC); 
  Target Falls
  Skills
  Breakfall
  KS: Hwarang-Do
  KS: Korean Healing
  Paramedic
  Stealth
  WF: Common Melee Weapons
  WF: Staﬀ 
  Talent: Defense Maneuver
  Elements
  Weapons 
  +1 Use Art with Blades
    
  +1 Use Art with Clubs
    
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  JAILHOUSE ROCK
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Elbow Strike ½ 
  4 
  +0 +2 STR +2d6 Strike
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Groin Blow 
  ½ 
  4 
  -1 
  +1 2d6 NND(3)
  Knee Strike ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  KS: Jailhouse Rock
  WF: Prison Weapons
  Elements
  Weapons 
  +1 Use Art with Clubs
    
  +1 Use Art with Knives
  
  30 
  The Ultimate Martial Artist
  Jeet Kune Do
  Jeet Kune Do (“the way of the intercepting 
  ﬁ st”), or JKD as it is commonly known, is an eclec-
  tic martial arts style developed by the late Bruce 
  Lee. He created it aft er studying many diﬀ erent 
  martial arts styles and deciding all of them were 
  too limiting because of their reliance on a body of 
  predeﬁ ned techniques. Th us, JKD depends on the 
  principles of simpliﬁ cation, versatility, practical-
  ity, and usefulness. Lee himself described it as a 
  tight, versatile art, without patterns, forms, or rules, 
  which relies on “broken rhythm” to obtain the 
  advantage of unpredictability. (Note that “Jeet Kune 
  Do” is actually the name for the governing concepts 
  of the art; the ﬁ ghting style itself is more accurately 
  referred to as Jun Fan Kung Fu.)
  Since Lee’s untimely death, the students to 
  whom he taught JKD and the students they have 
  taught have continuously debated what JKD means 
  and stands for, what qualiﬁ es as JKD, and who is 
  a true student of JKD. Anyone interested in this 
  ongoing discussion can easily follow it in the pages 
  of dozens of books and magazines.
  JEET KUNE DO NOTES 
  To simulate the adaptability and unpredictability of 
  JKD, practitioners should consider buying several 
  Combat Skill Levels with the style. In 
  most situations they assign these to 
  DCV, but they 
  can shift  them around 
  as necessary to surprise an 
  opponent.
  Bruce Lee’s own work on 
  JKD, Th e Tao of Jeet Kune 
  Do, does not discuss the use 
  of weapons at all. However, he 
  was skilled in many diﬀ erent weapons styles, 
  including Filipino stick-ﬁ ghting and Chinese 
  weapons styles, and according to his own tenets of 
  unpredictability and adaptability, practitioners may 
  sometimes need to use weapons. Th erefore JKD 
  instructors oft en teach various weapons; the Clubs 
  element is especially popular.
  Optional Rules:  Th e Punch/Elbow Strike and 
  Nerve Strike take Hit Location rolls of 2d6+1. Th e 
  Kick/Knee Strike takes a roll of 2d6+7, since JKD 
  kicks are usually low and quick. Th e Legsweep and 
  Choke Hold have set targets (the legs and head/
  neck, respectively) and so do not require a location 
  roll. None of the other maneuvers needs a location 
  roll.
  Special Abilities:  Some JKD practitioners can per-
  form “battleﬁ eld punches” in which they hit their 
  opponent as many as eight times in the space of a 
  second. Characters can simulate this by applying 
  the Autoﬁ re Advantage to their Punch maneuver 
  (see page 104), or as an HA with Autoﬁ re.
  Jujutsu
  Th is Japanese art (and its more philosophical 
  counterpart, Judo) grew out of the integration of the 
  weapons techniques of katori shinto ryu and grap-
  pling techniques during the ﬁ ft eenth century. Th e 
  roots of the art lie even earlier, in the Heian period 
  (about 794-1185 A.D.), but until the ﬁ ft eenth cen-
  tury warriors usually considered empty-hand tech-
  niques an aspect of whatever major weapon form(s) 
  they supported, not as a separate jutsu. Th e name 
  jujutsu (or jiu-jitsu) was ﬁ rst used in the late sev-
  enteenth century. Knowledge of Jujutsu was spread 
  world-wide by travelling Japanese practitioners in 
  the early years of the twentieth century; today one 
  of the most popular styles is from Brazil.
  Th e usual Jujutsu technique involves bearing an 
  opponent to the ground and then pinning him there 
  or rendering him unconscious. Th e art utilizes hip 
  throws, sweeping throws, shoulder and neck locks, 
  and a sacriﬁ ce body drop. In the past, Jujutsu was 
  more of a fully-integrated ﬁ ghting art — it included 
  a variety of punches, kicks, nerve strikes, and weap-
  ons techniques. Some schools or substyles still teach 
  strike-based maneuvers.
  Judoka (and some jujutsuka) wear a gi like that 
  worn by karateka, but made of heavier cloth and 
  without many seams (Judo is harder on the clothes 
  than many other martial arts).
  JUJUTSU NOTES
  Only Jujutsu, not Judo, teaches the danger-
  ous Joint Break maneuver. Th e Strike and Atemi 
  Strike maneuvers, which represent several types 
  of punches and kicks, are from the older style of 
  JEET KUNE DO 
  (JUN FAN KUNG FU)
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Choke Hold ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Grab/
  Joint Lock 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Kick/
  Knee Strike ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch/Elbow 
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Combat Skill Levels
  KS: Jeet Kune Do
  Elements
  Weapons 
  +1 Use Art with Blades
    
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  ‘H
  aving no 
  way is 
  the way. Having 
  no limitation is 
  your limitation.’
  —Bruce Lee
  
  31 
  Hero Games
  Jujutsu; only certain schools teach them. 
  Students of the older, more warlike form of Jujutsu 
  could also learn the following Weapons Elements:  
  Blades, Chain & Rope Weapons, Clubs, Polearms, 
  Staﬀ s. Some substyles are also designed for use by 
  armored warriors (optionally, take a +1 point Ele-
  ment, “Use Art in Armor”; refer to the discussion of 
  “Hindering Circumstances” in Chapter Th ree for 
  details).
  Optional Rules: Th e Shime automatically targets 
  the head, but receives no extra damage for this. 
  Th e Strike and Atemi Strike take 3d6 location rolls. 
  None of the other maneuvers take location rolls.
  Special Abilities:  None.
  SUBSTYLES OF JUJUTSU
  Historically, scholars have recorded more than 
  700 substyles of Jujutsu, ranging from very broad 
  ﬁ ghting systems to styles concentrating on just a 
  few maneuvers or techniques. Many substyles are 
  so closely related to Aikijutsu, Sumo Wrestling, or 
  various weapon-based ﬁ ghting forms that separat-
  ing them for gaming purposes is diﬃ  cult, and in 
  many cases pointless. A well-rounded medieval 
  Japanese warrior would probably know not only 
  one or more styles of Jujutsu, but many weapon 
  forms (Kenjutsu, Naginatajutsu, Bojutsu, and so 
  forth), various styles of wrestling and/or Aikijutsu, 
  and many other combat-oriented skills. 
  Some of the more important and/or interest-
  ing Jujutsu substyles include:
  Hakko-Ryu
  Founded in 1941, Hakko-Ryu focuses on 
  neutralizing and discouraging attacks by attacking 
  pressure points and locking joints. Th e style’s grabs 
  and holds emphasize the use of the little ﬁ nger, and 
  are performed by bending the joints in a natural 
  direction, but so that the target suﬀ ers great pain. 
  Hakko-Ryu’s kicks are low (2d6+7 Hit Location 
  roll), and its hand attacks are usually made with the 
  open hand, not a ﬁ st. (Characters who study this 
  substyle may buy the Knifehand maneuver from 
  Karate.)
  To practice Hakko-Ryu, a character must know 
  at least three of the following maneuvers:  Atemi 
  Strike, Joint Lock, Joint Lock/Th row, Strike, Take-
  down.
  Kito-Ryu
  Supposedly founded by a Chinese exile, 
  Gempin, in the seventeenth century, this substyle 
  incorporates many diﬀ erent elements and philoso-
  phies to create a ﬁ ghting technique described as 
  “ﬂ uid” and “supple.” To practice Kito-Ryu, a charac-
  ter need only know any three Jujutsu maneuvers.
  Sosuishitsu-Ryu 
  Supposedly derived from the Takenouchi-
  Ryu by a samurai, Fugatami Hannosuke, in 1650, 
  this school takes its name from the “pure ﬂ owing 
  waters” of the Yoshino River. To practice this style, 
  a character must know the Escape, Joint Lock, and 
  Joint Lock/Th row maneuvers.
  Takenouchi-Ryu
  Th is substyle was founded in the sixteenth 
  century by the samurai Takenouchi Hisamori 
  (also known as Toichiro Takeuchi). Legend has it 
  Takenouchi learned several secret techniques of 
  immobilization and weapons use from a ghostly 
  yamabushi, or mountain hermit, who stressed the 
  advantages of short weapons over longer ones. 
  Takenouchi used these techniques as a basis and 
  then added to them maneuvers from such ﬁ ghting 
  arts as Sumo Wrestling, an older form of wrestling 
  called sumai, and kumi-uchi ﬁ ghting (designed for 
  use by armored warriors). Th us he developed a 
  style which stresses various techniques of immobi-
  lizing one’s opponent; it also teaches combat with 
  short swords (kogusoku) and daggers.
  To practice Takenouchi-Ryu, a character must 
  know the Joint Lock, Joint Lock/Th row, and Shime 
  maneuvers.
  Tenjin-Shinyo-Ryu
  Also called Tenshinshinyo-Ryu, this substyle 
  is known for its holds, chokes, and atemi strikes. It 
  does not teach any weapons. It was founded by Iso 
  Mataemon (also known as Yanagi Masatari).
  To practice Tenjin-Shinyo-Ryu, a character 
  must know at least three of the following maneu-
  vers:  Atemi Strike, Joint Lock, Joint Lock/Th row, 
  Shime. 
  Yoshin-Ryu
  Th is is the famous “willow school” of Jujutsu, 
  so called because its founder, the seventeenth 
  century physician Akiyama Shirobei Yoshitoki of 
  JUJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Breaking 
  Throw 
  ½ 
  5 
  -2 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable; 
  Target Falls
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  to STR for holding on
  Joint Lock/
  Throw 
  ½ 
  4 
  +1 +0 Grab One Limb; 1d6 
  NND(7); Target Falls
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Sacriﬁ ce 
  Throw 
  ½ 
  3 
  +2  +1 STR Strike; You Fall, 
  Target Falls
  Shime 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Slam 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  Breakfall*
  KS: Jujutsu
  
  32 
  The Ultimate Martial Artist
  Nagasaki, used the image of a willow as an example 
  for his students:  it bends before force, but springs 
  back unharmed, whereas the sturdy oak is knocked 
  over.
  To practice Yoshin-Ryu, a character must know 
  at least three of the following maneuvers:  Atemi 
  Strike, Block, Dodge, Joint Lock, Strike.
  Jukenjutsu
  Jukenjutsu is the art of the bayonet. It was 
  developed aft er the introduction of the riﬂ e in 
  Japan. Its primary technique is the thrust, but prac-
  titioners also learn more complicated blocking, 
  trapping, and slashing maneuvers.
  JUKENJUTSU NOTES
  Optional Rules: Th e Slash and Th rust take loca-
  tion rolls of 3d6. Th e Block and Trap do not require 
  location rolls.
  Special Abilities:  None.
  Kalaripayit
  Kalaripayit (also known as kalari, kalaripayat, 
  and kalaripiyat) is a martial art developed in 
  ancient times in southern India. Th e name means 
  “battleﬁ eld practices.” Th ere is evidence of its exis-
  tence as early as the sixth and seventh centuries 
  A.D. Some experts trace its roots to vajra-musti, 
  a style of boxing/wrestling used by the Brahmin 
  caste.
  Training in Kalaripayit encompasses four 
  stages:  unarmed ﬁ ghting (verumkai), which is the 
  basis for all other techniques; stick-ﬁ ghting tech-
  niques (silambam or kolthari); training with other 
  weapons, such as daggers (angathari); and, at its 
  most esoteric level, training in knowledge of the 
  108 secret vital points of the body (marma-adi) and 
  how to exploit them in battle. (Practitioners can 
  also study the vital points of the elephant.)
  Masters of Kalaripayit, known as gurus or 
  gurukkal, are not only skilled in the ﬁ ghting aspects 
  of the art, but are usually accomplished healers 
  as well, trained in the Ayurvedic system of native 
  medicine (which relates closely to many of Kalar-
  ipayit’s ﬁ ghting techniques). Masters oft en maintain 
  special training compounds which double as places 
  of healing. Training in these compounds usually 
  takes place early in the morning and again right 
  aft er dusk, and is oft en shrouded in secrecy. Th ere 
  is some religious signiﬁ cance to these places; there 
  are many ritual practices and devotions surround-
  ing Kalaripayit. Th e goddess Kali, in her aspect as 
  the goddess of war, is the patroness of Kalaripayit 
  ﬁ ghters. 
  Kalaripayit is mainly practiced in the far 
  southern region of India, around the state of Kerala 
  and Tamilnadu. Th ere are two “variants” — the 
  “northern” style, centered on the city of Calicut; and 
  the “southern” style, centered on the cities of Nager-
  coil and Madras. Although the maneuvers used 
  in each variant are the same, the northern style 
  involves a lot of high jumps and kicks, low, crouch-
  ing stances, and long strides; whereas the cruder-
  looking southern style involves more circular 
  motion, more solid, higher stances, and use of the 
  arms and torso. Linguistic and cultural diﬀ erences 
  also separate the two substyles. However, both styles 
  require suppleness and agility and involve a lot of 
  leaping and crouching. Fighters of both styles oft en 
  cover their bodies with oil before ﬁ ghting (this adds 
  +1 to their Contortionist rolls to escape Grabs).
  KALARIPAYIT NOTES
  Optional Rules:  Th e Punch/Elbow Strike, Flying 
  Kick, Knifehand Strike, and Marman Strike all take 
  location rolls of 2d6+1. Th e Straight Kick/Round-
  house Kick takes a 3d6 roll. Th e other maneuvers 
  do not require Hit Location rolls.
  JUKENJUTSU
  Used with Pole Arms Weapon Group; Pole Arms Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Dodge  
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Slash 
  ½ 
  4 
  +0 +2 Weapon +2 DC  
  Strike
  Thrust 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Trap  
  ½ 
  4 
  +1 +0 Bind, +10 STR 
  Skills
  KS: Jukenjutsu
  WF: Pole Arms*
  KALARIPAYIT
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Dodge 
  ½ 
  4 
  +0 +5 Dodge All Attacks, 
  Abort
  Flying Kick 
  ½ 
  5 
  +1 
  -2 STR +4d6
  Joint Lock 
  (Kattaram) 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Knifehand
  Strike 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Marman
  Strike 
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch/
  Elbow Strike ½ 
  4 
  +0 +2 STR +2d6 Strike
  Straight Kick/Roundhouse 
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall
  Contortionist
  KS: Indian Healing
  KS: Kalaripayit
  KS: Yoga
  WF: Common Melee Weapons
  WF: Urumi
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Clubs 
   
  +1 Use Art with Urumi
  
  33 
  Hero Games
  Special Abilities:  Characters can simulate gurus’ 
  healing abilities with the Healing Power or the KS: 
  Indian Healing Skill.
  Kampfringen
  Kampfringen is a medieval German combat 
  and grappling art. Like Arte dell’Abbracciare, it 
  involves a wide range of grapples, joint locks (and 
  breaks), and strikes (primarily short punches, 
  knees to the groin, headbutts, and the like). It also 
  incorporates pain compliance techniques and a hip 
  throw. It includes defensive techniques designed to 
  protect the ﬁ ghter against Dolchfechten, or knife-
  ﬁ ghting techniques.
  Some sources present a more intriguing origin 
  for Kampfringen, claiming it was developed by 
  medieval Jews as a form of self-defense. According 
  to this theory, the art has some basis in kabbalistic 
  meditation techniques and philosophies.
  KAMPFRINGEN NOTES
  Optional Rules: Th e Strike and Pressure Point 
  Strike take 3d6 location rolls. None of the other 
  maneuvers take location rolls.
  Special Abilities:  None.
  Karate
   Karate arose from the same ancient tradi-
  tions which led to the development of Kung Fu. 
  By the ﬁ ft h 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 ﬁ ft eenth century, the Japanese 
  who occupied Okinawa forbade the natives to 
  carry arms and te began to ﬂ ourish; 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 redeﬁ ned to 
  mean “empty hand”).
  In 1905, an Okinawan instructor named 
  Gichin Funakoshi introduced Okinawa-te to 
  Japan, teaching it in public schools. At that time, 
  its name was formalized as Karate. Aft er World 
  War II, American servicemen stationed in Japan 
  learned the art, which helped to spread it world-
  wide.
  HERO System characters can buy Karate in 
  one of two ways. As Karate, it is an unarmed ﬁ ght-
  ing style. As Kobujutsu, it is an armed Okinawan 
  ﬁ ghting style, using these weapons:  bo (6’ staﬀ ) 
  and several shorter staﬀ s, sai, nunchaku, tonfa 
  KAMPFRINGEN
  Maneuver Phs Pts OCV DCV Damage/Effect
  Arm Bar 
  ½ 
  4 
  +1 +0 Grab One Limb; 1d6 
  NND(7); Target Falls
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Grapple 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Hip Throw 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  to STR for holding on
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Skills
  Breakfall
  KS: Kampfringen
  KARATE
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Knifehand Strike 
  (“Chop”) 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Punch/
  Snap Kick 
  ½ 
  4 
  +0  +2 STR +2d6 Strike
  Side/
  Spin Kick 
  ½ 
  5 
  -2  +1 STR +4d6 Strike
  Skills
  KS: Karate
  WF: Common Martial Arts Melee Weapons
  WF: Oﬀ  Hand
  Elements
  Weapons 
  +1 Use Art with Karate Weapons
    
  +1 Use Art with Staﬀ 
  
  34 
  The Ultimate Martial Artist
  (threshing handles), kama (sickles), eiku (or chizi-
  kunbo or sunakakebo) (boat oar), timbe and rochin 
  (tortoiseshell shield and hand-spear), suruchin (a 
  short, weighted rope), kue (hoe), and tekko (metal 
  knuckle-dusters).
  Karateka (Karate practitioners) can buy the 
  Weapons Element to learn Kobujutsu techniques, 
  and Kobujutsu practitioners can buy the Bare-
  handed element to learn empty-hand techniques 
  for their art. For game purposes, the two styles are 
  functionally identical.
  Th e traditional Karate uniform is the gi; it is 
  also used by many other martial arts practitioners. 
  Th e gi consists of the uwagi, or long-sleeved jacket, 
  and zubon, or trousers. Th e obi, or belt, is colored; 
  the color indicates the wearer’s rank. Originally the 
  standard gi was beige; today it is white. Professional 
  Karate ﬁ ghters wear gloves, foot-and-shin armor, 
  and loose pants rather like warm-ups. Th ey also 
  wear athletic cups. Male Karate professionals go 
  bare-chested.
  VARIANT FORM: KOBUJUTSU
  Used With Karate Weapons Group; Karate 
  Weapons Element is free
  Maneuvers: Same as above; practitioner can 
  only buy the Kick if he knows the Barehanded ele-
  ment, below.
  Skills:
  Same as Above; WF is Required (*)
  Elements
  Weapons 
  +1 Use Art with Staﬀ 
  Barehanded  
  +1 Use Art Barehanded
  Th e Knifehand Strike maneuver above may also 
  be interpreted as the Spearhand Strike, a thrusting 
  maneuver. Th e Knifehand Strike was for decades 
  popularly known in America as the “karate chop.”
  Th e Side Kick and Spinning Kick are presented here 
  as one maneuver.
  Optional Rules: Th e Punch/Snap Kick, Nerve 
  Strike, and Knifehand Strike take location rolls of 
  2d6+1. Th e Side Kick and Spin Kick take location 
  rolls of 3d6. Th e Block, Disarm, Dodge, and Leg-
  sweep do not take location rolls.
  Special Abilities:  Karate is not surrounded 
  by mysticism the way much of Kung Fu is, but 
  master karateka can still perform amazing feats. 
  For example, a technique sometimes developed 
  by Karate masters is a rapid-ﬁ re punching ability 
  which characters can buy as an Autoﬁ re HA attack 
  or by applying the Autoﬁ re Advantage to a martial 
  maneuver (see page 104). Lastly, some karateka 
  supposedly possess genshin, the ability to detect an 
  attack a split-second in advance and beat the enemy 
  to the punch (you can buy this as a limited form of 
  Precognition or Danger Sense, with Linked Light-
  ning Reﬂ exes or Combat Skill Levels).
  Kobujutsu masters may have their own special 
  abilities. For example, they might be able to per-
  form “weapons ﬂ ourishes” which act as Damage 
  Shields (see page 131). Another clever trick with 
  the eiku, or boat oar, is to use the paddle end of it 
  to ﬂ ick sand or dirt into an opponent’s eyes (a Flash 
  with some Limitations).
  KARATE SUBSTYLES
  Karate has developed several distinctive sub-
  styles, although not nearly as many as Kung Fu or 
  Pentjak-Silat. Most of these styles are not strikingly 
  diﬀ erent; none of them require the character to buy 
  particular maneuvers before he can call himself a 
  practitioner of that particular substyle. Th e most 
  prominent Karate substyles include:
  Goju-Ryu
  Th is style, which has both Japanese and Oki-
  nawan elements, relies primarily on hand tech-
  niques and low kicks. It was created by Kanryo 
  Higashionna in the late nineteenth century. As the 
  name goju (“hard-soft ”) indicates, practitioners 
  attempt to maintain a balance of “hard” and “soft ” 
  in their ﬁ ghting styles, which gives this substyle a 
  greater “internal” element than most Karate sub-
  styles. Many of Goju-ryu’s techniques are circular 
  (unlike most Karate styles, which tend to empha-
  size linear motion). 
  Isshin-Ryu 
  Th is Okinawan style, created by Tatsuo Shima-
  baku in 1954, stresses practicality and combat 
  eﬀ ectiveness. It eliminates ﬂ owery techniques and 
  concentrates on short, natural stances and maneu-
  vers. Its attacks are evenly divided between hand 
  and foot strikes, but emphasize circular, ﬂ owing 
  techniques.
  Kajukenbo 
  Kajukenbo is an eclectic martial art which 
  takes its name from the four styles which it com-
  bines elements of:  Karate, Judo, Kenpo, and Bo (the 
  latter is a form of Chinese boxing, i.e., Kung Fu). 
  It was developed in Hawaii aft er World War II and 
  is taught strictly as a combat art. Characters who 
  want to practice this style can buy maneuvers from 
  Karate, Jujutsu (Judo), and Kung Fu.
  Kenpo 
  Kenpo was developed by American Ed 
  Parker beginning in the 1950s as a modern form 
  of Shorinji Kempo (see “Kung Fu,” below). Parker 
  methodically studied combat maneuvers and then 
  broke them down into a system for logical, progres-
  sive instruction. Kenpo is an eﬀ ective ﬁ ghting style 
  suited to close combat; it uses rapid hand move-
  ments, low kicks, and body checks. 
  Kickboxing 
  Kickboxing is a form of modern American 
  sport karate. It combines karate-like kicks and other 
  maneuvers with boxing punches. Characters who 
  want to know this style should buy both Karate and 
  Boxing maneuvers.
  Kyokushinkai 
  Th is aggressive Japanese substyle uses close 
  body contact to overcome fear of combat. Train-
  ing concentrates on powerful, rapid attacks and 
  physical toughness. It also emphasizes tameshiwara, 
  breaking exercises. 
  Shito-Ryu 
  Founded in 1930 by Kenwa Mabuni, this major 
  Japanese substyle emphasizes “hard” aspects over 
  
  35 
  Hero Games
  “soft ,” though it does contain some soft  techniques. 
  Attacks are equally divided between hand- and 
  foot-based maneuvers.
  Shorei-Ryu 
  Unlike almost all other Karate substyles, this 
  well-rounded Okinawan substyle makes use of 
  throws, takedowns, grabs, and joint-lock maneuvers 
  (characters may buy appropriate maneuvers from 
  the Jujutsu package). It also emphasizes the study of 
  karate weapons.
  Shorin-Ryu 
  One of the earliest and most inﬂ uential of the 
  Okinawan substyles. It has strong roots in the Shao-
  lin styles of Kung Fu. It has three main branches, 
  the “small forest” school, “young forest” school, and 
  “pine forest” school (each name refers to the forest 
  where the Shaolin Temple is said to have been 
  located). With the GM’s permission, characters who 
  study this substyle can also buy maneuvers from 
  the Kung Fu package.  
  Shotokan 
  Th is Japanese styles was founded by Gichin 
  Funakoshi, the Okinawan who introduced Karate 
  to Japan. It concentrates on developing skill with a 
  small number of useful, eﬃ  cient techniques; it also 
  emphasizes balance and muscle control. Its strikes 
  (mainly kicks) are primarily linear; they rely on 
  body momentum, such as shift ing the hips, to add 
  power to a blow. 
  Uechi-Ryu 
  An Okinawan style, Uechi-ryu was founded 
  around the turn of the century by Kanbun Uechi, 
  who had studied Kung Fu in addition to Karate. Its 
  elements bear some similarity to the Dragon, Tiger, 
  and Crane styles of Kung Fu. Its primary attacks 
  include a single-knuckle punch (Punch or Atemi 
  Strike), the spear-hand strike (Knifehand Strike), 
  pointed kicks (Snap Kick or Side Kick), and circular 
  blocks (Block). Kicks are generally delivered low, and 
  should take 2d6+7 location rolls.
  Wado-Ryu 
  Th is Japanese style, whose name means “way of 
  harmony,” stresses inner preparation and strength 
  of character instead of simply concentrating on 
  physical techniques. Its techniques include body 
  shift ing (Dodge) and some joint-twisting maneu-
  vers (use the Joint Lock from Hapkido).
  Kenjutsu
   Kenjutsu is the samurai’s sword art. It requires 
  the use of blades (especially Japanese blades such as 
  the katana, wakizashi, and no-daichi); you cannot buy 
  a Weapons Element to allow use of Kenjutsu maneu-
  vers with other weapon groups or with unarmed 
  combat (except as noted below).
  Th e elements of the art originated some 1,500 
  years ago. By the ninth century AD (when Kenjutsu 
  maneuvers ﬁ rst become available to PCs), Kenjutsu 
  schools ﬂ ourished in Japan. Practitioners divide 
  techniques into kamae (postures), kiri (cuts), tsuki 
  (thrusts), and blocks and evasive maneuvers; each 
  school favors its own particular types and combina-
  tions of maneuvers.
  One of Kenjutsu’s most famous practitioners and 
  teachers was the samurai Miyamoto Musashi, author 
  of A Book of Five Rings, a psychological guide to 
  strategy and competition. Musashi lived, fought, and 
  taught his famous two-sword (Nito-Ryu) technique 
  during the early seventeenth century.
  In many ways, Kenjutsu and Iaijutsu (the art 
  of drawing the sword) intertwine. While Iaijutsu 
  (the Skill Fast Draw, in HERO System terms) is not 
  required for Kenjutsu practitioners, most should 
  know it.
  Kenjutsu is known as kum do in Korea. A sport-
  ing version of the art, kendo, has been taught world-
  wide since World War II.
  KENJUTSU
  Used with Blades Weapon Group; Blades Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bind 
  ½ 
  4 
  +1 +0 Bind, +10 STR 
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Evade 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Lightning 
  Stroke 
  ½ 
  4 
  +2 +0 Weapon +2 DC Strike
  Running 
  Stroke 
  ½ 
  5 
  +1 +0 Weapon +v/5; FMove
  Sacriﬁ ce 
  Stroke 
  ½ 
  5 
  +1 
  -2 Weapon +4 DC Strike
  Slashing 
  Stroke 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Takeaway 
  ½ 
  5 
  +0 +0 Grab Weapon, +10 
  STR to Take Weapon 
  Away
  Skills
  Breakfall
  Fast Draw (Iaijutsu)
  Defense Maneuver
  KS: Kenjutsu
  Sleight Of Hand
  Two-Weapon Fighting
  WF: Blades*
  WF: Oﬀ  Hand
  WF: Th rown Sword
  Elements
  Barehanded 
  +1 Use Art Barehanded (Bind, Block,  
   
  Disarm, Evade, Takeaway maneuvers  
   
  only)
  ‘W
  hen you do battle, even if 
  you are winning, if you con-
  tinue for a long time it will dull your 
  forces and blunt your edge.’
  —Sun Tzu, The Art of War
  
  36 
  The Ultimate Martial Artist
  KENJUTSU 
  NOTES
  Optional Rules: 
  Th e Lightning Stroke, 
  Sacriﬁ ce Stroke, and 
  Slashing Stroke take loca-
  tion rolls of 3d6; the Run-
  ning Stroke takes a loca-
  tion roll of 2d6+1. Th e 
  Bind, Block and Takeaway 
  do not take location rolls.
  Special Abilities:  
  Characters can buy Kenjutsu sword ﬂ ourishes 
  as a form of Damage 
  Shield (see page 
  131). Also, given the mysti-
  cal powers oft en associated with Japanese swords, a 
  whole host of powers based around magic swords is 
  possible, if the campaign permits.
  KENJUTSU SUBSTYLES
  Kenjutsu, throughout Japanese history, was 
  usually taught by various schools or masters, each 
  of whom favored diﬀ erent kamae and swordsman-
  ship techniques; some of these schools continue 
  today. If a swordsman character wants to belong 
  to one of these schools, he can buy maneuvers 
  which pertain especially to that school.
  A Kenjutsu practitioner does not have to 
  belong to any school, or can be built with many 
  maneuvers and rightfully claim to have studied 
  several styles.
  Itto Ryu
  Created by the famed wandering swords-
  man Ito Ittosai, the Itto Ryu school teaches 
  practitioners to concentrate not on victory, but 
  on “not losing.” Th e idea is to use proper timing 
  and skill to gain an advantage over an opponent. 
  Th e school’s main technique is the kiri-otoshi, a 
  maneuver which deﬂ ects the opponent’s attack 
  and makes a counterattack in one smooth motion. 
  In game terms, practitioners of Itto Ryu may buy 
  this as a Defensive Strike (even though Kenjutsu 
  normally does not use that maneuver). Th ey must 
  also learn Block and one other Strike maneuver.
  Jigen-Ryu 
  Developed in the 1500s by Togo Shigekura 
  Bizen no Kami, this style concentrates on rapid 
  attacks and oﬀ ensive maneuvers. It was favored by, 
  among others, the Satsuma clan.
  A Jigen-Ryu stylist must know the Lightning 
  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.
  Kashima Style
  Practiced (and perhaps founded) by the 
  legendary swordsman Tsukahara Bokuden 
  (1490-1571), Kashima style concentrates on the 
  concept of hitotsutachi—“one cut.” The swords-
  man waits until the very last second, then coun-
  ters an opponent’s attack (ideally, the opponent’s 
  attack misses the practitioner by an inch or less). 
  Furthermore, the masters of the style maintain 
  that the last one-third of a blade does the most 
  damage, and the innermost one-third the least; 
  thus, by stepping into a blow a fighter can 
  reduce, or even eliminate, injury.
  A Kashima fighter must buy Light-
  ning Reflexes with his Kenjutsu (to 
  ensure he acts before his opponent), then 
  Hold his Action. When his opponent attacks, 
  he uses his Held Action to try to interrupt the 
  attack. He may buy Skill Levels with his DEX 
  Roll to ensure he beats out his opponent each 
  time if he so desires.
  A Kashima stylist must know the Block, 
  Evade, and one Stroke maneuvers.
  Mijin Style 
  Mijin style emphasizes power and speed; it 
  concentrates on leaping and running attacks. The 
  most famous Mijin maneuver is the Soaring Lark 
  stroke, a leaping ground-to-sky attack.
  A Mijin stylist must know the Running 
  Stroke, which is the Soaring Lark stroke. Extra 
  inches of Running or Leaping are recommended.
  Muto Style 
  Muto is a style of fighting without the sword. 
  A Muto specialist buys the Barehanded element 
  for his art; this allows him to use the Bind, Block, 
  Disarm, Evade, and Takeaway maneuvers when 
  unarmed. It does not allow the character to use 
  the Stroke maneuvers unarmed. With this tactic, 
  an unarmed swordsman can take his attacker’s 
  blade away and then use it on his attacker. This 
  is considered an advanced technique, one taught 
  only to the best students.
  The Muto stylist must know the Block, 
  Evade, and one Stroke maneuver, and buy the 
  Barehanded element for his art. He often also 
  buys WF: Thrown Sword.
  The GM can forbid any player to take the 
  Barehanded element; it’s supposed to be a secret 
  technique, and the GM has final say as to which 
  characters it may have been taught to.
  
  37 
  Hero Games
  Nito Style 
  Th e popularity of this two-swords style (also 
  known as juji dome) is attributed to Musashi Miya-
  moto, Japan’s most famous swordsman. Miyamoto 
  was a swordsman early in the Tokugawa shogunate 
  in the ﬁ rst half of the seventeenth century.
  Th e Nito stylist trains to deal with multiple 
  attackers. He can use his sword in either hand, or 
  can ﬁ ght with two swords, one in each hand.
  Th e Nito swordsman must know the Bind, 
  Block, and any one Stroke maneuver, and must have 
  the WF: Oﬀ  Hand Skill. Th e best Nito experts have 
  the Ambidexterity Talent and Two-Weapon Fight-
  ing Skill as well, but these are recommended, not 
  required.
  Suio Style 
  Th e Suio (“water”) style has been popular-
  ized in an acclaimed series of Japanese movies and 
  manga (comic books). All-out oﬀ ense, speed, power, 
  and risk-taking characterize it.
  Required maneuvers are the Lightning Stroke, 
  the Running Stroke, and the Sacriﬁ ce Stroke; the 
  character should take, but is not required to take, 
  Breakfall.
  A special Suio technique is to stand knee-deep 
  in water with the blade beneath the water’s surface. 
  Th e swordsman will strike from this watery posi-
  tion, using Sleight Of Hand to confuse his enemy as 
  to his intent. In the game, the character must have 
  the Sleight Of Hand Skill to perform this technique, 
  and the GM can assign OCV bonuses to such 
  attacks based on the success of the Skill Roll and 
  the overall situation.
  Yagyu Shinkage School 
  During the Tokugawa era (early seventeenth 
  to mid-nineteenth centuries), the single most inﬂ u-
  ential school for Japanese fencing was the Shinkage 
  school, which produced many excellent swordsmen 
  from the Yagyu family.
  Th e Shinkage style is cautious, compared to 
  many Kenjutsu styles, and emphasizes disarming 
  techniques.
  Required maneuvers are Block, Disarm, and 
  any one Stroke.
  Krav Maga
  Developed approximately 40 years ago for 
  use by the Israeli Defense Forces, and later taught 
  to Israeli police and Mossad agents as well, Krav 
  Maga is designed for combat eﬀ ectiveness (and 
  for quick, easy learning). It borrows techniques 
  and ideas from many diﬀ erent styles, but teaches 
  no katas, stances, or other predeﬁ ned movement 
  forms; instead, a Krav Maga ﬁ ghter learns to ﬁ ght 
  from any position and adapt his skills to any situa-
  tion. Th e emphasis is on quick attacks and defenses 
  designed to win ﬁ ghts, not to look impressive. Krav 
  Maga has been repeatedly studied and analyzed 
  (sometimes using computers) to make it as eﬃ  -
  cient and powerful a ﬁ ghting style as possible. Its 
  defenses against weapons are considered especially 
  eﬀ ective.
  Because of Krav Maga’s emphasis on combat 
  practicality, Krav Maga practitioners do not learn 
  maneuvers for tournament ﬁ ghting. However, it 
  does have a belt ranking system established by the 
  Krav Maga Association in Israel:  from lowest to 
  highest rank, the belts are white, yellow, orange, 
  green, blue, brown, and black.
  KRAV MAGA NOTES 
  Optional Rules:  Th e Punch takes a 2d6+1 Hit 
  Location roll; the Kick takes a 3d6 roll. Th e Low 
  Kick/Knee Strike takes a 2d6+7 roll.
  Special Abilities:  None.
  Kuk Sool Won
  Kuk Sool Won (“Korean national martial arts 
  association”) is a Korean ﬁ ghting style founded by 
  In Hyuk Suh in the late 1950s. It is a synthesis of 
  maneuvers from three traditional Korean martial 
  arts:  Sado Mu Sool (tribal martial arts); Buldo Mu 
  Sool (Buddhist temple martial arts; see “Kung Fu,” 
  below); and Koong Joong Mu Sool (royal court 
  martial arts). 
  Kuk Sool Won practitioners wear uniforms 
  patterned aft er the traditional uniforms of Korean 
  generals. A master of the style is known as a sah-
  bumnim.
  KUK SOOL WON NOTES
  Optional Rules:  Th e Punch and Nerve Strike take 
  a 2d6+1 Hit Location roll; the Kick takes a 3d6 roll. 
  Th e Legsweep automatically targets the legs and 
  feet, of course, and receives neither bonuses nor 
  penalties for so doing.
  Special Abilities:  Kuk Sool Won practitioners 
  oft en buy extra inches of Running or Leaping to 
  make their maneuvers more spectacular.
  KRAV MAGA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Choke Hold ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Escape 
  var 4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Low Kick/
  Knee Strike/ 
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall
  KS: Krav Maga
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
  
  38 
  The Ultimate Martial Artist
  Kung Fu (Wu Shu)
  Kung Fu, in Chinese, simply means “hard 
  work” or “skill.” Th e name Wu-Shu (meaning “war 
  art”) is the style’s oﬃ  cial name in China. Until 
  about 1928, it was also known as kuo-shu.
  Th e origins of Kung Fu might date back as far 
  as the Shang Dynasty (sixteenth century BC), but 
  most scholars conclude that it began to develop 
  sometime in the ﬁ ft h century BC. A swordsman’s 
  art which became prominent during the Chou 
  Dynasty (770 BC-221 BC) may have contributed 
  to Kung Fu; so might have pankration (see below), 
  from times when Alexander the Great took pan-
  kratiasts with him on his conquests (including his 
  journey to India). Th e ﬁ rst emperor of China, Ch’in 
  Shih Huang-Ti, banned the practice of unarmed 
  martial arts during his reign (in fact, he banned and 
  persecuted any thought or activity he considered 
  too close to free will or free thinking), but open 
  practice resumed in 206 BC, aft er his death.
  In the sixth century AD, an Indian Buddhist 
  priest named Bodhidharma (called P’u-T’i-Ta-Mo 
  in China) came to the Shaolin Ssu (Young Forest 
  Temple), in China’s Honan province. Th e Shaolin 
  temple had been built in the late ﬁ ft h century AD 
  by Emperor Hsiao-Wen to honor another Indian 
  monk, Bodhiruchi.
  Th e Indian ﬁ ghting style which Bodhidharma 
  taught there, blended with combat techniques 
  already known to the Shaolin priests, became 
  known as wai-chia; it eventually evolved into 
  both Kung Fu and Karate (see the entry above for 
  Karate). Kung Fu and unarmed combat were not 
  conﬁ ned to the Shaolin monastery; the ﬁ rst martial 
  arts schools in China also began teaching during 
  the sixth century AD. Th is is the earliest period 
  when PCs can buy something resembling the Kung 
  Fu style maneuvers; characters in the sixth century 
  AD can buy the Block, Disarm, Dodge, Legsweep, 
  Punch, and Th row maneuvers, with the Punch 
  serving both as Punch and Kick.
  A great deal of legend and mysticism sur-
  rounds the Shaolin temple. Supposedly its masters 
  were capable of a wide variety of amazing feats of 
  combat and magic. Its course of study lasted many 
  years, and at the conclusion students had to pass 
  safely through a trap-ﬁ lled maze to “graduate.” At 
  the end of the maze they had to pick up and carry 
  a red-hot 500-pound cauldron which would brand 
  their forearms with the symbols of the temple, a 
  dragon (on the left  arm) and a tiger (on the right 
  arm). 
  Th e original Shaolin temple, which was located 
  on the northern side of Shao-Shih Mountain, south 
  of Sung San Mountain in Honan province, is said to 
  have been destroyed in 617 AD. Over the centuries 
  it (and its great library of martial arts material) 
  was destroyed more than once, its surviving priests 
  scattering to the winds and teaching their art in all 
  parts of the nation. Th us, uncountable variations 
  on the style developed over the next millennium. 
  On those occasions when the Shaolin temple was 
  rebuilt, inevitably some enemy would ﬁ nd it and 
  destroy it again. It was more or less destroyed for 
  good in the late seventeeth century by the Emperor 
  K’ang Hsi. Only ﬁ ve monks, the so-called Vener-
  able Five, supposedly survived the massacre:  Ng 
  Mui, Pak Mee, Fung Do Tak, Miao Hin, and Gee 
  Sin. Th ey split up and hid themselves throughout 
  China, passing on their martial wisdom in secret.
  Kung Fu was brought to the U.S. during mas-
  sive Chinese immigration during the 1840s, though 
  it was not popularly taught to non-Chinese stu-
  dents until the 1960s.
  A very fragmented art, Kung Fu has innumer-
  able diﬀ erent styles and techniques, many of which 
  are described below. Th e maneuvers and styles 
  presented here represent the “external” aspect of 
  Chinese martial arts; the main internal styles, such 
  as Pakua and Tai Ch’i Ch’uan, are discussed sepa-
  rately even though technically they fall under the 
  rubric of “Kung Fu.” Practitioners generally divide 
  Kung Fu substyles into “northern” styles, which 
  are kick/leg-oriented (because of the prevalence of 
  horse-riding in northern China), and “southern” 
  styles, which are punch/hand-oriented (because of 
  the prevalence of boat-rowing in southern China).
  A Kung Fu teacher is known as a sifu. Th e hall 
  where he teaches his students is usually called a 
  kwoon. Th e traditional Kung Fu outﬁ t is a silk cos-
  tume consisting of a long-sleeved tunic with white 
  cuﬀ s, dang lung fu (loose-ﬁ tting trousers gathered 
  in at the ankles), and colorful sashes worn at the 
  waist (these do not denote rank). Alternatively, 
  ﬁ ghters wear a vest or shirt resembling a T-shirt 
  instead of the tunic. 
  KUK SOOL WON
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Jonhwanbbop
  (Throws) 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Skills
  Acrobatics
  Breakfall
  KS: Kuk Sool Won
  WF: Common Melee Weapons
  WF: Common Martial Arts Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
   
  +1 Use Art with War Fan 
  
  39 
  Hero Games
  KUNG FU WU SHU NOTES
  Optional Rules: Th e Knife Hand, Punch and Tien-
  hsueh Strike take location rolls of 2d6+1. Th e Tiger 
  Claw takes a location roll of 2d6+1, constituting 
  the location where the Grab landed; other Grabs do 
  not need a location rolled for them. Th e Kick and 
  Flying Kick usually take a location roll of 3d6, but 
  in some styles (see below) the Kick takes a 2d6+7 
  location roll. Th e other maneuvers take no location 
  rolls.
  Special Abilities:  Th e powers and special abilities 
  attributed to Kung Fu masters are almost innumer-
  able; some relate to Taoist magic. Some of the 
  powers more commonly mentioned include:
  1)  Dancing swords:  Th e ability to 
  wield a blade without holding 
  it, allowing it to attack “on 
  its own” (RKA, Continu-
  ous).
  2)  Fire Con-
  trol:  Th e abil-
  ity to manipulate 
  ﬂ ame.
  3)  Food Creation:  
  Th e ability to pro-
  duce food.
  4)  Hing 
  Kung:  Th e 
  ability 
  to walk 
  without 
  trace (see page 127).
  5)  Iron Palm:  Th e ability, also 
  called the “crushing hand,” 
  allows a ﬁ ghter to break objects with 
  but a casual slap of the hand. Characters buy this as 
  a Penetrating Hand-To-Hand Killing Attack with 
  the -½ Limitation Bonuses Are Calculated From 
  EGO, Not STR — STR bonuses to the HKA derive 
  from the ﬁ ghter’s EGO, not his STR. Characters can 
  also use Iron Palm for an attack with the Indirect 
  Advantage, as described in Chapter Two. Tales 
  speak of masters knocking charging bulls dead in 
  their tracks with a single Iron Palm blow.
  6)  Iron Skin:  Th e ability to resist attacks, even 
  Killing Attacks, without harm. Buy this as Damage 
  Resistance for the character’s PD. Also called Iron 
  Ox or Iron Shirt.
  7)  Kongjin:  “Empty force,” i.e., the ability to strike 
  someone without making contact. You can simu-
  late this as an Energy Blast of equal DC to the 
  character’s most powerful Strike maneuver, with 
  the Advantage Fully Invisible (+1); characters could 
  also buy it as a limited form of Telekinesis with that 
  same Advantage. Some ﬁ ghters call kongjin “one 
  ﬁ nger” or “well ﬁ st” from the practice methods by 
  which students supposedly learn it.
  8)  Poison Palm/Red Sand Palm:  Th ese are other 
  names for dim mak, the ability to kill someone with 
  but a touch (see page 123). Many styles, including 
  Eagle Claw and White Eyebrow, supposedly teach 
  this technique, which can cause pain, numbness, 
  unconsciousness, illness, and/or death. 
  9)  Summon Ancestral Spirits:  Th e ability to 
  summon and control undead spirits.
  10)  Teleportation:  According to some tales, Kung 
  Fu masters can transport themselves instantly over 
  hundreds of miles. 
  KUNG FU SUBSTYLES
  Hundreds of Kung Fu substyles exist; many 
  fall into certain broad categories. Rather than 
  try to write every single one as a separate art, the 
  KUNG FU (WU SHU)
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Flying Kick 
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Joint Lock/
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Knife Hand 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Tien-hsueh
  Strike 
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Tiger/
  Dragon Claw ½ 
  4 
  +0 +0 STR +4d6 Crush, 
  Must Follow Grab
  Uproot/
  Sand Palm 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Skills
  Acrobatics
  Breakfall
  Contortionist
  KS: Chinese Healing
  KS: Chinese Philosophy
  KS: Kung Fu
  PS: Lion Dancing
  Sleight Of Hand
  WF: Common Melee Weapons
  WF: Common Martial Arts Melee Weapons
  WF: Hook Sword
  WF: Th ree-Section Staﬀ 
  WF: Wind And Fire Wheels
  WF: Oﬀ  Hand 
  Elements
  Weapons 
  +1 Use Art with Axes/Maces/Picks
   
  +1 Use Art with Blades
   
  +1 Use Art with Chain Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Hook Sword
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
   
  +1 Use Art with 3-Section Staﬀ 
   
  +1 Use Art with Whip
   
  +1 Use Art with Wind And Fire  
   
  Wheels
  
  40 
  The Ultimate Martial Artist
  package above includes the maneuvers common 
  to most substyles. You can use the notes below to 
  help determine the maneuvers a character needs to 
  know to practice a particular substyle. Of course, 
  a martial artist character doesn’t have to choose a 
  Kung Fu substyle. He can remain a generic Kung 
  Fu practitioner and not worry about the plethora 
  of speciﬁ c substyles available to him. And even if 
  he does choose a speciﬁ c Kung Fu substyle, he can 
  still buy maneuvers from the rest of the main list 
  of Kung Fu maneuvers.
  Bear Style
  Th is style simulates the fast, overpowering 
  strike of the bear. Th e practitioner uses the same 
  hand for powerful open-palm strikes, blocks, and 
  counterstrikes, instead of striking with one hand 
  and blocking with the other.
  To practice Bear Style, a character must know 
  the Block and Punch maneuvers. A Bear practitio-
  ner oft en puts half or more of his Skill Levels into 
  increasing the damage of the Punch maneuver.
  Chin Na Style 
  Th is style was developed in the early 1600s for 
  use by soldiers and policemen. It’s a good style for 
  subdual and restraint of prisoners. It depends less 
  on force than on knowledge of human anatomy; it 
  achieves its damage by attacking vulnerable points 
  known to medicine.
  To practice Chin Na, a character must know 
  the KS: Chinese Healing Skill, at least on an 8-. 
  He must also have at least three of the following 
  maneuvers: Block, Escape, Joint Lock/Grab, Knife 
  Hand, Tien-hsueh Strike.
  Choy Lee Fut 
  Th is southern style was developed in the early 
  to mid-nineteenth century. It is still a popular style; 
  its power makes it good for full-contact ﬁ ghting. It 
  oft en makes use of Weapons Elements, including 
  Polearm, Whip (Chain Whip), Staﬀ , and Swords, 
  and even teaches practitioners to use some unusual 
  objects (such as small benches and smoking pipes) 
  as weapons.
  To practice Choy Lee Fut, the character must 
  know any three of the following maneuvers: Block, 
  Kick, Punch, Th row.
  Drunken Style 
  Th is style is actually a variation on the other 
  styles; a character can ﬁ ght with just Drunken 
  Style (for example, the extremely diﬃ  cult Eight 
  Drunken Fairies [Ts’ui Pa Hsien] style), or can 
  learn Drunken Monkey, Drunken Crane, and so 
  forth.
  Visually, the style involves drunken staggering 
  and swaying (requiring Acrobatics) and utilizes 
  attacks which (because of the drunken stances and 
  approaches) are deceptive and hard to see coming 
  (hence the higher OCV). If the character has Skill 
  Levels, more must go into OCV than DCV; if pos-
  sible, the character must conﬁ gure his Skill Levels 
  so that his OCV exceeds his DCV.
  When performing Drunken Style, a character 
  doesn’t have to make an Acrobatics Skill roll every 
  Phase (he’s not always staggering that much), and 
  must observe all the other guidelines for the style 
  he’s appending Drunken technique to.
  To practice Drunken Style, a character must 
  know the Acrobatics and Contortionist Skills and 
  any three Kung Fu maneuvers.
  Eagle Claw 
  Th is northern style, founded 800 years ago by 
  General Ouk Fay, simulates the powerful talons of 
  the eagle. It makes extensive uses of grabs, joint-
  locks, and takedowns; even some of its kicks have a 
  joint-locking function!
  To practice Eagle Claw Style, the character 
  should buy at least three of these maneuvers:  
  Escape, Joint Lock/Grab, Legsweep, Punch, Tien-
  hsueh Strike, Tiger/Dragon Claw (called Eagle 
  Claw for this style).
  Hung Gar Style 
  Fighters developed this southern style for 
  use in close quarters such as narrow alleyways; it 
  works well for streetﬁ ghters. It uses low stances 
  and strikes which are relatively slow but powerful. 
  Its primary weapons include the tiger fork, staﬀ , 
  and butterﬂ y swords.
  To practice Hung Gar, the character must 
  know any three of the following maneuvers:  Block, 
  Grab, Kick, Knife Hand, Punch, Tiger Claw (Tiger 
  Claw requires Grab).
  Long Fist 
  Long Fist (Chang Ch’uan) is a northern style 
  said to have been created during the Sung Dynasty, 
  shortly before the year 1000 AD. It is a very pictur-
  esque and “open” style incorporating long-reaching 
  and sweeping ﬁ st and arm maneuvers, low stances, 
  and high kicks. 
  To practice Long Fist Style, the character must 
  know the Block, Dodge, Kick, and Punch maneu-
  vers.
  Monkey Style 
  Th e Monkey Style (Tai Sing) was developed in 
  the mid-nineteenth century by a jailed ﬁ ghter, Kou 
  Sze. He continually watched the monkeys around 
  the jail (monkeys were oft en used at jails, because 
  they screeched when prisoners escaped), and even-
  tually developed ﬁ ghting maneuvers based around 
  their actions.
  Th e practitioner ﬁ ghts from a crouching 
  stance reminiscent of a monkey’s. Tumbling, roll-
  ing, tricky footwork, and comical postures are also 
  hallmarks of the Monkey Style.
  Th ere are several “substyles” of this style, 
  each based on a particular set of movements or a 
  particular body type, allowing any kind of ﬁ ghter 
  to use the art:  Lost Monkey (in which the ﬁ ghter 
  simulates panic to trick the enemy into overcon-
  ﬁ dence); Drunken Monkey (described above); 
  Stone Monkey (suited to ﬁ ghters with large, strong 
  bodies; involves less acrobatics than the other 
  substyles); Standing Monkey (suited to tall ﬁ ghters 
  with long arms); and Wooden Monkey (in which 
  the ﬁ ghter feigns retreat, luring his foe into pursuit 
  so he can launch an aggressive surprise attack). 
  A Monkey Style practitioner can use any of these 
  substyles.
  
  41 
  Hero Games
  To practice Monkey Style, the character must 
  have the Acrobatics, Breakfall, and Sleight Of Hand 
  Skills, and any three of the following maneuvers: 
  Block, Disarm (deﬁ ned as a kicking disarm), 
  Dodge, Kick, and Legsweep.
  Each Phase the character utilizes Monkey 
  Style, he must make both his Acrobatics and Sleight 
  Of Hand rolls. If he succeeds in both, the GM 
  has the target make a Sight-based PER Roll (just 
  like a Skill Versus Skill Contest). If the Sleight Of 
  Hand roll beats the PER Roll, the monkey stylist 
  gets an OCV bonus to his maneuver. Th e GM can 
  apply this as a +1 to +3 bonus based on how clever 
  he thinks the maneuver is (determined from the 
  player’s description of the attack), or he can give 
  the maneuver a bonus based on how much better 
  the Sleight Of Hand roll was than the PER Roll 
  (with a maximum of +3 to OCV). As the opponent 
  gets used to the character’s ﬁ ghting style, the GM 
  can optionally decrease the OCV bonus provided 
  by the style. Naturally, if the rolls tie, or the target 
  made his PER Roll by more, or the attacker missed 
  either Acrobatics or Sleight Of Hand, no bonus is 
  awarded.
  Monkey Style is also fought with the staﬀ .
  Praying Mantis Style 
  Th is style, known as T’ang Lang in Chinese, 
  was derived from a ﬁ ghter’s observation of the 
  praying mantis in combat. It concentrates on 
  grasping, clawing, and punching maneuvers. It was 
  developed 350 years ago; many diﬀ erent “substyles” 
  (including the six harmonies, seven stars, and eight 
  steps variants) have arisen since then.
  To practice Praying Mantis, the character must 
  know the Block maneuver, and at least two of the 
  following maneuvers: Disarm, Joint Lock/Grab, 
  Kick, and Punch.
  When ﬁ ghting an opponent, the Praying 
  Mantis stylist usually uses a Block against an 
  incoming attack and follows up (on his next Phase) 
  with one of the other maneuvers. Typical sequences 
  include Block, Disarm; Block, Punch; and Block, 
  Joint Lock/Grab, Punch. Alternatively, he delays, 
  puts most or all his Skill Levels into DCV (with 
  the visual eﬀ ect being that he blocks, rather than 
  dodges, incoming attacks) and responds to attacks 
  with any of the attack maneuvers.
  Shaolin Crane Style 
  Th is is an open, ﬂ owing style. Th e practitioner 
  shapes his hands like crane’s beaks; the style adopts 
  many one-legged stances. Blocks are performed 
  with the backs of wrists or with the open hand.
  To practice Shaolin Crane (pai-hao) style, the 
  character must know the Block, Punch, and Tien-
  hsueh Strike maneuvers.
  Shaolin Dragon Style 
  Th is style simulates the coiling of the Chinese 
  dragon; the practitioner moves with his waist loose 
  and supple, and the style makes use of circular 
  waist movements and hip-turning movements. 
  In this style, the attacker grabs his target, 
  blocks attacks, and counterstrikes with fast 
  punches. Th e style also involves a Grab called the 
  Dragon Claw and joint-locking techniques.
  To practice Dragon style, the character must 
  know any three of the following maneuvers:  Block, 
  Dragon Claw, Joint Lock/Grab, Kick, Punch.
  To use Dragon Style, the character primarily 
  utilizes one of these two combinations:  Block fol-
  lowed by the Grab, or Grab followed by Block fol-
  lowed by Punch. He also uses the Joint Lock/Grab 
  maneuver and Dragon Claw (which is mechanically 
  the same as the Tiger Claw).
  Shaolin Leopard Style 
  Leopard Style is a fast, rugged, up-close 
  combat style. It concentrates on powerful ﬂ attened-
  ﬁ st blows (representing the attacks of a leopard’s 
  paws).
  To practice Leopard Style, the character must 
  know the Block, Dodge, and Punch maneuvers.
  When performing Leopard Style, if the char-
  acter has only one or two Skill Levels, he must put 
  both of them into OCV (during the Block and 
  Punch maneuvers, not during the Dodge); if he has 
  more than two, he must put at least two into OCV.
  Shaolin Snake Style 
  Th is is a sinuous, weaving combat style. Th e 
  hands, simulating the snake’s strike, are used for 
  ﬁ ngertip strikes to the target’s temples, eyes, throat, 
  and other vital regions; the style also uses kicks.
  To practice Snake Style, the character must 
  know the Block, Dodge, Kick, Punch, and Tie-hsueh 
  Strike maneuvers.
  Shaolin Tiger Style 
  Th is style simulates the ripping action of a 
  tiger’s claws. Th e practitioner uses a rigid open-
  hand technique with ﬁ ngers curled like claws, and 
  makes use of palm-heel strikes and claw-hand 
  strikes, both swung with downward arcs; he also 
  uses palm-heel blocks and forearm blocks. Th ere 
  are several “subforms” of this substyle, including 
  White Tiger, Red Tiger, and Black Tiger; their dif-
  ferences are not important for gaming purposes.
  To practice Tiger Style, the character must 
  know any three of the following maneuvers: Block, 
  Dodge, Grab, Punch, Tien-hsueh Strike, and Tiger 
  Claw. Tiger Style is also fought with the broadsword 
  (Darn-Do).
  Shorinji Kempo 
  Shorinji kempo is the Japanese pronunciation 
  of Shaolin ch’uan-fa, or Shaolin Kung Fu. According 
  to tradition, Chinese monks visited Japan before it 
  became closed oﬀ  to foreigners in the seventeenth 
  century and taught their Kung Fu art to the Bud-
  dhist monks. Today, the art, adapted to the Japanese 
  way of life and philosophies, still thrives. Its symbol 
  is a counterclockwise-pointing swastika (the 
  reverse of the kind used by Nazi Germany), which 
  in Buddhism signiﬁ es peace and unity. 
  In the HERO System, the Kung Fu style simu-
  lates Shorinji Kempo; a Kempo practitioner can 
  buy any or all Kung Fu maneuvers and refer to 
  them as Kempo. Purists will note that this is a gross 
  oversimpliﬁ cation of the real-world relationship 
  between Kempo and Kung Fu, but it suﬃ  ces for 
  game purposes.
  
  42 
  The Ultimate Martial Artist
  White Crane Style
  Th is Tibetan style, which simulates the moves of 
  both cranes and apes, involves three basic principles:  
  evading attacks instead of blocking them (to increase 
  counterattack speed), confusing the target with many 
  arm sweeps, and moving in to the opponent for a 
  better angle of attack. It was ﬁ rst developed in Tibet 
  some 500 years ago, and was introduced into middle 
  and southern China some 140 years ago.
  To practice White Crane, a character must know 
  any three of the following maneuvers:  Dodge, Kick, 
  Punch, Tien-hsueh Strike.
  When a character uses White Crane, he must 
  apply any Skill Levels he has so that his DCV exceeds 
  his OCV; the high DCV allows the character to avoid 
  using Dodges and continuously attack instead.
  White Crane style is known as Bak Hok in Chi-
  nese. 
  White Eyebrow 
  Th is southern style, called Bak Mei in Chinese 
  aft er the traitorous white-eyebrowed priest who 
  developed it, uses both soft  and hard techniques. Th e 
  arms and hands are kept “soft ” and supple until they 
  reach the point of impact, when they “harden” to 
  deliver powerful blows. Internal and external strength 
  are both important in this style.
  White Eyebrow stylists always wait for their 
  opponent to attack ﬁ rst, then react to his attack and 
  counterattack using their “wit,” or cleverness and 
  perceptiveness. In the game, White Eyebrow stylists 
  should normally hold their actions, then Block or 
  Dodge before attacking.
  White Eyebrow style incorporates some attacks 
  from Fong Ngan, or “Phoenix Eye” style, which is 
  described brieﬂ y below. 
  To practice White Eyebrow, a character must 
  know any three of the following maneuvers:  Block, 
  Dodge, Kick, Punch, Tien-hsueh Strike.
  Wing Chun Style 
  Th is style (whose name means “radiant spring-
  time” or “everlasting spring”) was developed in the 
  eighteenth century by a ﬁ ghting Buddhist nun named 
  Ng Mui. According to some legends she was one of 
  the Venerable Five who escaped the ﬁ nal destruc-
  tion of the Shaolin Temple. Aft er creating the art, 
  she taught it to a young peasant woman named Yim 
  Wing Chun, from whom it takes its name. It was 
  developed as an aggressive, practical style someone 
  could learn in a relatively short amount of time. It 
  involves up-close ﬁ ghting techniques including short 
  punches, low kicks, and leg sweeps.
  Wing Chun is so popular it has several substyles; 
  however, their diﬀ erences are inconsequential for 
  gaming purposes.
  To practice Wing Chun, the character must 
  know any three of the following maneuvers:  Block, 
  Kick, Legsweep, and Punch. Th e Kick takes a 2d6+7 
  location roll.
  Other Kung Fu Substyles 
  Th ere are many other animal and non-animal 
  Kung Fu styles, far too many to list extensively 
  here. However, in addition to the styles listed above, 
  several others deserve a brief mention:  Bul Mu Do 
  or Buldo Mu Sool (a Korean Buddhist temple style, 
  supposedly derived from Shaolin ﬁ ghting arts); 
  Ch’a Ch’uan (a style from Mongolia, popular among 
  Chinese Muslims and known for its acrobatics and 
  ﬂ ying kicks); Ch’o Chiao (a northern style featur-
  ing high kicks); Choy Mok (a combination of two 
  southern styles, Choy Gar and Mok Gar); E-mai 
  Shan Pai (a style supposedly created on the sacred 
  mountain of the same name; known in Vietnam as 
  Nga Mi Phai); Fan Tzu (a simple northern style); 
  Fong Ngan (the “Phoenix Eye” style, which relies 
  almost entirely on hand attacks, including a dis-
  tinctive raised-middle-knuckle punch); Hop Gar 
  (a practical ﬁ ghting art derived from Tibet, also 
  known as Lama kung fu); Hung-Chia (a southern 
  style emphasizing powerful hand attacks deliv-
  ered from low stances, supposedly created by one 
  of the Venerable Five); Hung Fut (a 300-year-old 
  southern style combining two other styles, Hung 
  Gar and Fut Gar; practitioners always use their left  
  hands to strike and are trained to use their cloth-
  ing as a weapon); Kuo-Ch’uan (“dog boxing,” an 
  unpopular northern style in which the practitioner 
  stays low to the ground, barking and growling like 
  a dog, hoping to antagonize and distract his oppo-
  nent); Liang I (an internal northern style which 
  uses double-ﬁ st attacks); Li-Chia Ch’uan (“short 
  hand” boxing, a southern style involving slapping 
  and poking attacks, close inﬁ ghting, and almost no 
  kicks; also known as Li Gar); Liu-Ho-Pa-Fa (“six 
  harmonies, eight steps,” a soft  northern style); Mien 
  Ch’uan (“cotton ﬁ st” style, a soft  northern style); Mi 
  Tsung-I (the “labyrinthine art,” which uses rapid 
  turns, changes of direction, and attacks to confuse 
  the enemy); Poc Khek (a Malaysian style); San-
  Hwang Pao-Ch’ui (“cannon ﬁ st” style, also known 
  as Hsing-Kung-Ch’uan); Ta-Cheng Ch’uan (“great 
  achievement,” an internal style derived in part from 
  Hsing-I); T’an T’ui (“Deep Legs” or “Springing 
  Legs” Kung Fu, which uses very low kicks and leg-
  sweeps); and T’i T’ang (a ﬁ ghting style which trains 
  the student to ﬁ ght while on the ground).
  As you can see, considerable overlap exists 
  between the maneuvers required for the various 
  styles. If a character wishes, he can consider him-
  self a practitioner of multiple styles if he knows 
  the minimum required maneuvers and Skills for 
  each; in combat, he can describe how and when 
  he switches between styles. Th is will not, however, 
  have an impact on an enemy’s Analyze Style roll; to 
  cancel the eﬀ ects of such a roll, a character would 
  have to switch to another style in which he has a 
  separate Knowledge Skill. 
  For more information on the main “soft ” Chi-
  nese styles, refer to the descriptions of Hsing-I, 
  Pakua, and Tai Ch’i Ch’uan.
  ‘W
  aiting is bad.’
  —Miyamoto Musashi, Go 
  Rin No Sho (“A Book of Five Rings”)
  
  43 
  Hero Games
  Kuntao
  Kuntao (or kundao) is an Indonesian ﬁ ghting 
  style. It was developed before the birth of Christ 
  by Chinese immigrants who transplanted Kung Fu 
  and mixed it with maneuvers from Pentjak-Silat 
  and Bersilat. Th ere are many diﬀ erent substyles, 
  some favoring northern Chinese styles, some 
  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 
  practitioners of Pentjak-Silat, which is one of the 
  reasons that both arts have seen actual combat use 
  right up to the present day.
  KUNTAO NOTES
  Optional Rules:  Th e Punch and Nerve Strike take 
  2d6+1 locations; the Kick takes a 3d6 location. None 
  of the other maneuvers require location rolls.
  Special Abilities:  Kuntao masters’ special abilities 
  are similar to those of Kung Fu masters, but are gen-
  erally less powerful.
  Kyujutsu
  Kyujutsu is the Japanese art of the bow. In the 
  modern era, under the name kyudo, it has become a 
  highly philosophical form of sport with strong ties to 
  Zen Buddhism, but in the past it was a deadly battle-
  ﬁ eld art. It changed from a form of warfare to a sport 
  following the introduction of guns to Japan in about 
  the sixteenth century.
  In addition to learning standard archery, many 
  warriors were also trained in the art of archery from 
  horseback, known as kyuba, soieijutsu, or yabusame. 
  Kyujutsu practitioners use the yumi, the Japa-
  nese longbow, and the ya, or Japanese arrow (of 
  which there are more than a dozen varieties). See 
  Chapter Th ree for information on these weapons.
  Th e Korean form of Kyujutsu is known as 
  Kung-sool; its mounted counterpart is Ma-sool.
  Kyujutsu cannot take the Style Distinctive Fea-
  ture. 
  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.
  KUNTAO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Nerve Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall
  KS: Kuntao
  WF: Common Melee Weapons
  WF: Common Martial Arts Weapons
  WF: Chain & Rope Weapons
  WF: Hook Swords
  WF: Oﬀ  Hand
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Hook Swords
   
  +1 Use Art with Karate Weapons
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  KYUJUTSU
  Used with Bows Weapons Group; Bows Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV RNG Damage/Effect
  Basic Shot 
  ½ 
  4 +0 +0 +2 Weapon +2 DC 
  Strike
  Defensive 
  Shot 
  ½ 
  3 
  -1 +2 +0 Weapon Strike
  Distance 
  Shot 
  1+1 5 +0 -2 +6 Weapon Strike; 
  +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*
  
  44 
  The Ultimate Martial Artist
  Lua
  Lua is a ﬁ ghting style native to Hawaii. Its 
  name translates variously as “hard and soft ,” “dis-
  location of joints,” “life and death,” or the number 
  2. It developed from the lomilomi massages given 
  to boat paddlers, which gradually grew into a 
  wrestling style that in turn grew into Lua. By the 
  ﬁ ft eenth century, twelve schools, each with its own 
  “specialty” attacks, had been established throughout 
  the islands to teach the art. Some Lua practitio-
  ners were inclined to ambush innocent people to 
  test out their joint-breaking and bone-breaking 
  techniques, giving the art a bad reputation as pilau 
  (“savage”).
  By the eighteenth and nineteenth centuries, 
  Lua had virtually disappeared because of the lack 
  of written records, the strict secrecy in which 
  the knowledge was kept (‘olohe-lua, master 
  teachers, generally taught their complete 
  repertoire of techniques only to their rela-
  tives), and, eventually, the inﬂ uence of 
  Christian missionaries (who banned 
  many native practices). Even the 
  establishment of several schools by 
  King Kamehameha (ruled 1790-1819) 
  did not succeed in 
  reversing this trend. 
  Th e art was ﬁ nally 
  revived in the time 
  of King David 
  Kalakaua 
  (ruled 1874-
  91), who saw 
  in it parallels to 
  Japanese ﬁ ght-
  ing styles.
  Lua is a 
  diverse style con-
  centrating on attacks, 
  including punches, 
  hand and elbow 
  strikes, kicks, joint-
  locks and joint-breaking, and throws. Th e ancient 
  students of Lua were likewise students of anatomy; 
  they were particularly skilled at dislocating and 
  breaking joints, and their modern-day counterparts 
  oft en use the same tactics. Lua also involves the use 
  of internal energy, or mana, which equates to ch’i 
  or ki.
  Th e version of Lua presented below is primar-
  ily the modernized version being studied by some 
  Hawaiians today. It uses a number of animal forms. 
  Crab attacks involve the grabbing and pinching of 
  soft , vulnerable targets like the throat or vitals. Dol-
  phin techniques use the back of the hand and wrist, 
  similar to Shaolin Crane Kung Fu. Eagle attacks 
  rely on the hands and elbows to deliver powerful 
  blows. Moray Eel attacks use the ﬁ nger and open 
  hand. Mountain Pig techniques include low kicks, 
  stomps, some knee strikes, and a joint-breaking 
  throw. Ocelot (or “cat”) maneuvers include not only 
  palm-strikes and “slaps” but legsweeps and take-
  downs. Octopus techniques include rapid, interwo-
  ven blocks and strikes and an attack in which the 
  ﬁ ghter uses his ﬁ ngers to “ﬂ ick” or poke at the ene-
  my’s eyes. Shark techniques involve short, powerful 
  jabs with the thumb or knuckles. Some masters 
  teach maneuvers based on other animals, such as 
  the Tiger, Hawk, and Owl. Th e standard Lua attack 
  pattern is to block an incoming blow and follow up 
  with one or more appropriate attacks.
  LUA NOTES
  Th e Spear Kick is a non-traditional maneuver and 
  can only be learned by characters who received Lua 
  training aft er 1965.
  Optional Rules:  Th e Dolphin Nerve Strike/Shark 
  Strike, Eagle Strike, Moray Eel Hand Strike/Ocelot 
  Claw, and Ocelot Palm Strike all take a 2d6+1 loca-
  LUA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Crab Pinch 
  ½ 
  4 
  -1 
  +0 Grab One Location; 
  +2d6 to Squeeze
  Crab Throat 
  Pinch 
  ½ 
  5    -2   +0   Grab One Limb; 2d6 
  NND(3)
  Dolphin Nerve Strike/
  Shark Strike ½ 
  4    -1   +1   2d6 NND(1)
  Dolphin Block/Eagle Block/Octopus
  Block 
  ½ 
  4    +2   +2   Block, Abort
  Eagle Grab 
  ½ 
  3    +0   -1   Grab One Limb, +10 
  STR for holding on
  Eagle Strike/Octopus
  Strike 
  ½ 
  4    +2   +2   STR +2d6 Strike, 
  Must Follow Block
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Moray Eel Hand Strike/
  Ocelot Claw ½ 
  4    -2   +0   HKA ½d6 (2 DC)
  Mountain Pig Kick/Ocelot 
  Palm Strike ½ 
  5    -2   +1   STR +4d6 Strike
  Mountain Pig 
  Throw 
  ½ 
  5 
  -2 
  +0 HKA ½d6 (2 DC), 
  Disable; Target Falls
  Ocelot 
  Sweep 
  ½ 
  3    +2   -1   STR +1d6 Strike; 
  Target Falls
  Octopus
  Poke 
  ½ 
  4    +0   +0   3d6 Sight Group 
  Flash 
  Spear Kick 
  ½ 
  5    +1   -2   STR +4d6 Strike
  Skills
  Breakfall
  Contortionist
  KS: Anatomy                 
  KS: Lua
  PS: Hula Dancing
  PS: Masseuse
  WF: Common Melee Weapons
  WF: Garotte
  WF: Sling
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Cane 
   
  +1 Use Art with Flail
   
  +1 Use Art with Garotte (Crab Pinch  
   
  and Crab Th roat Pinch only)
   
  +1 Use Art with Spear
   
  +1 Use Art with Staﬀ /Oar
  
  45 
  Hero Games
  tion roll. Th e Mountain Pig Kick takes a 2d6+7 roll. 
  Th e Spear Kick takes a 3d6 roll. Th e other attacks 
  all target speciﬁ c locations and so do not require 
  rolls (the Crab Pinch targets the throat, abdomen, 
  or vitals), but get no extra beneﬁ t for hitting such 
  locations.
  Special Abilities:  Lua masters were said to com-
  mand a number of special abilities. Primary among 
  these were telepathy and the power to hypnotize 
  people.
  Naginatajutsu/Sojutsu 
  Th e maneuvers listed below describe two diﬀ er-
  ent, yet similar, weapon arts:  Naginatajutsu (the art of 
  the halberd) and Sojutsu (the art of the spear).
  Naginatajutsu (also known as chotojutsu) is the 
  art of using the naginata, or Japanese halberd (includ-
  ing its shorter version, the nagakami). From earliest 
  times it was one of the weapons 
  every warrior 
  was trained to use, and many war-
  rior-monks 
  favored it as well. Some of the 
  schools 
  or substyles which taught it were 
  the Anzawa-ryu, Gassan-ryu, 
  Hoshin-ryu, Masaki-ryu, Seni-
  ryu, Tendo-ryu, Tento-ryu, and 
  Toda-ryu.
  During the Edo Period 
  (1603-1867), the naginata fell into 
  disuse and eventually disappeared 
  from the battleﬁ eld, only to become the 
  main weapon of the homefront:  many 
  women trained in naginatajutsu so 
  that they could defend their 
  homes while their husbands 
  were away. Th e naginata 
  soon came to be regarded 
  as a “woman’s weapon.” In 
  modern Japan many women 
  still study the sport form of 
  the art, naginata-do.
  Naginatajutsu con-
  tains only a few techniques, but they are 
  all eﬀ ective. In pitched battles favorite targets 
  usually include enemy horses and infantrymen’s 
  legs. In addition to the standard slashing and thrust-
  ing maneuvers, practitioners are trained to reverse 
  the weapon and use the iron cap on its butt to strike a 
  target’s vital points.
  Sojutsu (also known as Yarijutsu) is the art of 
  using the various types of Japanese spears, such as 
  the yari. A ﬁ ghter could use the spear as a form of 
  staﬀ , plus its spearhead allowed for deadlier attacks. 
  Spear-ﬁ ghting was a particular favorite of the militant 
  Buddhist sõ-hei (“warrior-priests”). It died out aft er 
  the introduction of ﬁ rearms to Japan, but formed the 
  basis of a later art, Jukenjutsu (see page 32). Characters 
  can also use Sojutsu to simulate spearﬁ ghting skills 
  from many other cultures.
  NAGINATAJUTSU/SOJUTSU NOTES
  Characters cannot use the weapon’s shaft  to strike 
  targets unless they buy the Staﬀ  Weapon Element; 
  this includes the Atemi Strike maneuver, performed 
  with the butt end of the weapon’s shaft .
  Optional Rules:  Th e Atemi Strike, Slash, and 
  Th rust all take 3d6 Hit Location rolls.
  Special Abilities:  None.
  Ninjutsu
   Ninjutsu is a stealth and espionage-oriented art 
  which saw its greatest development in the thirteenth 
  to early seventeenth centuries in Japan. Its practi-
  tioners, the ninja, were warrior-assassin-spies; most 
  belonged to the Iga and Koga mountain clans. Th ey 
  were the supreme reconnaissance experts and sabo-
  teurs of their day.
  In the seventeenth century, a ban and crack-
  down forced the ninja to become even more secre-
  tive about the practice of their art; the heyday of the 
  ninja was over, and most people believed the art and 
  its practitioners were extinct. But in recent years, 
  Ninjutsu has come down out of the mountains 
  again and been practiced more openly; it has been 
  imported to and is taught in the United States and 
  other countries. Additionally, several martial artists, 
  especially in the United States, have set about rede-
  veloping Ninjutsu; they claim no association with 
  the historical Ninjutsu style, but practice most of 
  the same tactics and skills.
  Th e word “ninjutsu” refers to all the arts 
  and skills of the ninja; the combat ﬁ ghting 
  style is more correctly known as taijutsu. It 
  de-emphasizes the use of “forms” or other 
  regimented ﬁ ghting methods, concen-
  trating instead on using whatever maneu-
  vers or tactics work best in a situation. It is an 
  extremely practical and utilitarian ﬁ ghting art 
  (though like most traditional martial arts it also has a 
  philosophical side).
  Th e ninja night-suit, the costume worn by the 
  ninja during missions, consists of three principal 
  parts:  the igabakama (a long-sleeved tunic and the 
  trousers, with many pockets in the sleeves, legs, and 
  the body; also known as a shinobifuku); the shinobi-
  zukin (the ninja mask); and the tabi (the split-toed 
  boots worn by the ninja for improved balance). In 
  ancient times, the ninja night-suit was colored in 
  earth tones (green and brown), or white in winter 
  weather. Today, most ninja are represented as wear-
  ing black night-suits. It would be appropriate for 
  a modern ninja to wear his night-suit in modern 
  NAGINATAJUTSU
  Used with Polearms Weapons Group; Polearm Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Slash 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Thrust 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Skills
  KS: Naginatajutsu (or Sojutsu, as appropriate)
  Elements
  Weapon 
  +1 Use Art with Staﬀ  (for using  
   
  weapon’s shaft )
  
  46 
  The Ultimate Martial Artist
  NINJUTSU (TAIJUTSU)
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Punch ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Breaking 
  Throw 
  ½ 
  5 
  -2 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable; 
  Target Falls
  Choke Hold ½ 
  4  -2 
  +0 Grab One Limb, 2d6 
  NND(2)
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Knife Hand 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Punch  
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Reversal 
  var 4 
  -1 
  -2 STR +15 to Escape; 
  Grab Two Limbs
  Sacriﬁ ce 
  Throw 
  ½ 
  3 
  +2 +1 STR Strike; You Fall; 
  Target Falls 
  Takeaway 
  ½ 
  5 
  +0 +0 Grab Weapon, +10 
  STR to Take Weapon 
  Away
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall
  KS: Ninjutsu
  WF: Common Martial Arts Melee Weapons*
  WF: Common Melee Weapons
  WF: Oﬀ  Hand
  See the discussion of the ninja later on in this chapter. 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Fist-Loads
   
  +1 Use Art with Karate Weapon
   
  +1 Use Art with Polearms
    
  +1 Use Art with Staﬀ 
    
  +1 Use Art with War-Fan
  camouﬂ age patterns (either the green/brown forest 
  camouﬂ age or the mixed-gray urban camouﬂ age 
  patterns). Movie-style ninja can wear night-suits 
  of any color, including red and white; in the 
  ﬁ lms, this has no eﬀ ect on their stealth abilities. 
  In ancient times a ninja did not oft en 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: Th e Kick maneuver takes 
  a location roll of 3d6. Th e Atemi Punch, Knife 
  Hand, and Punch take location rolls of 2d6+1. Th e 
  Choke Hold automatically targets the head, but 
  receives no extra damage for the head location. Th e 
  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
  Modern-day Ninjutsu synthesizes a number 
  of diﬀ erent “schools” or substyles of Ninjutsu. Th e 
  following descriptions allow characters to pick a 
  school to “specialize” in if they prefer, but this is not 
  required.
  Gikan Ryu 
  Th e Gikan Ryu was founded by Sonyu Hangan 
  Gikanbo of Kawachi in the sixteenth century. It 
  is a relatively oﬀ ensive style whose practitioners 
  oft en buy OCV Combat Skill Levels. To practice 
  this ryu, a character must know three of the follow-
  ing maneuvers:  Atemi Punch, Block, Dodge, Kick, 
  Knife Hand, Punch, and Takedown. 
  Gyokko Ryu 
  “Th e school of the jewel tiger” was brought 
  to Japan from China during the fall of the T’ang 
  Dynasty (around 900 AD) by a monk named Cho 
  Gyokko, making it the oldest of the Ninjutsu Ryu. 
  Th e style was formally organized by Sakagami Taro 
  Kunishige in 1532.
  Th e primary principle of Gyokko Ryu is to 
  move the body around a central point in space 
  deﬁ ned by one’s opponent. Th e ninja should stay 
  at the “distance of frustration,” barely out of the 
  opponent’s reach, so his foe isn’t sure if he can 
  hit the ninja or not. Gyokko Ryu concentrates on 
  koshijutsu (skin and muscle tearing techniques) 
  and shitojutsu (thumb pressure techniques and 
  ﬁ nger-strike techniques). Advanced students of this 
  school are said to be able to knock a man down 
  with one ﬁ nger.
  To practice Gyokko Ryu, a character must 
  know at least four of the following meneuvers:  
  Atemi Punch, Block, Choke Hold, Dodge, Reversal, 
  Takeaway, and Takedown; practitioners should also 
  be allowed to purchase the Tiger/Dragon Claw 
  from the Kung Fu package to simulate their koshi-
  jutsu techniques. Combat Skill Levels in DCV are 
  also appropriate for students of this ryu. 
  
  47 
  Hero Games
  Gyokkushin Ryu 
  Th e Gyokkushin Ryu was founded by Sasaki 
  Okormon Akirari and is known for its superior 
  use of the nagenawa (lasso). Th e Gyokkushin Ryu 
  is derived from the Gyokko Ryu, and has the same 
  requirements for characters who want to be stu-
  dents of it. Th e lasso skill may be bought as a form 
  of Entangle, or as Limited Stretching.
  Koto Ryu 
  Th is school (whose name means “knock-
  ing down the tiger”) is derived from Gyokko 
  Ryu. According to kuden (oral transmission), it 
  originated in China and was carried to Japan by 
  the monk Chan Busho from what is now known 
  as Korea. From him it was passed down through 
  several generations until the techniques of this ryu 
  were reorganized in 1542 by Sakagami Taro Kun-
  ishige.
  Koto Ryu specializes in koppojutsu (bone-
  breaking techniques) and in atemi strikes. Char-
  acters from this school should buy the Joint Break 
  maneuver from Hwarang-Do; OCV Combat Skill 
  Levels are also appropriate for this ryu.
  To practice Koto Ryu, a character must know 
  at least three of the following maneuvers:  Atemi 
  Punch, Block, Kick, Knife Hand, Reversal, and 
  Takedown, and the Joint Break described above.
  Kukushinden Ryu
  Th e Kukushinden Ryu was founded by Izumo 
  Kanja Yoshiteru. Students of the Kukushinden 
  Ryu style are known for their skill with weapons, 
  including many unusual techniques. To practice 
  Kukushinden Ryu, the character should buy at least 
  half of the Weapon Familiarities and Weapons Ele-
  ments listed for Ninjutsu, and should know at least 
  three of the following maneuvers:  Block, Breaking 
  Th row, Dodge, Kick, Reversal, Takeaway, and Take-
  down. Combat Skill Levels for DCV are also appro-
  priate for this ryu. 
  Kumogakure Ryu
  Th e Kumogakure Ryu was founded by Hein-
  aizaemon Ienaga Iga. Th is ryu seems to be closely 
  related to the Togakure Ryu. It focuses on the 
  use of shuriken, sword, bo, hanbo, kusari-fundo, 
  kusarigama, kyoketsu-shoge, spear, naginata, shi-
  nobi-zue, kamayari, shuko, and metsubishi. To 
  practice this ryu, characters must know three of 
  the following maneuvers:  Block, Breaking Th row, 
  Dodge, Punch, Sacriﬁ ce Th row, Takeaway, and 
  Th row.
  Shinden Fudo Ryu 
  Th e Shinden Fudo Ryu was founded by Izumo 
  Kanja Yoshiteru (the same one who founded the 
  Kukishinden Ryu). Th e Ryu was formally organized 
  by Genachiro Tameyoshi in the mid-12th century. 
  Shinden Fudo Ryu ninja are known for their 
  use of, and skill with, swords. Th ey also know Acro-
  batics, but do not know Breakfall (they wear the 
  daisho, or paired swords, so learning Breakfall is 
  impractical).
  To practice the Shinden Fudo Ryu, charac-
  ters must know four of the following maneuvers:  
  Dodge, Punch, Reversal, Sacriﬁ ce Th row, Take-
  down, and Th row. Th ey may also buy the Grappling 
  Block maneuver from the Hsing-I package.
  Takagi Yoshin Ryu
  Th e Takagi Yoshin Ryu, meaning “raise your 
  heart to the high trees,” was founded by Soun Ryu. 
  Its main principle is that of total body motion; it 
  also teaches various elements of Bojutsu, Jujutsu, 
  Shurikenjutsu, and Sojutsu. To practice this ryu, 
  characters must know four of the following maneu-
  vers: Block, Breaking Th row, Dodge, Reversal, 
  Th row, Sacriﬁ ce Th row, and Takeaway. Th ey may 
  also buy the Grappling Block maneuver from the 
  Hsing-I package.
  Togakure Ryu 
  Th e Togakure Ryu was established in 1185, at 
  the beginning of the Kamakura period. Its ninja are 
  known for their use of weapons, particularly the 
  shuko, metsubishi, and tetsubishi.
  To practice the Togakure Ryu, the character 
  must know three of the following maneuvers:  
  Block, Dodge, Punch, Reversal, Takeaway, Th row.
  Pakua
  Pakua (also spelled Pa-Kua, Paqua, and Bagwa, 
  meaning “eight diagrams”) is one of the three main 
  Chinese “internal” ﬁ ghting styles. It is said to have 
  been learned by Tung Hai-ch’uan from an old 
  mountain Taoist of Kiangsu Province in the late 
  1700s or early 1800s, though its roots are centu-
  ries older. It was originally called Ch’uan Chang, 
  or “rotating palm.” Tung used Pakua to defeat the 
  renowned Hsing-I master Kuo Yun-shen. Kuo tried 
  for two days to defeat Tung, but on the third day 
  Tung beat him easily. Th is resulted in a life-long 
  friendship between the two and a pact that stu-
  dents of each style would learn the other style. 
  Pakua is based around the theories of 
  the I Ching, a book of Chinese philoso-
  phy (and, some believe, prophecy and 
  fortunetelling). Th e I Ching expresses a 
  belief that the universe is in a state of 
  “constant change.” In Pakua, changes 
  — of direction, of the angle of the 
  hand, of the placement of the foot 
  — are all-important. Whereas Hsing-
  I is (relatively) direct and linear, Pakua is 
  circular, and Tai Ch’i Ch’uan works both 
  ways. 
  Pakua emphasizes motion and 
  footwork. Th e practitioner “walks the 
  circle,” an imaginary circle based 
  on the I Ching’s eight-trigram 
  pattern. He circles around his 
  opponent constantly, rotating 
  his body, whirling and shift -
  ing direction unexpectedly, 
  using subtle evasive tactics, 
  and making attacks from 
  unusual angles. Th e pos-
  tures used while walking 
  the circle include 
  several named 
  aft er animals:  
  
  48 
  The Ultimate Martial Artist
  Bear, Dragon, Hawk, Lion, Monkey, Panther, Phoe-
  nix, Snake, Stork, Swallow, and Unicorn, among 
  others. Although this motion may sound limiting, 
  in fact it is not; Pakua can be a very eﬀ ective ﬁ ght-
  ing style, with each step in the circle creating a dif-
  ferent angle of attack.
  Pakua’s attack techniques are primarily palm 
  strikes and other hand attacks. Th rough the projec-
  tion of ch’i and the shift ing of the angle of the hand 
  (such as from palm-up to palm-down, a technique 
  called tzan szjin, “reeling silk”), the ﬁ ghter can 
  deliver very powerful blows which look like little 
  more than light shoves to the untrained eye. Th e 
  use of the palm as opposed to the ﬁ st allows the 
  practitioner greater control over the ch’i he releases. 
  Some of the palm strikes have extremely pictur-
  esque names, such as White Clouds Chasing the 
  Stars, Swallow Penetrates Th rough the Forest, and 
  Scooping the Moon from the Sea Bottom. 
  Some Pakua masters teach the use of weapons, 
  such as swords, spear, and staﬀ , and the unusual 
  ring needle. However, this is relatively rare; most 
  Pakua practitioners use only barehanded tech-
  niques.
  PAKUA NOTES
  Th e two attack maneuvers in this package do not 
  take the “Half Move Required” restrictive element. 
  However, Pakua practitioners are constantly in 
  motion, walking the circle one way or another 
  around their opponent. A Pakua character should 
  almost always make a Half Move (consisting of 
  stepping around their opponent, not moving back-
  wards and forwards) in any Phase in which he takes 
  a combat action.  
  Optional Rules:  Th e Palm Strike takes a 2d6+1 
  location roll. Th e Kick takes a 2d6+7 roll. None of 
  the other maneuvers require Hit Location rolls.
  Special Abilities:  In addition to some of the gen-
  eral special abilities attributed to internal style 
  masters (see “Tai Ch’i Ch’uan,” below), Pakua practi-
  tioners sometimes display these powers:
  1)  Rapid-ﬁ re Striking:  Some Pakua masters can 
  launch as many as ten blows in a single second! Th is 
  is bought as an Autoﬁ re Advantage for the charac-
  ter’s Palm Strike (see page 104), or as a separate HA 
  with Autoﬁ re.
  2)  Ch’i Control:  Some masters have such great 
  control over their ch’i that they can damage speciﬁ c 
  parts of a person or object, rather than the whole 
  object. For example, a practitioner could Palm Strike 
  his enemy and inﬂ ict no outward injury while actu-
  ally causing terrible harm to, say, his enemy’s liver. 
  With the GM’s permission, this is bought as an Indi-
  rect Advantage for the character’s Palm Strike, or as 
  a separate HA with Indirect. It could also be bought 
  as a Penetrating attack.
  Pankration
  Pankration (“all-powerful”) is an ancient Greek 
  ﬁ ghting style, one of the world’s earliest comprehen-
  sive martial arts. Th ere is some speculation, because 
  Alexander the Great took pankratiasts with him on 
  his conquests, and they gave demonstrations during 
  those travels, that Pankration might have had some 
  slight inﬂ uence on Eastern martial arts styles.
  Pankration was performed in the Olympic 
  Games ﬁ rst in the seventh century BC, though it 
  could well be much older than that. It is a brutal 
  contest involving grappling, punching, stomach-
  kicking, legsweeping, joint-locking and joint-break-
  ing. Pankration matches were fought until one con-
  testant acknowledged defeat (or collapsed); there 
  were no timed rounds.
  Pankration has been redeveloped in the 
  modern world and is being taught today by some 
  practitioners.
  PAKUA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Defensive 
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Kick 
  ½ 
  3 
  +0 +1 STR +2d6 Strike 
  Palm Strike ½ 
  5 
  -2 
  +1 STR +4d6 Strike 
  Root 
  ½ 
  4 
  +0 +0 STR +15 to resist 
  Shove; Block, Abort
  Sweep/Throw ½ 
  3 
  +2 
  -1 STR +1d6; Target 
  Falls
  Skills
  Breakfall
  KS: Analyze Style
  KS: Chinese Philosophy
  KS: Pakua
  WF: Common Melee Weapons
  WF: Staﬀ 
  WF: Oﬀ  Hand
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Polearms
   
  +1 Use Art with Ring Needle
   
  +1 Use Art with Staﬀ 
  PANKRATION
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bend Joint 
  ½ 
  4 
  -1 
  +1 2d6 NND(7)
  Break Bone ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Crush 
  ½ 
  4 
  +0 +0 STR +4d6 Crush, 
  Must Follow Grab
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Kick/Punch ½ 
  3 
  +1 +0 STR +2d6 Strike
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Sacriﬁ ce 
  Throw 
  ½ 
  3 
  +2 +1 STR Strike; You Fall, 
  Target Falls
  Skills
  KS: Pankration
  Elements
  Weapons 
  +1 Use Art with Cestus
  
  49 
  Hero Games
  PANKRATION NOTES
  Th e maneuver listed as Kick or Punch is pre-
  cisely that; the pankratiast can choose each round 
  whether he wishes to punch or kick. (Th is keeps the 
  practitioner from having to buy redundant Basic 
  Strike maneuvers, one for punch, one for kick.)
  Pankratiasts oft en bought the Block from Ancient 
  Boxing; many knew the Jab as well, and so were 
  equally proﬁ cient in Pankration and Boxing. Many 
  also studied Wrestling.
  Optional Rules: Th e Punch takes a location roll of 
  2d6+1. Th e Kick takes a location roll of 2d6+7. Th e 
  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 eﬀ ects 
  only, and has no eﬀ ect on the damage done by 
  the maneuver. Th e Crush, Escape, and Grab 
  take no location rolls.
  Special Abilities:  Similar to those for Ancient 
  Boxing.
  Pentjak-Silat
  Pentjak-Silat is the national ﬁ ghting art of 
  Indonesia. Th ere are 157 recognized substyles 
  (and potentially hundreds more which are unrec-
  ognized), making this art second only to Kung 
  Fu in its breadth and diversity. Th e name usually 
  translates as something like “to do ﬁ ghting for self-
  defense” or “to ﬁ ght using skilled body movements.” 
  Pentjak-Silat was ﬁ rst developed as a rela-
  tively crude ﬁ ghting form between 600 and 1000 
  AD, probably beginning on the island of Riouw 
  and passing from there into the Menangkabau 
  kingdoms of Sumatra and out to all the islands. By 
  the fourteenth century, it was suﬃ  ciently devel-
  oped that the government saw ﬁ t to restrict it:  by 
  law, the Majapahit sultans of the islands and their 
  court oﬃ  cials were the only ones allowed to learn 
  Pentjak-Silat. However, ongoing Hindu-Muslim 
  conﬂ icts in that time period and thereaft er kept 
  Pentjak-Silat alive among the populace. It was used 
  to ﬁ ght the native wars of independence against the 
  Dutch, and against the Japanese during World War 
  II. It has remained in use for intertribal (and inter-
  school) ﬁ ghting right up until the present day.
  Generally, experts can identify the substyles 
  from a particular geographic area by their tech-
  niques and/or the emphasis placed on particular 
  types of maneuvers when ﬁ ghting. Sumatran styles 
  use primarily kicks and leg-based attacks; styles 
  from Borneo and West Java use mainly punches 
  and hand-based attacks; Central and East Javanese 
  and Balinese styles mix hand and foot techniques 
  evenly; and East Javanese, Sumatran, and Balinese 
  styles also emphasize grappling techniques. 
  Some styles are extremely acrobatic and 
  involve a great deal of jumping, others are fought 
  very low to the ground (the latter tend to use two 
  postures called sempok and depok, in which the 
  ﬁ ghter virtually sits on the ground but can spring 
  instantly to the 
  attack). Some styles use linear tech-
  niques, some circular techniques. In short, 
  the substyles of Pentjak-Silat vary tremendously. 
  However, all ﬁ ghters, regardless of style, are trained 
  to keep their feet on slippery or uneven ground 
  (simulate this with the Breakfall Skill). Also, all Silat 
  systems teach weapons, including (but not limited 
  to) the kris, the Indonesian dagger.
  A teacher or master of Pentjak-Silat is known 
  as a pandekar, guru, or maha guru. A silatist usually 
  wears ordinary street clothes, but due to the inﬂ u-
  ences of other martial arts styles may wear a black 
  gi-like uniform for practicing or tournaments. Th e  
  uniform’s samping, or waistcloth, has a colorful pat-
  tern oft en matching the pattern of the turban-like 
  tengkokok worn on the head.
  Related to this style is Pokulan (or Pukulan), 
  which some authorities describe as a substyle of 
  Pentjak-Silat, and others term a separate indig-
  enous Indonesian ﬁ ghting art containing many 
  techniques similar to Pentjak-Silat. A character who 
  wants to practice Pokulan can simply buy maneu-
  vers from the Pentjak-Silat package.
  PENTJAKSILAT NOTES
  Optional Rules:  Th e Killing Strike, Punch/Elbow 
  Strike, and Rahasia Strike take 2d6+1 Hit Location 
  rolls. Th e Kick takes a 3d6 roll, although in some 
  styles (see below) it takes a 2d6+7 roll instead. Th e 
  Choke automatically targets the throat, and the 
  Legsweep automatically targets the legs. Th e other 
  maneuvers do not require location rolls. 
  Special Abilities:  Th e special abilities attributed to 
  Pentjak-Silat masters are almost limitless. Some a 
  master can do by himself, some require a kris.
  1)  Self-contained abilities
  a)  Kerojok (“the ﬁ ght of one against many”):  
  the ability to defend one’s self against several 
  opponents at once (Defense Maneuver).
  b)  Telepathy.
  c)  Mystic healing powers (Healing).
  d)  Precognition (Precognitive Clairvoyance).
  e)  Th e ability to hypnotize the enemy (a limited 
  form of Mind Control)
  ‘T
  he dense 
  conquer 
  the diffuse; the 
  full conquer the 
  vacuous; the 
  byways conquer 
  main roads; the 
  urgent conquer 
  the slow; the 
  numerous 
  conquer the few; 
  the rested 
  conquer the 
  weary.’
  —Sun Pin, 
  Military Methods
  
  50 
  The Ultimate Martial Artist
  f)  Th e ability to withstand blows from weapons 
  without harm (Damage Resistance).
  g)  Th e ability to catch thrown weapons and 
  throw them back at the attacker (Missile Reﬂ ec-
  tion, thrown missiles).
  h)  Th e ability to ﬁ ght eﬀ ectively in total darkness 
  (Combat Sense).
  i)  Th e ability to paralyze the enemy with but 
  a touch (a form of Entangle which Takes No 
  Damage From Attacks (+½)).
  j)  Th e ability to “kill at a distance” (Ranged Kill-
  ing Attack, Fully Invisible (+1)).
  k)  Th e ability to destroy objects with a powerful 
  shout (a form of Ranged Killing Attack with the 
  Limitations Concentration, Extra Time (5 Min-
  utes), and Incantations).
  l)  Th e ability to disable opponents by touch (a 
  No Range Entangle which Takes No Damage 
  From Attacks (+½), or a EB NND, No Range).
  m)  Th e ability to take on the characteristics of 
  certain animals.
  2)  Kris-based abilities:  all of these abilities take the 
  Limitation Focus (OAF; -1).
  a)  Tuju (“sorcery by pointing”):  the ability to 
  kill someone at range merely by pointing the 
  kris at them (Ranged Killing Attack, Fully Invis-
  ible (+1)). A related ability allows a master to kill 
  someone by stabbing one of his footprints (add 
  the Advantages Indirect, Increased Maximum 
  Range, and No Range Modiﬁ er).
  b)  Th e kris warns its owner of danger by rattling 
  in its sheath (sarong) (Danger Sense).
  c)  Th e ability to make the kris “dance” (i.e., ﬁ ght 
  on its own) (Ranged Killing Attack, Continuous).
  d)  Th e ability to draw ﬁ re from one area to 
  another (Transfer ﬁ re from one area to another, 
  Aﬀ ects All Powers At Once (+2)).
  e)  Th e ability to turn away wild animals (a form 
  of Mind Control).
  f)  Th e ability to draw water from the kris’s blade 
  (Transform (air to water)).
  g)  Th e ability to create a swarm of hornets and 
  send it aft er an enemy (Summon swarm of hor-
  nets).
  h)  Th e ability to extend the kris’s hantu (“guard-
  ian spirit”) over the owner, and over people other 
  than the owner (Force Field, Usable Simultane-
  ously by one other at range (+1)).
  i)  Th e ability to cure the common cold (by 
  drinking the oil used to polish the blade) (due to 
  the law of supply and demand, it is impossible 
  to determine the point cost for such a useful and 
  universally sought-aft er ability).
  PENTJAKSILAT SUBSTYLES
  Th ere are hundreds of substyles of Pentjak-
  Silat. As with Kung Fu, it would be pointless to come 
  up with a separate set of maneuvers for each one 
  of them. Instead, several of the major substyles are 
  described here, so a player can pick one for his char-
  acter if he wishes. A character need not have a sub-
  style; he can simply be a “general” Silat practitioner.
  Baru Silat 
  Baru Silat is a Sumatran style from the Padang 
  area. It combines some of the techniques of Sterlak 
  Silat (see below) with maneuvers borrowed from 
  Japanese styles like Jujutsu and Karate. It emphasizes 
  evasiveness, blocking, and other defensive maneu-
  vers.
  To practice Baru Silat, a character must know 
  the Block, Dodge, Grab, and Legsweep maneuvers.
  Bhakti Negara 
  Bhakti Negara, founded in 1955, is a Balinese 
  style which synthesizes several Silat substyles and 
  some Japanese ﬁ ghting arts. It relies on deceptive 
  stances and actions to lure an opponent in close for 
  a punch or kick. Attacks are usually directed to a 
  rectangular section of the body covering the throat 
  to the vitals. 
  To practice Bhakti Negara, a character must 
  know three of the following maneuvers:  Dodge, 
  Escape, Grab, Kick, Punch. 
  PENTJAK-SILAT
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Killing Strike ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Rahasia
  Strike 
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch/
  Elbow Strike ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall*
  PS: Dancing
  WF: Common Melee Weapons*
  WF: Common Martial Arts Weapons
  WF: Pendjepit
  WF: Whip
  Elements
  Weapons 
  +1 Use Art with Blades*
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Fist-Loads
   
  +1 Use Art with Karate Weapons
   
  +1 Use Art with Pendjepit (Grab and  
   
  Killing Strike only)
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
   
  +1 Use Art with Whip
  
  51 
  Hero Games
  Delima 
  Th is modern East Javan style is named aft er 
  a type of fruit. It concentrates on kicks and leg-
  sweeps; hand attacks are usually delivered open-
  handed, rather than with ﬁ sts. A Delima silatist 
  dodges and leaps around a great deal.
  To practice Delima, a character must know the 
  Dodge, Legsweep, and Kick maneuvers.
  Harimau Silat 
  Harimau, or “tiger,” Silat, a Sumatran style from 
  the Menangkabau area, is an unusual ﬁ ghting style. 
  Th e combatants crouch very low to the ground, so 
  low that they essentially crawl towards one another. 
  Th is practice arose because of the stability the 
  stance provides on wet and slippery ground. Once 
  the opponents get within striking distance, they may 
  stay on the ground, or they may leap at each other 
  and attack from a more upright position. Silatists 
  who practice other styles sometimes learn Harimau 
  stances because of the stability they provide. 
  To practice Harimau Silat, a character must 
  know the Block, Legsweep, and Kick maneuvers. 
  Th e Kick is usually low, taking a 2d6+7 location, 
  but if two Harimau stylist ﬁ ght each other on the 
  ground the Kick takes its usual 3d6 location.
  Kendari Silat 
  Based in the city of the same name in the 
  Celebes, this substyle is known for its unusual cross-
  legged stances, which are used to turn quickly and 
  evade an attack. Very little forwards-backwards 
  movement occurs in Kendari Silat; it’s suited for use 
  in narrow or cramped quarters, such as alleys or 
  ships.
  To practice Kendari Silat, a character must 
  know the Block, Dodge, and Punch maneuvers. 
  Kicks are almost never used; if they are, they take a 
  2d6+7 location roll.  
  Kumango Silat 
  Kumango Silat is a Sumatran style from the 
  Menangkabau area. It emphasizes closing with the 
  enemy to employ grabs, strikes, and chokes. Kicks 
  are usually low (they take a 2d6+7 location roll). 
  Fighters normally make attacks to the center line of 
  the body.
  To practice Kumango Silat, a character must 
  know three of the following maneuvers:  Block, 
  Choke, Grab, Legsweep, Kick, Punch, Th row.
  Pamur 
  Pamur is a Silat substyle from the island of 
  Madura. It was founded in 1951 by Hasan Hubudin. 
  Its techniques are taken mainly from several of the 
  Sumatran styles. Th e style’s emblem is a shield with 
  a kris, cotton plant, and rice plant overlaid.
  To practice Pamur, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Grab, Kick, Killing Strike, Punch, Th row.
  Patai Silat 
  Patai Silat is a Menangkabau style which was 
  founded sometime around 1900. Parrying, evasive 
  footwork, and grabbing techniques characterize it. A 
  ﬁ ghter jerks a grabbed opponent forward (to unbal-
  ance him), attacks him, and/or throws him to the 
  ground. Patai Silat practitioners wear a short jacket 
  and very baggy trousers with a sash.
  To practice Patai Silat, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Grab, Kick, Th row.
  Pauh Silat 
  Th is is a Sumatran substyle from the 
  Menangkabau area. It uses a distinctive footwork 
  pattern. Practitioners who are ready to ﬁ ght indicate 
  their readiness by slapping their thighs and then 
  keeping the hand in position to block attacks to the 
  groin. Th e main attack employs a form of locked-
  thumb ﬁ st similar to the “phoenix eye” ﬁ st used in 
  some Kung Fu styles. Fighters typically direct their 
  attacks to points along the center line of the body. 
  To practice Pauh Silat, a character must know 
  the Block, Punch, and Rahasia Strike maneuvers. 
  Perisai Diri 
  Perisai Diri (“P.D.”) is a popular Central Javan 
  style whose name means “self-shield.” Founded in 
  1955, it currently forms the basis for the self-defense 
  training taught to most Indonesian military person-
  nel. It synthesizes various Silat styles but does not 
  incorporate maneuvers from any other ﬁ ghting 
  systems.
  P.D. techniques are mainly linear and usually 
  do not involve the sempok and depok stances used in 
  many other substyles. Many of its movements derive 
  from animals, including the swallow, eagle, tiger, 
  otter, horse, dragon, and crane. Some movements 
  are named aft er human archetypes, such as the 
  patriot, priest, and princess maneuvers. Attacks are 
  directed at an inverted triangular area with its apex 
  at the enemy’s groin.
  Perisai Diri uniforms consist of short-legged 
  pants and lapelless jackets whose sleeves end above 
  the wrist. Students wear black uniforms, their pan-
  dekars wear white. 
  To practice Perisai Diri, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Kick, Killing Strike, Punch, Th row.
  Prisai Sakti 
  Also known as Perisai Sahkti, this substyle was 
  founded in 1941. Its name signiﬁ es “holy shield.” It 
  combines Javanese silat forms with maneuvers from 
  some Japanese ﬁ ghting styles. Its philosophical and 
  religious roots tie it to Christianity and Indonesian 
  nationalism. 
  Prisai Sakti emphasizes kicks and leg tech-
  niques, but it also uses some hand techniques and 
  joint-locks. 
  To practice Prisai Sakti, a character must know 
  the Block, Grab, and Kick maneuvers.
  Sandang Silat 
  Sandang Silat is a Sumatran style designed to 
  counteract the powerful Sterlak style (see below). 
  Even today it remains a very secretive style. It 
  employs dodges and blocks to avoid and confuse a 
  Sterlak ﬁ ghter.
  To practice Sandang Silat, a character must 
  know three of the following maneuvers:  Block, 
  Dodge, Grab, Punch, Th row.
  
  52 
  The Ultimate Martial Artist
  Setia Hati 
  Setia Hati, meaning “faithful heart,” is a Cen-
  tral Javan silat style. It uses the hands to block and 
  strike, and also employs a variety of kicks; Setia 
  Hati practitioners are very dexterous. 
  To practice Setia Hati, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Legsweep, Kick, Punch. 
  Sterlak Silat 
  Sterlak Silat is a Sumatran style whose name 
  signiﬁ es “to attack with strength.” It was developed 
  in part to counteract the Harimau Silat style, and 
  emphasizes powerful attacks. Stories say skilled 
  Sterlak students can defeat tigers.
  To practice Sterlak Silat, a character must 
  know the following maneuvers:  Block, Kick, Killing 
  Strike, Punch. 
  Tapak Sutji 
  Founded in 1963 by Ifan Badjam, this Central 
  Javanese substyle combines techniques from several 
  other forms of silat. Its practitioners turn on their 
  own axis every few seconds, so they’re constantly in 
  motion and diﬃ  cult to hit. 
  To practice Tapak Sutji, a character must know 
  the following maneuvers:  Dodge, Legsweep, Kick, 
  Killing Strike, Punch. 
  Tjampur Silat 
  A Sumatran style, Tjampur (“combined”) Silat 
  synthesizes maneuvers from both Pentjak-Silat 
  and Kuntao. It concentrates on aggressive tactics 
  (launched from surprise, if possible) and close 
  inﬁ ghting. A Tjampur stylist is never supposed to 
  take more than one step backwards during a ﬁ ght.
  Attacks are delivered to the center line of the 
  body, primarily with the elbows and knees. Because 
  of the dangers involved in using this brutal style, it 
  is usually only taught to students who have already 
  studied other silat styles and proven themselves 
  worthy of advanced training.
  To practice Tjampur Silat, a character must 
  know the following maneuvers:  Kick (which takes 
  a 2d6+7 Hit Location roll and can also be deﬁ ned 
  as a Knee Strike), Killing Strike, Punch, and Rahasia 
  Strike.
  Tjimande 
  Th is West Javan style relies primarily on the 
  use of the hands and arms, though it does have 
  some low kicks. Fighting takes place at close range.
  To practice Tjimande, a character must know 
  the following maneuvers:  Block, Killing Strike, 
  and Punch. Kicks in this substyle take a 2d6+7 Hit 
  Location roll.
  Tjingkrik 
  An acrobatic West Javan style, Tjingkrik 
  emphasizes evasiveness, open-hand attacks, and the 
  use of the depok and sempok “sitting” stances. 
  To practice Tjingkrik, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Punch, and Rahasia Strike. 
  Tridharma 
  Th is northern Balinese style, whose name 
  means “three honesty/peaceful,” is a well-rounded 
  ﬁ ghting style with Sumatran inﬂ uences. It uses both 
  high and low postures. Its hand movements tend to 
  be circular, but its kicks are linear. 
  To practice Tridharma, a character must know 
  three of the following maneuvers:  Block, Dodge, 
  Legsweep, Kick, and Punch.
  Qwan Ki Do
  Qwan Ki Do is a Vietnamese martial arts style 
  whose name means “way of the ﬁ st and the energy.” 
  It was founded aft er World War II by Pham Xuan 
  Tong. Qwan Ki Do resembles Karate in many ways, 
  but is more acrobatic and ﬂ amboyant in nature. 
  In addition to standard barehanded ﬁ ghting tech-
  niques, the style teaches a number of weapons, such 
  blades, various polearms, and sticks and staﬀ s.
  QWAN KI DO NOTES
  Optional Rules:  Th e Cuoc Phap (kicks) takes a 3d6 
  Hit Location roll. Th e Th u Phap (hand techniques), 
  Phuong Duc (elbow strike), and Nghanh Phap/
  Cuong Dao (killing strikes) all take a 2d6+1 loca-
  tion roll. Th e Tao Phong Cuoc (sweeps) automati-
  cally target the legs but receives neither a bonus nor 
  a penalty for this. Th e rest of the maneuvers do not 
  require Hit Location rolls.
  Special Abilities:  Similar to those displayed by 
  Karate practitioners.
  QWAN KI DO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Cung Thu
  (blocks) 
  ½ 
  4 
  +2 +2 Block, Abort
  Cuoc Phap
  (kicks) 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Khao Go
  (locks) 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Nghanh Phap/Cuong Dao
  (sword-hand) ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Tao Phong Cuoc
  (sweeps) 
  ½ 
  3 
  +2 
  -1 STR +1d6; Target 
  Falls
  Than Phap
  (evasion) 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Thu Phap (hand techniques)/Phuong Duc 
  (elbow strike) ½ 
  4 
  +2 +0 STR +2d6 Strike
  Vat (throws) ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall (Nhao Lan)
  KS: Qwan Ki Do
  WF: Common Melee Weapons
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  
  53 
  Hero Games
  Re-Eﬁ  Areh-Ehsee
  According to Martial Arts Around the World, 
  by John Soet, Re-eﬁ  Areh-ehsee is a martial art 
  from Eritrea, a nation of East Africa. Th is style 
  relies on grabs, takedowns, and strikes with the 
  elbow, head, and knee.
  REEFI AREHEHSEE NOTES
  Optional Rules:  Th e Punch/Elbow Strike takes 
  a 2d6+1 Hit Location roll, the Knee Strike takes a 
  2d6+7 Hit Location roll, and the Headbutt auto-
  matically targets the head and received no bonuses 
  or penalties for doing so. Th e other maneuvers 
  either do general damage or do not require Hit 
  Location rolls.
  Special Abilities:  None.
  Saijutsu
  Saijutsu is the art of the sai, a weapon resem-
  bling a metal rod with two upturned tines. A 
  ﬁ ghter can use a sai to interfere with an opponent’s 
  weapon, to strike, or to block. Characters can also 
  perform Saijutsu with the jutte (or jitte), which has 
  only one tine, and the nunte, which has one tine 
  reversed.
  SAIJUTSU NOTES
  Optional Rules:  Th e Strike takes a 2d6+1 Hit 
  Location roll. Th e other maneuvers do not require 
  Hit Location rolls.
  Special Abilities:  None.
  Savate
  Savate (known as boxe Francaise savate or la 
  boxe Francaise) is a French martial art; its develop-
  ment began in seventeenth-century Marseilles. 
  Originally a type of kicking brawling style, early in 
  the eighteenth century it was synthesized with Eng-
  lish boxing maneuvers. Today it is a full-featured 
  and respected martial arts style.
  Savate combines boxing-style punches with a 
  variety of kicks. Th e art also includes cane-ﬁ ghting 
  techniques.
  A savate ﬁ ghter is called a savateur (fem. sava-
  teuse) or tireur. An inch-wide colored band around 
  the wrist of the savate glove indicates the ﬁ ghter’s 
  rank; ranks from lowest to highest are purple, blue, 
  green, red, white, yellow, bronze, silver, and gold.
  SAVATE NOTES 
  To simulate the older, pre-boxing form of Savate, 
  do not buy the Direct or Crochet 
  maneuvers.
  Th e Coup de pied chasse 
  maneuver can also be 
  called the Coup de pied 
  fouette (round kick), Coup de 
  pied en reverse lateraux (lateral 
  reverse kick), and Coup de pied 
  en reverse frontaux (front reverse 
  kick).
  Only the Crochet, Disarm, and 
  Direct maneuvers work with the 
  Weapons allowed for Savate.
  Optional Rules: Th e Coup de pied bas 
  has a location roll of 2d6+7, 
  the Coup de pied chasse has 
  a location roll of 3d6, the 
  Direct and Crochet have 
  location rolls of 2d6+1. 
  Damage from the Foots-
  RE-EFI AREH-EHSEE
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Punch/Elbow Strike/Knee Strike/
  Headbutt 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  Breakfall
  KS: Re-Eﬁ  Areh-Ehsee
  SAIJUTSU
  Used with Sai; Karate Weapon Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bind 
  ½ 
  4 
  +1 +0 Bind, +10 STR 
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Strike 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Skills
  KS: Saijutsu
  WF: Karate Weapons
  SAVATE
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Coup de pied bas 
  (low kick) 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Coup de pied chasse
  (side kick) 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Crochet
  (Hook) 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Direct
  (Jab/Cross) ½ 
  5 
  +1 +3 STR Strike
  Footsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Skills
  KS: Savate
  WF: Blades
  WF: Cane 
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Clubs (Cane) 
  
  54 
  The Ultimate Martial Artist
  weep is general (no location), and the Block and 
  Disarm don’t require location rolls.
  Special Abilities:  None.
  Sevillian Knifeﬁ ghting
  Th is is a Spanish and southern European 
  knife-ﬁ ghting art which employs weapons such as 
  the puñal (a short stabbing and thrusting folding 
  knife), the navaja (a longer, heavier folding knife), 
  the cuchillo (a ﬁ xed-blade knife), and similar armas 
  blancas (bladed weapons). Some schools also teach 
  the use of canes and sticks. While the people of the 
  region (like those everywhere else in the world) have 
  always fought each other with knives, and the navaja 
  itself was invented in the 1600s, the more system-
  atized maneuvers of this style were probably not 
  developed until the nineteenth century. Practitioners 
  are oft en referred to as navajeros.
  Sevillian Knifeﬁ ghting includes several “sub-
  styles.” Th e ﬁ rst, baratero style, is a quick, straightfor-
  ward style emphasizing self-protection. Th e second, 
  gitano style, was developed by Spanish Gypsies. It 
  uses ﬂ ashy, stylized knife manipulations and maneu-
  vers to confuse the opponent and create an opening 
  (see Sleight Of Hand, page 116, for game rules on 
  how to do this). Lastly, there’s the sevillano style, 
  the most highly developed and “sophisticated” of 
  the three. Similar in some ways to Fencing, it uses 
  smooth, ﬂ uid movements and swift  attacks.
  Characters cannot use this style Barehanded 
  (except for the Dodge and Grab maneuvers). It’s 
  not distinctive enough to qualify for a Style Distinc-
  tive Feature. By changing the names of some of the 
  maneuvers, characters can also use it to simulate 
  many other knifeﬁ ghting arts — military blade 
  skills, the arte della daga of medieval Italy, the abili-
  ties of streetﬁ ghters skilled with knives, Dolchfech-
  ten (medieval German knifeﬁ ghting), el cuchillo 
  (Mexican knifeﬁ ghting), and the like.
  SEVILLIAN KNIFEFIGHTING NOTES 
  Optional Rules: Th e Desjarretazo, Puñaladas, and 
  Tajos all take 2d6+1 Hit Location rolls. So does the 
  Cambio (literally, “change”), which involves shift ing 
  the knife from one hand to the other so quickly that 
  the opponent misses it, leaving him open to attack. 
  Th e other maneuvers do not use Hit Locations.
  Special Abilities:  Skilled knifeﬁ ghters may be able 
  to work knife-throwing techniques into their reper-
  toire; these attacks can be bought as Ranged Mar-
  tial Arts maneuvers or as separate “powers.”
  Shurikenjutsu
  Shurikenjutsu is the art of throwing the 
  shuriken, a type of bladed missile invented in Japan. 
  Th e principal users of shuriken were the ninja, but 
  many other warriors studied this art as well. Char-
  acters can also use Shurikenjutsu with other throw-
  ing blades, such as throwing knives. For more infor-
  mation on the diﬀ erent types of shuriken available, 
  refer to Chapter Th ree.
  Shurikenjutsu cannot take the Style Distinctive 
  Feature.
  SHURIKENJUTSU NOTES
  Optional Rules:  All Th rows take a 3d6 Hit Loca-
  tion roll.
  Special Abilities:  Some skilled Shurikenjutsu 
  practitioners are said to be able to catch shuriken 
  thrown at them and throw them back at their 
  attackers (Missile Reﬂ ection, thrown missiles). 
  Others can throw several shuriken in the blink of 
  an eye (an Autoﬁ re RKA).
  SEVILLIAN KNIFEFIGHTING
  Used with Blades Weapon Group; Blades Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Cambio
  (Foist) 
  ½ 
  4 
  +2 +0 Weapon +2 DC Strike
  Desjarretazo
  (Stab) 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Dodge 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Grab 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  to STR for holding on
  Puñaladas
  (Thrusts) 
  ½ 
  5 
  +1 +3 Weapon Strike
  Tajos
  (Slashes) 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Skills
  Fast Draw
  KS: Sevillian Knifeﬁ ghting 
  Sleight Of Hand
  WF: Blades*
  WF: Oﬀ  Hand
  Talent: Ambidexterity
  Elements
  Weapons 
  +1 Use Art with Clubs
  SHURIKENJUTSU
  Used with Thrown Knives/Axes Weapons Group; Thrown 
  Knives/Axes Weapon Element is free
  Maneuver Phs Pts OCV DCV RNG Damage/Effect
  Basic Throw ½ 
  4 +0 +0 +2 Weapon +2 DC 
  Strike
  Defensive
  Throw 
  ½ 
  3 
  -1 +2 +0 Weapon Strike 
  Far Throw 
  ½ 
  5 +1 -1 +4 Weapon  Strike
  Quick Throw ½ 
  4 +1 +0 +0 Weapon +2 DC 
  Strike
  Skills
  KS: Shurikenjutsu
  ‘A
  ppear where they cannot go, 
  head for where they least 
  expect you.’
  —Sun Tzu, The Art of War
  
  55 
  Hero Games
  Simgomdo
  Simgomdo (“Mind Sword Way”) is a Korean 
  swordﬁ ghting 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. Th e 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 NOTES
  Optional Rules:  Th e Rapid Strike, Sacriﬁ ce Strike, 
  and Slash all take a 3d6 Hit Location roll.
  Special Abilities:  None.
  Sumo Wrestling
  Sumo Wrestling is a Japanese ﬁ ghting form 
  which developed in the century before Christ. It is 
  traditionally practiced by huge, heavy ﬁ ghters who 
  train for years to have the physique and endurance 
  of a sumo wrestler.
  Th e object of Sumo Wrestling is to push the 
  opponent out of the ring or bear him down to the 
  ground inside the ring. Matches are usually very 
  short, but are preceded by lengthy ceremonies.
  SUMO WRESTLING NOTES
  Optional Rules: Th e Slap takes an automatic head 
  location, but does no extra damage because of that. 
  Th e other maneuvers take no speciﬁ c location.
  Special Abilities:  None.
  Tae Kwon Do
  Th is Korean martial art began systematic 
  development in the seventh century, when it was 
  called t’ang-su (meaning “T’ang hand,” named 
  aft er the Chinese dynasty which was in power 
  when the Koreans adopted its principles). Later 
  names for this art as it developed were subak and 
  kwonpup.
  Aft er the sixteenth century, the art continued 
  development under the new name of tae kwon 
  (“foot and ﬁ st,” or “kicking and punching”). Th e 
  art was forced underground in the ﬁ rst decade of 
  the twentieth century, when the Japanese occu-
  pied Korea. In 1953, well aft er World War II, when 
  Korea was freed from Japanese rule, it became tae 
  kwon do (“the way of kicking and punching”).
  Tae Kwon Do is regarded as a powerful, 
  combat-intensive martial art, relying on forceful 
  punches and high circling kicks; it is also famous 
  for its colorful ﬂ ying side kick. 
  Schools teaching Tae Kwon Do are known as 
  dojangs. Tae Kwon Do practitioners wear a gi-like 
  uniform called a dobok.
  SIMGOMDO
  Used with Blades Weapon Group; Blades Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Evade 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Rapid Strike ½ 
  4 
  +2 +0 Weapon +2 DC Strike
  Sacriﬁ ce
  Strike 
  ½ 
  5 
  +1 
  -2 Weapon +4 DC Strike
  Slash  
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Skills
  Fast Draw
  KS: Simgomdo
  WF: Blades*
  Elements
  Barehanded 
  +1 Use Art Barehanded (doing STR  
   
  damage in place of weapons damage,  
   
  as appropriate)
  SUMO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -1 
  -1 Grab, +10 to STR for 
  holding on
  Grappling
  Throw 
  ½ 
  3 
  +0  +2 STR +2d6 Strike; 
  Target Falls; Must 
  Follow Grab
  Root 
  ½ 
  4 
  +0 +0 STR +15 to resist 
  Shove; Block, Abort
  Shove 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Slap 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Skills
  KS: Sumo Wrestling 
  
  56 
  The Ultimate Martial Artist
  TAE KWON DO NOTES
  Th e Weapons 
  Elements are 
  not part of the 
  traditional art, but 
  many Tae Kwon 
  Do instructors 
  teach weapons use 
  anyway.
  Optional Rules: Th e Front, Side 
  and Roundhouse Kicks take loca-
  tion rolls of 3d6. Th e Flying Side Kick 
  takes a location roll of 2d6+1. Th e Punch 
  or Elbow Strike takes a location roll of 
  2d6+1.
  Special Abilities:  None.
  Tai Ch’i Ch’uan 
  Tai Ch’i Ch’uan (also spelled Taiji Quan, T’ai 
  Chi Chuan, and many other ways) is the most 
  advanced of the Chinese internal ﬁ ghting styles. 
  Although best known in the West as a yoga-like 
  type of exercise, it has martial applications as well, 
  as its name (“supreme ultimate ﬁ st” or “yin-yang 
  boxing”) indicates.
  According to the most popular legend, Tai 
  Ch’i Ch’uan was originally developed by a Taoist 
  priest named Chang San-Feng who is said to have 
  lived during either the Sung, Yuan, or Ming Dynas-
  ties. One day he observed a snake and a hawk (or a 
  crane) ﬁ ghting, and was struck by the eﬃ  ciency of 
  their movements — the fact that they could be both 
  loose and supple, hard and fast at the same time. 
  Based on his observations, he developed a series of 
  ﬁ ghting maneuvers, to which he added maneuvers 
  derived from other natural movements (such as 
  the swaying of trees, the ﬂ owing of water, and the 
  movement of clouds). Th e result is a ﬁ ghting style 
  combining soft , ﬂ owing movements with rapid, 
  almost explosive attack forms. Due to the internal 
  energy (ch’i) employed by a skilled Tai Ch’i Ch’uan 
  ﬁ ghter, the results achieved by an attack are oft en 
  far greater than the amount of visible force would 
  seem to indicate.
  Th e basis of Tai Ch’i is the Th irteen Postures, 
  which include eight actions (such as Ward-oﬀ , 
  Push, and Pull Down) and ﬁ ve directions (areas 
  towards which one should look and/or move). In 
  combat, the ﬁ ghter combines these into patterns 
  in which he avoids an attack (usually by blocking 
  it) and then uses an oﬀ ensive maneuver (oft en a 
  grab, followed by a strike or throw of some sort). 
  Th e maneuvers have beautiful, poetic names, such 
  as Lion Shakes His Head, Night Bird Returns To 
  Th e Forest, Celestial Horse Walks In Th e Sky, Carry 
  Tiger To Th e Mountain, and Meteor Chasing Th e 
  Moon.
  Th ere are several substyles of Tai Ch’i Ch’uan. 
  Th e ﬁ rst is the Chen style, supposedly developed 
  at the end of the Ming Dynasty. It is said to be the 
  most martial of the Tai Ch’i styles. Yang style is a 
  modiﬁ ed form of Chen which is more ﬂ owing. Th e 
  two Wu styles are modiﬁ ed forms of Yang which 
  emphasize small circular motions and add throws 
  and grabs to the Tai Ch’i arsenal. Lastly there is 
  the Sun style, which adds elements of Hsing-I and 
  Pakua to Tai Ch’i maneuvers. Some of these styles 
  teach the use of weapons, primarily the sword.
  TAE KWON DO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Arm Sweep
  Block 
  ½ 
  4 
  +2  +2 Block, Abort
  Crescent 
  Kick Block 
  ½ 
  5 
  +1  +3 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Flying Side
  Kick 
  ½ 
  5 
  +1  -2 STR +4d6 Strike
  Front Kick 
  ½ 
  4 
  +0  +2 STR +2d6 Strike
  Knifehand
  Spearhand  ½ 
  4 
  -2  +0 HKA ½d6 (2 DC)
  Punch/Elbow
  Strike 
  ½ 
  4 
  +2  +0 STR +2d6 Strike
  Side or Roundhouse
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  Breakfall
  KS: Tae Kwon Do
  WF: Common Martial Arts Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs 
   
  +1 Use Art with Karate Weapons 
   
  +1 Use Art with Staﬀ 
  TAI CH’I CH’UAN
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Escaping 
  Throw 
  ½ 
  5 
  +0 +0 +15 STR vs. Grabs; 
  Target Falls
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Palm Slap/
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Root 
  ½ 
  4 
  +0 +0 STR +15 to resist 
  Shove; Block, Abort
  Shove 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Strike 
  ½ 
  3 
  +1 +2 STR +2d6 Strike, 
  Must Follow Block
  Sword Finger ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  KS: Tai Ch’i Ch’uan
  WF: Blades
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Staﬀ 
  
  57 
  Hero Games
  TAI CH’I CH’UAN NOTES
  Optional Rules:  Th e Palm Slap and Sword Finger 
  take 2d6+1 Hit Location rolls; the Kick takes a 3d6 
  roll. None of the other maneuvers require Hit Loca-
  tion rolls.
  Special Abilities:  Tai Ch’i practitioners are oft en 
  credited with many unique powers. Some of them 
  overlap those of Kung Fu 
  masters or masters of other 
  Chinese internal styles.
  1)  Sword Finger:  
  Some masters 
  reputedly can 
  use their Sword 
  Finger maneuver 
  to aﬀ ect ghosts. 
  Characters can 
  buy this as an 
  Aﬀ ects Deso-
  lidiﬁ ed Advan-
  tage for that 
  maneuver (see page 
  104), or as a separate 
  HA or No Range EB 
  NND attack with that 
  Advantage.
  2)  Push Hands:  
  Tai Ch’i Ch’uan 
  practice includes 
  an exercise known as push hands 
  (toy sao), in which two students make arm contact 
  and engage in a kind of pushing-yielding exercise. 
  Th e object of this is to teach ﬂ exible movement and 
  the ability to yield correctly to force. Over time, the 
  student gradually becomes more sensitive to force 
  and to the movements of his opponent. Skilled 
  practitioners become so good at this they can eﬀ ec-
  tively “stick” to an opponent and maintain contact 
  with him no matter what he does to shake them 
  oﬀ  (even running, leaping, and acrobatics do not 
  help to escape). Characters can buy this as Clinging 
  (up to the maximum STR of the character’s Shove 
  maneuver) with the Limitations Only To Stick To 
  An Opponent (-1) and Cannot Resist Knockback 
  (-¼).
  3)  Immortality:  Many internal masters are said 
  to have lived far longer than the average person 
  because of their control over their life force. (Life 
  Support:  Longevity.)
  4)  Iron Shirt:  As the Kung Fu ability of the same 
  name. In addition to its defensive aspects, some Tai 
  Ch’i masters have developed this power to such an 
  extent that anyone who hits them gets hurt! Char-
  acters can buy this as a Damage Shield with the 
  Limitation Defensive Use Only (-½) (in other words, 
  if they Grab someone, that target doesn’t take the 
  Damage Shield damage).
  5)  Dim Mak:  As the Kung Fu ability of the same 
  name. 
  6)  Fa-ch’ing:  Th is is a strike in which the practitio-
  ner discharges his internal energy into the target, 
  causing great harm. At its lesser levels, you can sim-
  ulate this ability with the attack maneuvers from 
  the martial arts package; at higher levels it should 
  be bought as an HKA or high-damage HA.
  7)  Kiai Powers:  As described in Chapter Two, 
  under Aid and Multipower.
  8)  Breath EB:  Some Tai Ch’i masters can expel 
  their breath in such a way as to damage a foe and 
  send him ﬂ ying. Buy this as an Energy Blast.
  9)  Kongjin:  “Empty force, “ i.e., the ability to strike 
  without making contact. Refer to the Kung Fu 
  package, above, for details.
  Tang Soo Do 
  Tang Soo Do (“China hand 
  method”) is a Korean martial art 
  combining traditional Korean 
  kicks with some Japanese maneu-
  vers. It was originally called Soo 
  Bahk Do. Aft er the Japanese occu-
  pation of Korea in the ﬁ rst decade 
  of the twentieth century, many Soo 
  Bahk Do masters ﬂ ed their homeland; 
  while they were in exile they studied 
  Chinese and Japanese ﬁ ghting systems, 
  including Aikido and Jujutsu, and added some 
  of their techniques to the Soo Bahk Do reper-
  toire. In 1945 the style’s name was changed by its 
  Grandmaster, Hwang Kee. 
  Tang Soo Do uses many deceptive stances and 
  techniques. For example, the practitioner hides one 
  hand behind the other so he can use it for a sur-
  prise attack, or he might launch any one of several 
  kicks from the same basic stance, making it dif-
  ﬁ cult to determine which one he’ll actually use. Th e 
  attack maneuvers emphasize kicks, including ﬂ ying 
  kicks.
  Traditionally, Tang Soo Do does not teach 
  weapons use.
  TANG SOO DO NOTES
  Optional Rules:  Th e Punch, Chop, and Flying Kick 
  take a 2d6+1 location roll. Th e Kick takes a 3d6 Hit 
  Location roll. Th e other maneuvers do not require 
  rolls.
  Special Abilities:  Similar to those for Karate 
  masters.
  TANG SOO DO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Chop 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Flying Kick 
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limbs, +10 
  STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls 
  Skills
  Breakfall
  KS: Tang Soo Do
  
  58 
  The Ultimate Martial Artist
  Thai Kick-Boxing 
  Th is ﬁ ghting style, called Muay Th ai in Th ai-
  land, was developed sometime before the end of 
  the sixteenth century, but records of the art have 
  been lost and so it is not known just how long 
  ago it began. Refugees from the Yunnan province 
  of China ﬂ ed south and merged with the Khmer 
  people; as the populations grew together, so did 
  their two forms of unarmed combat, which became 
  Muay Th ai. Today Th ai Kick-Boxing is practiced in 
  Th ailand, Vietnam, Laos, and Cambodia both for 
  ﬁ ghting and as a sport; it is also taught to the Th ai 
  military in a form called ler dit.
  Th is lean, economical, punishing, and very 
  brutal ﬁ ghting style uses blocks, punches, elbow-
  strikes, knee-strikes, kicks, and foot pushes. It has 
  no throws. Some maneuvers, such as the knee 
  strikes, oft en involve jumping up 
  to add force to 
  the blow and 
  to allow the 
  ﬁ ghter to strike 
  targets in the upper region 
  of the body. In times past, 
  ﬁ ghters sometimes wrapped 
  their hands in horsehair wrappings 
  stiﬀ ened with glue; for some ﬁ ghts 
  ground glass was mixed in with the glue. 
  Treat the latter sort of hand-wrapping as a 
  form of cestus (see Chapter Th ree for details 
  on cesti).
  Muay Th ai is a popular sport in Th ailand. 
  Before each scheduled bout the ﬁ ghters go 
  through a ritual with components known as wai 
  kru (obeisance to the master) and ram muay (a 
  sort of dance). Knowledgeable ﬁ ghters can oft en 
  learn something about an opponent’s ﬁ ghting style 
  and prowess by observing how he performs the 
  ritual; allow kickboxers with Analyze Style to make 
  rolls aft er observing their opponent’s ram muay 
  ritual. During the ritual the ﬁ ghter wears a cord 
  called a mongkon around his head; aft er the ritual the 
  ﬁ ghter’s master takes it oﬀ  of him. Professional Th ai 
  ﬁ ghters use special ﬁ ghting names which include 
  a boastful nickname and the name of the ﬁ ghter’s 
  training camp or school. In the ring, Th ai kick-
  boxers wear gloves and shorts (with athletic cups); 
  they go barefoot and wear no other armor.
  Muay Th ai ﬁ ghters oft en learn a related form of 
  weapons combat, called Krabi-Krabong, involving the 
  use of swords, staﬀ s, polearms, and clubs in various 
  combinations. Rather than describing this as a sepa-
  rate style, it is suﬃ  cient for HERO System purposes 
  to simulate Krabi-Krabong as Weapons Elements for 
  Th ai Kick-Boxing. 
  THAI KICKBOXING NOTES
  Optional Rules: Th e Punch and Elbow Strike take a 
  location roll of 2d6+1; the Low Kick takes a location 
  roll of 2d6+7; the Roundhouse Kick, Knee Strike, 
  and Elbow/Knee Killing Strike take a location roll of 
  3d6. Th e other maneuvers require no location rolls.
  Special Abilities:  Th ai kickboxers are well-known 
  for their ability to withstand tremendous amounts of 
  damage. Characters can simulate this with a high PD 
  or a small amount of Damage Reduction with appro-
  priate Limitations (see Chapter Two).
  Thang-Ta
  Th ang-Ta (meaning “sword-spear”) is an 
  Indian martial art somewhat similar to Kalaripayit. 
  In addition to teaching unarmed techniques like 
  kicks and punches, it teaches weapons such as 
  spear, dagger, sword, bow, and dart. Th ang-Ta’s 
  unarmed ﬁ ghting techniques involve saritsarat 
  — footwork and evasion abilities designed not only 
  to avoid damage, but to put an attacker oﬀ -balance.
  One substyle of Th ang-Ta, Muk’na, also incor-
  porates wrestling grabs and throws. Characters who 
  wish to practice Muk’na may buy maneuvers from 
  both the Th ang-Ta and Wrestling packages.
  THAI KICK-BOXING
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Elbow/Knee 
  Killing Strike ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Foot Push 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Low Kick 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Punch/Elbow 
  Strike 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Roundhouse Kick/
  Knee Strike ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Skills
  KS: Th ai Kick-Boxing
  WF: Common Melee Weapons
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  THANG-TA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  5 
  +1 +3 Block, Abort
  Dodge 
  ½ 
  4 
  +0 +5 Dodge All Attacks, 
  Abort
  Knifehand
  Strike 
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Marman
  Strike 
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Punch  
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Skills
  Breakfall
  Contortionist
  KS: Indian Healing
  KS: Th ang-Ta
  KS: Yoga
  WF: Common Melee Weapons
  WF: Common Missile Weapons
  WF: Urumi
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
  
  59 
  Hero Games
  THANGTA NOTES
  Optional Rules:  Th e Punch, Knifehand Strike, and 
  Marman Strike all take location rolls of 2d6+1. Th e 
  Kick takes a 3d6 roll. Th e other maneuvers do not 
  require Hit Location rolls.
  Special Abilities:  Characters can simulate gurus’ 
  healing powers with Healing.
  Than Vo Dao
  Th is Vietnamese style, whose name means 
  “spirit ﬁ st way,” is also known as Th an Quyen. Its 
  roots lie in Buddhism and Taoism; it came to Viet-
  nam from Mongolia through China, Th ailand, and 
  Burma. 
  Th an Vo Dao combines internal and exter-
  nal disciplines and uses circular energy. It has a 
  number of animal-based forms, including dragon, 
  phoenix, tiger, crane, monkey, snake, and eagle. It 
  also teaches some weapons. 
  THAN VO DAO NOTES
  Optional Rules:  Th e Punch takes a 2d6+1 location 
  roll. Th e Kick takes a 3d6 Hit Location roll. Th e 
  other maneuvers do not require rolls.
  Special Abilities:  Th an Vo Dao masters are said 
  to command at least two special abilities. Th e ﬁ rst 
  is “iron body” (the same as the Iron Shirt power of 
  Kung Fu). Th e second is “mind-ﬁ st,” the power to 
  “place the mind on the ﬁ st” and detect an oppo-
  nent’s energy so as to anticipate his attack (bought 
  the same as the genshin ability of Karate masters).
  Vovinam Viet Vo Dao
  Vovinam Viet Vo Dao is 
  a Vietnamese style developed 
  in Hanoi in 1945 by Nguyen 
  Loc. It combines striking and 
  wrestling maneuvers to form a 
  well-rounded combat style.
  Vovinam Viet Vo Dao practitio-
  ners wear a black uniform (Vo Phuc). 
  Beginners wear a white belt; higher-
  ranking students wear a black belt 
  with colored bands. A master of this 
  style is known as a Vo Sinh.
  VOVINAM VIET VO DAO NOTES 
  Optional Rules:  Th e Dam, Cho, 
  Chem, and Flying Kick take a 2d6+1 
  location roll. Th e Da takes a 3d6 Hit 
  Location roll. Th e Goi takes a 2d6+7 Hit 
  Location roll. Th e other maneuvers do 
  not require rolls.
  Special Abilities:  Similar to those 
  displayed by Karate practitioners.
  Weapons Combat
  This generically-named art represents Euro-
  pean and Middle Eastern heavy weapons fighting 
  styles from antiquity to the Renaissance. It’s the 
  fighting art of the armored warrior, whether he 
  be an eleventh-century knight, a third-century 
  Roman centurion, a hoplite from Classical-era 
  Greece, an Achaean juggernaut from the time of 
  the Trojan War, or some fighter Gilgamesh slew. 
  Of course, not all fantasy fighters have this mar-
  tial art; it’s a skill possessed by very well-trained 
  and experienced warriors, not common troops or 
  inexperienced fighters.
  When buying Weapons Combat, the character 
  chooses one weapon type (from the list of Weap-
  ons Elements provided below) with which he can 
  use the maneuvers. Th at choice is free. Additional 
  Weapons Elements, as usual, cost 1 point each.
  THAN VO DAO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; HKA 
  ½d6 (2 DC), Disable
  Joint Lock 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Legsweep 
  ½ 
  3 
  +2 
  -1 STR +1d6; Target 
  Falls
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls 
  Skills
  Breakfall
  KS: Th an Vo Dao
  WF: Common Martial Arts Weapons
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
  VOVINAM VIET VO DAO
  Maneuver Phs Pts OCV DCV Damage/Effect
  Chem
  (sword-hand) ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Da (kicks)/Goi
  (knee strikes) ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Dam (ﬁ st blows)/Cho
  (elbow strike) ½ 
  4 
  +0 +2 STR +2d6 Strike
  Do (blocks) 
  ½ 
  4 
  +2 +2 Block, Abort
  Flying Kick 
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Skills
  KS: Vovinam Viet Vo Dao
  WF: Common Melee Weapons
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
  ‘W
  hen people fall into danger, 
  they are then able to strive 
  for victory.’
  —Sun Tzu, The Art of War
  
  60 
  The Ultimate Martial Artist
  WEAPONS COMBAT MANEUVERS
  Th e maneuvers work as follows:
  All-Out:  An all-oﬀ ense attack which sacriﬁ ces 
  some of the character’s DCV to get a blow in. It 
  does signiﬁ cantly more damage than a more rou-
  tine attack.
  Attack:  A 
  straight-
  forward 
  weapons 
  attack. It 
  is simply 
  an improve-
  ment on a character’s normal, non-martial attack 
  maneuver.
  Charge:  Th is maneuver allows the character to 
  make an attack at the end of a Full Move; it’s espe-
  cially apt for spearmen.
  Defend:  Th e standard Martial Block maneuver, 
  useful for a wide variety of parries.
  Probe:  A maneuver used by a character who’s still 
  feeling out his opponent’s strengths and weak-
  nesses. It doesn’t allow the character to do as much 
  damage as other maneuvers, but it gives him some 
  additional DCV, appropriate to a cautious ﬁ ghting 
  approach.
  Resist:  With this maneuver, a character can block 
  incoming attacks; the maneuver has a standard 
  Abort function. It also allows a character to root 
  himself in place and resist Shove attacks. It’s espe-
  cially appropriate for characters who play at being 
  one-man shield-walls.
  Shove:  With this maneuver, the character places 
  his weapon up against his opponent and heaves his 
  opponent backwards. It requires a Medium or Long 
  weapon; characters cannot perform it with a Short 
  weapon. 
  Th ere are no Bind, Disarm, or Dodge maneu-
  vers in this art, since those maneuvers just don’t 
  seem to belong to the heavy-weapons “feel” of 
  Weapons Combat. Characters can always default 
  to the basic Dodge and Disarm maneuver (and, in 
  Fantasy Hero games, to the basic Bind maneuvers 
  used in the fantasy genre).
  Fighters cannot use Flail weapons with the 
  Weapons Elements. Weapons Combat is suited 
  more for rigid weapons of all sorts.
  Th e GM should consider disallowing the use 
  of the All-Out and Charge maneuvers in campaigns 
  which steer away from high damage values (char-
  acters can still Push their Strength and use Move 
  Th roughs, aft er 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.
  Whipﬁ ghting
  Th is is a style for ﬁ ghters 
  who use the whip in combat. 
  Examples include several 
  whipﬁ ghting styles from 
  Indonesia and other cul-
  tures. Skilled whipﬁ ghters 
  can use their weapon with pinpoint 
  accuracy, snapping weapons out of 
  hands and putting out eyes.
  Whipﬁ ghting cannot take 
  the Style Distinctive Feature. 
  WEAPONS COMBAT
  Usable with one Weapon Group; that Weapon 
  Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  All-Out 
  ½ 
  5 
  +1 
  -2 Weapon +4 DC Strike
  Attack 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Charge 
  ½ 
  4 
  +0 
  -2 Weapon +2 DC Strike 
  +v/5, FMove
  Defend 
  ½ 
  4 
  +2 +2 Block, Abort
  Probe 
  ½ 
  5 
  +1 +3 Weapon Strike
  Resist 
  ½ 
  4 
  +0 +0 +15 STR to resist 
  Shove; Block, Abort
  Shove 
  ½ 
  4 
  +0 +0 +15 STR to Shove
  Skills
  WF: Common Melee Weapons (the character must 
  know how to use any weapons for which he has taken 
  the Weapons Element, below)
  WF: Staﬀ s
  Elements
  Weapons 
  +1 Use Art with Axes/Maces/Picks
   
  +1 Use Art with Blades
   
  +1 Use Art with Clubs
   
  +1 Use Art with Polearms
   
  +1 Use Art with Shields
   
  +1 Use Art with Staﬀ s
  
  61 
  Hero Games
  WHIPFIGHTING NOTES
  Optional Rules:  Th e Slash and Snap both take 3d6 
  Hit Location rolls; the Choke automatically targets 
  the head/neck and the Trip the legs/feet, but neither 
  maneuver receives bonuses or penalties because of 
  that.
  Special Abilities:  You can simulate a whip master’s 
  ability to strike targets with pinpoint accuracy by 
  buying Targeting Skill Levels.
  Wrestling
  Wrestling, as a martial art, dates back into 
  prehistory. In history, famous examples of wres-
  tling arts include the wrestling practiced in Greece, 
  China, and India from their earliest recorded histo-
  ries. Wrestling continues as a popular collegiate and 
  professional sport today.
  Th e package below includes several varieties 
  of Wrestling practiced today, including modern, 
  Greco-Roman, and Russian sambo.
  WRESTLING NOTES
  Optional Rules: None of the Wrestling maneuvers 
  takes a location roll except for the Choke, which 
  automatically Grabs the head but gets no penalties 
  or bonuses because of this.
  Special Abilities:  None.
  SUBSTYLES OF WRESTLING
  Many diﬀ erent cultures all over the world have 
  their own diﬀ erent forms of wrestling. Some of 
  them include:
  Asura
  A type of Indian wrestling in which striking 
  below the chest area is illegal, and the ﬁ rst ﬁ ghter to 
  fall to the ground loses the match.
  Bûno
  A Filipino wrestling form.
  Cireum
  Th is Korean form of wrestling (also spelled 
  Ssi-reum) resembles Sumo Wrestling in some ways.
  Dumog
  Filipino wrestling in which a wrestler grasps 
  his opponent’s belt and tries to throw him down. 
  Th e loser’s back has to squarely touch the ground.
  Glimae
  A form of Icelandic wrestling which uses 
  movements called “tricks.” Opponents grasp each 
  others’ leather belts (climubelti) and try to throw 
  each other to the ground. Th e ﬁ rst wrestler who 
  touches the ground with any part of his body above 
  the knees loses. 
  Gulat
  Indonesian wrestling.
  Koshti
  A type of Iranian wrestling which takes place 
  in the Zour Xaneh (“house of strength”). 
  Mallayuddha
  A form of Indian wrestling.
  Naban
  Burmese wrestling.
  Okol
  An Indonesian form of wrestling from the 
  island of Madura.
  Sambo
  Russian wrestling (also known as Sombo or 
  Cambo). Opponents wear a short epauletted jacket 
  (kurtka) tied with a blue or red belt. Armlocks, 
  throws, pins, and other maneuvers are assigned 
  points; to win, one wrestler has to have scored at 
  least four more points than his opponent at the end 
  of the match.
  Shuai-chiao
  Chinese wrestling, which dates back to the 
  millennia before the birth of Christ.
  Tegumi
  Okinawan wrestling.
  Yaghliguresh
  A Turkish form of wrestling fought in a hall 
  called a kirpinar.
  WHIPFIGHTING
  Usable with Whip Weapons Group; Whip Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND (2)
  Disarm 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Slash 
  ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Snap 
  ½ 
  5 
  +1 +3 Weapon Strike
  Trip  
  ½ 
  3 
  +0 +1 Weapon Strike +v/5; 
  Target Falls
  Skills
  KS: Whipﬁ ghting
  WF: Whip*
  WRESTLING
  Maneuver Phs Pts OCV DCV Damage/Effect
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Hold 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Reversal 
  var 4 
  -1 
  -2 STR +15 to Escape; 
  Grab
  Slam 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Take Down 
  ½ 
  3 
  +2 +1 STR Strike; You Fall, 
  Target Falls
  Skills
  Breakfall
  KS: Wrestling
  
  62 
  The Ultimate Martial Artist
  Wrestling, Professional
  Professional Wrestling, though it has only recently 
  become a mania in the U.S., has been with us all 
  through the twentieth century.
  Th e package below is for a pro wrestler who has 
  real combat ability. Such a character would always pull 
  his punches or do zero damage with attacks in the ring, 
  relying on his Acting to make it look damaging, but 
  could still use his art to good eﬀ ect in situations outside 
  the ring. At least one “style” of Professional Wrestling, 
  Lucha Libre, which is popular in South and Central 
  America, is performed full-contact, without any Acting.
  One good way to give this art some “color” is to 
  create your own unusual names for the maneuvers. 
  For example, the Fist Smash becomes an “Atomic Pile-
  driver,” the Crush becomes the “Bulgarian Death-Lock,” 
  and so forth. Players can elaborate on the maneuvers 
  slightly, adding or subtracting an Element here or there, 
  to create “signature” maneuvers for their Pro Wrestling 
  characters.
  PROFESSIONAL WRESTLING NOTES
  Th e “clubs” referred to under the Weapons Element 
  usually includes stools, chairs, microphones, and 
  other weapons of opportunity found around the 
  ring.
  Optional Rules:  Th e Fist Smash/Forearm Smash 
  takes a 2d6+1 location roll. Th e 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. Th e 
  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.
  Special Abilities:  None.
  Yu-Sool 
  Yu-Sool (“soft  art”) is a Korean martial art 
  derived from some Chinese systems. It was most 
  popular from the years 1000-1300 AD, and has 
  since declined, though it is still taught by some 
  masters. It concentrates on locks, throws, chokes, 
  and other grappling techniques.
  YUSOOL NOTES 
  Optional Rules:  Th e Kuepso Chirigi and Strike 
  take a 2d6+1 Hit Location rolls. Th e Choke auto-
  matically targets the head but receives neither 
  bonuses nor penalties for this. None of the rest of 
  the maneuvers requires Hit Location rolls.
  Special Abilities:  None.
  PROFESSIONAL WRESTLING
  Maneuver Phs Pts OCV DCV Damage/Effect
  Body Slam 
  ½ 
  3 
  +2 +1 STR Strike; You Fall, 
  Target Falls
  Crush 
  ½ 
  4 
  +0 +0 STR +4d6 Crush; 
  Must Follow Grab
  Duck 
  ½ 
  4 
  -- 
  +5 Dodge, Affects All 
  Attacks, Abort
  Fist/Forearm
  Smash 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Grab 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Head-Bash 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Stomp 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Skills
  Acrobatics
  Acting
  Breakfall * 
  Elements
  Weapons 
  +1 Use Art with Clubs (Fist/Forearm  
   
  Smash Only)
  YU-SOOL
  Maneuver Phs Pts OCV DCV Damage/Effect
  Choke 
  ½ 
  4 
  -2 
  +0 Grab One Limb, 2d6 
  NND(2)
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Kuchigi
  (grabs) 
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  to STR for holding on
  Kuepso Chirigi
  (nerve strikes) ½ 
  4 
  -1 
  +1 2d6 NND (1)
  Mechigi
  (throws) 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6
  Skills
  Breakfall
  KS: Yu Sool
  ‘T
  o be the 
  man, you 
  have to beat the 
  man.’
  —Ric Flair
  
  63 
  Hero Games
  Zipota
  Th is Basque ﬁ ghting art (whose name means 
  “shoe”) resembles Savate in many respects. Its ori-
  gins are obscure, but likely date back at least as far 
  as those of Savate. Like Savate, it employs many 
  kicks and jabbing punches; unlike the French style, 
  it also incorporates leaping kicks, throws, and other 
  energetic maneuvers.
  Zipota ﬁ ghters oft en train in stickﬁ ghting as 
  well. Th ey use the makila (or malika), a 1.5 meter 
  long stick with an iron cap on one end, used in 
  sheepherding. Th e handle unscrews to reveal a long, 
  sharp point.
  ZIPOTA NOTES
  Optional Rules: Th e Leaping Kick has a 
  2d6+1 Hit Location roll. Th e Kick, Punch, and Side 
  Kick maneuvers all have 3d6 Hit Location rolls. Th e 
  other maneuvers don’t require Hit Location rolls.
  Special Abilities:  None.
  Other Styles
  Th e following styles are ones the author came 
  across while researching this book, but for which he 
  lacked suﬃ  cient information to create a complete 
  description. Players can do their own research or con-
  struct their own versions of these styles if they wish.
  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. 
  Th e 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.
  Koonomon Togip Baip:  Th is is said to be a martial 
  art or arts native to the Aborigines of Australia. Its 
  maneuvers supposedly derive from the movements of 
  native animals (kite hawks, kangaroos, emus, wedge-
  tailed eagles, crocodiles, and the like), or from move-
  ments used in ﬁ shing and other tasks.
  Kuki-shin Ryu:  A Ninjutsu-like “secret” ﬁ ghting 
  style said to have been practiced by ascetic Japanese 
  monks.
  Kupigana Ngumi:  A martial art developed in the late 
  1960s or early 1970s that supposedly synthesizes tech-
  niques from a number of African ﬁ ghting traditions.
  Moi-saree:  A Malaysian ﬁ ghting art.
  Nabebutajutsu:  Th e art of ﬁ ghting with a saucepan 
  lid. 
  Pakchigi:  A crude Korean style involving head-butt-
  ing.
  Po Bok Sul:  A Korean style using a rope to choke 
  or bind an opponent; used by Korean palace guards 
  since ancient times.
  Russian martial arts:  In addition to sambo (see 
  Wrestling), Russian martial arts include Systema, 
  Buza, Kulachnoi Boya, Samoz, Skobar, Spas, and many 
  others.
  Sebekkha:  A martial art supposedly practiced in 
  ancient Egypt (the name is said to mean “Crocodile 
  Spirit”).
  Ta Merrian:  A martial art from Africa said to derive 
  its maneuvers from totem animal movements and 
  spirit dances.
  Tegasajutsu:  Th e art of ﬁ ghting with an umbrella.
  Th anh Long:  A Vietnamese style whose name means 
  “School of the Green Dragon.”
  Vietnamese schools:  Th e following are mentioned 
  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 
  (“one-eyed” school); Hac Ho (“black tiger” 
  school); Kime Ke (“yellow cockrel” school); 
  Son Lam (“from the mountain and from 
  the forest” school); Tay-son Nhan (“moun-
  tain phoenix” 
  school). 
  ZIPOTA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Kick 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Leaping Kick ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Punch 
  ½ 
  5 
  +1 +3 STR Strike
  Side Kick 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Sweep 
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Throw 
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  Skills
  KS: Zipota
  WF: Blades
  Elements
  Weapons 
  +1 Use Art with Blades 
   
  +1 Use Art with Clubs
  
  64 
  The Ultimate Martial Artist
  T
  his section details several completely 
  ﬁ ctional martial arts styles. Characters 
  in the movies, comics, and other source 
  material oft en study styles bearing no 
  resemblance to “real-world” styles. Th ey also display 
  special abilities exceeding those demonstrated by 
  even the most accomplished real-world martial 
  arts masters. Th e styles in this section allow HERO 
  System gamers to simulate this sort of thing. If 
  you don’t ﬁ nd any styles in this section suitable 
  the character you have in mind, use these styles as 
  “models” to help you develop one of your own.
  Brick Tricks
  Th is martial arts package represents a few 
  combat moves commonly used by “bricks” (i.e., 
  characters whose primary abilities involve greater 
  than normal strength and resistance to damage). 
  Th e maneuvers rely on brawn and resilience, not 
  ﬁ nesse and speed as with most styles.
  BRICK TRICKS NOTES
  Th e “Bearhug II” simply involves grabbing the 
  target around the middle (pinning his arms in the 
  process) 
  and 
  squeezing him hard enough to keep him from 
  breathing, but not hard enough to permanently 
  injure him. Th e defense is not needing to breathe, 
  or somehow being “immune” to such squeezing (for 
  example, because the character is wearing heavy 
  armor).
  Optional Rules:  Th e Punch takes a 2d6+1 Hit 
  Location roll; the other maneuvers do not require 
  location rolls.
  Special Abilities:  None.
  Dancing Spider
  Th e Dancing Spider style (Butõkumojutsu), 
  developed centuries ago by certain Japanese tribes, 
  is easily recognized — practitioners ﬁ ght 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 ﬁ ghters ﬁ nd it diﬃ  cult 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 
  ﬁ ghting 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:  Th e 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 
  FICTIONAL 
  MARTIAL ARTS
  BRICK TRICKS
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bearhug I 
  ½ 
  4 
  +0 +0 STR +4d6 Crush, 
  Must Follow Grab
  Bearhug II 
  ½ 
  5 
  -2 
  +0 Grab Two Limbs, 2d6 
  NND
  Grab 
  ½ 
  4 
  +0 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Punch 
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Slam 
  ½ 
  4 
  -1 
  -1 STR +2d6 Strike; 
  Grab Two Limbs; 
  Target Falls
  Toughness 
  ½ 
  4 
  +2 +2 Block, Abort
  
  65 
  Hero Games
  2d6+7 if ﬁ ghting an oppo-
  nent who is 
  also standing on his hands). Th e Spinning 
  Fist Technique takes a 2d6+7 roll. None of the 
  other maneuvers require Hit Location rolls, either 
  because they target speciﬁ c areas (the leg region) or 
  because they do not involve Attack Rolls.
  Special Abilities:  
  1)  Leaping:  All Dancing Spider stylists must buy 
  at least +3” of Leaping. Extra inches of Running are 
  also recommended.
  2)  Climbing:  Some Dancing Spider masters are 
  such skilled climbers that they can move up the 
  sides of walls with astounding speed and ease. 
  Characters can buy this as Clinging which Requires 
  A Climbing Roll (-½).
  3)  Delightful Web techniques (Yorokobashii Orim-
  ono Jutsu):  Th is term describes the special weap-
  ons techniques which Dancing Spider practitioners 
  have developed for chain and rope weapons. Th e 
  basic technique involves rapidly tying up the oppo-
  nent with skillful application of the chain or rope, 
  then attacking him with the weapon attached to the 
  chain (if any) or the ﬁ sts.
  Delightful Web Techniques:  Entangle 5d6, 5 DEF, 
  Takes No Damage From Attack (only applies to 
  character’s attacks; +¼) (62 Active Points); OIF 
  (any chain or rope weapon of opportunity; -½), 
  Requires A DEX Roll (-½), No Range (-½). Total 
  cost:  25 points.
  Players can develop other Delightful Web maneu-
  vers for their own use.
  Drunken Clown Kung Fu 
  Despite its comical name, this martial arts 
  style is a serious one — a fact many overconﬁ dent 
  ﬁ ghters have learned too late. Traveling actors, per-
  formers, and acrobats who needed a way to defend 
  themselves from bandits developed it centuries ago 
  by modifying their acrobatic skills into a form of 
  ﬁ ghting art.
  Th e Drunken Clown style emphasizes acro-
  batic ﬂ ips and many other unusual techniques, 
  making its practitioners frustratingly unpredictable 
  opponents. It also uses the general “Drunken Style” 
  techniques of Kung Fu; refer to the description of 
  Kung Fu, above, for more details.
  DRUNKEN CLOWN KUNG FU NOTES
  Th e “Clubs” used with this style include a large vari-
  ety of acting and juggling props. 
  Optional Rules:  Th e Choke and Flying Choke 
  both target the head/neck region automatically and 
  receive neither bonuses nor penalties for so doing. 
  Th e Passing Strike and Defensive Fast Strike take a 
  3d6 Hit Location roll. None of the other maneuvers 
  require Hit Location rolls.
  Special Abilities:  None.
  DANCING SPIDER
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Dread Blow of Tsuji Kenichi
   
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  The Essential Maneuver Shiomi Emiko
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Ikeda’s Surprising Kick
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Shinozaki’s Felling Blow
   
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Snatching Spider Maneuver
   
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Spinning Fist Technique
   
  ½ 
  5 
  +1 +3 STR Strike 
  Tirayaki’s Human Web
   
  ½ 
  5 
  +1 +1 Grab Two Limbs; 
  STR Strike; You Fall, 
  Target Falls
  Skills
  Acrobatics*
  Climbing*
  Contortionist
  KS: Dancing Spider Style
  WF: Chain & Rope Weapons*
  Elements
  Weapons* 
  +1 Use Art with Chain & Rope Weapons
  ‘W
  hen an ordinary man attains 
  knowledge, he is a sage; 
  when a sage attains understanding, 
  he is an ordinary man.’
  — Zen Saying
  
  66 
  The Ultimate Martial Artist
  Ghost Eye Techniques
  Th e Ghost Eye (Yõulíng Yãnjing) is not a style per 
  se, with its own maneuvers and martial techniques, 
  but a type of martial training emphasizing perception 
  and observation. It derives from two principles:  ﬁ rst, 
  how one strikes a target is not as important as where 
  one strikes; second, any attack one can sense, one can 
  stop.
  Students of the Ghost Eye usually develop these 
  Talents and Powers:
  Clairsentience (Sight Group, possibly including Pre-
  cognition)
  Combat Sense
  Danger Sense, out of combat, any attack, general area
  Find Weakness
  Flash Defense
  Mental Defense; Only Protects Against Mental Illu-
  sions (-1½)
  Power Defense; Only Protects Against Draining/
  Suppression Of Perception Powers (-1½)
  Spatial Awareness, 360 Degrees (a Zen-like awareness 
  of one’s surroundings)
  If a character has all these abilities, it becomes 
  almost impossible to blind him. Before a GM allows 
  a character to buy them, he should make sure they 
  won’t unbalance the game.
  According to legend, the Ghost Eye is taught at 
  a large monastery far to the west of China (possibly 
  in Tibet). Its practitioners can be recognized by their 
  unique hand-signal (holding the hands in front of the 
  chest with ﬁ ngers steepled, to create a stylized “eye”). 
  Ghost Palm Techniques
  Th e Ghost Palm (Yõulíng Shão) techniques were 
  developed by the wizard Song Kuang. Song Kuang 
  was once an evil man, but aft er the near-death of 
  his beloved daughter due to his own wickedness, he 
  reformed and went into seclusion to meditate and 
  dedicate himself to the ways of truth and virtue. Aft er 
  years of study, he learned a blow called the Ghost 
  Palm of Song Kuang, which allowed him to strike 
  ghosts, demons, and other intangible monsters. In 
  later years, he and his disciples developed an entire 
  portfolio of abilities to help them destroy evil Orien-
  tal monsters of all sorts.
  Th us, like the Ghost Eye “school,” the Ghost 
  Palm is actually a collection of abilities and skills, not 
  a ﬁ ghting style. Th ese abilities help the practitioner 
  destroy evil creatures such as devils, vampires, malev-
  olent spirits, and evil dragons. Th e main Powers and 
  Skills taught to Ghost Palm students include:
  Th e Ghost Palm of Song Kuang (an HA or HKA 
  which Aﬀ ects Desolidiﬁ ed)
  Th e Spirit Lock of Xian Lao Yu (Aﬀ ects Desolidiﬁ ed 
  for a Martial Grab; see page 104)
  Healing:  Ghost Palm practitioners can heal the 
  victims of Oriental monsters by giving the victim 
  some of their own life force:  Healing 4d6 (40 Active 
  Points); Only Works On Others (-1), Only Heals 
  Damage From Oriental Monsters’ Magical Attacks 
  (-1½), Character Takes 1 BODY Damage Per BODY 
  Healed And 1 STUN Per 2 STUN Healed (-1). Total 
  cost: 9 points
  Detect Oriental Monsters, Targeting Sense (can also 
  be bought as a bonus to Danger Sense withthe -1 
  Limitation Only Applies To Dangers From Oriental 
  Monsters)
  Find Weakness; Only Works On Oriental 
  Monsters (-1)
  Mental Defense (up to 10 points)
  Power Defense (up to 10 points)
  KS: Oriental Monsters
  Over the centuries, as man has become more 
  technologically oriented, the number of Oriental 
  monsters has decreased greatly, and consequently so 
  has the number of Ghost Palm practitioners. Th ere are 
  few (if any) masters of the Ghost Palm techniques left  
  alive; perhaps one of the PCs could “revive” this style. 
  Ghost Palm stylists have a distinctive hand-signal 
  which they use to identify themselves:  open hands 
  crossed, palms together, in front of the chest.
  DRUNKEN CLOWN KUNG FU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Choke  
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Defensive
  Fast Strike 
  ½ 
  5 
  +2 +1 STR +2d6 Strike
  Defensive
  Disarm 
  ½ 
  5 
  -1 
  +2 Disarm, +10 STR to 
  Disarm roll
  Defensive
  Grab 
  ½ 
  4 
  -1 
  +0 Grab Two Limbs, +10 
  STR for holding on
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Flying Choke ½ 
  4 
  -2 
  -1 Grab One Limb; 1d6 
  NND(2); FMove
  Flying Dodge ½ 
  5 
  — +4 Dodge All Attacks, 
  Abort; FMove
  Flying Grab ½ 
  4 
  -2 
  -2 Grab Two Limbs, +10 
  STR for holding on; 
  FMove
  Grappling
  Throw 
  ½ 
  3 
  +0 +2 STR +2d6 Strike; 
  Target Falls, Must 
  Follow Grab
  Passing
  Strike 
  ½ 
  5 
  +1 +0 STR +v/5; FMove
  Reversal 
  var 4 
  -1 
  -2 STR +15 to Escape; 
  Grab Two Limbs
  Skills
  Acrobatics*
  Breakfall*
  Contortionist
  PS: Clown (or Magician, Juggler, and so forth, as 
  appropriate)
  Sleight Of Hand
  Elements
  Weapons 
  +1 Use Art with Clubs
  
  67 
  Hero Games
  Golden Demon Kung Fu 
  A quick, vicious style of Kung Fu, designed 
  to eliminate an opponent as swift ly as possible, 
  Golden Demon (Liújĩng Ch’uan) supposedly origi-
  nated deep in the Himalayas. Legends whisper of a 
  Golden Demon Temple where assassins and brutal 
  ﬁ ghters go to train (hence the art’s other name, 
  Xiõngshŏu Ch’uan, “assassin’s ﬁ st”). Evil wizards 
  also oft en learn the Golden Demon style, because 
  they can use the feared “Demon’s Claws,” enchanted 
  items of great power, with it.
  GOLDEN DEMON KUNG FU NOTES
  “Demon’s Claws” (Zhão Jĩng), a rare Oriental 
  magical item, are made from the hands and claws 
  of a demon. A pair of Claws’ level of power (i.e., 
  its HKA DCs) depends on the sorcery invested in 
  them by their creator; some pairs are extremely 
  deadly even in the hands of the untrained.
  Optional Rules:  Th e Gilded Hand of Lu Sing 
  Hao, the Demonic Touch of Ba Yixiao, and Lo 
  Kung’s Demon Claw all take a 2d6+1 location 
  roll; the Diabolic Strike of Chang Kien takes a 
  3d6 roll.
  Special Abilities:  Th e same as those for the 
  Kung Fu package. Additionally, some masters of 
  this style reputedly have the power to summon 
  demons; they sell their souls to some patron 
  demon lord to gain this power. A few masters 
  possess other demonic powers, such as the ability 
  to rapidly heal damage (Healing Regeneration), 
  virtual immunity to damage from ﬁ re (Damage 
  Reduction, Only Works Versus Fire (-½)), the 
  power to create illusions (Images), and the ability 
  to change their shape (Multiform or Shape Shift ).
  The Paths of the 
  Seven Ghost Sisters 
  Legend has it this style was taught to a group 
  of Buddhist nuns on a pilgrimage through the 
  mountains. One night, as they sat around their 
  campﬁ re, the ghosts of seven sisters visited them. 
  Th e spirits claimed they and their family were slain 
  by a group of evil bandits. Th e bandits still plagued 
  the area, and would surely attack the nuns if they 
  found them. Th e ghosts oﬀ ered to teach the nuns 
  secret ﬁ ghting techniques if the nuns would ﬁ nd 
  the outlaw band and destroy it. 
  Aft er a long debate, the nuns agreed to the 
  sisters’ proposal. Th ey entered the spirit world 
  and began training under the tutelage of the sis-
  ters. Th ey returned to our world aft er almost 
  a year of study, only to ﬁ nd dawn barely 
  breaking aft er the night they ﬁ rst met the sisters!
  To fulﬁ ll their promise, the nuns tracked 
  down the bandit gang and destroyed it, making the 
  area safe for years to come. Th ey completed their 
  pilgrimage and then set out into the wilderness, 
  where they founded a temple. From time to time 
  a student ﬁ nds his (or her) way to this unnamed 
  temple and undertakes the study of the nuns’ secret 
  ﬁ ghting 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:  Th e Paths of Qing and Peihsi 
  both take a 2d6+1 Hit Location roll. Th e Path 
  of Jihong, a type of kick, takes a 3d6 Hit Loca-
  tion roll. Th e other maneuvers do not require Hit 
  Location rolls.
  GOLDEN DEMON KUNG FU
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Demonic Touch of Ba Yixiao
   
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  The Diabolic Strike of Chang Kien
    
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  The Gilded Hand of Lu Sing Hao
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Lo Kung’s Demon Claw
   
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC) 
  Shield of the Seven Demons
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Skills
  As Kung Fu package
  Elements
  As Kung Fu package
  Weapons 
  +1 Use Art with Demon’s Claws
  
  68 
  The Ultimate Martial Artist
  Special Abilities:  Each of the Ghost Sisters taught 
  a diﬀ erent special ability to the nuns, who have 
  in turn passed knowledge of those powers on to 
  deserving students. Th ey are:  
  1)  Haixia:  the Beneﬁ cent Vision of Sister Haixia, 
  the ability to see spirits and ghosts (Detect Ghosts)
  2)  Hseuh:  Sister Hseuh’s Warrior’s Eye, the ability 
  to detect danger of all sorts (Danger Sense, out of 
  combat, all attacks)
  3)  Jihong:  the Devastating Kick of Sister Jihong 
  (the Double Knockback Advantage (see page 104) 
  for the Path of Jihong, or an HA with Double 
  Knockback) 
  4)  Min:  the Curtain of Air, an advanced ability to 
  dodge attacks (Desolidiﬁ cation [aﬀ ected by magical 
  attacks or any maneuver speciﬁ cally designed to 
  overcome this ability], Invisible Power Eﬀ ects (Fully 
  Invisible; +1) (80 Active Points); Only To Protect 
  Against Martial Arts Attacks (-1), Requires A DEX 
  Roll (-½). Total cost:  32 points).
  5)  Peihsi:  Sister Peihsi’s Lovely Song (Hear-
  ing Group Flash Attack 4d6 plus EB 2d6, NND 
  (defense is being deaf or having Hearing Group 
  Flash Defense; +1); Incantations (-¼)).
  6)  Qing:  Sister Qing’s All-Seeing Fist, the ability to 
  strike before your foe can attack (Fast Draw and/or 
  Lightning Reﬂ exes). 
  7)  Xiulan:  Sister Xiulan’s Stance of Stone (Clinging 
  (STR +20), Only To Resist Th rows (-1)).    
  Resplendent Dragon Kung Fu 
  Th e Recorder of Th ings Strange has written:
  In the time of the Emperor Chen, an old man 
  dressed in the robes of a monk walked down out of 
  the hills and came to the gates of the palace. Th ere 
  he spoke to the guards who stood watch at the 
  gate:  “I seek an audience with the Emperor,” he said 
  calmly, as if he did not understand the enormity of 
  the request. 
  “You?” the guards asked scornfully. “Why 
  should we admit such a decrepit old man as you 
  to see the Emperor, who has all the cares of state 
  before him?”
  “Because I ask you to,” said the old man 
  politely. “If the Emperor is a truly wise ruler, he will 
  see me.”
  With that, the guards burst into laughter. “Be 
  oﬀ  with you, old man!” they said angrily. Th e old 
  man left  and returned to the hills.
  And so it happened for many days. Each day 
  the old man approached the guards, and each day 
  he was rudely rebuﬀ ed. Finally, aft er two weeks, 
  one of the guards brandished his halberd at the old 
  man, thinking to scare him oﬀ  for good. At this, the 
  old man made a gesture which seemed casual and 
  slow — but before anyone realized what was hap-
  pening, the guard lay unconscious on the ground!
  As the old man threw the guard’s halberd to 
  the side, the other guard sounded the alarm. Soon 
  more than a dozen soldiers arrived to take on one 
  harmless-looking old man. But the captain of the 
  guard was wiser than his men. He saw that the old 
  man was not a threat, so he called oﬀ  the alarm 
  and personally escorted the old man to a luxurious 
  waiting room. Th en he informed the Emperor of 
  what had taken place.
  Now the Emperor Chen was, like his captain, 
  a man of wisdom. He immediately granted the old 
  man the audience he had sought for so long. Th e 
  old man made obeisance before the Emperor, and 
  when his turn came to speak he said, “Your High-
  ness, I come to you bearing both a message and a 
  gift . Th e message is this:  the gods are well-pleased 
  with your rulership and your treatment of the 
  people, and they wish to reward you. Th eir reward, 
  and my gift , is my service to you and your family 
  for as long as you shall require it.”
  “And what are these services, Sanctiﬁ ed 
  Grandfather?” the Emperor asked, recognizing the 
  holiness of the man.
  “Although I am not so foolish as to call myself 
  wise, in my time I have experienced many things. 
  I will teach what I know to you and your family. 
  However, in return for my services to you, the gods 
  demand three things. First, you must build a great 
  temple, greater than any in the land, here in your 
  THE PATHS OF THE 
  SEVEN GHOST SISTERS
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Path of Haixia
   
  ½ 
  4 
  +2 +2 Block, Abort
  The Path of Hseuh
   
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls
  The Path of Jihong
   
  ½ 
  5 
  -1 
  +0 STR +4d6 Strike
  The Path of Min
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  The Path of Peihsi
   
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  The Path of Qing
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  The Path of Xiulan
   
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Skills
  Acrobatics
  Breakfall
  KS: Buddhism
  KS: Paths of the Seven Ghost Sisters
  Stealth
  WF: Common Melee Weapons
  WF: Common Martial Arts Weapons
  WF: Hook Sword
  WF: Oﬀ  Hand
  WF: Wind and Fire Wheels
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Hook Sword
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
   
  +1 Use Art with Wind and Fire  
   
  Wheels
  
  69 
  Hero Games
  capital. Second, you yourself must make the ﬁ rst 
  oﬀ ering each morning at the temple. And third, 
  you, your family, and all of your retainers must at 
  once cease the sport of hunting the red deer that 
  run in the forests of your kingdom.”
  Now the Emperor Chen fancied himself a 
  good judge of character. He could sense no malice 
  in this old holy man — and from what the captain 
  of the guard said, the old man had much to teach. 
  “Agreed!” the Emperor said, and immediately 
  arranged quarters for the old man. Work on the 
  temple began the next day.
  Th e old man taught the Emperor and his 
  family of the ways of the Tao and many other 
  wondrous things. From him they learned a style 
  of boxing surpassing all other styles, which the old 
  man said was “a gift  from the resplendent dragons 
  of the gods.” And so the Emperor’s family began to 
  call it the Resplendent Dragon style.
  Th is course of instruction continued for over a 
  year, and several of the Emperor’s sons and daughters 
  became proﬁ cient in the ways of the Resplendent 
  Dragon. However, the middle son, Tsen, chafed under 
  the restrictions his father had imposed on the family 
  at the request of the Sanctiﬁ ed Elder. Tsen was a great 
  hunter who loved nothing more than the thrill of the 
  chase. Th e teachings and martial wisdom of the old 
  man were for him a poor substitute for the hunt. 
  Aft er more than a year had passed, he could 
  bear it no longer. He convinced himself the Sanctiﬁ ed 
  Elder’s warnings were just the foolish prattlings of an 
  old man gone senile. Tsen gathered his men and his 
  hunting weapons and rode to the forest. His servants 
  glanced at him fearfully, and tried to dissuade him, 
  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-
  phantly back to his father’s palace.
  When the Emperor saw the two dead deer, he 
  cursed his son and 
  ran to ﬁ nd the 
  old man 
  and beg 
  his 
  forgiveness. He looked everywhere, but the old man 
  was nowhere to be found. Eventually one of the 
  palace guards reported seeing the old man leav-
  ing the city. Th at was the last time the Emperor 
  or any of his servants ever saw the old man, 
  for search the hills as they might, they never 
  found any trace of him. All that remained 
  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 ﬁ nd the Sanctiﬁ ed 
  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.
  Th e powerful and graceful Resplendent 
  Dragon style of Kung Fu (Cànlànde Lóng Ch’uan) is 
  RESPLENDENT DRAGON
  KUNG FU
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Dragon’s Claw 
   
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  Dragon’s Tail Brushes The Ground
   
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  The Fist of the Scarlet Dragon
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  The Golden Dragon Strike
   
  ½ 
  5 
  +1 +3 STR Strike
  Hsu Pao’s Twisting Reversal
   
  ½ 
  3 
  +0 +1 STR + v/5; Target 
  Falls
  The Moon Dragon’s Shining Scales
   
  ½ 
  4 
  +2 +2 Block, Abort
  The Sublime Avoidance
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Swooping Dragon Maneuver
   
  ½ 
  5 
  +1 +0 STR +v/5; FMove
  Skills
  Acrobatics
  Breakfall
  KS: Resplendent Dragon Kung Fu
  WF: Common Martial Arts Weapons
  WF: Common Melee Weapons
  WF: Dragon Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Dragon’s-Beard  
   
  Hook
   
  +1 Use Art with Dragon Staﬀ 
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ  
  
  70 
  The Ultimate Martial Artist
  thus an art rarely seen. It is taught in only one place, 
  the mysterious Temple of the Dragon, by only 
  one man, the Sanctiﬁ ed Elder. Legends say only 
  one who is truly brave and truly wise can ﬁ nd the 
  Temple and enter therein to train. Some scholars 
  claim the temple Emperor Chen built, which still 
  stands in Beijing, contains clues to the location of 
  the Temple of the Dragon in it somewhere.
  Th e Resplendent Dragon style teaches one 
  unique weapon, the Dragon Staﬀ . Th is is a normal 
  staﬀ  with a stylized dragon’s claw on either end. Th e 
  wielder can either use it as a normal staﬀ , or can do 
  HKA ½d6 with its claws. Extremely proﬁ cient war-
  riors can attack twice in one round with the staﬀ , 
  once with each end.
    RESPLENDENT DRAGON KUNG FU NOTES
  Optional Rules:  Th e Fist of the Scarlet Dragon and 
  the Swooping Dragon Maneuver both take a loca-
  tion roll of 2d6+1; the Golden Dragon Strike (which 
  represents various kicks and punches) takes a 3d6 
  location roll. 
  Special Abilities:  In addition to any of the special 
  abilities that Kung Fu practitioners can take, masters 
  of the Resplendent Dragon style sometimes display 
  one unique ability:  the Dragon’s Flame.
  Some Resplendent Dragon masters have discov-
  ered a way to focus their ch’i and cause their ﬁ sts to 
  burst into mystic ﬂ ame (huöshé lóng, “the Dragon’s 
  Flame”). Th is ﬂ ame allows them to strike opponents 
  with devastating force. A few masters believe other 
  Dragon’s Flame powers are possible, and await the 
  arrival of a truly gift ed warrior to discover them.
  Cost Power 
  END
  22 
  Th e Dragon’s Flame:  Multipower, 67-
  point reserve, Requires An EGO Roll 
  (-½), Increased Endurance Cost (x4 
  END; -1½)
  2u 
  1)  HA +12d6; Hand-To-Hand Attack 
  (-½), Requires An EGO Roll (-½), 
  Increased Endurance Cost (x4 END; -1½) 24
  2u 
  2)  HKA 3d6 (plus STR), Penetrating (+½); 
  Requires An EGO Roll (-½), Increased 
  Endurance Cost (x4 END; -1½) 
  28
  Silken Blade Kung Fu
  Th is northern form of internal Kung Fu, of 
  uncertain origin, is well-known for its kicks, includ-
  ing the spectacular Meteor Kick, and for its other 
  powerful ﬁ ghting maneuvers. Silken Blade possesses 
  a combat orientation that seems out of place with 
  the internal disciplines at its heart. However, when 
  one considers that Silken Blade masters only teach 
  students with at least two decades of experience in 
  other internal styles, one realizes the ﬁ ghting power 
  displayed by a Silken Blade practitioner simply rep-
  resents his total control over his own ch’i.
  SILKEN BLADE KUNG FU NOTES
  Optional Rules:  Th e Meteor Kick, Pheasant Kick, 
  Silken Hand Strike, and Master Peng’s Silken Fist 
  all take 2d6+1 Hit Location rolls. Leopard Paws At 
  Th e Ground automatically targets the leg region, but 
  receives neither bonuses nor penalties because of 
  this. None of the other maneuvers require Hit Loca-
  tion rolls.
  Special Abilities:  In addition to those abilities dis-
  played by other Kung Fu masters (see above), Silken 
  Blade masters possess a unique ability, the one aft er 
  which their style is named. Using a simple piece of 
  cloth as a focus, they can project their ch’i and turn the 
  cloth into a deadly weapon!  Silk seems to work best 
  for this ability, but any type of cloth will do. Th e most 
  common types of clothing used are the following:
  Sash/Belt:  HKA 1d6 (plus STR), Armor Pierc-
  ing (+½) (22 Active Points); OIF (any appro-
  priate piece of cloth of opportunity; -½). Total 
  cost:  15 points.
  Robe:  HKA 1d6 (plus STR) (15 Active Points); 
  OIF (any appropriate robe of opportunity, -½) 
  (total cost: 10 points) plus Armor (3 PD/3 ED) 
  (9 Active Points); OIF (any appropriate piece of 
  cloth of opportunity; -½) (total cost: 6 points). 
  Total cost:  16 points.
  Glove:  HA +4d6 (20 Active Points); Hand-To-
  Hand Attack (-½), OIF (any appropriate glove 
  of opportunity; -½). Total cost:  10 points.
  SILKEN BLADE KUNG FU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Celestial Dragon Reaches For The Moon
   
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Clouds Cross The Sky
   
  ½ 
  4 
  +2 +2 Block, Abort
  Crane Defeats Serpent
   
  var 4 
  -1 
  -2 STR +15 to Escape, 
  Grab Two Limbs
  Crystal Wave Breaks On The Shore
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Leopard Paws At The Ground
   
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  Master Peng’s Silken Fist
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Meteor Kick
   
  ½ 
  5 
  +1 +0 STR +v/5; FMove
  Monkey Falls From Tree
   
  ½ 
  3 
  +0 +1 STR +v/5; Target 
  Falls 
  Pheasant Kick
   
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  Silken Hand Strike
   
  ½ 
  4 
  +0 +0 HKA ½d6 (2 DC), 
  Must Follow Block
  Skills
  Acrobatics
  Breakfall
  Contortionist
  KS: Chinese Philosophy
  KS: Silken Blade Kung Fu
  WF: As Kung Fu package
  Elements
  As Kung Fu package
  
  71 
  Hero Games
  Speedster Martial Arts
  Th is package of martial arts maneuvers repre-
  sents combat abilities displayed by characters able to 
  move at high velocities — comic book “speedsters,” 
  bird-men in fantasy campaigns, and the like. Natu-
  rally, most of the maneuvers incorporate the Full 
  Move Element.
  Th e Flying Grab maneuver allows the speedster 
  to run up to someone and grab him. Th e Flying 
  Th row maneuver allows the speedster to grab 
  someone and then throw him, using the speedster’s 
  own velocity to increase the damage (visually, the 
  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 
  him with a sort of takedown maneuver using the 
  character’s own velocity to augment the blow). Th e 
  Passing Disarm involves running past the target and 
  snatching something out of his hand. Th e Passing 
  Th row maneuver allows the speedster to “intercept” 
  another moving character and trip or throw him, 
  so that the target’s own velocity works against him. 
  Th e Rapid Punch involves hitting the target several 
  times in the space of a second (while this could be 
  bought as an Autoﬁ re HA, it can also be simulated 
  with one high-damage attack). With both the Flying 
  and Passing Th rows, remember that the v/5 Element 
  relies on relative velocity; see page 97.
  SPEEDSTER MARTIAL ARTS NOTES
  Optional Rules:  Th e Passing Strike and Rapid 
  Punch both take 2d6+1 Hit Location rolls. Th e 
  other maneuvers do not use Hit Location rolls.
  Special Abilities:  None.
  Splendid Fist 
  Th is style, known simply as Genkotsujutsu (“ﬁ st 
  art”) in Japanese, is a warrior’s style. Developed 
  during Japan’s feudal era by Shibata Eiji, a samurai of 
  some renown, it’s a brutal and practical ﬁ ghting style 
  SPEEDSTER MARTIAL ARTS
  Maneuver Phs Pts OCV DCV Damage/Effect
  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 Throw ½ 
  5 
  -1 
  -2 Grab Two Limbs; STR 
  +v/5; Target Falls; 
  FMove
  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
  Rapid Punch ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  SPLENDID FIST
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Darting Fish Maneuver
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  The First Fist of Shibata Eiji
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  The Reliable Shield of Okano Akira
   
  ½ 
  4 
  +2 +2 Block, Abort
  Roundhouse Kick
   
  ½ 
  5 
  +1 
  -2 STR +4d6 Strike
  The Second Fist of Shibata Eiji
   
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Spearhand Technique
   
  ½ 
  4 
  -2 
  +0 HKA ½d6 (2 DC)
  The Strike of Initial Defeat
   
  ½ 
  3 
  +2 
  -1 STR +1d6 Strike; 
  Target Falls
  The Warrior’s Smile Technique
   
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Skills
  KS: Splendid Fist Style
  WF: Common Melee Weapons*
  WF: Common Martial Arts Weapons*
  WF: Common Missile Weapons*
  Weaponsmith
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Clubs
   
  +1 Use Art with Fist-Loads
   
  +1 Use Art with Karate Weapons
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  
  72 
  The Ultimate Martial Artist
  in which the practitioner’s only goal is to defeat his 
  foe by any honorable means possible. Even today it is 
  a ﬁ erce and sometimes deadly combat art.
  Th e Splendid Fist style emphasizes hand and 
  ﬁ st attacks over kicks. Masters claim hand attacks 
  are quicker, more easily controlled, and easier to use. 
  Students must also learn a wide variety of weapons 
  techniques.
  SPLENDID FIST NOTES
  Optional Rules:  Th e First and Second Fists of Shi-
  bata Eiji and the Spearhand Technique take 2d6+1 
  Hit Location rolls. Th e Roundhouse Kick takes a 
  3d6 location roll. Th e Strike of Initial Defeat auto-
  matically targets the leg region, and receives neither 
  bonuses nor penalties for so doing.
  Special Abilities: Th e greatest Splendid Fist prac-
  titioners possess a power called the Invincible Fist. 
  By channelling their ki into their ﬁ sts, Splendid Fist 
  masters can deliver blows of tremendous power. 
  Legends say Shibata Eiji commanded an Invincible 
  Fist so powerful he could smash down castle walls 
  with it. Whether this is true, it is a recorded fact 
  that ﬁ ghters who possess this ability are capable of 
  delivering ﬁ st-strikes powerful enough to defeat the 
  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 ﬁ ght-
  ing style emphasizing “internal” disciplines and 
  forms of combat. Some ﬁ ghters refer to it as “Japa-
  nese Tai Ch’i,” and this observation is not far wrong. 
  Th e 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. 
  Aft er 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. Th e Takijutsu practitioner 
  lets an attacker defeat himself by taking aggressive 
  action, thus putting him at a disadvantage, which 
  the takijutsuka exploits to end the ﬁ ght quickly and 
  as painlessly as possible.
  Most practitioners of Takijutsu are Shintoists.
  TAKIJUTSU NOTES
  Optional Rules:  Th e 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 oft en 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 ﬁ ghting 
  range (Sight Group Flash Attack Damage Shield). 
  Th ird, according to legend some masters have the 
  power to transform themselves into water, but no 
  living master has substantiated this.
  
  73 
  Hero Games
  Thunder Dragon Kung Fu 
  Th is ﬁ ghting style originated in Bhutan, “land 
  of the thunder dragon,” hence its name. Legend has 
  it a Buddhist monk named Jigme developed it aft er 
  observing a crane struggling to capture a large ﬁ sh. 
  He taught the art to his fellow monks, one of whom 
  took it to Th ailand and China when he traveled there 
  as a missionary. He integrated elements of Muay 
  Th ai and northern Kung Fu styles into the art to 
  create a more well-rounded ﬁ ghting style.
  Th under Dragon Kung Fu (Léilóng Ch’uan) 
  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 
  the sinuous body of the thunder dragon, giving its 
  strikes great power. Th under Dragon practitioners 
  are also known for their ability to withstand blows 
  that would knock other ﬁ ghters unconscious.
  THUNDER DRAGON KUNG FU NOTES
  Optional Rules:  Th e Roundhouse Kick and Snap 
  Kick take 3d6 Hit Location rolls. Th e Punch/Elbow 
  Strike and Axe Kick take 2d6+1 Hit Location rolls; 
  the Knee Strike takes a 2d6+7 roll. Th e other maneu-
  vers do not require Hit Location rolls.
  Special Abilities:  In addition to the special abilities 
  available to Kung Fu and Th ai Kick-Boxing practi-
  tioners, Th under Dragon masters may also know the 
  following powers:
  1)  Th under-Kick:  A kick accompanied by a loud 
  burst of sound that deafens and stuns the target:
  Thunder-Kick:  Hearing Group Flash 4d6, Trig-
  ger (when character uses Roundhouse Kick, 
  takes no time, immediately automatically 
  resets; +1) (24 Active Points); Linked (-1/2) 
  (total cost:  16 points) plus Energy Blast 2d6, 
  NND (defense is being deaf or having Hear-
  ing Group Flash Defense; +1), Trigger (when 
  character uses Roundhouse Kick, takes no time, 
  immediately automatically resets; +1) (total 
  cost:  30 points). Total cost:  46 points.
  2)  Water-walking:  By carefully focusing their ch’i, 
  Th under Dragon practitioners can walk upon water. 
  Th ey buy this as Flight 5” (10 Active Points); Only 
  Works In Contact With Water (-1½), Concentration 
  (0 DCV; -½). Total cost:  3 points.
  3)  Weather control:  Th e ability to manipulate the 
  weather. Characters buy this as a form of Change 
  Environment, and may also buy related powers (such 
  as an EB reﬂ ecting the power to call down lightning 
  bolts to smite one’s foes).
  Zen Riﬂ ery
  Th is ﬁ ghting style is best referred to as “the art 
  of the gun.”  Its tongue-in-cheek name is a joking 
  reference to Kyujutsu/Kyudo (“Zen archery”). 
  Some practitioners call it Gun Fu or Woojutsu. It’s 
  a modern-day reﬁ nement on several more or less 
  extinct Japanese arts, including Jukenjutsu (the art 
  of the bayonet), Hojutsu (the art of the arquebus), 
  and Kajutsu (the art of ﬁ rearms and explosives, also 
  known as Kayakujutsu and Teppojutsu).
  Zen Riﬂ ery cannot take the Style Distinctive 
  Feature.
  ZEN RIFLERY NOTES
  Th e “Club” referred to above is the gun itself, used as a 
  hand-to-hand weapon. In some cases this can damage 
  the gun. Practitioners can also learn special techniques 
  for using the bayonet on a riﬂ e (they may also study 
  true Jukenjutsu if they wish; see page 32).
  Optional Rules:  Th e Smash/Th rust takes a 2d6+1 Hit 
  Location roll. All other oﬀ ensive maneuvers take a 3d6 
  Hit Location roll.
  Special Abilities:  Gun Fu practitioners have devel-
  oped a wide variety of abilities to simulate their skill 
  with ﬁ rearms. Th ey include:
  1)  Deadly Accuracy:  Th e character has such good aim 
  TAKIJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Fortress Hand of Sohda Hiroshi
   
  ½ 
  4 
  +2 +2 Block, Abort
  The Gentle Grasp of Master Shiokawa
   
  ½ 
  4 
  +0 +0 Grab One Limb, +10 
  STR for holding on
  Hayata Setsuko’s Hand of Passage
   
  ½ 
  4 
  +0 +0 +15 STR to Shove
  The Response of the Stream
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  The Touch of Tsukiyomi
   
  ½ 
  5 
  +0 +1 2d6 NND(1)
  The Waterfall Throw of Sakai Akemi
   
  ½ 
  4 
  +1 +1 STR +v/5; Target 
  Falls
  Skills
  Acrobatics
  Breakfall
  KS: Shintoism
  KS: Takijutsu
  THUNDER DRAGON KUNG FU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Crescent
  Kick 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Grab 
  ½ 
  3 
  +0 
  -1 Grab One Limb, +10 
  STR for holding on
  Knee Strike ½ 
  5 
  +2 +1 STR +2d6 Strike
  Legsweep 
  ½ 
  4 
  +2 +0 STR +1d6 Strike; 
  Target Falls
  Roundhouse Kick/
  Axe Kick 
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  Snap Kick/Punch/
  Elbow Strike ½ 
  4 
  +0 +2 STR +2d6 Strike
  Skills
  As Kung Fu package
  KS: Th under Dragon Kung Fu
  WF: As Kung Fu package
  Elements
  As Kung Fu package
  ‘D
  o not 
  seek to 
  follow in the 
  footsteps of the 
  wise. Seek what 
  they sought.’
  —Basho
  
  74 
  The Ultimate Martial Artist
  that almost every shot is an instant kill. Th e character’s 
  accuracy is simulated not with extra OCV, but with extra 
  damage, signifying his ability to hit vital areas with every 
  shot. RKA +2d6, adds to any ﬁ rearm (30 Active Points); 
  OIF (any ﬁ rearm; -½), Does Not Work With Hit Loca-
  tion Chart Or Targeting Skill Levels (-¼), No KB (-¼). 
  Total cost:  15 points.
  2)  Mowing ‘Em Down:  Th e character is skilled with 
  Autoﬁ re attacks, able to cut down numerous foes without 
  suﬀ ering CV penalties. Area of Eﬀ ect (Radius, Selec-
  tive) for up to RKA 4d6, adds to any Autoﬁ re ﬁ rearm 
  (75 Active Points); OIF (any Autoﬁ re ﬁ rearm; -½), Must 
  Use Maximum Number Of Autoﬁ re Shots, Can Only 
  Hit One Target Per Shot (-¼), Does Not Work With Hit 
  Location Chart Or Anti-Targeting Levels (-¼). Total cost:  
  37 points.
  3)  Corridor of Death:  Th e character can use an Autoﬁ re 
  attack to ﬁ ll a hall, corridor, or similar conﬁ ned space 
  with a hail of lead. Area of Eﬀ ect (Line, x2 length) for 
  up to RKA 4d6, adds to any Autoﬁ re ﬁ rearm (75 Active 
  Points); OIF (any Autoﬁ re ﬁ rearm; -½), Must Use Maxi-
  mum Number Of Autoﬁ re Shots, Can Only Hit One 
  Target Per Shot (-¼), Does Not Work With Hit Loca-
  tion Chart Or Targeting Skill Levels (-¼). Total cost:  37 
  points.   
  4)  Machine Gunner From Hell:  Th e character is 
  extremely accurate when using Autoﬁ re attacks against 
  a single foe. +4 OCV with Autoﬁ re Firearms (20 Active 
  Points); Only Apply When Uses Autoﬁ re Against A 
  Single Target (-¼), Must Use Maximum Number Of 
  Autoﬁ re Shots (-¼), Does Not Work With Hit Loca-
  tion Chart Or Targeting Skill Levels (-¼). Total cost:  11 
  points.
  5)  Quick Fire:  Th e character can attack in a manner like 
  the Rapid Fire maneuver, but he’s so nimble he suﬀ ers 
  no DCV penalties when doing so. On the other hand, 
  he suﬀ ers the usual penalties associated with Autoﬁ re 
  if he does not buy Skills such as Accurate Sprayﬁ re and 
  Concentrated Sprayﬁ re. Autoﬁ re (up to 5 shots) for up to 
  RKA 4d6 ﬁ rearms (30 Active Points); OIF (any ﬁ rearm; 
  -½), Does Not Work With Hit Location Chart Or Target-
  ing Skill Levels (-¼). Total cost:  17 points.
  ZEN RIFLERY
  Used with Clubs Group; Weapon Element Clubs is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  Smash/
  Thrust 
  ½ 
  4 
  +0 +2 Weapon +2 DC Strike
  Takeway 
  ½ 
  5 
  +0 +0 Grab Weapon, 
  +10 STR to take 
  weapon away
  Used with Pistols Weapons Group; Pistols Weapon Ele-
  ment is free
  Maneuver Phs Pts OCV DCV RNG Damage/Effect
  Accurate
  Shot 
  ½ 
  4 +2  -2 +2 Weapon Strike
  Basic Shot 
  ½ 
  4 +0 +0 +2 Weapon +2 DC 
  Strike
  Defensive 
  Shot 
  ½ 
  3  -1 +2 +0 Weapon Strike
  Distance Shot ½ 
  5 +0  -2 +6 Weapon Strike, 
  +1 Segment
  Diving Shot ½ 
  3 +0 +2 +1 Weapon Strike, 
  Half Move 
  Required, You Fall
  Far Shot 
  ½ 
  5 +1  -1 +4 Weapon Strike
  Leg Shot 
  ½ 
  3 +0  -1 +0 Weapon +2 DC 
  Strike, Throw
  Offensive
  Shot 
  ½ 
  4  -1  -1 +0 Weapon +4 DC 
  Strike
  Quick Shot 
  ½ 
  4 +1 +0 +0 Weapon +2 DC 
  Strike
  Ranged
  Disarm 
  ½ 
  4 +0 +0 +0 Disarm, +15 STR 
  to roll
  Trained Shot ½ 
  4 +2 +0 +0 Weapon Strike
  Skills
  Combat Skill Levels
  Demolitions*
  KS: Gun Accessories
  KS: Zen Riﬂ ery
  Missile Deﬂ ection (dodging bullets)
  PS: Gunsmith
  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
  
  75 
  Hero Games
  O
  ne of the most frequently encoun-
  tered villains in just about any movie, 
  comic book, or action novel these 
  days is the ninja — the elusive assas-
  sin-spy of feudal Japan. Ninja clans and individual 
  ninjas are particularly popular in martial arts-based 
  comics, but they’re used as villains in many other 
  stories as well. Even characters who aren’t “true” or 
  “pure” ninja have oft en received “ninja training” of 
  some sort.
  Most works of ﬁ ction portray ninja as seri-
  ous enemies with skills so advanced they present 
  a credible threat to the most skilled PCs. With the 
  addition of some unusual, or mystic, abilities, they 
  can even go head-to-head with superpowered 
  humans. A few authors have made fun of this trend 
  and shown that the ninja have humor value, too 
  — sometimes Our Hero can’t even get near China-
  town without stepping on hordes of the damned 
  things, and their ﬁ ghting prowess is questionable 
  at best.
  Th is section of Th e Ultimate Martial Artist 
  takes a look at ninja — their ﬁ ghting arts, special 
  abilities, tools, and equipment.
  NINJA PACKAGE DEAL
  In feudal Japan, ninja were reconnaissance 
  experts, spies, and assassins. Th e principles of nin-
  jutsu began development as early as the seventh 
  century AD and reached their height during the 
  Tokugawa era (seventeenth to nineteenth centuries 
  AD). Th e earliest name for ninja was shinobi, or 
  “stealer-in” (one who sneaks in), and their arts were 
  collectively known as shinobijutsu.
  Ninja belonged to extended ninja clans, most 
  of which were located in the Iga and Koga moun-
  tain areas. A clan was oft en associated with a spe-
  ciﬁ c noble family that utilized its services on an 
  exclusive or near-exclusive basis.
  Ninja fell into one of three ranks within their 
  families. Th e low man was the genin, the agent-
  level ninja who performed the dangers missions; 
  in Tokugawa times, known genin were the lowest 
  form of life in the Japanese social strata. Th e middle 
  man was the chunin, the functionary of the ninja 
  clan, a subleader and planner. Th e top rank was that 
  of the jonin, the ninja group or family leader who 
  prepared, accepted, or refused contracts.
  Female ninja, called kunoichi, existed. Th ey 
  learned traditional ninja abilities but were espe-
  cially skilled at espionage through seduction and 
  inﬁ ltration.
  Aft er the end of the Tokugawa era, the ninja 
  families went into decline; their skills were not of 
  much use in a peaceful Japan. According to some 
  historians, the last true ninja used their skills in 
  World War II, and no one practices genuine nin-
  jutsu today. But other sources say some ninja fami-
  lies retained and handed down their skills until the 
  modern era, and their ninjutsu is still being taught, 
  even by Americans who have learned the art.
  ADVANCED 
  NINJUTSU
  NINJA PACKAGE DEAL
  Skills 
  Cost
  WF:  Common Melee Weapons, Common 
  Martial Arts Melee Weapons, Common Missile 
  Weapons, Garrote, Blowgun, Fukimi-bari 
  9
  Ninjutsu or Karate maneuvers (character’s 
  choice) 
  10
  KS:  Ninjutsu or Karate (character’s 
  choice) 8- 
  1
  Language:  Ninja Clan Codes and Symbols 
  (ﬂ uent conversation; literate) 
  3
  Acrobatics 
  3
  Breakfall 
  3
  Climbing 
  3
  Concealment 
  3
  Stealth 
  3
  Choose any two of the following: 
  6
  Contortionist, Conversation, Demolitions, 
  Disguise, Fast Draw, High Society, Lockpicking, 
  Paramedics, PS: Dancing 12-, PS: Cartography 12-, 
  PS: Healer (Doctor) 12-, PS: Singing 12-, Riding, 
  Seduction, SS: Meteorology 12-, Security Systems, 
  Sleight Of Hand, Survival (3 points’ worth), 
  Tracking, Weaponsmith (3 points’ worth)
  Total Cost: 
  44
  Optional Skills
  Bugging 
  3
  Electronics 
  3
  Mechanics 
  3
  WF:  Small Arms 
  2
  Optional Disadvantages
  Distinctive Features:  Style 
  -10
  Distinctive Features:  Ninja Night-Suit (Easily 
  Concealed; Noticed and Recognizable) 
  -5
  (for feudal-era ninja, increase the Reaction to 
  “Causes Extreme Reaction (fear and loathing),” 
  and the value to -15)
  Hunted:  own ninja clan (or organized crime 
  group) 11- (Mo Pow, NCI, Watching) 
  -10
  (this Hunted is appropriate for a ninja who’s 
  loyal to his clan [or for modern ninja, his 
  organized crime group]; you can change its 
  value by changing the frequency)
  
  76 
  The Ultimate Martial Artist
  VARIANT STYLES
  OF TAIJUTSU
  For players who want to be a little diﬀ erent with 
  their ninja characters, here are four ﬁ ctional styles 
  of Taijutsu.
  Kõrogi Taijutsu
  Developed by the elusive Mosoru ninja clan, 
  Kõrogi (“cricket”) Taijutsu received its name for 
  two reasons. Th e ﬁ rst and more obvious reason is 
  its visual element:  Kõrogi Taijutsu involves a lot of 
  leaping, ﬂ ying kicks, and other maneuvers not com-
  monly used by ninja. Th e second (but perhaps more 
  important) reason is that, like a cricket at night, you 
  may sense there’s a Mosoru ninja near, but you can 
  never ﬁ nd and catch him.
  Th e Mosoru have taught their art to several 
  Westerners they trust, but do not teach it openly.
  KOROGI TAIJUTSU NOTES
  Th e Cricket Escape allows the character to make 
  a Full Move during the process of escaping from a 
  hold of some sort. Th e 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 
  Full Move; if he remains held, he cannot make the 
  Full Move.
  Optional Rules:  Th e Cricket Kick, Punch, and 
  Spear Hand all take 2d6+1 Hit Location rolls. Th e 
  Takedown does generalized damage and requires 
  no roll. Th e other maneuvers do not use Hit Loca-
  tion rolls.
  Special Abilities:  Th e special skills of the Kõrogi 
  practitioner include:
  1)  Leaping:  Practitioners of this style can leap a 
  great distance. Th ey should buy at least an extra 5” 
  of Leaping. In some cases the extra Leaping may 
  Require An Acrobatics Roll (-½).
  2)  Chūchū naku (“to chirp”):  Th e Kõrogi ninja’s 
  ability to attack his enemies by expelling his ki as a 
  shout. It is equivalent to Kiaijutsu (see page 134).
  3)  Kõrogitobu (“Th e cricket’s leap”):  A powerful 
  attack ability: Leaping +20” (20 Active Points); Only 
  To Make Half Moves In Combat (-1) (total cost:  10 
  points) plus HA +5d6 (25 Active Points); Hand-
  To-Hand Attack (-½), Linked (-½) (total cost:  12 
  points) plus +1 OCV (total cost: 2 points). Total 
  cost:  24 points.
  Mist Viper Taijutsu
  Mist Viper (Kiri no Mamushi) Taijutsu is 
  everything the Silent Path (see below) is not:  hard, 
  brutal, combative. Mist Viper ninja, of the Saito 
  clan, are a secretive group known as lethal assassins 
  and top-ﬂ ight combat agents. On the other hand, 
  their inﬁ ltration skills are not nearly as well-devel-
  oped as those of Silent Path practitioners. A great 
  rivalry exists between these two families; the Saito 
  also despise practitioners of the Way of the Night 
  Dragon and work to eliminate them. Few if any 
  Westerners have ever learned this style.
  MIST VIPER TAIJUTSU NOTES
  Optional Rules:  Th e Blood-Fist and Death-Fist 
  both take 2d6+1 Hit Location rolls. Saito Yuriko’s 
  Strike of Revenge, a form of kick, takes a 3d6 loca-
  tion roll. Th e other maneuvers either do not use 
  rolls, do generalized damage to the target, or target 
  a speciﬁ c location.
  Special Abilities:
  1)  Kõdokuso:  Immunity to many diﬀ erent kinds of 
  serpent venoms (LS: Immunity).
  KOROGI TAIJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Atemi Strike ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Cricket Choke 
  Hold 
  ½ 
  4 
  -2 
  -1 Grab One Limb; 1d6 
  NND(2); FMove
  Cricket 
  Dodge 
  ½ 
  5 
  — +4 Dodge All Attacks, 
  Abort, FMove
  Cricket Kick ½ 
  5 
  +1 +0 STR +v/5; FMove
  Cricket 
  Escape 
  ½ 
  4 
  +0 
  -1 +10 STR vs. Grabs; 
  FMove
  Punch 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Spear Hand ½ 
  4 
  -2 
  +0 ½d6 HKA (2 DC)
  Takedown 
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  Acrobatics*
  Breakfall*
  Contortionist*
  As Ninjutsu package
  Elements
  As Ninjutsu package
  MIST VIPER TAIJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Blood-Fist Of The Mist Viper
   
  ½ 
  4 
  +2 +0 STR +2d6 Strike
  Death-Fist Of The Mist Viper
   
  ½ 
  4 
  -2 
  +0 ½d6 HKA (2 DC)
  The Neck-Throw Of Saito Junzo
   
  ½ 
  5 
  -2 
  +0 ½d6 HKA (2 DC); 
  Target Falls
  Saito Masao’s Invincible Grip
   
  ½ 
  4 
  -2 
  +0 Grab One Limb; 2d6 
  NND(2)
  Saito Yuriko’s Strike Of Revenge
   
  ½ 
  5 
  -2 
  +1 STR +4d6 Strike
  The Sting Of The Mist Viper
   
  ½ 
  3 
  +1 +1 STR Strike; Target 
  Falls
  Skills
  As Ninjutsu package
  Elements
  As Ninjutsu package
  
  77 
  Hero Games
  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
  Th e creators of this style, the Morioka ninja 
  clan, value stealth and movement skills over oﬀ en-
  sive techniques. Consequently, the Silent Path 
  (Komichi Shizukana) contains few strikes, concen-
  trating instead on blocks and defensive maneuvers.
  Known primarily for their inﬁ ltration and 
  escape skills, Silent Path ninja oft en prefer not to 
  use their abilities to kill. Th ey are ﬁ erce rivals of the 
  Mist Viper ninja (see above). Th eir ranks include 
  many Westerners who have learned the style while 
  in Japan.
  SILENT PATH TAIJUTSU NOTES
  Optional Rules:  Th e Fift h and Sixth Paths both 
  take 3d6 Hit Location rolls. Th e other maneuvers 
  do not require location rolls.
  Special Abilities:
  1)  Th e Seventh Path (Supreme Defense):  Defense 
  Maneuver I-IV
  2)  Various ninjutsu mystic arts of invisibility and 
  stealth (described below).
  3)  Th e Path Of No Path:  Th e ability to walk with-
  out leaving footprints (see page 127 under Gliding).
  4)  Th e 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.
  The Way Of The Night Dragon
  Th e Way of the Night Dragon (Yoruryujutsu) 
  was developed by the Kagemura Clan during 
  Japan’s feudal era. Th e clan strove to create a style 
  which maintained the stealth techniques of nin-
  jutsu while increasing the ninja’s martial prowess. 
  Th e Night Dragon style also incorporates several 
  mystic skills and abilities the Kagemura ninja found 
  particularly useful.
  In time, because of this style’s emphasis on the 
  mystical, a religion developed around it. Its adher-
  ents worship “the Night Dragon” itself, and look 
  upon him as the source of their abilities (especially 
  the infamous Veil of the Night Dragon). Depend-
  ing upon who tells the tale, those who worship 
  the Night Dragon are either honorable warriors 
  devoted to an altruistic philosophical concept, or 
  cruel assassins whose god lives by human sacriﬁ ce.
  NIGHT DRAGON TAIJUTSU NOTES
  Th e Jaws of the Night Dragon allows a character to 
  break free of a Grab in such a way that he strikes 
  SILENT PATH TAIJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  The First Path (Avoidance)
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  The Second Path (Escape)
   
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  The Third Path (Interception)
   
  ½ 
  5 
  +1 +3 Block, Abort
  The Fourth Path (Removal)
   
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  The Fifth Path (Subdual)
   
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  The Sixth Path (Conﬂ ict)
   
  ½ 
  5 
  +1 +3 STR Strike
  Skills
  Stealth*
  As Ninjutsu package
  Elements
  As Ninjutsu package
  
  78 
  The Ultimate Martial Artist
  the person who grabbed him. Th e character ﬁ rst 
  makes his STR Roll to see if he escapes. If he suc-
  ceeds, he rolls in the normal fashion to see if the 
  Strike part of the maneuver hits. If the escape fails, 
  he must make an Attack Roll with the penalties and 
  modiﬁ ers described under Grab on page 386 of the 
  HERO System 5th Edition, Revised.
  Optional Rules:  Th e Sublime Fist Of Th e Night 
  Dragon, the Claw Of Th e Night Dragon, and Jein’s 
  Hand Of Shadow all take 2d6+1 Hit Location rolls. 
  Th e Jaws Of Th e Night Dragon does generalized 
  damage; all the other maneuvers do not require Hit 
  Location rolls.
  Special Abilities:  
  1)  Th e Veil Of Th e Night Dragon:  Th is is the Night 
  Dragon ninja’s most feared power:  the ability to 
  avoid detection by those who can sense danger. 
  (Invisibility to Danger Sense (20 Active Points); 
  Requires A Stealth Roll (-½); total cost 13 points.)
  2)  Eyes Of Th e Night Dragon:  Th e ability to remain 
  completely aware of one’s surroundings while 
  asleep (Lightsleep).
  3)  Will Of Th e Night Dragon:  Equivalent to Saim-
  injutsu (see below).
  NINJA SPECIAL ABILITIES
  Th is 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
  Th is is a rapid-ﬁ re shuriken-throwing ability 
  used not only by true ninja, but by some practi-
  tioners of Shurikenjutsu as well. Th e ninja hides a 
  number of shuriken on his person, anywhere from 
  his feet to his head. (Th e usual number is nine, 
  which has special signiﬁ cance for the ninja.)  Th en, 
  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 ﬂ uid they oft en seem 
  like a sort of “dance,” hence this manuever’s name.
  The Dance Of The Six Stars:  HKA ½d6 (plus 
  STR), Ranged (+½), Autoﬁ re (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 
  deﬁ ned as a “reﬂ ex 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.
  NIGHT DRAGON TAIJUTSU
  Maneuver Phs Pts OCV DCV Damage/Effect
  The Claw Of The Night Dragon
   
  ½ 
  4 
  -2 
  +0 ½d6 HKA (2 DC)
  The Jaws Of The Night Dragon
   
  var 5 
  +0 +1 +10 STR vs. Grabs; 
  STR +2d6 Strike
  Jein’s Dragon-Wing Fan
   
  ½ 
  4 
  +2 +2 Block, Abort
  Jein’s Hand Of Shadow
   
  ½ 
  4 
  -1 
  +1 2d6 NND(1)
  Kinuko’s Puzzling Apprehension
   
  ½ 
  3 
  -1 
  -1 Grab Two Limbs, +10 
  STR for holding on
  Saigo’s Body Of Shadow
   
  ½ 
  4 
  — +5 Dodge All Attacks, 
  Abort
  The Sublime Fist Of The Night Dragon
   
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Skills
  Acrobatics
  Breakfall
  As Ninjutsu package
  Elements
  As Ninjutsu package
  ‘O
  ne 
  defends when 
  his strength is 
  inadequate; he 
  attacks when it 
  is abundant.’
  —Sun Tzu, 
  The Art of War
  
  79 
  Hero Games
  THE DRAGON’S CLAW 
  Th e Dragon’s Claw (Ryu no Tsume) allows a 
  ninja to inﬂ ict rending and tearing damage upon an 
  enemy. Training for it consists of strengthening the 
  hands and wrists. In game terms, a ninja with this 
  ability can buy the Tiger/Dragon Claw maneuver 
  from Kung Fu for his Ninjutsu package.
  GENJUTSU 
  Genjutsu (the art of illusion) is the ninja’s skill 
  at creating images and illusions using props and 
  other devices. For example, a ninja might set up a 
  lot of dummies and light some fake campﬁ res to 
  make a besieging army look larger than it really is. 
  Th ese illusions are relatively crude and take a long 
  time to set up or change.
  Genjutsu:  Sight and Hearing Group Images, -2 
  to PER Roll, 1” radius (19 Active Points); IIF 
  (various props; -¼), Limited Eﬀ ect (Normal 
  Sight and Normal Hearing only; -¼), Set Eﬀ ect 
  Until Changed (-½), Extra Time (1 Turn or 
  more to set up or change an image, depending 
  upon complexity; -1). Total cost:  6 points.
  Modern-day ninja could take advantage of 
  current technology (and maybe even holography) 
  to make their illusions more versatile and easy to 
  work with. Additionally, in some campaigns Gen-
  jutsu could represent a mystical ability allowing a 
  ninja to create true Images or Mental Illusions to 
  confuse his enemies.
  HOJOJUTSU/TORINAWAJUTSU 
  Th is is the ninja’s knot-tying ability, with which 
  they restrained prisoners. Knowledge of knot-tying 
  also helped a ninja escape when someone tied him 
  up. Characters buy Hojojutsu as a Professional Skill: 
  Knot-Tying. For every point a character makes 
  his PS: Knot-Tying by, a character trying to escape 
  from or undo the knots using another Skill (such 
  as Contortionist) suﬀ ers a -1 penalty to his roll. 
  Similarly, if a character with PS: Knot-Tying is tied 
  up, his PS: Knot-Tying acts as a Complementary 
  Skill to his Contortionist roll when he tries to untie 
  himself.
  THE MIRACULOUS SUNBURST
  Th is skill teaches the ninja to use the reﬂ ec-
  tive surface of an object to temporarily blind an 
  opponent. Although it’s usually done so the ninja 
  can make an escape, characters can also use it in 
  combat. A ninja who knows this skill usually carries 
  several reﬂ ective objects on his person (a silver war 
  fan, highly polished pieces of jewelry or shuriken, 
  and so forth).
  The Miraculous Sunburst:  Sight Group Flash 
  4d6 (20 Active Points); OIF (reﬂ ective object of 
  opportunity; -½), Requires A Light Source To 
  Reﬂ ect (-¼), Requires A DEX Roll (-½). Total 
  cost:  9 points.
  NOROSHIJUTSU
  In ancient times, Noroshijutsu was the ninja’s 
  skill of using signal-ﬁ res to communicate with his 
  allies. As such, characters can buy it as a Professional 
  Skill. Modern-day ninja might expand Noroshijutsu 
  to include all forms of communication and signalling 
  (i.e., Systems Operation).
  THE SLEEP OF ESCAPE
  Th is ability allows the ninja to reduce his heart-
  beat and rate of respiration, making him appear dead. 
  However, his senses remain active on some level, and 
  he “awakens” when he’s safe once more. Ninja oft en 
  use this ability to escape from prison cells, hence its 
  name.
  The Sleep Of Escape:  Simulate Death (character 
  awakens when danger has passed or other speci-
  ﬁ ed condition is met):  3 points.
  Mystic Ninja Abilities
  In addition to their mundane skills, the ninja 
  were credited with a wide variety of mystical powers. 
  Th is oﬀ ers players plenty of opportunities to “custom-
  ize” their ninja characters and give them unique and 
  interesting powers, such as the ones described below.
  THE BLESSING OF HOMASUBI 
  By using this special power, a ninja can cause 
  his hands to burst into ﬂ ame (allowing him to create 
  light or cause damage in combat).
  Cost Power 
  END
  56 
  Th e Blessing Of Ho-Masubi:  Multipower, 
  56-point reserve
  3u 
  1)  HKA 1½d6, Damage Shield (covers 
  the hands only and so does not aﬀ ect 
  characters who Grab other parts of the 
  character’s body; +¼), Continuous (+1);
   
  No STR Bonus (-½), No KB (-¼) 
  4
  1u 
  2)  Sight Group Images, Increased Size (8” 
  radius; +¾); Only To Create Light (-1) 
  2
  THE BRIDGE OF THE TIDE DRAGON
  While many ninja can use special devices to 
  seemingly “walk on water,” a few ninja can do so 
  unaided! Th ese ninja know how to extend their ki 
  so it supports them on the surface of the water. Of 
  course, this ability only works on relatively calm 
  water; ninja cannot use it in rapids or surf.
  The Bridge Of The Tide Dragon:  Flight 5” (10 
  Active Points); Only In Contact With Th e Sur-
  face Of Relatively Calm Water (-1½). Total cost:  
  4 points.
  CASTLE WITHOUT WALLS
  One of the legendary powers of the ninja was 
  the ability to walk through walls and other barriers, 
  thereby gaining access to otherwise impenetrable 
  fortresses and strongholds.
  Castle Without Walls:  Desolidiﬁ cation (aﬀ ected 
  by any type of attack) (40 Active Points); Does 
  Not Protect Against Damage (-1), Only To Walk 
  Th rough Walls (-1). Total cost:  13 points.
  
  80 
  The Ultimate Martial Artist
  THE FOLDED BLADE
  Th is “origami magic” allows a ninja to spend 
  about a minute folding a piece of specially-pre-
  pared paper into a functional dagger or other 
  small weapon. Origami weapons are as vulnerable 
  to most physical forces as their metal or wooden 
  counterparts, but disintegrate completely if they 
  contact water (but not blood). 
  Whispered tales speak of more advanced 
  forms of origami magic, in which the folder cre-
  ates paper creatures which actually come to life!  
  However, if such magics exist, they are beyond the 
  purview of ninja wizardry.
  Folded Dagger:  HKA ½d6 (plus STR) (10 
  Active Points); OIF (piece of origami paper; 
  -½), No KB (-¼), Real Weapon (-¼), Extra 
  Time (takes 1 Turn to fold into shape before it 
  can be used; -1¼), Requires A PS: Origami Roll 
  To Create (-½), Susceptible To Water Damage 
  (-¼). Total cost:  2 points.
  Folded Shuriken:  HKA ½d6 (plus STR), 
  Ranged (+½) (15 Active Points); OIF (piece of 
  origami paper; -½), No KB (-¼), Real Weapon 
  (-¼), Extra Time (takes 1 Turn to fold into 
  shape before it can be used; -1¼), Requires A 
  PS: Origami Roll To Create (-½), Susceptible To 
  Water Damage (-¼). Total cost:  4 points.
  HANDS OF THE SPIDER
  Ninja climbing abilities sometimes exceed the 
  scope of the Climbing Skill. In fact, some ninja can 
  actually stick to walls, ceilings, and similar surfaces. 
  Characters can buy this as Clinging, Cannot Resist 
  Knockback (-¼), or as “Perching” Clinging (see side-
  bar, page 143, HERO System 5th Edition, Revised).
  IRON BODY
  Th is mystical power, similar to the Kung Fu 
  master’s power of like name, is the ability to with-
  stand blows from edged weapons without injury. A 
  ninja buys it as Damage Resistance for his PD.
  KUJI KIRI
  Kuji kiri (“nine ways cutting”) is a form of 
  mystical meditation. A ninja learns nine diﬀ erent 
  ways to interlace his ﬁ ngers, each with its own sym-
  bolic signiﬁ cance. By meditating on this gesture, the 
  ninja evokes special abilities, strengths, and powers. 
  Th e kuji kiri powers listed below are but one 
  set PCs could develop. Characters could also buy 
  oﬀ  the Extra Time and Charges Limitations once 
  they became proﬁ cient with this power.
  Cost Power 
  END
  14 
  Kuji Kiri:  Multipower, 40-point reserve, 
  all slots Gestures (-¼), Extra Time (1 
  Turn; -1¼), and Requires A KS: Ninjutsu 
  Roll (-¼) (total -1¾)
  1u 
  1)  Rin (“strength”):  Aid STR 4d6; 
  Common Limitations (-1¾), Self 
  Only (-½) 
  4
  1u 
  2)  Kyo (“direction of energy”):  
  Telekinesis (20 STR); Common 
  Limitations (-1¾) 
  3
  1u 
  3)  Toh (“harmony”):  Aid EGO 4d6; 
  Common Limitations   (-1¾), Self 
  Only (-½) 
  4
  1u 
  4)  Sha (“healing”):  Simpliﬁ ed Healing 
  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 
  Limitations (-1¾) 
  3
  1u 
  7)  Retsu (“mastery of time and space”):  
  Teleportation 15”; Common 
  Limitations (-1¾) 
  3
  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
  Th e mystical power most commonly attributed 
  to the ninja was the power to become invisible. “Invis-
  ibility” actually consists of several diﬀ erent 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.
  
  81 
  Hero Games
  Ametori-no-jutsu (the art of silhouette distortion):  
  eliminate the Fringe Eﬀ ect for other types of Invis-
  ibility (10 Active Points); Requires A Stealth Roll 
  (-½). Total cost:  7 points.
  Hiding In Plain Sight (the power to create illusions 
  to camouﬂ age the ninja):  Images to Sight Group, 
  -3 to PER Roll, 1” radius (19 Active Points); 
  Requires A Stealth Roll (-½), Set Eﬀ ect (only to 
  camouﬂ age the ninja; -½). Total cost:  9 points.
  Mind Like A Pool (the ability to hide one’s mind 
  from mental detection):  Invisibility to Mental 
  Sense Group (10 Active Points); Requires A 
  Stealth Roll (-½). Total cost:  7 points.
  True Invisibility:  Invisibility to Sight Group, No 
  Fringe, Reduced Endurance (0 END; +½):  45 
  points.
  ONIBI NO JUTSU
  “Th e art of the demon’s ﬁ re” involves the use of 
  an enchanted demon mask. By putting on the mask, 
  a ninja gains the demonic power to breath ﬂ ame. Th e 
  masks, products of blackest ninja magic, are extremely 
  rare; some people say anyone who touches or wears 
  one who does not belong to the owner’s clan becomes 
  cursed.
  Onibi No Jutsu:  RKA 2d6, Area Of Eﬀ ect (12” 
  Line; +1) (60 Active Points); OIF (Demon Mask; 
  -½), No Range (line must begin where character 
  is; -½). Total cost:  30 points.
  PASS WITHOUT TRACE 
  Some of the most skilled ninja possess the power 
  to travel from one point to a nearby point without 
  passing through the intervening space. Th ey most 
  oft en use this ability to escape pursuers or captors, but 
  can also use it to secretly enter a secured area.
  Pass Without Trace:  Teleportation 15” (30 Active 
  Points); Extra Time (Full Phase; -½), Increased 
  Endurance Cost (x3 END; -1), Requires A KS: 
  Ninjutsu Roll (-¼). Total cost:  11 points.
  THE PATHS OF THE CAT 
  Th is power is the counterpart to the ninja’s invis-
  ibility powers:  he uses his ki to make his movement 
  absolutely silent. Th is power is for the ninja’s normal 
  ground movement; characters can buy similar powers 
  for swimming and other forms of movement.
  The Paths Of The Cat:  Invisible Power Eﬀ ects 
  (Hearing Group; +¼) for up to 10” Running:  5 
  points.
  SAIMINJUTSU
  Saiminjutsu (“the way of the mind gate,” also 
  spelled Hsimenjutsu) is the ninja power of mind 
  control. Ninja can use this power to control the 
  minds of others, both in and out of combat; to 
  reverse the same sort of control which has been 
  imposed by another; and to cloud men’s minds, 
  making him invisible to them.
  Cost Power 
  END
  23 
  Saiminjutsu:  Multipower, 40-point 
  reserve, all slots Gestures (-¼) and 
  Requires An EGO Roll (-½) 
  2u 
  1)  Mind Control 8d6; No Range (-½), 
  Common Limitations (-¾) 
  4 
  2u 
  2)  Suppress Mind Control 8d6; 
  Common Limitations (-¾) 
  4
  2u 
  3)  Invisibility to Sight Group, No 
  Fringe; Common Limitations (-¾) 
  3
  SOUL LEECHING
  Th is is the darkest and most feared of the ninja’s 
  magic abilities — the power to steal the life force of 
  another. In its lesser form, the ninja simply drains the 
  victim’s life force, injuring or killing him; in its greater 
  form, the ninja actually steals the victim’s life force 
  and uses it to make himself stronger!
  Soul Leeching (lesser form):  Drain BODY 3d6, 
  Ranged (+½), Delayed Return Rate (points 
  return once per Hour; +1) (75 Active Points); 
  Concentration (½ DCV; -¼), Requires A KS: 
  Ninjutsu Roll (-¼). Total cost:  50 points.
  Soul Leeching (greater form):  Transfer 5d6 
  (target’s BODY half to character’s STUN, half 
  to character’s END), Ranged (+½), Delayed 
  Return Rate (points return once per Hour; +1) 
  (187 Active Points); Concentration (½ DCV; 
  -¼), Requires A KS: Ninjutsu Roll (-¼). Total 
  cost:  125 points.
  
  82 
  The Ultimate Martial Artist
  THE ULTIMATE DISGUISE 
  Perhaps the rarest of the ninja’s mystical powers 
  is the ability to assume the shape of animals or other 
  people (most commonly, that of the crow and the 
  wolf). Th is is bought as a Multiform or Shape Shift . 
  Consult the HERO System Bestiary for sample char-
  acter sheets for many animals.
  NINJA GEAR AND 
  EQUIPMENT
  Th e ninja used many diﬀ erent types of gear to 
  perform their espionage and assassination missions 
  successfully. Th is section showcases some of their 
  equipment. Modern-day ninja can use “traditional” 
  gadgets of the sort described here, or develop modern 
  equivalents (which tend to be lighter, stronger, and 
  better). Th e choice oft en depends on training:  an 
  American ninja probably uses modern equipment; a 
  ninja trained by a secretive, tradition-bound clan in 
  rural Japan, even in the present day, probably learns 
  to use “archaic” equipment.
  Climbing Equipment
  Th e ninja oft en had to climb walls, trees, and 
  other large objects, so they created several devices to 
  aid them. Collectively referred to as noboriki or toki, 
  these devices include:  bashigo (collapsible ladders); 
  various types of claw-like devices which also doubled 
  as weapons, such as the shuko, ashiko, and nekote 
  (refer to the Weapons section of Chapter Th ree for 
  details); kagiwara or kaginawa (rope and grapnel); 
  kasugai (clamps a ninja could press into a wall to 
  form handholds or toeholds); katsushiya or kasha 
  (a pulley-and-rope device allowing a ninja to slide 
  from one area to another; bought as a limited form 
  of Swinging or Gliding); kumade (a hollow bamboo 
  staﬀ  with a rope running through the center; the 
  ninja pulls on the rope to stiﬀ en the staﬀ  and make it 
  climbable); musubibashigo (a rope ladder with loops 
  for footholds and a grapnel on one end); musubinawa 
  (a horsehair rope, very strong and easy to hide); 
  shinobikagi (a hollow staﬀ  containing a rope and 
  hook which breaks down into a sort of rope ladder); 
  shinobitsue (a hollow staﬀ  with a concealed hook and 
  several rope toeholds); and tobibashigo (a bamboo-
  and-rope ladder with a grappling hook at the top).
  Noboriki:  +2 to Climbing roll (4 Active Points); 
  OAF (-1) or IAF (depending upon the obvious-
  ness and accessability of the device, -½). Total 
  cost:  2 points (OAF); 3 points (IAF).
  Inﬁ ltration Equipment 
  Th e ninja employed a wide variety of devices to 
  aid them in picking locks and inﬁ ltrating areas.
  Drilling devices:  Ninja used these devices to drill 
  or bore holes through doors and walls. Th ey could 
  throw them as crude shuriken (doing 1 pip RKA) 
  if necessary. Th ey include: the kunai (a trowel-like 
  blade for boring or digging); shikoro (a hand-
  saw, either large [oshikoro] or small [koshikoro]); 
  tsubogiri (crescent-shaped borers); and the yajiri 
  (another type of hand-saw). 
  Drilling devices:  +1 to Lockpicking (2 Active 
  Points); OAF (-1). Total cost:  1 point.
  Door jammers:  Many doors in feudal Japan were 
  opened and shut by sliding. Ninja would jam spe-
  cially-shaped pieces of metal or wood called tojime, 
  shimeki, or kasugai between the two sliding panels to 
  prevent them from being opened, thus delaying any 
  pursuers.
  Tojime/Shimeki/Kasugai:  Telekinesis (20 STR), 
  Reduced Endurance (0 END; +½), Uncontrolled 
  (removable by spending one Phase and making 
  a DEX Roll; +½) (60 Active Points); OAF (-1), 
  Only To Hold Sliding Doors Shut (-2). Total cost:  
  15 points.
  Lockpicks:  Th e ninja’s lockpicks were known as 
  kurorokagi and oseku; they do not provide bonuses to 
  his Lockpicking Skill; instead, he must have them to 
  use the Skill at all. If he doesn’t have his lockpicks, he 
  either cannot pick the lock, or must attempt to do so 
  at a -5 penalty for lack of tools.
  Water Equipment
  A ninja oft en has to operate on or around water, 
  and employs a variety of gadgets to help him use 
  water to his advantage. Ninja water gadgets include 
  boats, swimming aids, and water-walking equipment.
  Boats:  Traditional watercraft  adapted to ninja pur-
  poses. Ninja could collapse them, or divide them into 
  several parts, for easy carrying. Examples include the 
  hasamibune (a collapsible ﬂ oating platform for car-
  rying equipment); the kyobako-fune (a waterproof 
  chest which doubled as a type of boat); shinobibune 
  (a boat which split into several sections for carrying 
  or hiding); and the tsubigune or tsugibune (collapsible 
  boat). To use any of these craft  properly, the character 
  must know Transport Familiarity: Small Rowed Boats.
  Swimming aids:  Ninja sometimes used mizukaki 
  or mizukakigeta, a “webbed sandal” which acted 
  like modern swim ﬁ ns, allowing them to swim 
  more quickly than normal. If they had to hide 
  underwater for extended periods, they used a tak-
  ezutsu, or breathing tube (oft en disguised as a reed, 
  and also called a mizuzutsu).
  Mizukaki:  Swimming +3” (3 Active Points); OIF 
  (-½). Total cost:  2 points.
  Takezutsu:  LS: Expanded Breathing (Expanded 
  Breathing:  Breathe Underwater) (5 Active 
  Points); OAF (-1), Only Works Close To Th e Sur-
  face (-1). Total cost:  2 points.
  Water-walking devices:  Th ese devices allowed the 
  ninja to “walk on water” so that he could cross rela-
  tively calm lakes and streams quickly and quietly. To 
  use them properly, a character must know Transport 
  
  83 
  Hero Games
  Familiarity: Ninja Water-Walking Devices. Examples 
  include: kama-ikada (a foldable one-man straw raft ); 
  kameikada (large tortoise shells attached to a bamboo 
  frame; the ninja placed his feet in the shells and poled 
  himself across the water with a special collapsible 
  bamboo paddle called a shinobigai); the mizugumo 
  (“water spider,” two groups of boards tied together in 
  a circular pattern and placed under each foot); tarui-
  kada (similar to the kameikada, but using ﬂ otation 
  pots instead of tortoise shells); and the ukidaru (two 
  tubs joined by a cord, used like the taruikada).
  Water-walking devices:  Flight 3” (6 Active 
  Points); OAF (-1), Only In Contact With Th e Sur-
  face Of Relatively Calm Water (-1½), Requires 
  A DEX Roll (-½), Concentration (0 DCV; -½), 
  Requires TF: Ninja Water-Walking Devices (-0). 
  Total cost:  1 point.
  Miscellaneous Equipment 
  Disguised footprints:  By attaching special soles to 
  the bottoms of his sandals, a ninja could disguise his 
  footprints (ashiaro) as those of an animal, a man walk-
  ing the other direction, or the like.
  Disguised footprints:  Cosmetic Transform 1d6 
  (recognizable footprint into disguised footprint; 
  Standard Eﬀ ect Rule applies) (5 Active Points); 
  OIF (-½). Total cost:  3 points.
  Hito Washi:  A type of primitive hang-glider made 
  of cloth and bamboo which a ninja could use to glide 
  over castle walls and other targets of observation. 
  Sometimes ninja also used this device to drop small 
  bombs on the enemy. A similar device, more like a 
  large kite, was the yamidoko.
  Hito Washi:  Gliding 5” (5 Active Points); OAF (-
  1). Total cost:  2 points.
  Kitõ-gan:  a special type of pill which ninja used to 
  delay thirst for up to ﬁ ve days.
  Kitõ-gan:  Life Support:  Diminished Eating (only 
  has to drink once per week) (1 point); OAF (-1), 1 
  Charge (-2). Total cost:  1 point.
  Lighting devices:  Ninja devices for providing light 
  include:  the gando, a type of searchlight made by 
  placing a candle inside a sort of metal tube; the mizu-
  taimatsu, a torch which continued burning even in the 
  rain; and the ninshokudai, an L- or S-shaped candle 
  (and/or holder) which a ninja could wedge into or 
  hang from something to make others think he was 
  standing somewhere he was not.
  Lighting devices:  Images to Sight Group, 1” radius 
  (create light) (10 Active Points); OAF (-1), Only 
  To Create Light (-1). Total cost:  3 points.
  Uchidake:  Th e uchidake was a ﬁ re-starter made out 
  of a bamboo tube.
  Uchidake:  Change Environment 1” radius 
  (start ﬁ re) (5 Active Points); OAF (-1). Total 
  cost:  2 points.
  NINJA FROM OTHER LANDS
  Japan is not the only land in which stealth, espi-
  onage, and assassination missions were conducted by 
  corps of elite warrior-spies. Several “alternate ninja” 
  are described below. In most cases, these warriors 
  used tactics and ﬁ ghting styles which are, for game 
  purposes, the same as those used by the ninja.
  LIN KUEI 
  Th e lin kuei (“forest demons”) are the ninja 
  of ancient China. Some scholars believe the ninja 
  learned most of their techniques from the lin kuei, 
  described  by legends as Taoists who turned their reli-
  gious martial training to the secular ends of decep-
  tion, assassination, and proﬁ t.
  Th e lin kuei used a style of martial arts known 
  as An Ch’i (see page 16). Th is style emphasizes the 
  use of hidden weapons and gadgets, and of small 
  throwing weapons (similar to shuriken). Th e lin 
  kuei were masters of the thrown weapon; char-
  acters who have received lin kuei training should 
  buy a “throwing master” ability (EB and/or RKA 
  with an OIF, “appropriate objects of opportunity” 
  — thus allowing the character to turn any small 
  object into a deadly missile).
  SULSA
  Th e sulsa are the ninja of Korea. Th ey rose to 
  prominence during the Th ree Kingdoms period of 
  Korean history, in the ﬁ rst millenia AD. Th ey prac-
  ticed the art of concealment (also known as sulsa), 
  and in many ways could be considered the opposite 
  of the hwarang (young noble knights) just like the 
  ninja are the counterparts of the noble samurai.
  TRULKOR
  Th e trulkor is the Tibetan equivalent of the ninja. 
  His ﬁ ghting and espionage arts depended heavily on 
  the principles of deception and illusion — the idea 
  that if a ﬁ ghter could mask his intent from the enemy, 
  the enemy was helpless.
  MODERN AMERICAN NINJA
  Th e term “modern American ninja” refers to 
  present-day Americans (and persons from other 
  western nations) who have received ninjutsu training. 
  Modern ninja from Japan are oft en depicted as using 
  ancient devices and weapons, perhaps because of the 
  “ﬂ avor” this gives them. American ninja, on the other 
  hand, usually have no reluctance to use the technol-
  ogy of modern warfare and espionage. Modern 
  American ninja are more likely than any other type 
  of ninja to use ﬁ rearms, electronic devices, and simi-
  lar high-tech gadgetry.
  OTHER NAMES FOR NINJA
  Other names that were sometimes given to 
  the ninja include kuro hagi (“black calves”), nozaru 
  (“mountain monkeys”), rappa (“disheveled waves”), 
  and suppa (“crystal waves”).
  
  84 
  The Ultimate Martial Artist
  F
  ighting skills play an important role in 
  many genres, from fantasy, to science 
  ﬁ ction, to the wild west. Th is section 
  explores some of the possibilities for 
  using martial arts in various genres.
  CYBERPUNK/NEAR FUTURE 
  MARTIAL ARTS
  Most “cyberpunk” or near future settings include 
  the increased inﬂ uence of the Japanese, Chinese, and 
  other Asian cultures as an element of the setting. 
  Wherever Asian inﬂ uence becomes so strong, the 
  martial arts prosper. Th e fact that cyberpunk worlds 
  tend to be extremely violent places where people 
  need to learn how to ﬁ ght well doesn’t hurt, either.
  One way to “customize” martial arts for cyber-
  punk games is to give some of the styles new names 
  in the cyberpunk patois. For example, characters 
  might refer to “Street Smarts” instead of Dirty 
  Inﬁ ghting; Kenjutsu becomes “Samurai Diplomacy.”  
  Th is 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.
  Here’s an examples of a cyberpunk martial 
  arts style.
  Razor Dancing
  Developed by cyberware-augmented street 
  warriors to improve their odds of surviving in 
  hand-to-hand combat, Razor Dancing focuses on 
  the use of various types of blades or spurs these 
  ﬁ ghters oft en possess (including small blades, or 
  “hand razors,” that project from beneath their ﬁ n-
  gernails, hence the style’s name). Fast, deadly, and 
  graceful, Razor Dancing gives a trained ﬁ ghter an 
  edge normal street brawlers lack.
  RAZOR DANCING NOTES
  Optional Rules: Th e Claw, Jab, and Slash all take 
  Hit Location rolls of 3d6.
  Special Abilities:  None.
  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 oft en one of the things which 
  sets a PC apart from his less talented brethren (i.e., 
  most NPCs). Th ree primary avenues for introduc-
  ing martial arts into a fantasy campaign exist.
  Th e ﬁ rst, and most important, is the use of 
  weapons. Muscle-powered weapons are a major 
  element in any fantasy campaign, and this provides 
  MARTIAL ARTS IN 
  OTHER GENRES
  RAZOR DANCING
  Used with Hand Razors; Hand Razors Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV 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: Common Melee Weapons
  WF: Hand Razors*
  
  85 
  Hero Games
  plenty of opportunities for the creation of ﬁ ght-
  ing styles. Some styles focus on a single weapon; 
  examples from the “real-world” martial arts 
  description include Bojutsu/Jojutsu, Fencing, Ken-
  jutsu, Kyujutsu, Naginatajutsu, Saijutsu, Sevillian 
  Knifeﬁ ghting, Shurikenjutsu, and Whipﬁ ghting. 
  Th e broad Weapons Combat style adapts to many 
  types of weapons, and is perfect for many fantasy 
  campaigns and characters. Fantasy characters can 
  create similar ﬁ ghting styles for their own weapons 
  (for example, “Dwarven Axeﬁ ghting” or “Elven 
  Fencing”). Some might even develop a martial 
  arts style for use with a single weapon, such as a 
  unique enchanted sword. For instance, if a charac-
  ter owned a soul-eating sword that drains the life 
  from someone with the merest scratch, he wouldn’t 
  ﬁ nd it eﬃ  cient to use standard swordﬁ ghting 
  maneuvers — he could develop a style of sword-
  play intended not to wound the enemy, but simply 
  to nick him.
  You can also use martial arts in a fantasy game 
  to represent the distinctive ﬁ ghting maneuvers 
  of non-human races. Intelligent creatures such as 
  centaurs, gargoyles, mermen, and lizardmen would 
  develop ﬁ ghting arts suited to their body struc-
  tures. Many of these martial arts would seem odd 
  to humans, and in many cases they couldn’t even 
  learn them. Poluraathkaa (see below) provides an 
  example of such a ﬁ ghting style.
  Th e third way to work martial arts into your 
  fantasy game is as an aspect of particular cultures, 
  societies, or groups. Obviously, if your campaign 
  takes place in an Oriental setting, or even near 
  psuedo-Oriental lands, martial arts will be rela-
  tively common. But even without such nations, 
  certain societies or groups might develop martial 
  arts styles. In some cases the style constitutes a 
  particular society’s deﬁ nitive ability, the way skill 
  with horses is the trademark of the horse-riding 
  nomad clans who populate many fantasy novels. 
  Perhaps the best example of this is the Bloodguard, 
  from Stephen Donaldson’s novels about Th e Land, 
  but there are plenty of others.
  Here’s an examples of a fantasy martial 
  arts style.
  Poluraathkaa
  Poluraathkaa (pole-oo-RAHTH-kah), a ﬁ ght-
  ing style developed many years ago by the Winged 
  Folk, has been adapted by many other winged 
  races since, such as the gargoyles of the Stony 
  Wastes and the feared vulture-men. Designed 
  by ﬂ yers for use against ﬂ ying foes, it cannot be 
  used by ﬁ ghters on the ground. In addition to its 
  unarmed maneuvers, the style teaches how to ﬁ ght 
  with several weapons, including chain and rope 
  weapons, which warriors use to entangle a target in 
  ﬂ ight and thus remove him from the battle.
  POLURAATHKAA NOTES
  Th e Snare maneuver consists of grasping most of 
  the target’s limbs, including his wings, so he cannot 
  ﬂ y. Th e attacker then dives straight for the ground 
  to release the target so close to the earth that he 
  can’t avoid hitting it (but of course must not get so 
  close that he himself cannot pull out of his dive in 
  time to avoid crashing). To execute this maneuver 
  successfully, the character must succeed with a 
  DEX Roll at -1 per 5” of velocity. Failure may indi-
  cate that both ﬁ ghters did not crash, that the target 
  did not crash but the attacker did, or that both of 
  them hit the ground.
  Optional Rules:  Th e Strike and Flying Strike both 
  take 3d6 Hit Location rolls. 
  Special Abilities:  None.
  HORROR MARTIAL ARTS 
  Martial arts are generally not a common ele-
  ment in the horror genre. Aft er all, many horrors 
  are things characters can’t ﬁ ght with ﬁ sts or blades, 
  so martial arts training isn’t of much use. How-
  ever, there are some opportunities to integrate the 
  two without much strain. Th e most natural way 
  is a horror story that takes place in Chinatown or 
  the Orient. Weird Oriental monsters may make 
  an interesting counterpoint to the usual run of 
  Western haunts and nightmares. Th e characters’ 
  unfamiliarity with Oriental monsters and magic 
  adds an element of ignorance and helplessness 
  which serves to increase the fear and desperation 
  they feel.
  PULP ERA MARTIAL ARTS 
  Martial arts are an element of games set in the 
  ‘20s and ‘30s, but are not as common as in some 
  other genres. Many of the strong-jawed heroes 
  of the era knew Boxing or Fisticuﬀ s/Cinematic 
  Brawling, and quite a few gangsters and other 
  toughs knew Dirty Inﬁ ghting or forms of knife-
  ﬁ ghting. Th e only time formal martial arts are 
  likely to crop up is with characters who have 
  trained in “the mysterious Orient” (such as Th e 
  Shadow), or with “sophisticated” characters who 
  POLURAATHKAA
  Maneuver Phs Pts OCV DCV Damage/Effect
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Evasive 
  Strike 
  ½ 
  5 
  +1 +3 STR Strike
  Flying Strike ½ 
  5 
  +1 +0 STR +v/5; FMove
  Snare 
  ½ 
  5 
  -1 
  -1 Grab Four Limbs,+10 
  STR for holding on
  Strike 
  ½ 
  4 
  +0 +2 STR +2d6 Strike
  Skills
  KS: Poluraathkaa
  WF: Common Melee Weapons
  WF: Chain & Rope Weapons
  WF: Nets
  Elements
  Weapons 
  +1 Use Art with Blades
   
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Nets
  
  86 
  The Ultimate Martial Artist
  have studied Fencing (for example, Th e Shadow 
  or Th e Spider). Occasionally you’ll also ﬁ nd the 
  “explorer” type of character who has uncovered a 
  lost civilization and learned its ﬁ ghting arts.
  SCIENCE FICTION/FAR 
  FUTURE MARTIAL ARTS
  As humanity expands out into the galaxy and 
  begins to encounter other intelligent species, the 
  opportunity to learn new and intriguing martial 
  arts styles increases dramatically. Aft er all, a poten-
  tial student now has not just dozens of styles to 
  choose from, but dozens of worlds’ worth of styles, 
  with all the variation that implies.
  Of course, some types of aliens are so non-
  Human that mankind cannot learn their ﬁ ghting 
  styles. But in most science ﬁ ction universes a sub-
  stantial portion of the alien species are humanoid, so 
  Humans can probably study their martial arts without 
  much problem. At the GM’s discretion, some maneu-
  vers (such as Nerve Strikes) may only apply to a single 
  species (typically, the character’s own species) when 
  learned; characters have to buy a Science Skill in the 
  anatomy of an alien species before they can use such 
  attacks successfully on members of that species.
  One option for science ﬁ ction martial arts is 
  to limit or abolish the Style Distinctive Feature. In a 
  galaxy possibly featuring thousands of martial arts 
  forms, it’s extremely unlikely a particular ﬁ ghter has 
  in-depth knowledge of more than a tiny fraction of 
  them. Th erefore the odds are against the Style Dis-
  tinctive Feature actually being a Disadvantage most 
  of the time, particularly if the character travels 
  extensively. Th erefore the GM should think about 
  giving fewer points for the Disadvantage, or even 
  disallowing its use entirely.
  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 ﬁ ghting styles he 
  studies (for example, Analyze Bandarian Styles, 
  Analyze Fomalhauti Cluster Styles, and so forth).
  Here are two examples of science ﬁ ction mar-
  tial arts:
  Maashira
  Th e Du’karça, a quasi-reptilian species native 
  to the planet Khomura, have achieved an enviable 
  reputation throughout their home galaxy for their 
  ﬁ ghting 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. Th e most widely known of the hundreds 
  of ﬁ ghting 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, 
  a weapon almost identical to a sword, but featur-
  ing two distinctive sharpened prongs about one 
  handspan long projecting pointward from the hilt. 
  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 
  apply Maashira to spears, other polearms, various 
  ﬂ exible weapons, and the staﬀ .
  MAASHIRA
  Used with Blades Weapon Group; Blades Weapon Element 
  is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Avoidance 
  ½ 
  4 
  — +5 Dodge, Affects All 
  Attacks, Abort
  Deprival 
  ½ 
  4 
  -1 
  +1 Disarm, +10 STR to 
  Disarm roll
  Furious
  Charge 
  ½ 
  4 
  +2 
  -2 Weapon +v/5; FMove
  Jab/Thrust 
  ½ 
  5 
  +1 +3 Weapon
  Lunge 
  ½ 
  5 
  +1 
  -2 Weapon +4 DC
  Parry 
  ½ 
  4 
  +2 +2 Block, Abort
  Reprisal 
  ½ 
  4 
  +2 +2 Weapon +2 DC 
  Strike, Must Follow 
  Block
  Slash/Chop ½ 
  5 
  -2 
  +1 Weapon +4 DC Strike
  Skills
  KS: Maashira
  Two-Weapon Fighting
  WF: Blades*
  WF: Chain & Rope Weapons
  WF: Common Melee Weapons
  WF: Oﬀ  Hand
  WF: Staﬀ 
  Elements
  Weapons 
  +1 Use Art with Chain & Rope  
   
  Weapons
   
  +1 Use Art with Polearms
   
  +1 Use Art with Staﬀ 
  
  87 
  Hero Games
  MAASHIRA NOTES
  Optional Rules: Th e Furious Charge, Jab/Th rust, 
  Lunge, and Slash/Chop all take location rolls of 3d6. 
  Th e other maneuvers do not take location rolls.
  Special Abilities:
  1. Storm Of Tears:  Maashira practitioners of great 
  experience and skill strike so swift ly they can hit 
  an opponent repeatedly before he can react. You 
  can buy this as a No Range Autoﬁ re RKA, or as an 
  Autoﬁ re Advantage for a favored Strike maneuver 
  (see page 104).
  2. Severing:  Maashira ﬁ ghters of some schools 
  train to disable and defeat their opponents by cut-
  ting oﬀ  limbs and heads. Th eir training focuses 
  on aiming and counterstrike techniques designed 
  to hit these targets with ease. You can buy this as 
  Targeting Skill Levels (see page 66 of the HERO 
  System 5th Edition, Revised).
  Zero Gravity Combat
  Space Marines, space pirates, and other combat-
  ive folk who are likely to ﬁ nd themselves ﬁ ghting in 
  a zero-G environment from time to time learn this 
  martial art. Because of the action/reaction eﬀ ect of 
  launching attacks in zero-G, Zero Gravity Combat 
  concentrates on grapples, holds, and other attacks 
  which require relatively little linear motion.
  A character can use Zero Gravity Combat 
  maneuvers in situations where gravity exists, but will 
  suﬀ er -1 to his OCV and DCV unless he has bought 
  the Element “Use Art in Gravity.”  
  For more information on ﬁ ghting in zero-G 
  environments, refer to Zero Gravity And Martial Arts 
  on page 166.
  ZERO GRAVITY COMBAT NOTES
  Th e Breakaway maneuver is a form of push a ﬁ ghter 
  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 
  him suﬃ  ciently that the attacker can follow up with 
  another attack while the target regains his “balance” 
  (this is simulated with the “Target Falls” element, 
  since of course one cannot fall in zero-G). 
  Optional Rules:  Th e Nerve Pinch takes a 3d6 Hit 
  Location roll. None of the other maneuvers requires 
  Hit Location rolls.
  Special Abilities:  Many people who deal with zero-
  G environments on a frequent basis buy their legs 
  as Extra Limbs (5 points), so they can perform tasks 
  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 
  Choke maneuver with them. Th e two extra limbs are 
  a big advantage in a zero-G combat situation.
  SUPERHERO MARTIAL ARTS
  Martial arts are just about as common in 
  superhero settings as they are in fantasy games. 
  Super-samurai, mystic-powered ninja, Chinese sor-
  cerers, and Westerners who have trained at ancient 
  temples in hidden Oriental valleys parade through 
  the pages of thousands of comic books. Superhero 
  characters can learn any style described in this 
  book, or make up their own — just about anything 
  ﬂ ies in this genre. Many simply learn the Generic 
  Martial Arts package (page 27) to simulate their 
  knowledge of basic ﬁ ghting maneuvers.
  WILD WEST MARTIAL ARTS
  Anyone who’s ever watched the television 
  show Kung Fu knows it’s possible for characters to 
  use Asian martial arts in a Wild West setting. How-
  ever, folks like Kwai Chang Caine are relatively rare. 
  Fighting styles like Boxing and Dirty Inﬁ ghting/
  Fisticuﬀ s/Cinematic Brawling are the only ones 
  most Western Hero PCs will ever see, though occa-
  sionally a character might encounter someone who 
  knows Fencing. 
  ZERO GRAVITY COMBAT
  Maneuver Phs Pts OCV DCV Damage/Effect
  Breakaway ½ 
  4 
  +1 +2 Strike, +10 STR to 
  Shove target; Target 
  Falls; Must Follow 
  Escape
  Choke 
  ½ 
  5 
  -1 
  +0 Grab One Limb; 2d6 
  NND(2)
  Escape 
  ½ 
  4 
  +0 +0 +15 STR vs. Grabs
  Grab 
  ½ 
  4 
  -1 
  -1 Grab Three Limbs, 
  +10 STR for holding 
  on
  Joint Break ½ 
  5 
  -1 
  -2 Grab One Limb; ½d6 
  HKA (2 DC), Disable
  Nerve Pinch ½ 
  4 
  +1 +1 2d6 NND(1); Must 
  Follow Grab
  Reversal 
  ½ 
  4 
  -1 
  -2 +15 STR to Escape; 
  Grab
  Skills
  KS: Zero Gravity Combat
  KS: Zero Gravity Operations*
  Environmental Movement (no penalties in zero gravity)
  Elements
  Armor 
  +1 Use Art in Armor
  Gravity 
  +1 Use Art in Gravity
  ‘A 
  man with outward courage 
  dares to die,
  A man with inward courage dares 
  to live.’
  —Lao Tzu, Tao Te Ching
  
  88 
  The Ultimate Martial Artist
  I
  f the dozens of martial arts styles presented 
  earlier don’t include one that’s quite what you’re 
  looking for, you can design your own styles and 
  maneuvers using the rules and guidelines in 
  this section.
  DESIGNING MARTIAL 
  ARTS STYLES
  Designing a martial arts style is a three-step 
  process:
  First:  Come up with a style conception — the 
  principles governing the martial art, what eﬀ ect 
  those principles have on types of maneuvers the 
  style includes, what those maneuvers look like, 
  and so forth.
  Second:  Choose maneuvers corresponding to the 
  principles in the style conception. In most cases 
  you should be able to pick maneuvers from the 
  standard list on page 9; sometimes you’ll have to 
  use the rules presented below to design all-new 
  maneuvers.
  Th ird:  Now you design the style by taking the 
  maneuvers, then adding special Style Elements, 
  determining the Skills associated with the style, 
  deciding whether the style qualiﬁ es for a Style Dis-
  tinctive Feature, and so forth.
  Style Conception
  Th e ﬁ rst step in the design process is to 
  develop a style conception. Th is involves creat-
  ing a common philosophy, approach, or “theme” 
  which relate all the style’s maneuvers to each 
  other. Style conceptions typically fall into one of 
  three categories:  the Animal Kingdom; Energy 
  Flow; and Constraints.
  THE ANIMAL KINGDOM
  Animal or natural motifs inspire many 
  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 
  which haven’t inspired styles in real life — or 
  perhaps which, like dragons and phoenixes, are 
  entirely mythic.
  Example:  Andy particularly admires the way 
  the mongoose can ﬁ ght and kill deadly snakes, 
  such as cobras. Inspired by this, he decides to 
  create a Mongoose Style martial art.
  Th e mongoose dances around in front of its 
  enemy, eluding the snake’s lightning-swift  
  strikes, then darting in to bite the snake 
  behind the head so the snake cannot reach it. 
  Eventually the mongoose’s continued bite kills 
  the snake.
  Th erefore, as Andy envisions it, Mongoose 
  Style should concentrate on defensive maneu-
  vers, such as Block and Dodge. It needs at 
  least one, high DCV, attack to simulate the 
  mongoose’s ordinary bite, and another for the 
  lethal damage the mongoose does when it gets 
  its prey into a helpless position.
  ENERGY FLOW 
  Fighters develop some styles around the con-
  cept of energy ﬂ ow — the direction and redirection 
  of energy. Some styles concentrate on straight lines 
  of force, such as powerful, direct attacks; others 
  focus on circular motions and employ force more 
  indirectly, such as through redirecting an attacker’s 
  energy via throws and grabs. A few esoteric styles 
  depend upon the ebb and ﬂ ow of the ﬁ gher’s inter-
  nal energy, such as ch’i, ki, or prana.
  CONSTRAINTS
  Lastly, many martial arts arise to deal with 
  constraints — circumstances which ordinarily don’t 
  allow for eﬀ ective ﬁ ghting. For example, Brazilian 
  slaves created Capoeira. Because slaves are oft en 
  manacled, they designed Capoeira to allow ﬁ ght-
  ing while in chains (it uses the feet instead of the 
  hands in many instances). Th erefore, capoeiristas 
  don’t suﬀ er the same penalties most martial artists 
  do when their hands are bound. Similarly, slaves are 
  oft en watched, so early capoeiristas learned to dis-
  guise their ﬁ ghting as dancing and tumbling, thus 
  fooling their overseers. Th ese restrictions require 
  capoeiristas to learn such things as walking on their 
  hands, kicking and ﬁ ghting while upside down, and 
  tumbling and ﬂ ipping — which means they have to 
  know the Acrobatics Skill.
  STYLE BUILDING BLOCKS 
  With your conception ﬁ rmly in mind, you can 
  proceed to the second and third steps, which are 
  to choose maneuvers (and if necessary, even build 
  them from scratch) and other style elements (Skills, 
  Weapon Elements, and the like).
  Of course, the GM has the ﬁ nal say on whether 
  any maneuver or martial arts style is appropriate 
  for his campaign. Once he approves a martial arts 
  DESIGNING NEW 
  MARTIAL ARTS
  
  89 
  Hero Games
  maneuver or style, he may later, aft er suﬃ  cient 
  playtesting, decide he needs to revise it or drop 
  it entirely because it’s too eﬃ  cient or unbalanc-
  ing. How can you tell if a maneuver or style is 
  too eﬃ  cient or unbalancing?  One good sign is if 
  everybody in the campaign wants to buy it all of a 
  sudden. Th is means it’s so combat-eﬃ  cient players 
  are more than happy to trade in their characters’ 
  individuality for an especially point-eﬃ  cient attack. 
  When this happens, re-evaluate the maneuver or 
  style, determine what’s “too good,” and modify 
  things to reduce the style’s eﬃ  ciency slightly — but 
  only slightly. Th en, begin evaluating it again.
  CHOOSING AND DESIGNING MARTIAL 
  ARTS MANEUVERS 
  Once you’ve got your style conception in 
  mind, you need to choose the appropriate Martial 
  Maneuvers for it. Pick as many as possible from 
  the list on page 9; it will save you a lot of time and 
  eﬀ ort. Most styles should require no new maneu-
  vers at all; you can ﬁ nd everything they need on 
  that page.
  If you have a maneuver in mind which isn’t 
  covered by any of the ones listed, you can design it 
  from scratch (with the GM’s permission, of course). 
  See Designing Martial Arts Maneuvers, below, for 
  complete rules on designing maneuvers.
  How Many Maneuvers?
  A Martial Arts style may not have less than 
  three maneuvers. Most should have at least ﬁ ve 
  maneuvers, but a style can have as few as three. 
  (Of the real-world martial arts styles presented in 
  Chapter One, the only ones with fewer than ﬁ ve 
  maneuvers is Ancient Boxing, a primitive style, and 
  Naginatajutsu and Saijutsu, fairly simple weapons-
  based styles.) A style may theoretically have as 
  many maneuvers as its designers want, but you’ll 
  soon reach a point of diminishing returns, where 
  each new maneuver overlaps others to such a 
  degree it’s fairly worthless.
  Remember, to purchase Martial Arts, a char-
  acter must spend at least 10 points on maneuvers, 
  which means a minimum of two 5-point maneuvers.
  SKILLS 
  Every martial art style described in Chapter 
  One includes a list of Skills. Th ese are Skills a well-
  rounded practitioner of that particular style should 
  have. Most are not absolutely mandatory; a char-
  acter usually can learn a style’s maneuvers without 
  learning any of its associated Skills. However, a 
  character must buy a Skill listed with an asterisk (*) 
  when he buys the style (even if he doesn’t buy all of 
  its maneuvers). For example, a character can’t learn 
  Fencing without WF: Blades, or Capoeira without 
  Acrobatics.
  Most dedicated martial artists should have a 
  Knowledge Skill with their style(s) on at least an 8-. 
  Some styles include speciﬁ c Weapon Familiarities, 
  Acrobatics and/or Breakfall, and even such Skills as 
  Stealth, Climbing, or Streetwise, all depending on 
  the origins and special goals of that martial art.
  SPECIAL ELEMENTS 
  Th ese are two special style elements which 
  aﬀ ect all maneuvers in a speciﬁ c style.
  Extra DC:  +4 points for +1 DC with all normal 
  martial arts attacks (also counts as +½ DC with all 
  K-Damage Martial Maneuvers and +5 STR with 
  Exert-based maneuvers). 
  Weapons:  It costs +1 point for the ability to use 
  maneuvers in a style with one weapons group 
  (weapons-based arts sometimes allow characters to 
  buy the “Barehanded” Weapon Element to use the 
  style without weapons).
  STYLE DISTINCTIVE FEATURE
  A true martial arts style can, with the GM’s 
  permission, include a Style Distinctive Feature 
  (discussed on page 135). Th e GM should only give 
  his approval if all the style’s maneuvers are built 
  around a consistent concept and he doesn’t think 
  the style designer has created an unbalancing or 
  abusive style.
  DESIGNING MARTIAL ARTS 
  MANEUVERS 
  If you’ve thought of a maneuver you can’t 
  simulate with one of the Martial Maneuvers listed 
  on page 9, you can (with your GM’s permission) 
  design your own maneuver.
  THE BASIC MANEUVER
  Most maneuvers derive from the standard 
  Strike maneuver (which all characters know — see 
  page 384 of the HERO System 5th Edition, Revised). 
  Th ey take a Half Phase to execute; grant +0 OCV 
  and +0 DCV; and do the character’s STR damage (or 
  weapon damage, if he’s wielding one). As described 
  below, characters can also use the standard Block 
  and Dodge maneuvers as Maneuver Bases.
  ADDING ELEMENTS 
  Once you’ve got a base for the maneuver, you 
  add elements to it. For example, you can increase or 
  decrease the damage it does, or the OCV or DCV 
  modiﬁ ers it applies. You can change the type of 
  damage it does, or Grab or Disarm an opponent 
  instead of injuring him. Each addition, deletion, 
  or change is called a Maneuver Element. Elements 
  which improve a maneuver are Helpful Elements; 
  those which restrict or reduce its eﬀ ectiveness are 
  Restrictive Elements.
  COST RESTRICTIONS 
  When creating maneuvers with this system, 
  you should generally operate under one important 
  restriction:
  No Maneuver Can Cost Less Than 
  3 Points or More Than 5.
  If your maneuver cost comes out to be less 
  than 3, rewrite the maneuver or round the cost up 
  to 3. If, for example, you wanted a maneuver that 
  was +0 OCV, +0 DCV, and gave +2d6 damage, this 
  would ordinarily cost only 2 points. But since the 
  REDUNDANT 
  MANEUVERS
  You shouldn’t create a 
  martial arts style with 
  redundant maneuvers. 
  For instance, if the style 
  has a fast, damaging 
  (but not too brutal) 
  punch, you might 
  deﬁ ne that with the Fast 
  Strike maneuver. And if 
  the same style has a fast, 
  damaging kick that falls 
  short of the raw damage 
  of a roundhouse kick, 
  you might also want 
  to deﬁ ne that as a Fast 
  Strike.
  But that’s putting the 
  same maneuver twice 
  in the same martial 
  arts style. A player isn’t 
  going to want to buy 
  the same maneuver 
  twice, under two diﬀ er-
  ent names.
  If a real-world style 
  has two diﬀ erent 
  moves which, in game 
  mechanics terms, are 
  the same maneuver, 
  put that maneuver in 
  the style once. If the 
  GM approves, give the 
  maneuver both names 
  (for example, “Punch/
  Kick”). Also with GM 
  approval, assign a dif-
  ferent optional location 
  roll to each name (for 
  example, the Punch 
  taking a 2d6+1 roll, the 
  kick taking a 2d6+7 
  roll) (if you don’t want 
  to deal with that com-
  plexity, just assign the 
  maneuver a 3d6 loca-
  tion roll instead).
  Th e temptation to put 
  in redundant maneu-
  vers occurs most oft en 
  when someone adapts 
  a real-world martial art 
  to the game. When a 
  player designs his own 
  art from scratch, this 
  is much less likely to 
  happen.
  Another form of redun-
  dant maneuver to watch 
  out for is the maneuver 
  that’s so similar to 
  another maneuver that 
  they eﬀ ectively dupli-
  cate each other. Th e 
  best example of this is 
  Martial Strike and Fast 
  Strike. Th e only dif-
  ference between these 
  maneuvers is where 
  they place the CV 
  Continued on next page
  
  90 
  The Ultimate Martial Artist
  minimum maneuver cost is 3 points, you must 
  either improve the maneuver to cost 3, or just 
  round the cost up to 3 without any improvement, as 
  you choose.
  If your maneuver cost comes out to be more 
  than 5, tone the maneuver down until it costs 
  5 points or less. For example, you could build a 
  maneuver that gives +2 OCV, +3 DCV, and provided 
  +4 Killing DC. However, this would cost 18 points, 
  and the listed maximum is 5. You’d have to tone the 
  maneuver way down in eﬀ ectiveness and bring it 
  down to 5 points or less.
  Th is rule regarding the cost of maneuvers is 
  a general one you should follow in most circum-
  stances. However, there may be special occasions 
  when martial artists, particularly Superheroic-level 
  ones, might be allowed to design maneuvers which 
  violate it. Such violations should be allowed only 
  aft er great consideration.
  UNARMED VERSUS ARMED STYLES
  Another thing to consider when creating 
  a martial art is whether the style is unarmed or 
  armed. Most are unarmed, but characters can only 
  use a few of them with speciﬁ c weapons.
  Unarmed styles include what we traditionally 
  think of as martial arts:  Karate, Kung Fu, Aikido, 
  and other styles relying on empty-hand attacks, not 
  weapons, to do damage. Characters cannot use most 
  unarmed styles with weapons (or they require spe-
  cial, additional, training if a character wants to use 
  them with weapons — represented by the Weapon 
  Style Element). For example, an Aikido practitioner 
  can’t pick up an axe and use his Aikido maneuvers 
  with it. Unless otherwise listed or described, all mar-
  tial arts styles are unarmed.
  Armed martial arts — ﬁ ghting styles reﬂ ect-
  ing a character’s skill and training with a particular 
  weapon or weapons — include Arnis/Kali/Escrima, 
  Fencing, Kenjutsu, Kyujutsu, and Naginatajutsu. 
  Characters may only use an armed style with weap-
  ons from one or more 1-point Weapon Familiarity 
  weapon groups, speciﬁ ed by the style’s designer or 
  when they learn the style. Examples include the 
  Blades Group, Karate Weapons, or Staﬀ . Generally, 
  a character cannot use an armed style without the 
  appropriate weapon; a fencer cannot make a Lunge 
  with his ﬁ st. However, the Barehanded Weapon Ele-
  ment will allow characters to use some maneuvers 
  in some armed styles while weaponless.
  Th e cost of maneuvers remains the same, 
  whether a style is armed or unarmed. An Oﬀ ensive 
  Strike is an Oﬀ ensive Strike, regardless of how you 
  perform it. For information on how Martial Maneu-
  vers add to the damage done by weapons, see the 
  “Adding Damage” section of the HERO System 5th 
  Edition, Revised.
  If you create an armed style, note which 
  weapon (or, rarely, weapons) are appropriate for it. 
  When writing up the style, make sure to include the 
  proper Weapon Familiarity under Skills and to put 
  an asterisk beside it to make it mandatory for all 
  practitioners of the style. Th e GM must approve any 
  decision to make a style usable with a weapon or 
  class of weapons.
  MANEUVER BASIS 
  When designing a maneuver, the ﬁ rst thing to 
  ask yourself is this:  What is the purpose, or basis, of 
  the maneuver?
  Th e HERO System martial arts design rules use 
  ten Maneuver Bases. Some are Exclusive, meaning 
  a maneuver can only have one of them. Some are 
  Non-Exclusive, meaning a maneuver can have just 
  one or can have more than one of them. A Non-
  Exclusive Basis can be the only Maneuver Base in 
  a maneuver, or a maneuver can have both a Non-
  Exclusive Basis and an Exclusive Basis.
  You’re familiar with Bind from the styles 
  described earlier, and with Block, Disarm, Dodge, 
  Strike, Grab, and Th row from the HERO System 5th 
  Edition. Note that the Th row Basis, in and of itself, 
  does not do damage to a target; a Th row maneu-
  ver could be gentle enough to do no damage at all 
  to a foe. Refer to Martial Th row on page 400 of 
  the HERO System 5th Edition, Revised and in the 
  Combat Maneuvers section of this book for more 
  information.
  Th e Exert Basis means the character can exert 
  his Strength (usually with a bonus from the maneu-
  ver) on his target for one speciﬁ c purpose, such 
  as to increase the chances of a successful Disarm, 
  decrease the target’s chances to break out of a Grab, 
  push the target backwards, or the like. Many Exert 
  maneuvers are listed in the maneuvers chart in on 
  page 9 of this book. Th e extra STR from the Exert 
  does not cost extra END.
  Th e Flash Basis means the character has some-
  how temporarily “blinded” or disabled one of his 
  target’s senses. Common attacks of this sort include 
  poking someone in the eyes, clapping their ears to 
  temporarily deafen them, and striking certain nerve 
  clusters to numb the sense of touch.
  Continued from last page
  bonus. In most (but not 
  all) cases, it’s pointless 
  to have both maneuvers 
  in the same style, since 
  a character with a Mar-
  tial Strike can spend the 
  4 points a Fast Strike 
  would cost him on two 
  Combat Skill Levels 
  with his Martial Strike 
  (giving him +2 OCV 
  and DCV for the same 
  amount of points).
  MANEUVERS BASIS
  Exclusive
  Basis 
  Purpose of Bases
  Bind 
  Locks up an opponent’s 
  weapon
  Block 
  Blocks an incoming attack
  Disarm 
  Attempts to knock an 
  opponent’s weapon out of 
  his grasp
  Dodge 
  Gives the character a DCV 
  bonus against attacks
  Flash 
  Disrupts opponent’s senses
  Grab Weapon 
  Gives the attacker a hold on 
  the opponent’s weapon
  Strike 
  Does damage to the 
  opponent
  Non-Exclusive
  Basis 
  Purpose of Bases
  Exert 
  Uses non-damaging 
  strength on the opponent
  Grab Opponent 
  Gives the attacker a hold on 
  the opponent
  Th row 
  Puts the opponent on the 
  ground
  
  91 
  Hero Games
  EXCLUSIVE VERSUS NONEXCLUSIVE 
  BASES 
  You can only use one Exclusive Basis in a 
  maneuver. You can’t, for instance, create a maneu-
  ver which performs both a Block and a Strike. A 
  maneuver doesn’t have to have an Exclusive Basis; 
  some use only Non-Exclusive Bases.
  You can use none, one, or several Non-Exclu-
  sive Bases in a maneuver, and can create a maneu-
  ver which has both Exclusive and Non-Exclusive 
  Bases. For example, you could have a maneuver 
  where you establish a hold on a target and make 
  it hard for him to escape (the Grab Basis with the 
  Exert Basis), one where you throw a target roughly 
  to the ground, doing him harm (the Strike Basis 
  with the Th row Basis), or one where you establish 
  a hold on a target and hit him simultaneously (the 
  Strike Basis with the Grab Basis).
  Whatever you choose, this is all just the work 
  of conceiving the maneuver — and understanding 
  the limitation of which bases you can combine to 
  create a maneuver. To actually build the maneuver, 
  to buy the appropriate bases, you have to start shell-
  ing out Character Points for Maneuver Elements 
  (see below).
  TYPES OF DAMAGE 
  Maneuver damage comes in three types:  N-
  Damage (Normal Damage), K-Damage (Killing 
  Damage), and NND (No Normal Defense Damage). 
  A single maneuver may have only one of these three 
  types of damage.
  MANEUVER ELEMENTS 
  Th e accompanying table lists the Maneuver 
  Elements you can use to build your own Martial 
  Maneuvers.
  In the ﬁ rst column is the name of the Element.
  In the second column is the brief description 
  of the Element and its cost. 
  In the third column is the maximum amount 
  of the Element which may be added to a maneuver.
  To build a maneuver, simply take your Maneu-
  ver Basis (or Bases) and add the Elements which 
  will customize it (or them) to your satisfaction. 
  Th en make sure that the cost is between 3 and 5 
  points, and you’ll have a complete maneuver. 
  “Take Once” means the Element can only be 
  taken once in a maneuver. You cannot, for instance, 
  take “Fall” three times for -3 points to the maneuver 
  cost, and explain that you fall down three times 
  during the maneuver execution. Th at’s not just silly, 
  it’s rules abuse. 
  Element Descriptions
  Th ese are the maneuver Elements: 
  Abort
  Th e character can Abort his next Phase to 
  perform this maneuver on a Segment not normally 
  his Phase. (See Aborting An Action, page 361 of the 
  HERO System 5th Edition, Revised). Th is adds +1 
  point to the cost of the maneuver.
  Important Note: You can never Abort to any 
  maneuver which does damage or is in any way 
  aggressive, which includes any maneuver with the 
  Disarm or Th row Elements. Th erefore, you may only 
  build Abort into Blocks, Dodges, and Escapes (an 
  Escape is an Exert maneuver which uses the STR 
  bonus only for getting out of an enemy’s Grab). 
  Bind
  Characters can only use this maneuver Ele-
  ment against a weapon. If successful, it “binds” the 
  weapon, pushing it away or locking it into position 
  somehow so its wielder cannot use it. Th e character 
  using the maneuver does not suﬀ er any damage 
  from grabbing or touching the weapon (if that’s 
  how the maneuver is deﬁ ned).
  Bind is an Exclusive Basis, so a maneuver with 
  Bind may not also have any of the following Ele-
  ments: Block, Disarm, Dodge, Flash, Grab Weapon, 
  Strike.
  Th is Element adds +1 point to the cost of the 
  maneuver. 
  Block
  Th is maneuver is based on the normal Block. 
  It grants basic modiﬁ ers — +0 to OCV and +0 to 
  HELPFUL ELEMENTS
  Element
  Description
  Maximum
  Abort
  +1 point if you can abort to maneuver
  Take Once
  Bind
  +1 point to bind enemy weapon
  Take Once
  Block
  +0 points if maneuver is based on Block 
  instead of Strike (Abort is Free)
  Take Once
  DCV +
  +1 point per +1 DCV up to +2, +2 points for 
  additional +1 DCV up to +3
  +3
  Disable
  +0 points if maneuver is intended to disable 
  a limb
  Take Once
  Disarm
  +2 points if maneuver disarms opponent
  Take Once
  Dodge
  +0 points if maneuver is based on Dodge 
  instead of Strike (Abort is Free)
  Take Once 
  Flash
  +1 point per +1d6 Sense Group Flash up to 
  +2d6, +2 points per additional +1d6 Flash; +1 
  point per additional Sense Group
  4d6
  FMove
  +3 points if can attack aft er Full Move
  Take Once
  Grab Oppt
  +3 points if hit Grabs two of opponent’s limbs, 
  +1 point per additional limb
  Take Once
  Grab Weap
  +3 points if hit Grabs target’s weapon
  Take Once
  K-Damage
  +3 points per +1 DC (Killing)
  +4 DC/K
  N-Damage
  +1 point per +1d6 normal DMG up to +2d6, 
  +2 points per additional +1d6
  +4d6
  NND DMG
  +1 point per +½d6 NND up to +1d6, +2 
  points per additional +½d6 NND
  2d6
  OCV +
  +1 point per +1 OCV up to +2
   +2 OCV
  STR +
  +1 point per +5 STR up to +10 STR, +2 points 
  per additional +5 STR 
  +20
  STR Strike
  +0 points if maneuver is based on Strike (+0 
  OCV, +0 DCV, does STR damage)
  Take Once
  Th row
  +1 point to throw opponent to ground
  Take Once
  v/3
  +3 points to do +(v/3)d6 extra damage
  v/3
  v/5
  +1 point to do +(v/5)d6 extra damage
  v/5
  
  92 
  The Ultimate Martial Artist
  DCV. As with the normal Block, it keeps attacks 
  from hitting the target, sets up the defender to 
  strike ﬁ rst on the next Phase (assuming they both 
  act in the same Phase), and comes with a free Abort 
  option.
  A Block requires the character doing the 
  blocking to compare his OCV to the opponent’s 
  OCV, rather than to his DCV. Once a character has 
  decided to Block, he can block multiple attacks in 
  a single Phase. (See Block in the HERO System 5th 
  Edition, Revised, page 383.) Th e Block Element adds 
  +0 points to the cost of the maneuver.
  Block is an Exclusive Basis, so a maneuver with 
  the Block Element may not have any of the follow-
  ing Elements: Bind, Disarm, Dodge, Flash, Grab 
  Weapon, Strike. 
  DCV -
  Th is represents a penalty to the attacker’s DCV. 
  It’s used to build maneuvers which tend to expose 
  the attacker to counterattack. Th e maximum pen-
  alty you can take on a maneuver is -2 DCV. A char-
  acter may not have both DCV - penalties and DCV 
  + bonuses on the same maneuver. 
  DCV +
  Th is represents a bonus to the attacker’s DCV. 
  Use it to build maneuvers so fast, graceful, or 
  unpredictable they make the attacker more diﬃ  cult 
  to counterattack. Th e maximum bonus you can 
  take on a maneuver is +3 DCV. A character may 
  not have both DCV + bonuses and DCV - penalties 
  on the same maneuver. 
  Disable
  Th is Element signiﬁ es a maneuver intended to 
  disable or cripple a particular limb, such as many joint-
  breaks. It adds +0 to the cost of the maneuver because 
  it grants as many restrictions as it does beneﬁ ts.
  Like other maneuvers which target speciﬁ c 
  parts of the body, maneuvers with the Disable Ele-
  ment do not suﬀ er Hit Location Attack Roll or 
  damage penalties or bonuses. For example, a Killing 
  Strike deﬁ ned as a knee-breaking low kick built with 
  this Element would not be at -6 OCV, and the victim 
  would take full damage — not half BODY and a 
  x2 STUN Multiplier, as normally applies to the Leg 
  region. Instead, the victim takes whatever BODY and 
  STUN damage was rolled on the dice. Any possibil-
  ity of Impairing or Disabling eﬀ ects, if the campaign 
  uses those rules, could then be determined (refer 
  to the HERO System 5th Edition, Revised, page 417, 
  and the discussion of Disabling Attacks on page 156 
  of this book, for more information on attacking to 
  Impair or Disable a limb).
  Th e limb targeted by a Disable-based attack 
  generally does not need to be chosen in advance. 
  However, GMs should remember that attacks which 
  “Disable” the Head do not aﬀ ect the victim’s intelli-
  gence or his ability to move the rest of his body, they 
  just prevent him from using his head as a weapon. 
  Th e drawback to using the Disable Element is 
  that a ﬁ ghter can only use the attack on limbs. He 
  can’t use it to do generalized damage, or against 
  non-limb-like objects. At the GM’s discretion, a 
  character can deﬁ ne a single speciﬁ c non-limb 
  target (say, the Chest) for use with the Disable Ele-
  ment if he can use the maneuver only against that 
  Hit Location and no other. Also at the GM’s option, 
  a character can use a Disable maneuver against 
  limb-like objects, such as tree branches.
  Refer to the discussion of Grab maneuvers on 
  page 386 of the HERO System 5th Edition, Revised and 
  page 144 of this book for more information on limbs.
  Disarm 
  A character who successfully performs a Disarm 
  can try to knock a weapon or other hand-held device 
  from his opponent’s grasp. Both characters make STR 
  Rolls, counting only the Normal Damage BODY. 
  If the defender rolls more BODY, he holds onto his 
  weapon. If the attacker rolls more BODY or the rolls 
  are tied, the weapon goes ﬂ ying ½d6 hexes in the 
  direction of the strike (which is the player’s choice, 
  subject to GM approval). (See Disarm in the HERO 
  System 5th Edition, Revised, page 386.) Th is Element 
  adds +2 points to the cost of the maneuver. 
  Additional damage bought for the Disarm 
  goes to increasing the character’s Disarm strength, 
  not to doing damage to the target; a Disarm never 
  damages the target.
  Disarm is an Exclusive Basis, so a maneuver 
  with the Disarm Element may not have any of 
  the other following Elements: Bind, Block, Dodge, 
  Flash, Grab Weapon, Strike.
  Dodge
  Th is means the maneuver is based on the 
  Dodge maneuver instead of the Strike maneuver. 
  Th e character starts out with no OCV (this maneu-
  ver can’t do damage), +3 DCV, and can Abort to the 
  maneuver. Th is costs +0 points because it grants as 
  RESTRICTIVE ELEMENTS
  Element
  Description
  Maximum
  DCV -
  -1 point per -1 DCV up to -2 DCV
  -2
  Fall
  -1 point if you fall
  Take Once
  Follow
  -2 points if maneuver must follow other spe-
  ciﬁ c successful maneuver
  Take Once
  Half Move 
  Required
  -1 point if maneuver requires character to 
  make a Half Move; see text
  Take Once
  Lasting 
  Restriction
  -1 points if the maneuver’s penalties last for 
  +1 Phase
  Take Once
  OCV -
  -1 point per -1 OCV up to -2
  -2
  One Limb
  -1 point if Grab only Grabs one limb
  -1
  Response
  -3 points if the maneuver can only be used 
  following a speciﬁ c maneuver used by one’s 
  opponent
  Take Once
  STR -
  -1 point if maneuver is at half STR, -2 points if 
  maneuver uses no STR 
  No STR
  Take Full 
  DMG
  -2 points if attacker takes full damage
  Take Once
  Take Half 
  DMG
  -1 point if attacker takes half damage
  Take Once
  Time +
  -1 point if attack takes extra segment (landing 
  at end of next segment)
  Take Once
  Unbalancing
  -1 point if opponent automatically attacks ﬁ rst 
  in next Phase
  Take Once
  
  93 
  Hero Games
  many restrictions as advantages. Additional DCV 
  bought with the Dodge starts out costing 2 points 
  per +1 DCV. You may not buy a Dodge maneuver 
  with more than an additional +2 DCV (for a possible 
  total of +5 DCV).
  You cannot “buy down” the OCV of a Dodge 
  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. Th is 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. Th e Flash Basis costs +1 point per 
  1d6 of Flash up to 2d6, and +2 points per 
  +1d6 thereaft er, to a maximum of Flash 4d6. 
  Th e basic attack aﬀ ects one Sense Group; 
  the character can purchase additional Sense 
  Groups for +1 point. However, the GM should be 
  wary of Flash maneuvers aﬀ ecting more than one 
  Sense Group and allow them only when they are bal-
  anced. Each Extra DC adds +1d6 to the Flash attack.
  In most cases, the appropriate form of Flash 
  Defense protects a character against a maneuver 
  with the Flash Basis. However, there may be some 
  exceptions, adjudicated by the GM on a case-by-
  case basis. For example, a character whose Sight 
  Flash Defense derives from his light-based powers 
  (making him used to bright lights) won’t have much 
  defense against a Martial Flash deﬁ ned as poking 
  him in the eyes.
  Th e GM should also remember that there are 
  many things which would prevent a maneuver with 
  the Flash Basis from working, given its nature. For 
  example, a helmeted character usually is protected 
  from Sight and Hearing Group Flashes, since it’s 
  impossible for the martial artist to reach his eyes and 
  ears to aﬀ ect them.
  In maneuver listings, this Basis is indicated by 
  use of the phrase, “[Sense] Group Flash —d6.”
  Flash is an Exclusive Basis, so a maneuver with 
  the Flash Element cannot have any of the other fol-
  lowing Elements: Bind, Block, Disarm, Dodge, Grab 
  Weapon, Strike.
  FMove
  A character can perform a maneuver with this 
  Element during or at the end of a Full Move instead 
  of just a Half Move. (Th is does not mean it’s a Zero-
  Phase Action; if performed aft er a Half Move or no 
  move at all, it counts as a Half Phase Action.)  For 
  example, combining “FMove” with “Fall,” “Th row,” 
  and “v/5” creates a ﬂ ying tackle a character can per-
  form at the end of a full run. Th is Element adds +3 
  points to the cost of the maneuver.
  Attacks built with this 
  Element do not automatically 
  have to take place at the very 
  end of a character’s move. For 
  example, 
  an 
  attack deﬁ ned as a Strike made 
  while the character moves past 
  someone (a “Martial Move By,” 
  if you will) could take place at 
  any point during the character’s move. However, the 
  GM should treat this aspect of the FMove Element 
  carefully and not allow players to abuse it; most 
  attacks with the FMove Element should still take 
  place at or near the end of the attacker’s full move. If 
  used indiscriminately, the FMove Element can make 
  some characters “un-attackable,” which unbalances 
  the game.
  Example:  Nakada Shigeru knows Kenjutsu. He 
  ﬁ ghts a duel with another samurai and wishes 
  to use his Running Stroke maneuver (a Passing 
  Strike). His opponent stands 5” away from him; 
  Nakada-san has 9” of Running. His FMove-
  based attack takes place 5” into his full move of 
  9”, so when the attack ends, he’s 4” beyond his 
  opponent. 
  If Nakada-san had been signiﬁ cantly closer to 
  his foe (say, 2-3” distance), the GM might con-
  sider forbidding the use of the Running Stroke, 
  since it could unfairly place Nakada-san out of 
  the range of a counterattack (i.e., the attack, if 
  used repeatedly in such situations, could aﬀ ect 
  game balance, so the GM disallows it). 
  You cannot take this Element for a maneuver 
  which already has the Time + Element.
  Follow
  Th is means the maneuver must follow some 
  other speciﬁ c successful maneuver (deﬁ ned when 
  you create the maneuver). An example would be a 
  maneuver which grants a bonus to Crushing STR; 
  
  94 
  The Ultimate Martial Artist
  a character can only perform this maneuver on his 
  Phase following a successful Grab. Both maneuvers 
  may not occur on the same Phase; the required 
  attack takes place on one Phase, and the following 
  maneuver on the next. A Following maneuver may 
  also Follow itself; for example, a Crush may follow a 
  Grab or a previous Crush. For a Following maneu-
  ver to succeed, the character must have success-
  fully performed (or maintained) at least one of the 
  maneuvers it Follows on his previous Phase.
  Since the Following maneuver does take place 
  until the next Phase, the character must make 
  a new Attack Roll. Visualize this as the attacker 
  having to change grips or angles of attack to 
  accomplish the maneuver. Th is applies even when 
  the maneuver Follows itself. With maneuvers fol-
  lowing Grabs, the victim is at ½ DCV. (At the GM’s 
  option, the Following attack could occur without 
  requiring the character to make a new Attack Roll, 
  but this should be rare.)
  Example: Th underhead, a SPD 3 pro wrestler, 
  has a Crush maneuver, which must follow a 
  Grab. On Phase 4, he successfully Grabs Joe Hall 
  “Th e Wrecking Ball.” On Phase 8, he may use 
  the Crush maneuver, since it follows Grab, but 
  he must roll to hit against Hall’s new, reduced 
  DCV. If he misses, the Crush doesn’t work, but 
  he maintains the Grab on Hall. Whether he hits 
  or he misses, on Phase 12 he may use the Crush 
  maneuver again, since it can follow itself, but 
  again he must roll to hit.
  Th is Element subtracts 2 points from the cost 
  of the maneuver.
  In maneuver listings, this Element is nor-
  mally indicated by use of the phrase “Must Follow 
  [Name of Maneuver].” 
  Grab Opponent
  Th is Element allows the character to get his 
  opponent in a hold. A character could deﬁ ne a 
  maneuver which uses it as a simple hold placed on 
  the enemy, a bearhug, an elaborate joint-lock, or 
  anything similar. Th is Element adds +3 points to 
  the cost of the maneuver.
  Th e basic Grab Element allows the character 
  to Grab two limbs. Each additional limb costs +1 
  point. Most joint-lock maneuvers only Grab one 
  to two limbs; pins and full body holds may inca-
  pacitate 4 or 5 limbs, thus preventing the character 
  from moving or attacking at all. Of course, charac-
  ters can use multiple Grabs on a single character to 
  successively pinion all of his limbs — it just takes a 
  few Phases and several successful Attack Rolls.
  Th e Grabbing character may, in the same 
  Phase as a successful Grab is executed, apply STR 
  damage to his opponent (crushing or strangling 
  him) or may throw or bear his opponent to the 
  ground (for normal STR damage or no damage at 
  all, as the player prefers). See page 144 of this book 
  for further options.
  Characters may buy additional damage for 
  this maneuver as N-Damage (for crushing or 
  strangling), or as additional STR for holding on to 
  a struggling target, or as both. A Grab maneuver 
  could have +2d6 damage, costing 2 points, and +10 
  STR for holding on, costing 2 more points.
  For more information on Grabbing and its 
  eﬀ ects on combat, see page 386 of the HERO 
  System 5th Edition, Revised.
  Grab Weapon
  Th is Element allows the character to establish 
  a hold on his enemy’s weapon (or other item car-
  ried in hand). Th e Grabbing character may, in the 
  same Phase as a successful Grab is executed, make 
  a STR Versus STR Contest against the target; if he 
  wins, he wrests the held item away from his foe. 
  (If the target wins, the target wrests it out of the 
  character’s grasp, and if the roll is a tie, neither can 
  pull it away from the other.)
  Th is Element adds +3 points to the cost of the 
  maneuver.
  You buy Extra DCs for this maneuver as addi-
  tional STR for wresting the weapon away.
  Half Move Required 
  Th is Restrictive Element is taken for any 
  maneuver which by its nature requires the char-
  acter to make a Half Move, usually to “build up 
  momentum.”  If the character cannot make a Half 
  Move, he cannot use the maneuver (or, at the 
  GM’s discretion, can only use it to greatly reduced 
  eﬀ ect). Th is Element is similar to the Gestures 
  Limitation, because a character can only use a 
  maneuver with it if he can move freely and is not 
  conﬁ ned or restrained. Flying kicks and similar 
  maneuvers may have this restriction.
  Half Move Required cannot be taken for any 
  maneuver which has the FMove Element. It can 
  only be taken once for any maneuver.
  Th e GM may, if he wishes, expand the deﬁ ni-
  tion of what amounts to a “Half Move” to cover 
  any sort of requirement that a character make a 
  particular movement or have a certain amount of 
  space available before he can perform a maneuver. 
  For example, you can use Half Move Required 
  to simulate a maneuver which a character could 
  only perform if he had at least 1” of open space 
  around him on all sides. Similarly, if the maneu-
  ver required a character to make some speciﬁ c 
  motion, such as a cartwheel, before he used the 
  maneuver, you could also simulate this with Half 
  Move Required.
  K-Damage
  Th is stands for Killing Damage. If the maneu-
  ver does Killing Damage instead of Normal 
  Damage, additional damage costs +3 points per +1 
  DC, up to a maximum of +4 DC.
  Th e character’s STR also adds to the maneu-
  ver’s damage, at +1 DC per 5 points of STR, but 
  this added damage may not more than double the 
  purchased damage for the maneuver (purchased 
  damage includes Extra DC). For example, if a 
  maneuver does +2 DC of K-Damage, and the char-
  acter with the maneuver has STR 15, he could add 
  +3 DC to the maneuver... except that this more 
  than doubles the purchased damage of the maneu-
  ver. He can only add +2 DC to the maneuver, for a 
  total of 4 DC, or 1d6+1 K.
  
  95 
  Hero Games
  Important Note:  You may not mix damage types 
  in a single maneuver. A maneuver may have only 
  one of the following three types of damage bonus: 
  K-Damage, N-Damage, or NND DMG. A maneu-
  ver may have both K-Damage and v/5, where each 
  5” of relative movement translates into +1 DC 
  of added K-Damage (HERO System 5th Edition, 
  Revised, page 406-07).
  Lasting Restriction
  A character can only take this Restrictive Ele-
  ment for a maneuver which has at least -1 worth of 
  penalties to OCV or DCV. It signiﬁ es that the CV 
  penalty lasts for one additional Phase beyond when 
  it would normally disappear. It does not matter for 
  purposes of this Element what maneuver is used in 
  that additional Phase, the penalty still remains. 
  Example:  Chang wants to build a Sacriﬁ ce 
  Strike-like maneuver which simulates an all-
  out attack he has a diﬃ  cult time recovering 
  from. He takes the Lasting Restriction Element 
  on his Sacriﬁ ce Strike maneuver, reducing its 
  costs to 4 points but subjecting himself to the -2 
  DCV penalty for an extra Phase.
  Chang, SPD 6, gets into a ﬁ ght with Jeung, 
  SPD 5. Chang decides to try to ﬁ nish Jeung oﬀ  
  quickly and uses his Sacriﬁ ce Strike in Phase 
  2. Unfortunately, Chang misses. Jeung also 
  misses in Phase 3. In Phase 4, Chang can act 
  again. Normally, the -2 DCV penalty from the 
  Oﬀ ensive Strike would no longer apply, since it 
  is a new Phase, but because he took the Lasting 
  Restriction Element on his maneuver, he will 
  start at a base -2 DCV in Phase 4, regardless of 
  what attack he uses.
  Lasting Restriction penalties do not accumu-
  late if maneuvers with the Element are used in suc-
  cession. Th us, in the example above, if Chang had 
  used his Sacriﬁ ce Strike again in Phase 4, he would 
  be at -4 DCV (-2 from Phase 2, and another -2 for 
  the maneuver he uses in Phase 4). Th en, in Phase 
  6, he would start oﬀ  with a base -2 DCV penalty 
  because he used a maneuver with a Lasting Restric-
  tion in Phase 4 — not a base -4 DCV.
  Lasting Restriction subtracts one point from 
  the cost of the maneuver. It is most appropriate for 
  maneuvers with DCV penalties, but you can use it 
  for maneuvers with OCV penalties as well.
  N-Damage
  Th is stands for Normal Damage, and adds 
  damage dice to the STR used with the maneuver. 
  It costs +1 point per +1d6 normal damage up to 
  +2d6, then costs +2 points per additional +1d6 up 
  to the maximum of +4d6 (therefore +4d6 would 
  cost 6 points).
  Important Note: You may not mix damage types in 
  a single maneuver. A maneuver may have only one 
  of the following three types of damage bonus: K-
  Damage, N-Damage, or NND DMG. A maneuver 
  may have both N-Damage and v/5, where each 5” 
  of relative movement translates into +1d6 added 
  N-Damage.
  NND DMG
  Th is stands for No Normal Defense Damage 
  (see page 265 of the HERO System 5th Edition, 
  Revised). Each +1 point spent gives the maneu-
  ver +½d6 NND, up to 1d6; each +½d6 thereaft er 
  costs +2 points, up to its maximum of 2d6 NND. 
  Th e character’s STR does not add damage to this 
  maneuver, so NND DMG maneuvers must take the 
  STR - Element at the No STR level (for -2 points).
  As with any separately-purchased No Normal 
  Defense attack, this maneuver must have a rea-
  sonably common defense, such as Life Support 
  (Self-Contained Breathing) for a choking attack or 
  Armor for nerve strikes. See page 148 of this book 
  for a list of suggested defenses. 
  Important Note: You may not mix damage types 
  in a single maneuver. A maneuver may have only 
  one of the following three types of damage bonus: 
  K-Damage, N-Damage, or NND DMG. A maneu-
  ver may have both NND DMG and v/5, where 
  each 5” of relative movement translates into +½d6 
  NND DMG. Th e added damage cannot more than 
  double the base damage; if the maneuver normally 
  does 2d6 NND, then extra damage from a +v/5 
  Element cannot boost the maneuver up to more 
  than 4d6 NND, no matter how fast the characters 
  are going.
  OCV - 
  Th is Element indicates a penalty to the 
  attacker’s OCV. It’s used to represent maneuvers 
  which are awkward and less accurate than ordinary 
  attacks. Th e maximum penalty you can take on a 
  maneuver is -2 OCV. It subtracts 1 point from the 
  maneuver per -1 OCV taken to the maneuver. A 
  character may not have both OCV - penalties and 
  OCV + bonuses on the same maneuver.
  OCV + 
  Th is Element indicates a bonus to the attack-
  er’s OCV. You use it to represent maneuvers so fast, 
  powerful, or unpredictable a defender is less able 
  to anticipate them or defend against them. Th e 
  maximum bonus you can take on a maneuver is +2 
  OCV. Th is Element costs +1 point to the maneuver 
  per +1 OCV taken to the maneuver. A character 
  may not have both OCV + bonuses and OCV - 
  penalties on the same maneuver.
  One Limb 
  Th is Restrictive Element applies to Grab 
  maneuvers which only immobilize one limb. Many 
  joint-locks, choke holds, and similar maneuvers 
  take this restriction. Th is Element subtracts 1 point 
  from the cost of a Grab.
  Response 
  Th is Restrictive Element applies to maneuvers 
  which can only follow a speciﬁ c maneuver used 
  by one’s opponent. Th e attacker’s maneuver can be 
  deﬁ ned in fairly general terms (such as “a punch,” 
  “a kick,” or “a Nerve Strike”), but cannot simply be 
  deﬁ ned as “an oﬀ ensive maneuver.” Th e GM has 
  ﬁ nal say-so over whether the attacker’s maneuver 
  has been deﬁ ned properly; the more speciﬁ c or 
  detailed a deﬁ nition, the better.
  
  96 
  The Ultimate Martial Artist
  Th is Element subtracts 3 points from the cost 
  of a maneuver. In maneuver descriptions this Ele-
  ment is indicated by the words “Can Only Be Used 
  Aft er X,” where X is the attacker’s maneuver.
  STR - 
  Th e character using a maneuver with this Ele-
  ment cannot use some or all of his STR with the 
  maneuver. It subtracts 1 point if he can only use 
  half his STR with the maneuver, or 2 points if he 
  can use none of his STR with the maneuver. A char-
  acter may not have both STR - penalties and STR + 
  bonuses on the same maneuver.
  STR + 
  Th e character may add to his STR for this 
  maneuver. Th is Element costs 1 point per +5 STR 
  up to +10 STR, then it costs +2 points per addi-
  tional +5 STR up to the maximum of +20 STR.
  Important Note: Th is STR must be deﬁ ned as 
  being for one purpose only. For example, it may be 
  Only For Holding On With Grab, Only For Shov-
  ing, Only For Escaping Grab, Only To Resist Shove, 
  and so forth.
  A Grab maneuver may have both an N-
  Damage bonus and a STR + bonus; the N-Damage 
  would augment the STR damage done if the char-
  acter decides to apply STR to hurt the victim, while 
  the STR + bonus would improve his chances to 
  hold onto the victim. At the GM’s option, a charac-
  ter may also have an NND DMG bonus and a STR 
  + bonus, where the STR adds only to the Grab Ele-
  ment; ordinarily, this would not be allowed, since 
  NND DMG maneuvers take the STR - Element 
  at the 0 STR level. If the GM allows a character to 
  purchase such a maneuver, the character cannot 
  take that Restrictive Element, but the maneuver’s 
  STR + bonus still does not add to his NND DMG.
  A character may not have both STR + bonuses 
  and STR - penalties on the same maneuver.
  Strike 
  Th is maneuver does damage to the target. It 
  starts out with +0 OCV, +0 DCV, takes a Half Phase 
  to use, and does the character’s normal STR damage 
  to the target. Even if the maneuver is built in such 
  a way that it does no damage to its target, it counts 
  as an attack (i.e., the character cannot follow it with 
  another action in the same Phase).
  It’s possible to add the STR - Element to the 
  maneuver so that it does little or no damage, which 
  is especially appropriate with Th row maneuvers 
  which do no harm to the target.
  Th e Strike Basis is an Exclusive Basis, so a 
  Strike maneuver may have none of the following 
  bases in it: Bind, Block, Disarm, Dodge, Flash, Grab 
  Weapon.
  Take Full DMG 
  Th e character takes full damage from the 
  maneuver. Th is is especially appropriate for colli-
  sion-based maneuvers. Th is Element subtracts 2 
  points from the cost of the maneuver.
  For example, a STR 15 character performing a 
  STR+3d6 Tackle with the Take Full DMG Element 
  on it would do 6d6 damage to his victim and would 
  also sustain 6d6 damage when he successfully per-
  formed the maneuver.
  With NND DMG and K-Damage attacks, 
  the character takes an equivalent DC of Normal 
  Damage (Physical). For example, if the attack does 
  2d6 K (6 DC), the character sustains 6d6 Normal 
  Damage, and if the attack does 2d6 NND (4 DC), 
  the character sustains 4d6 Normal Damage.
  Take Half DMG 
  Th is Element is exactly like the Takes Full 
  DMG Element, except that the character perform-
  ing the maneuver only takes half damage, not full 
  damage. It subtracts 1 point from the cost of the 
  maneuver.
  Th row 
  Successful use of a maneuver with this Non-
  Exclusive Basis throws the opponent to the ground; 
  in maneuver listings, this is indicated with use of 
  the words “Target Falls,” “He Falls,” or “Opponent 
  Falls,” instead of “Th row.” Th rows are typically 
  bought as Strikes, so the target takes the attacker’s 
  STR damage from impacting the ground. Th is Ele-
  ment adds +1 point to the cost of the maneuver.
  Th rows have an additional eﬀ ect — if both 
  characters have their next Phase in the same Seg-
  ment, they allow the character who makes the 
  Th row to attack the Th rown character ﬁ rst in their 
  next Phase regardless of relative DEX, similar to a 
  Block. Th is represents the disadvantageous position 
  of the Th rown character (either because he’s on the 
  ground, or because he has to do something to get 
  back on his feet). At the GM’s option, the Th rown 
  character can avoid this eﬀ ect if he makes a Break-
  fall roll by half (a straight DEX Roll may be substi-
  tuted, if the GM prefers).
  Refer to page 152 of this book for more infor-
  mation on Th rows and their eﬀ ects, including an 
  explanation of the relationship between Th rows 
  and simultaneous attacks (note that Th rows do not 
  automatically Block incoming attacks).
  Time + 
  A maneuver with this Element takes extra time 
  to perform. A character cannot move in the Phase 
  in which he prepares or performs this attack. It sub-
  tracts 1 point from the maneuver cost if the attack 
  is not launched until the end of the next Segment. 
  You cannot take this Element for a maneuver which 
  already has the FMove or Half Move Required Ele-
  ments.
  Th is Element is especially appropriate for 
  maneuvers where the attacker must prepare himself 
  for a second or two before launching the attack. It’s 
  best used to simulate maneuvers where you have to 
  stand in one place to summon a lot of power into a 
  strike, and is sometimes taken with the DCV - Ele-
  ment. In maneuver listings, this Element is indi-
  cated in the Phase column of the chart, where “1+” 
  is listed instead of “½.”
  Unbalancing 
  Take this Restrictive Element for maneuvers 
  which tend to throw the user oﬀ -balance. Because 
  of this, the user’s opponent gets to attack him ﬁ rst 
  in the ﬁ rst Segment in which they both have a 
  
  97 
  Hero Games
  Phase, regardless of relative DEX — sort of the 
  opposite of the eﬀ ect of a Block or Th row.
  However, unlike a Block or a Th row, this eﬀ ect 
  still applies even if the characters’ ﬁ rst Phase in 
  common is not their next Phase — if necessary, it 
  “carries over” and applies on Segment 12, when all 
  characters move. (If this were not so, characters 
  could take this Restrictive Element on maneuvers 
  and then use them only on Phases when they knew 
  the restriction wouldn’t aﬀ ect them, because their 
  next Phase would not coincide with their oppo-
  nents’.) Th e eﬀ ect does not “carry over” beyond 
  a Phase which the characters normally have in 
  common, but which they do not have this Turn 
  because one of them Aborted that Phase.
  Example:  A SPD 3, DEX 14 character and a 
  SPD 4, DEX 20 character are ﬁ ghting each 
  other. In Phase 3, the SPD 4 character uses 
  a maneuver with the Unbalancing Restric-
  tive Element. Since the two characters do not 
  have a Phase in common until Segment 12, 
  the penalty from the maneuver “carries over” 
  until Phase 12, when the SPD 3 character gets 
  to attack ﬁ rst, even though his opponent has a 
  higher DEX. If the SPD 3 character Aborts his 
  Phase 12 (say, to Dodge the SPD 4 character’s 
  Phase 9 attack), the maneuver penalty van-
  ishes, since the SPD 3 character voluntarily 
  “skipped” his own Phase 12 by Aborting.
  Th is Element subtracts one point from the cost 
  of a maneuver.
  v/3 
  Th is Element is identical to the v/5 Element 
  (see below), but does more damage.
  v/5 
  A maneuver with this Element gets a damage 
  bonus based on the relative velocity of the two 
  combatants. Th e maneuver does +(v/5)d6 normal 
  damage, where “v” is the relative velocity. Th is 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. Th erefore, 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 eﬀ ects 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 
  maneuver involves using the target’s own momen-
  tum against him (such as Martial Th row), then only 
  the target’s velocity matters.
  Important Note:  v/5 may also be added to NND 
  DMG and K-Damage attacks. It adds +1 DC (½d6 
  NND or +1 DC killing damage) per 5” of veloc-
  ity to those maneuvers (HERO System 5th Edition, 
  Revised, pages 406-07).
  MONGOOSE STYLE
  Now, as an example of use of these rules, 
  let’s put together the Mongoose Style maneuvers 
  described earlier in this section.
  We decided earlier that the Mongoose Style 
  would have a Block, a Dodge, a high-DCV attack to 
  simulate the mongoose bite, a grab, and a maneuver 
  to perform damage on a held foe. We’ll add another 
  maneuver:  an Escape, appropriate for the high-DEX, 
  wriggly mongoose. Now, let’s build these six maneu-
  vers.
  According to our earlier deﬁ nition, most or all 
  of the Mongoose Style maneuvers will be high DCV.
  Mongoose Bite:  Th is maneuver, a crushing tech-
  nique using the hands, is performed aft er the 
  Mongoose Grab:  the attacker proceeds to 
  crush the defender’s skull and break bones. 
  It’s a Killing Damage attack. OCV -2 
  (-2 points), DCV -2 (-2 points), K-
  Damage +4 DC (12 points), Follows 
  Grab (-2 points), Time/Extra Seg-
  ment) -1 point). Total: 5 points. If you use 
  the optional location rules, the Mon-
  goose Bite takes a 2d6+1 location roll; 
  this indicates where the Grab landed.
   
  ‘Y
  ou can 
  observe 
  a lot just by 
  watchin’.’
  — Yogi Berra
  
  98 
  The Ultimate Martial Artist
  Mongoose Block:  Unlike the ordinary Martial 
  Block, this maneuver is high-DCV but nothing 
  special for OCV, even though the Block is an 
  OCV versus OCV attack. So, we take +0 OCV 
  (0 points), +3 DCV (4 points), Block (0 point, 
  includes Abort). Total:  4 points. If you use the 
  optional location rules, the Mongoose Block 
  takes No Location.
  Mongoose Dodge:  This is the ordinary Martial 
  Dodge: OCV not relevant, DCV +5 (maneu-
  ver starts with +3 DCV; +2 more DCV costs 
  4 points), Dodge (+0 point), Abort (+0 point 
  because it’s part of the Dodge element). Total:  4 
  points. If you use the optional location rules, the 
  Mongoose Dodge takes No Location.
  Mongoose Escape:  This is similar to the ordi-
  nary Martial Escape, but has a slightly better 
  DCV. OCV +0 (0 points), DCV +1 (1 point), +15 
  to STR versus Grabs (4 points). Total:  5 points. 
  (The extra DCV doesn’t help during the Escape, 
  but does help if the character is attacked in the 
  same Segment once he is free.) If you use the 
  optional location rules, the Mongoose Escape 
  takes No Location.
  Mongoose Grab:  This is what enables the Mon-
  goose practitioner to get his hands on his foe. It’s 
  not even as accurate as the normal Martial Grab 
  but still gives the martial artist a DCV bonus. 
  OCV -2 (-2 points), DCV +2 (2 points), Grab (3 
  points). Total:  3 points. If you use the optional 
  location rules, the Mongoose Grab is normally 
  counted as taking No Location. If it’s followed by 
  a Mongoose Bite, you check for the location of 
  the Grab and Bite with a 2d6+1 location roll.
  Mongoose Strike:  This is a fast blow that does 
  only the character’s normal STR damage. OCV 
  +0 (0 points), DCV +3 (4 points). Total:  4 points. 
  If you use the optional location rules, the Mon-
  goose Strike takes a 2d6+1 location roll.
  Those are the basic maneuvers of the style. 
  They give the character what we described 
  originally:  a fast, highly defensive style allow-
  ing the practitioner to stay loose, grab his target, 
  and destroy the target with the fearsome “bite.” 
  See how to incorporate those maneuvers into a 
  HERO System martial arts style on page 101.
  
  99 
  Hero Games
  HELPFUL ELEMENTS
  Element
  Description
  Maximum
  DCV +
  +2 points per +1 DCV
  +2
  Disarm +
  +1 point per +5 STR up to +10 STR;
  +2 points per additional +5 STR
  +20 STR
  N-Damage
  +1 point per +1 DC up to +2 DC; 
  +2 points per +1 DC per additional +1 DC
  +4 DC
  OCV +
  +2 point per +1 OCV
  +2 OCV
  Rng +
  +1 point per +1 OCV vs. Range up to +4; 
  +2 points per additional +1 OCV vs. 
  Range
  +8 OCV vs. 
  Range
  Strike
  +0 points if maneuver is based on Strike 
  (+OCV, +0 DCV, does STR damage)
  Take Once
  Th row
  +2 points to throw opponent to ground 
  Take Once
  v/5
  +2 points to do +v/5 extra damage
  v/5
  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 
  ranged weapons like the bow or throwing 
  knives. Th is section presents rules for creating Martial 
  Maneuvers which work at range. In almost all cases 
  such maneuvers involve a weapon of some sort. As 
  always, these rules are optional; if the GM feels they 
  are inappropriate or unbalance his campaign, he 
  should change them enough to make them acceptable, 
  or simply forbid them entirely.
  DESIGNING RANGED 
  MARTIAL MANEUVERS 
  You create ranged martial arts using rules based 
  on the Designing Martial Arts Maneuvers section, 
  above; readers should refer to that section for gen-
  eral information on this subject. Most of the rules 
  described in that section, such as the one requiring 
  martial arts maneuvers to cost from 3-5 points, apply 
  to Ranged Martial Maneuvers as well.
  MANEUVER BASES 
  Like hand-to-hand Martial Maneuvers, Ranged 
  Martial Maneuvers have Maneuver Bases. Th ere are 
  Exclusive Bases, which a maneuver can have only one 
  of; and Non-Exclusive Bases, which a maneuver can 
  have more than one of. You can include one or more 
  Non-Exclusive Bases in a maneuver with an Exclusive 
  Basis. See above for further information.
  MANEUVER ELEMENTS
  Th e accompanying table lists the Elements, or 
  building blocks, used to construct Ranged Martial 
  Maneuvers. Th e various Bases are Elements, as are 
  bonuses to CV and various other abilities which you 
  use to “customize” each maneuver.
  Th e list of Elements you can use to build ranged 
  martial arts maneuvers is shorter than the list of 
  hand-to-hand maneuver Elements — there are fewer 
  things a character can do to an opponent at range 
  than to one within hand-to-hand ﬁ ghting distance. It’s 
  not possible, for example, to grab someone standing a 
  hundred feet away from you.
  Even though there are three types of damage a 
  character can do using hand-to-hand martial arts, 
  there is only one type at range:  Normal Damage 
  (N-Damage). Th is is because the ranged martial arts 
  design system is intended primarily for building styles 
  involving missile weapons such as bows, guns, and 
  shuriken. Th e N-Damage bonuses simply add DCs to 
  the weapon, as explained on page 406 of the HERO 
  System 5th Edition, Revised. If for some reason a player 
  wants to design a barehanded ranged martial arts 
  style involving Killing Damage and NND DMG (and 
  can get GM permission to do so), he can import the 
  K-Damage and NND DMG Elements from the hand-
  to-hand Elements chart on page 91.
  RANGED 
  MARTIAL ARTS
  MANEUVERS BASIS
  Exclusive
  Basis 
  Purpose of Bases
  Disarm + 
  Attempts to knock an 
  opponent’s weapon out of 
  his grasp
  Strike 
  Does damage to the 
  opponent
  Non-Exclusive
  Basis 
  Purpose of Bases
  Th row 
  Puts the opponent on the 
  ground
  RESTRICTIVE ELEMENTS
  Element
  Description
  Maximum
  DCV -
  -1 point per -1 DCV
  -2 DCV
  Half Move 
  Required
  -1 point if maneuver requires character to 
  make a Half Move
  Take Once
  OCV -
  -1 point per -1 OCV
  -2 OCV
  Rng -
  -1 point per -1 OCV vs. Range
  -2 OCV vs. 
  Range
  Time +
  -1 point if attack takes an extra Segment 
  to perform (landing at the end of the next 
  Segment)
  Take Once
  
  100 
  The Ultimate Martial Artist
  Element Descriptions
  Elements not described here work exactly the 
  same as the corresponding hand-to-hand Element 
  (see above).
  DCV +
  DCV bonuses are a relatively rare Element 
  in ranged martial arts maneuvers. Th ey indicate 
  a maneuver which the character has practiced so 
  much and is so proﬁ cient with that he can move 
  around and avoid enemy attacks while still aiming 
  accurately at his target. DCV + costs 2 points per 
  +1 DCV (with a maximum of +2 DCV). A charac-
  ter may not have both DCV + and DCV - Elements 
  in the same maneuver.
  Disarm + 
  A Disarm maneuver is used to knock a 
  weapon out of an opponent’s grasp. Determining 
  whether a ranged attack knocks a weapon out of 
  someone’s grasp is a two-step process. First, con-
  vert the Damage Classes of the attacking weapon 
  to STR (1 DC equals 5 STR); second, make a STR 
  Versus STR Contest in the standard method for 
  the Disarm maneuver. For example, a 1d6+1 RKA 
  arrow has 4 DC, which equals 20 STR for Disarm 
  purposes. While a ranged “Disarm” of this sort does 
  not take the usual -2 OCV for a standard Disarm 
  maneuver, the shooter suﬀ ers OCV penalties for 
  targeting the weapon (typically -6, as for targeting 
  the hand, but shooting at larger weapons such as 
  riﬂ es or greatswords may entail lesser penalties).
  Th e Disarm + Element adds STR to a ranged 
  weapon’s disarm ability. Th is reﬂ ects the attacker’s 
  accuracy with the maneuver and his general skill 
  at disarming opponents with his ranged attack. A 
  maximum of +20 STR may be added; the ﬁ rst +10 
  STR costs 1 point per +5 STR; all STR thereaft er 
  costs 2 points per +5 STR.
  A disarmed weapon usually ends up ½d6 
  inches away from its former holder in the direction 
  the disarming attack travels (disarming player’s 
  choice, within reason). Th e GM decides whether 
  the disarmed weapon suﬀ ers damage; the Disarm + 
  Element itself does no damage to the weapon.
  N-Damage 
  Th is stands for Normal Damage, which adds 
  DCs to the damage done by the missile weapon the 
  character uses. Remember, it takes two DCs to add 
  one DC to a Killing Attack weapon. For this reason 
  characters usually buy N-Damage maneuvers 
  with +2 DC or +4 DC, since odd numbers round 
  down (for example, +3 DC rounds to +1 DC when 
  used to increase a Killing Attack). See page 406 of 
  the HERO System 5th Edition, Revised for a more 
  detailed description of adding DCs to K-Damage 
  maneuvers and weapons. N-Damage costs 1 point 
  per +1 DC up to 2 DC, and +2 points for every +1 
  DC thereaft er, to a maximum of +4 DC. Th us, +4 
  DC would cost 6 points.
  OCV + 
  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.
  Rng - 
  Th is Restrictive Element reﬂ ects the inherent 
  diﬃ  culty or inaccuracy of a particular maneuver 
  over distance. Rng - points add to the standard range 
  modiﬁ ers imposed by the HERO System rules (refer 
  to the HERO System 5th Edition, Revised, page 373, 
  for information). For every 1 point of Rng -, there’s 
  an additional -1 OCV at Range for the maneuver.
  Characters may take a maximum of two points 
  of Rng - for a maneuver, at a subtraction of -1 
  point each from the total cost of the maneuver. A 
  maneuver may not have both the Rng - and Rng + 
  Elements.
  Rng + 
  Buy Rng + for maneuvers which are inherently 
  more accurate than normal over a distance. Rng + 
  points add to OCV to counteract the standard pen-
  alties for ranged attacks. 
  Rng + costs +1 point per point for the ﬁ rst 
  four points, and +2 points per point for the next 
  four points, for a maximum of +8 OCV vs. Range.
  A maneuver may not have both Rng + and 
  Rng - modiﬁ ers.
  Th row 
  Characters use this Element for ranged attacks 
  designed to trip an opponent or knock his feet out 
  from under him.
  With larger weapons (such as arrows, spears, 
  and throwing axes), the Th row Element usually 
  means the weapon snags the opponent’s feet and 
  trips him or knocks him down. Th is form of Th row 
  does no damage to the opponent other than the 
  damage from the fall itself, as with a Martial Th row. 
  With smaller weapons (such as bullets, shuriken, 
  and throwing knives), this maneuver involves hit-
  ting the opponent in the legs or feet, thereby “cut-
  ting his feet out from under him” or knocking him 
  down. 
  In the description of a maneuver, a Th row 
  is indicated by the use of the word “Falls,” as in 
  “Target Falls.”
  Th e Th row Element costs 2 points. 
  Time + 
  Some ranged maneuvers take an extra Phase 
  to perform, simulating the character’s need to care-
  fully aim the attack. Th is Restrictive Element sub-
  tracts 1 point from the cost of the maneuver. In a 
  maneuver’s description this Element is indicated by 
  the words “+1 Segment.” 
  v/5 
  Th e maneuver gets a damage bonus based on 
  the velocity of the target (not on the relative veloc-
  ity of the attacker and his target, like the hand-to-
  hand v/5 Element). “V” indicates the target’s veloc-
  ity. In most cases, ranged martial arts maneuvers 
  built with this Element do only v/5 damage, not v/5 
  plus the weapon’s damage or the character’s STR, 
  since the eﬀ ect is one of tripping somebody, not 
  of knocking them down. Characters may take v/5 
  once, at a cost of 2 points.
  MIXING HTH 
  AND RANGED 
  MANEUVERS
  A character can, with 
  GM permission, have a 
  martial arts style with 
  both hand-to-hand 
  and ranged maneuvers. 
  For example, a skilled 
  knifeﬁ ghter might want 
  to add a Ranged Martial 
  Maneuver to his Sevil-
  lian Knifeﬁ ghting style 
  to reﬂ ect his skill with 
  thrown knives. Some 
  of the styles described 
  in Chapter One, such 
  as An Ch’i, have both 
  hand-to-hand and 
  ranged maneuvers.
  Provided the GM does 
  not think this unbal-
  ances the campaign, 
  it’s perfectly accept-
  able. However, just like 
  Extra DCs (see below), 
  3-point Combat Skill 
  Levels with a hand-to-
  hand style do not aﬀ ect 
  ranged maneuvers in 
  that style, and vice-
  versa. Five-point levels 
  with a particular style 
  (not with Hand-To-
  Hand Fighting, with 
  a speciﬁ c style, such 
  as Karate) do aﬀ ect to 
  both hand-to-hand and 
  ranged maneuvers in 
  that style.
  
  101 
  Hero Games
  THE COMPLETE 
  MONGOOSE STYLE
  As an example of how to assemble a fully 
  ﬂ eshed out martial arts style, here once again is the 
  Mongoose Style.
  You already know the maneuvers. Th at leaves 
  Skills, Elements, special abilities, and some back-
  ground.
  Skills:  In addition to the basic KS: Mongoose 
  Style, Acrobatics is appropriate to represent the 
  mongoose’s agility. Since mongooses have short but 
  sharp claws and teeth, it would also be appropriate 
  for practitioners to learn how to use short blades 
  (including the shuko, page 182) with the art.
  Elements:  No style requires Extra DC, so those 
  aren’t listed. Using the art with the short blades 
  mentioned above is appropriate.
  Special abilities:  Mongoose practitioners are fast, 
  both in terms of agility and general speed, so some 
  extra Running is common among them.
  So, the Mongoose Style looks like this:
  MONGOOSE STYLE NOTES
  Optional Rules: Th e Strike and Bite take 3d6 loca-
  tion rolls. None of the other maneuvers take loca-
  tion rolls.
  Special Abilities:  Many Mongoose practitioners 
  buy extra inches of Running to reﬂ ect their speedi-
  ness.
  Mongoose Style developed in India sometime 
  during the ninth and tenth centuries AD, but was 
  known only to a few Buddhist monasteries. But in 
  the late seventeenth century, a Mongoose stylist 
  turned away from his faith and began worshipping 
  Kali; he joined an order of Th ugs (Indian strangler-
  assassins) and taught them his ﬁ ghting skills.
  Mongoose Style was nearly wiped out during 
  the British Empire’s crackdown on the Th ugs 
  during the nineteenth century, but did survive 
  among descendants of the Th ugs. Some of them left  
  the path of Th uggee and practiced the art solely for 
  self-defense and exercise.
  Today, Mongoose Style remains a fairly 
  obscure ﬁ ghting art. One isolated Buddhist mon-
  astery still teaches a pure form of the style, and 
  rumors say that sects of Mongoose-stylist Th ugs 
  survive in the dark and shadowy corners of India. 
  But mostly the art is taught by Indian martial art-
  ists, especially in larger cities such as Calcutta and 
  Bombay. A few instructors have migrated to the 
  United States or Great Britain, and so some large 
  Western cities have Mongoose schools.
  ADDITIONAL NOTES ON 
  MARTIAL ARTS STYLES 
  AND ELEMENTS
  Extra Damage Classes  
  You’re familiar with Extra Damage Classes 
  (DCs) from the HERO System 5th Edition, Revised, 
  page 400. On the Martial Maneuvers Table (page 
  384 of that book), it’s listed as +1 DC in the bottom 
  of the chart. Th e Adding Damage section of that 
  book (page 405) discusses how Extra DC add to 
  a maneuver’s damage with unarmed and armed 
  attacks.
  Th is section discusses Extra DC to summarize 
  a few facts and clarify some points.
  ADDING EXTRA DC TO MANEUVER 
  DAMAGE 
  Extra DCs add to damage from martial arts 
  maneuvers. Th ey add both to armed and unarmed 
  martial arts maneuvers. If the maneuver is a ﬁ st 
  punch, Extra DCs apply; if the maneuver is a Mar-
  tial Strike requiring the use of a sword, Extra DCs 
  apply.
  Th ey do not add to any other sort of damage:  
  not to damage used with non-martial arts maneu-
  vers, not to unarmed attacks bought with the HA or 
  HKA Powers, and so forth. 
  Here is how Extra DCs add to maneuver 
  damage:
  Each +1 DC from Extra DCs Adds: 
  1)  Normal Damage:  Each +1 DC from Extra DCs 
  adds +1d6 to Normal Damage maneuvers (armed 
  or unarmed). Th is is true of both unarmed maneu-
  vers and armed maneuvers for Normal Damage 
  weapons you can use with your martial art style 
  (see “Weapons,” below).
  2)  NND Damage:  Each +1 DC from Extra 
  DCs adds +½d6 to NND maneuvers (armed or 
  unarmed). Th is is true of both unarmed maneuvers 
  and armed maneuvers for NND Damage weapons 
  you can use with your martial art style (see “Weap-
  ons,” below).
  3)  Flash eﬀ ects:  Each +1 DC from Extra DCs adds 
  +1d6 to Flash maneuvers (armed or unarmed).
  4)  STR bonuses:  Each +1 DC from Extra DCs adds 
  +5 STR to the STR bonuses from maneuvers built 
  with the “Exert” Basis.
  MANEUVERS AND 
  HIT LOCATIONS
  In the style write-ups 
  earlier in this chapter, 
  you saw that many 
  maneuvers utilize Hit 
  Location rolls other 
  than the standard 3d6 
  roll. Your GM may or 
  may not adopt this 
  optional rule. If the 
  campaign does not 
  use Hit Location rolls, 
  this rule automatically 
  does not apply. Even if 
  the campaign uses Hit 
  Location rolls, the GM 
  does not have to permit 
  its use. If the campaign 
  uses Hit Locations, and 
  the GM permits its use, 
  you should assign each 
  maneuver one of the 
  following location rolls: 
  2d6+1, 2d6+7, 3d6, No 
  Roll, and No Location.
  If you’re using this rule, 
  maneuvers suﬀ er no 
  OCV penalty based 
  on the targeted loca-
  tion (even though, for 
  example, 2d6+1 and 
  2d6+7 ordinarily suﬀ er 
  a -2 OCV [see page 277 
  of the HERO System 5th 
  Edition]).
  2d6+1: Th is is a High 
  Shot. Most ﬁ st strikes 
  (punches), elbow strikes, 
  and head-butts should 
  be assigned this loca-
  tion.
  2d6+7: Th is is a Low 
  Shot. It’s best suited to 
  kicks which normally 
  center around the stom-
  ach, groin, and legs.
  3d6: Th is is the normal, 
  all-around location roll. 
  It’s suitable for kicks 
  which can range from 
  head to foot (which are 
  common in martial arts 
  styles) and for attacks 
  from long weapons 
  (such as swords, whips, 
  and staves).
  No Roll:  Th e maneuver 
  automatically hits a 
  speciﬁ c location — usu-
  ally the head or vitals. 
  However, the damage 
  is not modiﬁ ed by the 
  location, either. If the 
  attack automatically hits 
  the head (as a Choke 
  Hold and some head-
  butts will), you do not 
  multiply the maneuver’s 
  damage because of the 
  Continued on next page
  MONGOOSE STYLE
  Maneuver Phs Pts OCV DCV Damage/Effect
  Bite 
  1+ 5 
  -2 
  -2 HKA 1d6+1, Follows 
  Grab, Extra Segment
  Block 
  ½ 
  4 
  +2 +2 Block, Abort
  Dodge 
  ½ 
  4 
  — +5 Dodge all attacks, 
  Abort
  Escape 
  ½ 
  5 
  +0 +1 +15 STR vs. Grabs
  Grab 
  ½ 
  3 
  -2 
  +2 Grab Two Limbs
  Strike 
  ½ 
  4 
  +0 +3 STR Strike
  Skills
  Acrobatics
  KS: Mongoose Style
  WF: Blades
  Elements
  Weapons 
  +1 Use Art with Small Blades
   
  +1 Use Art with Shuko
  
  102 
  The Ultimate Martial Artist
  Each +2 DC from Extra DC Adds: 
  1)  Killing Damage:  Each +2 DC from Extra DCs 
  adds +1 DC to the damage of Killing Attack maneu-
  vers (armed and unarmed). Th is is true of both 
  unarmed maneuvers and armed maneuvers for Kill-
  ing Damage weapons you can use with your martial 
  art style (see “Weapons,” below).
  LIMITED EXTRA DCS
  You cannot take Limitations on Extra DCs (for 
  example, to restrict them to only one or two maneu-
  vers in a martial arts style). Allowing that would 
  create signiﬁ cant game balance problems, so it’s for-
  bidden.
  RANGED MARTIAL ARTS AND EXTRA DCS 
  Characters may buy Extra DCs for ranged mar-
  tial arts styles. Th ey cost 4 point apiece, just like hand-
  to-hand Extra DCs. However, Extra DCs for a ranged 
  martial arts style are relatively rare; ranged martial 
  arts styles rely on accuracy rather than on power in 
  most instances. Sometimes, though, a few Extra DCs 
  simulate a character’s ability to hit particularly vul-
  nerable locations on his target.
  If a character has both hand-to-hand and 
  ranged martial arts maneuvers, Extra DCs bought for 
  hand-to-hand maneuvers do not add to the ranged 
  maneuvers, and vice-versa. Characters must purchase 
  Extra DCs for ranged martial arts separately.
  PUSHING EXTRA DC 
  Characters cannot Push Extra DC damage. In 
  appropriate situations (see page 427 of the HERO 
  System 5th Edition, Revised), they can, of course, Push 
  their STR to do extra damage with a maneuver to 
  which Extra DCs apply.
  EXTRA DC IN MARTIAL ARTS STYLES
  Extra DCs are never a required part of any mar-
  tial arts style — they’re options the GM may allow. 
  Th erefore, the Extra DC Element isn’t listed with any 
  style.
  EXTRA DC AND OUTSIDE MANEUVERS
  Extra DCs apply to all martial arts maneuvers 
  you have bought (excepting ones like Blocks and 
  Dodges, where it has no function), whether or not 
  those maneuvers all belong to the same style. If a 
  character knows maneuvers from several styles, his 
  Extra DCs aﬀ ect every one of them. It does not aﬀ ect 
  the ordinary combat maneuvers every character 
  knows (i.e., normal Strike, normal Disarm, and so 
  forth).
  For instance, a Kung Fu practitioner who has 
  Kung Fu maneuvers with Extra DCs, who then buys 
  a Kenjutsu maneuver, can apply his Extra DCs to the 
  Kenjutsu maneuver.
  Weapons
  Martial arts styles are initially built for use 
  unarmed, or with one 1-point Weapon Familiar-
  ity category of weapons (see page 76 of the HERO 
  System 5th Edition, Revised). By spending +1 point for 
  a Weapon Element, a character can use the appropri-
  ate maneuvers of his style with a speciﬁ c 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 
  location. If the attack 
  automatically goes to a 
  hand (as some nerve-
  pinches could), do not 
  halve the maneuver’s 
  damage because of the 
  location.
  No Location:  Th e 
  maneuver hits no loca-
  tion at all — it doesn’t 
  need one. Either it does 
  no damage, so that no 
  location roll is needed 
  (for example, a Dodge 
  or Block), or it does 
  damage in such a gener-
  alized fashion there’s no 
  chance of the damage 
  being aﬀ ected by the 
  locations hit (as is the 
  case with many throws 
  and takedowns).
  Generally, ranged mar-
  tial arts maneuvers use 
  a standard 3d6 roll to 
  determine Hit Loca-
  tion. A few of them, 
  such as maneuvers with 
  the Disarm or Th row 
  Elements, may “target” 
  a speciﬁ c location. As 
  usual, such maneuvers 
  do not suﬀ er Hit Loca-
  tion OCV or damage 
  penalties or bonuses. 
  Continued from last page
  
  103 
  Hero Games
  405 in the HERO 
  System 5th Edi-
  tion, Revised, for 
  more information).
  Naturally, a character 
  can use normal (non-martial arts) maneuvers with 
  weapons for which he’s bought Weapon Familiar-
  ity; the martial arts Weapons Elements has no 
  bearing on this.
  OTHER WAYS TO BUILD 
  MARTIAL ARTS
  Th ere are a couple of other ways to build 
  Martial Arts-like abilities in the HERO System. 
  Remember, the special eﬀ ect matters most in the 
  HERO System, not how you deﬁ ne an ability in 
  game terms. Th e Martial Arts Skill isn’t the only 
  way for a character to simulate a high degree of 
  proﬁ ciency at hand-to-hand ﬁ ghting.
  THE COMBAT SKILL LEVELS 
  “MARTIAL ART”  
  One way to represent a somewhat limited 
  but still very eﬀ ective martial art is to structure it 
  entirely with Skill Levels — not using any maneu-
  vers. For example, a three-point Combat Skill Level 
  gives you a +1 CV with three maneuvers. Let’s 
  say you pay 24 points to buy eight of them, and 
  you specify that they apply to the normal Strike, 
  Dodge, and Grab maneuvers. You call this a martial 
  arts style. Here’s what you can do with this “style.”
  When using your normal Strike, you could 
  have +8 OCV, or +8 DCV, or +4 OCV and +4 DCV, 
  or any other combination adding up to +8. You 
  could also use some or all of the levels to increase 
  your damage, at +2 Skill Levels per +1 DC; if you 
  put them all into damage, you’d have +0 OCV, +0 
  DCV, and +4d6 normal damage (though the added 
  damage can’t exceed the maneuver’s maximum 
  damage from your STR; you’d have to have STR 20 
  to use this eﬀ ectively).
  When 
  using the normal 
  Dodge, you would 
  have +11 DCV 
  — enough of a bonus 
  to make most Super-
  heroic-level attackers 
  blanch. When using 
  the normal Grab, 
  you could add 
  parts of it into 
  OCV or DCV 
  as before, or again could be used to increase the 
  damage of the attack (the squeezing part of the 
  Grab) by up to +4d6, or to an amount equal to that 
  done by the character’s normal STR, whichever is 
  less.
  Th is is a perfectly viable arrangement. You 
  can’t do some things that Martial Maneuvers can, 
  but you can achieve much higher OCVs and DCVs 
  for a similar expenditure of points.
  However, if your campaign limits characters 
  to a maximum OCV, the “Skill Levels martial art” 
  still cannot exceed that maximum. If the campaign 
  limits characters to OCV 13, then a character 
  cannot buy eight +1 Skill Levels unless he has a 
  normal OCV of 5 or less (or, if he buys that many, 
  he cannot allocate them in such a way as to violate 
  the campaign’s ground rules).
  Additionally — and this is an absolute restric-
  tion — you can’t buy a batch of Skill Levels, deﬁ ne 
  them as a martial arts style, and then take a Style 
  Distinctive Feature for them. Characters can only 
  take Style for styles built with Martial Maneuvers.
  POWERS AS MARTIAL ARTS
  A character can construct “martial arts abili-
  ties” with Powers. Examples include extra STR 
  which only works to Grab or Disarm; Hand-To-
  Hand Attacks bought with Advantages to simulate 
  mystic attack powers; inches of Knockback Resis-
  tance to reﬂ ect the character’s acrobatic ability to 
  avoid taking damage from Knockback; and so forth. 
  In many cases these abilities can be placed in Power 
  Frameworks to make them more aﬀ ordable. Chap-
  ter Two, Character Creation, includes many ideas 
  for “martial arts Powers” and Power Frameworks.
  
  104 
  The Ultimate Martial Artist
  S
  ome characters may want to apply Power 
  Advantages to Martial Maneuvers to 
  achieve certain eﬀ ects or create certain 
  powers. Th is section contains rules for 
  doing so. Th ese rules are strictly optional; the GM 
  does not have to allow them in his campaign.
  CAVEAT 
  Two warnings are appropriate before the 
  reader explores this section fully.
  First, adding an Advantage to a Martial 
  Maneuver is a way of giving a character a special, 
  oft en unique, ability. It should not become common 
  in the campaign for characters to buy “martial 
  Advantages.”
  Furthermore, and this is an absolute restriction, 
  characters must purchase each martial Advantage 
  separately — a character cannot buy a +½ Armor 
  Piercing Advantage for his base STR and apply it 
  to all of his Martial Maneuvers. Th at Advantage 
  aﬀ ects the character’s basic Strike maneuver, but 
  not his Martial Maneuvers. He should purchase 
  the AP eﬀ ect for each maneuver individually. Since 
  characters can’t put “naked” Power Advantages 
  in Power Frameworks without GM’s permission 
  (HERO System 5th Edition, Revised, page 244), this 
  gets expensive.
  Second, GMs should not allow characters to 
  use the point ﬁ gures in the accompanying tables to 
  add eﬀ ects to their STR or other abilities. A charac-
  ter cannot gain the ability to Th row someone with 
  every punch simply by paying 15 points. He must 
  buy a GM-approved martial arts package with an 
  appropriate maneuver to gain that ability.
  Point Value Of Bases
  To calculate the cost of an Advantage on a 
  Martial Maneuver, ﬁ rst you must determine the 
  Character Point value of the Base or Bases in the 
  maneuver. With some Bases (such as Strike or 
  Exert), this is relatively easy; with others (like Block, 
  Dodge, or Th row), it’s a little more diﬃ  cult. Th e 
  solution is to assign standard “Active Point values” 
  to such Bases. Th e accompanying table sets out the 
  value of the various Bases; GMs may adjust these 
  values as appropriate for their campaigns.
  Th e minimum point value of a maneuver 
  involving the application of STR (such as Bind 
  or Disarm) is the character’s base STR. In other 
  words, a STR 10 character can’t build a +5 STR Bind 
  maneuver and then use a point value of 5 (STR 10 
  + 5 - 10) to add an Advantage to it; his STR 10 is the 
  minimum point value.
  Th e rationale for these values is relatively 
  straightforward. Maneuvers which add STR for a 
  certain purpose have that amount of STR, modiﬁ ed 
  by an appropriate “Limitation” reﬂ ecting the limited 
  nature of the maneuver’s purpose, plus the charac-
  ter’s own STR as their base value. Th e character’s 
  own STR gets no “Limitation” value for this purpose, 
  since it is not Limited in any way.
  Grab Weapon is about the same as Disarm, but 
  Disarm is less disadvantageous than Bind (because 
  in a Bind, the target maintains control over his 
  weapon); hence the values for their point subtrac-
  tions. Th e values for Dodge and Block derive from 
  the cost of Combat Skill Levels with DCV (the +3 
  DCV a basic Dodge maneuver provides), and Th row 
  is considered roughly equivalent to them. Strike 
  is based on the cost of an equivalent Energy Blast, 
  Flash on the cost of an equivalent Flash Attack.
  If a maneuver has multiple Bases, add their 
  point values together to get the overall value of the 
  maneuver before applying Advantages.
  Modiﬁ er Value 
  Of Other Elements
  Th e other elements used to build Martial 
  Maneuvers are simulated as either additions or sub-
  tractions to the total “Active Point value” of the Bases 
  in the maneuver. Th e accompanying table lists the 
  modiﬁ er values for them.
  Extra Damage Classes
  Extra Damage Classes for a maneuver either 
  add to the damage or increase the STR usable with 
  a maneuver, and should be ﬁ gured in according to 
  how they increase the Bases used with the maneuver.
  POWER ADVANTAGES 
  FOR  MARTIAL ARTS
  POINT VALUE OF BASES
  Basis 
  Point Value
  Bind 
  Maneuver’s total STR -10 
  Block 
  5 points per +1 OCV and +1 
  DCV
  Disarm 
  Maneuver’s total STR -5
  Dodge 
  5 points per +1 DCV
  Exert 
  Maneuver’s total STR -5 
  Flash 
  Same as equivalent Flash 
  Attack 
  Grab Opponent Maneuver’s total STR -5
  Grab Weapon 
  Maneuver’s total STR -5
  Strike 
  Same as an equal number of 
  DC of Energy Blast 
  Th row 
  25
  
  105 
  Hero Games
  Endurance And 
  Martial Advantages
  Although Martial Maneuvers themselves cost 
  no END, Advantages applied to them do cost END, 
  at the standard rate. If the character wants the 
  Advantage to be 0 END, he must pay for Reduced 
  Endurance on the cost of the Advantage.
  Examples
  With the information in these two charts, cal-
  culating the cost of adding an Advantage to a Mar-
  tial Maneuver becomes a relatively simple matter. 
  Calculate the cost of the maneuver without the 
  Advantage, then with the Advantage, and subtract 
  the ﬁ rst number from the second to give you the 
  point value of the Advantage itself.
  Example:  Kickmaster wants to add the Advan-
  tage Armor Piercing to his Oﬀ ensive Strike, 
  which does 12d6 damage (4d6 from his 20 STR,  
  plus 4d6 from the maneuver, +4 Extra DCs). 
  Th is Oﬀ ensive Strike has a simulated cost of 55 
  points:  a base of 60 points for his 12 DC Strike 
  attack, -10 for the -2 OCV, and +5 for the +1 
  DCV. A 55-point Armor Piercing (+½) power 
  costs 82 points (55 x 1.5). 82 - 55 = 27 points, 
  so that’s what the Advantage costs him. He uses 
  3 END every time he uses this ability. To make 
  the Advantage cost 0 END would increase the 
  cost to (27 x 1.5) = 40 points.
  Example:  Emiko wants to add a Damage Shield 
  to her Martial Escape maneuver, so she can 
  injure people who Grab her as she breaks away 
  from them. She has a STR of 15. Th e maneuver 
  adds +15 STR, and she has bought +4 Extra 
  Damage Classes, which add +20 STR, for a 
  total of +35 STR; however, given the nature of 
  this Exert-based maneuver -5 is applied to the 
  +35 STR, reducing its cost to 30. Th erefore, the 
  point value of the maneuver is 15 + 30 = 45 
  points. Forty-ﬁ ve points with a +½ Advantage 
  equals 67 points, 67 - 45 = 22 points. 
  Example:  Snake wants to make his Killing Strike 
  an Autoﬁ re Double Knockback attack (Snake is 
  a little disturbed). He has a STR of 15. He has +2 
  Extra DCs for his Killing Strike, making it a 1d6 
  HKA equivalent, worth 15 points. Th us, the total 
  point value of the maneuver is 20 points (15 
  STR. plus 15 points for a 1d6 HKA, -10 for the 
  decrease in OCV). 20 points multiplied by +1¼ 
  worth of Advantages becomes 45 points; 45 - 20 
  = 25 points cost. It costs Snake 2 END for every 
  punch he throws with this Advantage (that’s 2 
  END per Autoﬁ re “shot,” not 2 END total).
  Example:  Snake also wants to make his Nerve 
  Strike an Indirect attack so his opponents can’t 
  Block it. He has a base 2d6 NND(1) attack, and 
  with his +2 Extra DCs, it becomes a 3d6 NND(1) 
  attack. A 3d6 Nerve Strike is the equivalent of 
  a EB 3d6 NND, which costs 30 points; +1 DCV 
  adds 5 points, -1 OCV subtracts 5 points, for a 
  ﬁ nal cost of 30 points for the maneuver. Since 
  the STR - Restrictive Element means no STR 
  adds to this maneuver, Snake’s base STR does 
  not ﬁ gure into this point value. To make a 30-
  point power Indirect costs 15 points (30 x 1.5 
  = 45, 45 - 30 = 15). Th is special ability costs 
  Snake 1 END every time he uses it.
  Example:  Henri Pétion, a fencer, wants to add 
  a Trigger Advantage (takes no time; +½) to his 
  Martial Disarm maneuver so it “goes oﬀ ” the ﬁ rst 
  time someone tries to Block his sword in a duel. 
  He is STR 10, and the bonuses from the maneu-
  ver and his Extra DCs add +40 STR to this, for a 
  total STR of 50. He applies the -5 subtraction for 
  added Disarm STR and derives a base value of 
  45 points; the OCV/DCV modiﬁ ers cancel each 
  other out, for a ﬁ nal cost of 45 points. 45 x 1.5 = 
  67 points, 67 - 45 = 22 points, which is what this 
  special ability will cost Henri.
  MARTIAL ARTS MANEUVER 
  ELEMENTS VALUE
  Element 
  Value
  Abort 
  +10 
  DCV + 
  +5 points per +1 DCV
  DCV - 
  -5 points per -1 DCV
  Disable 
  +5 
  Fall 
  -5
  FMove 
  +20
  Follow 
  -10
  Half-Move 
  Required 
  -5
  Lasting 
  Restriction 
  -5
  K-Damage 
  See below
  N-Damage 
  +0
  NND DMG 
  See below
  OCV + 
  +5 points per +1 OCV
  OCV - 
  -5 points per -1 OCV
  One Limb 
  -5
  Response 
  -15
  STR + 
  Same as STR added to 
  maneuver, with appropriate 
  subtraction (see above)
  STR - 
  Same as STR in maneuver 
  (if STR is halved); STR is not 
  used to calculate
   
  Active Point value if it is not 
  part of a maneuver at all.
  Take Full DMG -10
  Take Half DMG -5
  Time + 
  -5
  Unbalancing 
  -5
  v/5 
  +10
  Flash maneuvers, Killing-Damage attacks, an 
  NND DMG attacks are handled slightly diﬀ er-
  ently than other maneuvers. Calculate the cost 
  of the maneuver as equivalent to the cost of a 
  Flash of the appropriate Sense Group, an HKA 
  (plus the character’s STR), or an NND EB, 
  respectively. See below for some examples.
  DETERMINING A 
  MANEUVER’S POINT 
  VALUE:  STEPS
  1)  Calculate value of 
  Base or Bases.
  2)  Calculate additional 
  points from other Ele-
  ments.
  a)  Add any points from 
  Helpful Elements and 
  from Extra DC.
  b)  Subtract any points 
  for Restrictive Elements.
  3)  Take the ﬁ nal total 
  from Steps 1-2 and apply 
  the Advantage(s) you 
  wish to add.
  4)  Subtract the Step 2 
  total from the Step 3 
  total. Th is is the cost of 
  the Advantage, from 
  which you determine 
  how much END it costs.
  
  T
  his chapter explores various aspects creating martial 
  artist characters (besides choosing their ﬁ ghting 
  styles). It includes character archetypes and notes 
  on various Skills, Powers, Disadvantages, and other 
  building blocks of the HERO System as they apply to martial 
  artist PCs.
  ‘P
  erceive those things which cannot be seen.’
  — Miyamoto Musashi, Go Rin No Sho (“A Book of Five Rings”) 
  ‘One committed to dying can be slain.
  One committed to living can be captured.
  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.’
  — Sun Tzu, The Art of War
  
  107 
  Hero Games
  M
  artial artists in movies, comics, and 
  popular literature oft en fall into one or 
  more of several character “archetypes.” 
  Working from an archetype helps 
  many players get a handle on a character (particu-
  larly a beginning character) and establish a basic 
  personality from which to further develop the PC. 
  Some of these archetypes are described below. Note 
  that not all archetypes are necessarily appropriate for 
  all genres; a realistic modern-day action campaign 
  probably won’t feature any Alien Martial Artists.
  Th is martial artist is from another planet. He 
  practices an form of martial arts from his own 
  world, one he typically considers superior to native 
  Earth ﬁ ghting styles. He usually has special abilities 
  deriving from his alien physiognomy or high tech-
  nology. Oft entimes, he’s come to Earth to test his 
  martial prowess against humanity’s best ﬁ ghters.
  Th is archetype is a Westerner who has spent 
  extensive time in the Orient — so much time that 
  he’s an expert on Oriental culture and customs, 
  including martial arts.
  Usually the American From Th e Orient actu-
  ally grew up in an Oriental country — his parents 
  were diplomats, international businessmen, military 
  personnel, or something similar. While they were 
  too busy to pay much attention to him, he learned 
  martial arts from a servant, wandered into a new 
  section of the city and was befriended by a martial 
  arts master who taught him to ﬁ ght, was seduced 
  by an evil cult that taught him to be an assassin 
  and from whose clutches he later escaped, or the 
  like. Alternately, he might have traveled to Asia as 
  a young adult, been taken in by the wonders of the 
  Orient, and stayed there for years before returning 
  to the West.
  In either event, the character’s lifestyle and 
  philosophies are typically Eastern rather than West-
  ern:  he furnishes his home in an Asian style; he 
  collects Oriental art and weapons; he lives by the 
  tenets of Zen Buddhism, Confucianism, Taoism, or 
  some other Eastern 
  religion — and, of course, he practices Oriental 
  ﬁ ghting techniques. He may mix in a few distinc-
  tive Americanisms, but it’s clear where most of his 
  sympathies lie.
  An interesting variant on this archetype is the 
  American From Chinatown, who has spent a great 
  deal of time learning about Asian (usually Chinese) 
  culture in his home city’s Chinatown. He’s oft en an 
  expert on Oriental organized crime, and acts as a 
  sort of “guardian of Chinatown.”
  Th is character has been wronged in the past 
  and now his life is a continuing quest for ven-
  geance. Oft en the campaign centers around clashes 
  between this hero (and his friends) and the group 
  or clan who wronged him in the past, though this is 
  not a good approach to take if the other characters 
  don’t want always to ﬁ ght this one hero’s Hunted.
  Any other character stereotype can become 
  Th e Avenger for a single storyline. All it takes is a 
  nasty or treacherous attacked aimed at someone the 
  PC loves....
  Th e Avenger character tends to have martial 
  arts skills including brutal, devastating maneuvers. 
  He may have many weapons-related abilities. He 
  may have a Psychological Limitation such as Code 
  of Vengeance (see page 137).
  A variation on the Avenger is the Maimed 
  Avenger, who has a Physical Limitation (usually a 
  missing limb or eye) for which he wishes to exact 
  vengeance.
  Th is character is a martial artist with comic 
  book-level Strength. He may have gained his super-
  strength aft er learning a martial arts style, or a 
  teammate may have taught him martial arts aft er 
  he gained his powers so he could vary his usual 
  “I smash puny enemy!” ﬁ ghting style. Th e most 
  common styles for Brick Martial Artists to use are 
  Boxing and Wrestling, but other are not unheard of 
  (such as “Brick Tricks,” on page 64).
  MARTIAL ARTS 
  ARCHETYPES
  MIXING AND 
  MATCHING 
  ARCHETYPES
  Not every character 
  represents a “pure” 
  archetype. In many 
  games, few if any char-
  acters ﬁ t into an arche-
  type perfectly; most mix 
  and match elements of 
  two or more archetypes 
  to create a unique PC. 
  A character could be a 
  martial artist and gadge-
  teer, or a Kid who’s also 
  a Modern-Day Samurai. 
  How you create a char-
  acter like this depends 
  on what you consider 
  his primary focus.
  If the character’s mar-
  tial arts abilities are his 
  main “schtick,” then 
  you should design him 
  ﬁ rst and foremost as a 
  martial artist. Build his 
  identity around the style 
  you choose for him, 
  and spend a generous 
  portion of his Charac-
  ter Points on Martial 
  Maneuvers and martial 
  arts-related Skills and 
  abilities. Th en add on 
  the things you need to 
  round out the rest of his 
  personality and abilities, 
  such as a bunch of Sci-
  ence Skills and a small 
  Variable Power Pool for 
  your martial artist-gad-
  geteer.
  On the other hand, if 
  your character is only 
  secondarily a martial 
  artist — and many such 
  characters exist — then 
  de-emphasize his mar-
  tial arts abilities. Buy his 
  other Skills and Powers 
  ﬁ rst, and then use the 
  remaining points (or a 
  smaller percentage of 
  his points) to buy his 
  Martial Maneuvers and 
  other ﬁ ghting skills. 
  Unlike the primary 
  martial artist, who prob-
  ably has several Combat 
  Skill Levels, the second-
  ary martial artist may 
  have none at all.
  The American From 
  The Orient
  ‘My parents were missionaries. 
  So I guess I’m Zen Baptist.’
  — Elwood Coggin, American
  The Alien Martial Artist
  ‘I have come to test my skills 
  against your best.’
  — Tal Varntep, from Planet 10
  The Brick Martial Artist
  ‘I will crush you... now!’
  — Yokozuna, Hero of Tokyo
  The Avenger
  ‘You should have killed me 
  when you had the chance.’
  — Bai In-Su, the Avenger
  
  108 
  The Ultimate Martial Artist
  Th is character fulﬁ lls, or is the culmination of, 
  some centuries-old prophecy. Th e prophecy can 
  be a good one (“A great champion will be born to 
  your people...”) or a bad one (“Th e seventh son of 
  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 
  inﬂ uences his actions, his views on life, and/or the 
  role(s) he chooses for himself. His special destiny 
  may grant him mystical powers (particularly if he’s 
  fated to be the defender or savior of his people).
  Th is character could have been born into a 
  Japanese ninja clan, or adopted into one. He could 
  have been an a gaijin (an outsider or foreigner) 
  whom the clan agreed to train; or he could be a 
  practitioner of a type of modern ninjutsu which 
  claims no ties to historical ninjutsu, but which 
  works to redevelop the art. Either way, the character 
  is a ninja... but one with an honorable soul, who’s 
  more than a ruthless assassin and spy. Adventures 
  involving him should deal as much with espionage 
  and stealthy assaults as with all-out martial arts 
  combat, and should occasionally bring his honor-
  able nature and loyalty to his clan into conﬂ ict.
  Although a promising physical specimen who 
  knows some martial arts and is eager to learn more, 
  this character is saddled with a teacher who seldom 
  teaches him anything directly related to ﬁ ghting. 
  Instead, the teacher makes him perform excruciat-
  ing and meaningless exercises and chores, hardly 
  ever showing him actual blows or moves, speaking 
  in meaningless aphorisms all the time. Naturally, 
  the student becomes frustrated and irritable. (Of 
  course, the master is using these exercises and 
  chores to condition his body and instill reﬂ exes 
  important to his art, but the student is as yet inca-
  pable of realizing this.)
  For a character to be the Irritable Student, 
  the campaign must feature a prominent PC or 
  NPC master who trains him (and perhaps other 
  PCs) throughout the course of the campaign. Th e 
  Student himself should be built with high physical 
  Characteristics and a minimal amount of maneu-
  vers (give him the minimum black belt equivalent:  
  three maneuvers valued at 10 points or more total, 
  an 8- KS roll with his art, and the Style Disadvan-
  tage). He oft en has no other useful skills, and usu-
  ally has a Psychological Limitation such as Aggres-
  sively Impatient (Common, Strong; 15 points).
  Th e character is a professional kickboxer 
  (probably using full-contact Karate, though any 
  martial art with a professional sports version is 
  appropriate). He may be an active contender, the 
  current champion in his weight division, or a 
  retired ﬁ ghter.
  Many of his adventures revolve around him 
  discovering that his pals or competitors on the 
  professional circuit have gone bad and begun using 
  their arts for crime. Sometimes the police may call 
  on the character to act as a consultant in martial 
  arts-related crimes.
  Th e Kickboxing Champion tends to have a 
  well-rounded martial arts style, a few Combat Skill 
  Levels, and Skills related to the business:  Streetwise, 
  Gambling, and the like. He oft en has the Psycho-
  logical Limitation Overconﬁ dent.
  Th is character is a policeman, federal agent, 
  or private investigator who just happens to know 
  a martial arts style. In most campaigns, he’s more 
  independent than peace oﬃ  cers are supposed to be:  
  he’s much less prone to report all the details of his 
  investigations, or the fact that he’s just kicked three 
  minor hoodlums to pieces in the course of his case. 
  (Th is helps streamline his reports and keeps his 
  martial arts friends out of trouble.)
  Th e Kickboxing Cop usually has a spare, 
  stripped-to-the-bone martial arts style (three or 
  four maneuvers and a few Combat Skill Levels) and 
  numerous Skills and abilities related to his profes-
  sion:  Deduction, Criminology, WF: Small Arms, 
  Fringe Beneﬁ t: Police Powers, Contacts, Favors, 
  Streetwise, Enhanced Perception, and so forth.
  A brash youngster with an astounding aﬃ  nity 
  for the martial arts, the Kid is usually in his early 
  to mid-teens when he enters the story. He quickly 
  becomes known for his ﬁ ghting skill, oft en annoy-
  ing personality, snide comebacks and rude remarks, 
  and ability to combine Eastern disciplines and 
  philosophies with Western materialism and get the 
  Fulﬁ ller Of Prophecy
  ‘My destiny is written in the 
  stars. Can you hope to stop me?’
  — John Wa, the Monkey King
  The Honorable Ninja
  ‘My motives are as pristine as 
  the darkness of this night.’
  — Katso Sho, Ninja
  The Kickboxing Champ
  ‘My style is impetuous, my 
  defense impenetrable.’
  — Meow Yen, World Champion
  The Irritable Student
  ‘This is foolishness, you teach 
  me nothing!’
  — Van Harris, Student
  The Kickboxing Cop
  ‘When you walk these streets, 
  you need an edge.’
  — Detective Jessica Stinnett, HCPD
  The Kid
  ‘Get between me and that dress 
  and I’ll put you into a wall.’
  — Alice Ono, 10th grade student
  
  109 
  Hero Games
  best of both worlds. Th e Kid is oft en a Fulﬁ ller of 
  Prophecy as well.
  Th is martial artist is a classic adventurer:  he 
  travels, seeking out trouble and setting it right 
  wherever he ﬁ nds it. He tends to be a professional 
  adventurer; he has good martial arts abilities, but 
  his choice of other Skills reﬂ ects the campaign 
  setting. In a modern campaign, he’ll probably 
  have several travel-related skills (Combat Driving 
  or Piloting, TF: Skiing), numerous Contacts and 
  Favors, and Skills related to some adventuring pro-
  fession (private investigator, spy, or the like).
  Th is character is a teacher of martial arts and 
  the philosophies of his style. He’s oft en built with 
  most or all maneuvers from his style, and perhaps 
  maneuvers from other styles, making him a very 
  versatile ﬁ ghter. Oft en he has somewhat lower 
  physical Characteristics than the younger heroes he 
  teaches, but lots of Combat Skill Levels to make up 
  for the deﬁ cit.
  He may have the Age Disadvantage (though 
  he doesn’t have to). He’s also likely to have the Psy-
  chological Limitation Inscrutable (Common; 10 
  points); this makes him reluctant to explain why 
  he’s ordering his students to do the things they’re 
  doing, which continually frustrates them.
  A modern-day version of the feudal Japanese 
  samurai or ninja, this character lives by his role 
  models’ codes of conduct, practices their ﬁ ghting 
  arts, and tries to conduct himself as they would. 
  Some versions of this archetype combine ancient 
  training with modern technology and equipment, 
  but just as oft en the character limits himself to low-
  tech weapons and gear.
  Th is character is a prime physical specimen 
  with a ﬁ ne command of his martial art; his greatest 
  problem is his naivete. He may have been sheltered 
  all his life; he’s certainly never spent time on the 
  streets. He’s gullible and susceptible to the wiles of 
  swindlers, con men, and spies.
  Th e Naive Hero/Heroine oft en has good 
  martial arts abilities (numerous maneuvers and 
  Combat Skill Levels) and some profession-related 
  skill. Th is character should take the Psychological 
  Limitation Naive (Common; 10 points) and role-
  play it to the hilt.
  Th is archetype, relatively uncommon among 
  PCs, is a thinker rather than a doer. He prefers non-
  violent solutions to problems, even though his skill 
  with martial arts makes even seasoned ﬁ ghters wary 
  of him. His approach to life is generally dictated by 
  some school of religious or philosophical thought, 
  such as Taoism or Buddhism, which he interprets as 
  calling for passive acceptance of most fates, nonvio-
  lent responses to violence, or what have you.
  But the Philosopher’s not an ineﬀ ective milque-
  toast. When push comes to shove, as it usually does 
  in these stories, the Philosopher sheds his cloak 
  of nonviolence and uses his ﬁ ghting skills to their 
  utmost. Although oft en trained in one of the internal 
  Chinese ﬁ ghting styles, he can learn any style that 
  is not overtly aggressive (i.e., he shouldn’t take Th ai 
  Kick-Boxing or some other brutal ﬁ ghting styles, but 
  most forms of martial arts are acceptable).
  An unemployed samurai, this character is 
  oft en forced to wander and undertake short-term 
  assignments (many of them nasty, or which put 
  him in moral dilemmas) to make his living.
  Th is character is normally a samurai in the 
  employ of a lord in feudal Japan; adventures involv-
  ing this character generally involve him trying to 
  achieve his personal goals (such as revenge) while 
  meeting his obligations to and achieving the goals 
  of his lord (which may directly or indirectly con-
  ﬂ ict with his own goals).
  The Knight-Errant
  ‘My cause is just, my heart is 
  pure. I cannot be denied.’
  — K’yokt, questing knight
  The Master
  ‘It is in acknowledging our igno-
  rance that we gain wisdom.’
  — Zong Hop, Master
  The Modern Day Samurai
  ‘My soul was forged in the past. 
  My katana is state of the art.’ 
  — Tajiri, Robo-Samurai
  The Naive Hero/Heroine
  ‘I will not sit still while my 
  home is under attack.’
  — Nabo Rai, Heroine
  The Philosopher
  ‘How can you think and 
  hit at the same time?’ 
  — Yogi Barrett, Zen Master
  The Samurai
  ‘The reputation of 1,000 years 
  may be determined in one hour.’
  — Shin Toju, Samurai
  The Ronin
  ‘My master has fallen; but my 
  sword has blood yet to taste.’
  — Torii Saru, Ronin
  ‘T
  he Way of the warrior is res-
  olute acceptance of death.’
  —Miyamoto Musashi, 
  Go Rin No Sho (“A Book of Five Rings”)
  
  110 
  The Ultimate Martial Artist
  Th is character, like the Irritable Student, 
  appears in campaigns featuring a teacher as an 
  important PC or NPC. Unlike the Irritable one, this 
  character is sober and studious (and, usually, more 
  boring than the Irritable Student). Th e Serious 
  Student is built much like the Irritable Student, but 
  without Aggressively Impatient.
  Th is character is a buddy of one of the other 
  characters; if the campaign centers around a school, 
  he’s another student at the school. A variation of 
  the Sidekick is the Comic Sidekick, who’s a bit goofy, 
  foolish or stupid.
  Th is is a demanding role to play, because (by 
  deﬁ nition) the Sidekick is not as good a martial 
  artist as the character who is his friend. He should 
  have a minimum number of martial arts maneu-
  vers and fewer Skill Levels than his friends have. If 
  no player is willing to have distinctly less ﬁ ghting 
  versatility than the group’s standard, the Sidekick 
  should not be a PC — if he appears at all, he should 
  be an NPC (oft en either a DNPC or a Follower). 
  On the other hand, he could have a variety of abili-
  ties which make him just as useful to the group as 
  the top-line ﬁ ghter. He could have Streetwise and 
  dozens of street contacts, scientiﬁ c and technical 
  skills the group needs, or the like.
  Th is character became the ultimate soldier 
  aft er treatments he received from the government 
  (or some private benefactor) made him quicker, 
  stronger, or tougher than the average human. He 
  may also have cybernetic implants, similar technol-
  ogy, or even magic to aid him. 
  In addition to the abilities he gains from his 
  treatments, the Super-Soldier is trained to ﬁ ght, and 
  ﬁ ght well. He usually adopts a straightforward (and 
  Western) ﬁ ghting style, like Commando Train-
  ing, Boxing, or Fisticuﬀ s/Cinematic Brawling, but 
  he can learn any style the player can justify to the 
  GM. Th e Super-Soldier’s combination of enhanced 
  reﬂ exes, superior senses, and superb combat train-
  ing make him a match for even highly-trained mar-
  tial arts masters.
  Th is character, though he is a master of the 
  martial arts, doesn’t want to ﬁ ght. He has other 
  goals, such as the pursuit of philosophy or the 
  desire to be a humble gardener.
  For some plot-driven reason, he becomes the 
  target of the villains (perhaps he doesn’t let the vil-
  lains maim or kill his employers, which gives them 
  ﬁ ts). Finally, the villains’ actions against him and 
  those he protects drive him over the edge, and for 
  a brief and bloody period of time he becomes Th e 
  Avenger (see above).
  Th e Unwilling Fighter is usually an excellent 
  martial artist, having many Skill Levels and at least 
  four or ﬁ ve maneuvers. But the martial arts are not 
  his profession; he must have Skills pertaining to 
  whatever he does to make his living.
  Th e Vigilante Martial Artist uses his ﬁ ghting 
  skills to ﬁ ght crime and clean up the streets. On his 
  own he oft en acts as the protector of a particular 
  area or neighborhood (such as Chinatown); as 
  a member of a team he usually functions as the 
  group’s expert on gangs and Asian organized crime. 
  In either case his ﬁ sts and feet have made him a 
  force to be reckoned with on the streets of the city.
  Th is character is the Buddhist priest with 
  martial arts training. Usually, the Warrior-Monk 
  role is combined with another role, such as 
  Monk/Avenger, Monk/Knight-Errant, and Monk/
  Unwilling Fighter.
  THE CAREER PATH OF THE 
  MARTIAL ARTIST
  Th e creation and development of martial arts 
  characters oft en follows a deﬁ nite series of steps or 
  stages. You can think of this process as the “career 
  path” of the martial artist character.
  Th e ﬁ rst step on this path is one all players have 
  to take:  the creation of the character and the selec-
  tion of an interesting martial arts style for the char-
  acter to use. Oft en the selection of the style dictates 
  other things about the character, such as his appear-
  ance, philosophy of life, and goals. Unfortunately, 
  this is as far as many character designers get — even 
  The Serious Student
  ‘I am an empty vessel for my 
  master’s instruction.’
  — Ba Mingxing, Student
  The Sidekick
  ‘Kid-Hostage? Bruce Lee 
  started as a sidekick!’
  — Kid-Quick, Sidekick
  The Unwilling Fighter
  ‘You have started what 
  I must now ﬁ nish.’
  — Aaron Bailey, ex-Delta Force
  The Warrior-Monk
  ‘Man at his best, like water, 
  serves as he goes along.’
  — Brother San Jung-mo, Monk
  The Super-Soldier
  ‘God and Country! 
  Right will prevail!’
  — American Eagle, WWII Hero
  Vigilante Martial Artist
  ‘Can crime really pay this 
  well?’ -- CRACK --
  — Nightwalker, Vigilante
  A GLOSSARY 
  OF MARTIAL 
  ARTS TERMS
  Terms in this Glossary 
  are in Chinese (C), Japa-
  nese (D), and Korean 
  (K).
  ai (J) — harmony  
  aiki (J) — harmony of 
  eﬀ ort, harmony of force 
  bu (J) — military, mar-
  tial 
  bushi (J) — warrior 
  chambara (J) — his-
  torical-period samurai 
  ﬁ lms, usually quite 
  bloody; name comes 
  from “chan-chan bara-
  bara,” the spoken sound 
  eﬀ ect for swords clash-
  ing
  ch’i (C) — spirit; breath; 
  energy
  ch’uan (C) — ﬁ st, boxing
  -do (J, K) — the way of; 
  when applied to the end 
  of the name of a mar-
  tial arts style, it implies 
  philosophical teachings 
  as well as martial arts 
  training (for example, 
  karate-do means “the 
  way of the empty hand”)
  dojang (K) — training 
  hall, school
  dojo (J) — training hall, 
  school
  fa (C) — the way of; 
  Ch’uan fa means “the 
  way of the ﬁ st”
  gaijin (J) — outsider, 
  foreigner; oft en a derog-
  atory term
  giri (J) — duty, obliga-
  tion
  gup (K) — grade; ranks 
  below black belt in 
  Korean martial arts
  hapki (K) — harmony
  hwarang (K) — ﬂ ower-
  ing youth; an ancient 
  term for a korean 
  knight-general caste
  hyung (K) — forms, 
  exercises, formalized 
  training movements
  ju (J) — compliance
  -jutsu (J) — the art of; 
  when applied to the end 
  of the name of a martial 
  arts style, it indicates 
  that this is primarily 
  a combat system (for 
  example, karate-jutsu 
  means “the art of the 
  empty hand”)
  Continued on next page
  
  111 
  Hero Games
  though there are several more stages of development.
  Th e second step along the path can happen 
  when the character is ﬁ rst created, or it may take 
  place sometime later, such as when the player 
  rewrites or redeﬁ nes the character aft er playing him 
  a while. Th is is the establishment of a Hunted which 
  involves the character’s martial art in some signiﬁ -
  cant way. For example, the Hunted might be opposed 
  to the character’s martial arts order or school, a 
  practitioner of a corrupted or evil version of the PC’s 
  style, or dedicated to some principle the PC opposes 
  because of his style.
  At this point, the character starts to develop 
  strong ties to his martial art. It’s no longer a just a 
  means to an end (beating up bad guys). Instead, it 
  becomes a Way of Life, something deﬁ ning who he is 
  outside of the combat arena.
  Th e third step along the path takes place when 
  the player (sometimes with the GM’s help) develops 
  a very detailed view of the principles and aims of 
  his martial art. He now begins to expand its base 
  of maneuvers, manifest special powers associated 
  with it, and so forth. Th e GM now becomes more 
  involved with the character’s development as he 
  thinks about the character’s role in the Martial World 
  and begins to introduce more plotlines centered 
  around the character, his style, his fellow practitio-
  ners, and his enemies.
  Furthermore, the PC is now proﬁ cient enough 
  to begin teaching students in earnest — NPCs seek 
  him out for instruction, perhaps at the behest of 
  the PC’s own sifu or sensei, perhaps on their own 
  initiative (depending upon the character’s fame and 
  reputation). Th ese students may include former 
  enemies whom the PC defeated, who now recognize 
  his wisdom and seek to learn from him.
  At step four, the character gradually develops 
  into the main defender of his martial art — the 
  champion his master sends for when the style or 
  order is threatened, the main enemy of his master’s 
  enemies, the renowned leader of the art recognized 
  anywhere in the Martial World, and so forth. He may 
  even be the last living practitioner of his art. Th is 
  aspect of the character may eventually crystallize 
  into a major, large-scale plotline where something 
  threatens his style’s very existence, and only he can 
  save it by relying on its virtues and strengths.
  Th e ﬁ ft h and ﬁ nal step along the martial artist’s 
  career path is when the PC becomes the master of 
  his art. Obviously, this won’t happen to all characters 
  or in all campaigns. It may happen when the PC’s 
  master dies, disappears, becomes One With Th e Uni-
  verse, or otherwise becomes unavailable. Depend-
  ing upon the feelings of the player and/or the GM, 
  reaching the ﬁ ft h step may signal that it’s time to 
  retire the character and have him devote himself to 
  preserving and promoting his art full-time.
  Th e career path of the martial artist usually isn’t 
  nearly as pronounced in other genres as it is in the 
  comic book superhero and martial arts genres. Other 
  genres generally lack the opportunities to focus on 
  the martial artist and his world in the way superhero 
  and pure martial arts campaigns can. However, this 
  is not to say the career path is totally absent — it 
  simply detours a little, based on the strictures of the 
  genre in question. For example, in a fantasy game 
  the GM might have created a race or tribe with its 
  own martial art. As a result of long-standing oaths 
  and customs, the best and brightest practitioners of 
  this art go to the king of a nearby powerful nation to 
  serve as his guards and protectors. In this situation, 
  the martial artist PC’s career path might consist of 
  going out into the world to gain enough experience 
  with his tribe’s ﬁ ghting style so he can return to the 
  tribe, prove his worth, and become a member of 
  the King’s Guard. Whether this requires him to be 
  removed from play would depend on the GM and 
  the player.
  -ka (J) — suﬃ  x mean-
  ing “practitioner of” (for 
  example, judoka means 
  “judo practitioner”)
  karate (J) — empty 
  hand (originally, China 
  hand)
  kata (J) — forms, exer-
  cises, formalized train-
  ing movements
  ken (J) — sword
  ki (J) — spirit; breath; 
  energy
  kobu (J) — old-style 
  ﬁ ghting
  kuen (C) — forms, exer-
  cises, formalized train-
  ing movements
  kumite (J) — free spar-
  ring training exercise
  kung fu (C) — hard 
  work, well done
  kwon (K) — punching, 
  or hand
  kwoon (C) — training 
  hall, school
  kyu (J) — grade; ranks 
  below black belt in 
  Japanese martial arts; 
  also means archery 
  (kyujutsu is the art of 
  archery)
  obi (J) — belt
  ryu (J) — school, style, 
  or tradition (for exam-
  ple, Nito-Ryu means 
  Nito Style)
  sabom (K) — teacher
  sensei (J) — teacher
  sifu (C) — teacher
  tae (K) — kicking, or 
  foot
  ti (K) — belt denoting 
  rank
  wu shu (C) — military 
  arts
  Continued from last page
  
  112 
  The Ultimate Martial Artist
  T
  his section reviews some special applica-
  tions of Skills for martial arts characters. 
  Many additional Skills, such as Defense 
  Maneuver and Penalty Skill Levels, are 
  not mentioned here because they function nor-
  mally for martial artists, but that doesn’t make them 
  any less appropriate for this type of character or 
  campaign.
  ACROBATICS
  Acrobatics is a very appropriate skill for mar-
  tial artist characters. It has several uses.
  Requires An Acrobatics Roll (-½)
  In some martial arts campaigns, characters buy 
  the Leaping Power with the Requires An Acrobatics 
  Roll Limitation. Characters can also use this Limi-
  tation for DCV Combat Skill Levels and similar 
  abilities.
  Acrobatics And Being Th rown
  A character can use Acrobatics to resist being 
  thrown by any maneuver which is supposed to 
  throw him to the ground (including both Martial 
  Maneuvers and the good old Grab & Th row com-
  bination). With a successful Acrobatics roll at a 
  -3 penalty, the character keeps his feet and is not 
  thrown down.
  However, this doesn’t keep him from taking 
  damage from the Th row maneuver. Some Th rows 
  are ﬁ st-strikes hard enough to take a character oﬀ  
  his feet; others are leg-sweeps where the damage 
  comes from the attacker’s blow to the backs of the 
  character’s legs; and the standard Grab & Th row 
  still slams a character hard onto the ground even if 
  he keeps his feet. Whether his roll succeeds or fails, 
  he takes full damage from the Th row maneuver.
  Acrobatics And Being Prone
  A character who is thrown or knocked down, 
  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 
  roll is a 13, he must roll a 7 or under), he immedi-
  ately gets his full DCV, even though he’s prone. If 
  he fails his half roll, he suﬀ ers ordinary DCV modi-
  ﬁ ers for being prone. But on his next Phase, he can 
  try again.
  Th e character does not have to get to his feet to 
  have his full DCV when using Acrobatics this way. 
  He may prefer to remain prone. For example, per-
  haps he’s been injured so that one leg isn’t working 
  right, thus keeping him from standing up — he’ll 
  have to stay down and use his Acrobatics to keep 
  his DCV up. (Of course, he may suﬀ er a penalty for 
  trying to use Acrobatics with an injured leg; this 
  depends on the GM.)
  ACTING
  Martial artists can use Acting to simulate a 
  greater injury than they have actually received. 
  Th is may make their opponent overconﬁ dent and 
  allow the character to make a Surprise Attack. To 
  use Acting this way, make a Skill Versus Skill Con-
  test against the target’s PER Roll. Th e GM decides, 
  based on how clever he feels the ploy is and how 
  likely the target is to believe it (the Overconﬁ dence 
  Psychological Limitation usually comes into play 
  here), how much of an OCV bonus to give the 
  character. If the ploy is not really clever, or the 
  target knows the character does this all the time, 
  or the target makes his PER Roll by more than the 
  character makes his Acting roll, the character gets 
  no bonus. (In fact, the GM may give the target an 
  OCV bonus, as the Acting character probably has 
  to reduce his mobility [and hence his DCV] to 
  make a fake injury look convincing.)
  Characters can also use Acting to imitate some 
  other character’s personal ﬁ ghting style. Th is ability 
  doesn’t necessarily have much use in combat, but 
  may crop up in other situations. For example, sup-
  pose a villain with Acting wants to frame a PC for 
  a crime. He could Disguise himself as the PC, then 
  perform some heinous crime before witnesses who 
  swear it was the hero — they didn’t just recognize 
  his face, they recognized his moves. Th is requires a 
  Skill Versus Skill Contest pitting the villain’s Acting 
  Skill against the PER Rolls of onlookers familiar 
  with the real person. To do this, the actor must 
  know at least two Martial Maneuvers in the same 
  style as the person he’s mimicking. If the actor is a 
  karateka and he’s trying to imitate a jujutsuka, and 
  does not have any Jujutsu maneuvers, he’s out of 
  luck. A Knowledge Skill of the imitated character’s 
  style can act as a Complementary Skill Roll.
  ANALYZE STYLE
  A martial artist can buy the Analyze Skill as 
  Analyze Style, which gives him the ability to assess 
  an enemy’s ﬁ ghting skills. He may only use it while 
  watching the enemy ﬁ ght; he must observe his 
  target ﬁ ghting for at least one full Turn.
  Th e information the character can gain from 
  an Analyze Style roll depends on how well he suc-
  ceeds, as indicated in the accompanying table.
  A character with Analyze Style gets a +2 to his 
  Skill Roll if his target possesses a Style Distinctive 
  Feature (see page 135). On the other hand, he has 
  a harder time analyzing ﬁ ghters who have Lack of 
  Weakness; each point of Lack of Weakness imposes 
  a -1 on the roll.
  Analyze Style is the required Skill for the 
  Analyze Style Aid ability described under Aid on 
  SKILLS
  
  113 
  Hero Games
  page 120. In this context, the character analyzes the 
  ﬁ ghting style of an opponent, then uses his own 
  abilities to exploit his opponent’s weaknesses for a 
  brief time.
  Analyze Style also allows a martial artist 
  to take advantage of an opponent’s consistency. 
  Some characters tend to favor one or two attack 
  maneuvers, usually because they oﬀ er high damage 
  capabilities or some advantageous combination of 
  CV bonuses. In this situation, a character can make 
  an Analyze Style roll to prepare himself for this 
  favored attack. If he succeeds with the roll, he gets 
  +2 DCV against that maneuver in this particular 
  ﬁ ght. In later ﬁ ghts the character has to make a new 
  Analyze Style roll, perhaps at a small bonus because 
  he made it before. Characters can also use KS: Spe-
  ciﬁ c Martial Art (see below) this way.
  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 suﬀ ers a -1 penalty to his roll for every 2d6 
  damage in that attack. For instance, if the Th row is 
  supposed to do 6d6 damage, he suﬀ ers a -3 penalty 
  to his Breakfall roll. If he makes it, he only takes 
  3d6 damage. If he fails, he takes all 6d6. Th e hard-
  ness and evenness of the surface modify the roll 
  (see page 152).
  Th is works even if attacker deﬁ nes the Th row 
  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 eﬀ ect Th row has 
  on a character’s next action (see page 51 of the 
  HERO System 5th Edition, Revised). If the Th rown 
  character makes a Breakfall roll by half, he avoids 
  this eﬀ ect, so the characters act on their regular 
  DEXs, just like normal.
  A character cannot perform a Breakfall roll 
  and an Acrobatics roll in the same Phase both to 
  resist being thrown and to reduce the damage from 
  being thrown:  he can only use one of them against 
  a given Th row attack. However, a character could 
  make one Acrobatics or Breakfall roll to avoid 
  some of the eﬀ ects of the Th row, and then make a 
  separate Breakfall roll to regain his feet instantly 
  (without taking a Half Phase). He could make an 
  additional Breakfall roll in the same Phase to over-
  come the “ﬁ rst movement next Phase goes to the 
  Th rower” eﬀ ect.
  Breakfall is known as ukemi in Japanese and 
  nhao lan in Vietnamese.
  COMBAT SKILL LEVELS 
  Characters can do several unusual things with 
  Combat Skill Levels.
  Clariﬁ cation: 3-Point Skill Levels With A 
  Martial Art 
  If a character has bought 3-point CSLs with a 
  single martial art (say, Karate), and has purchased a 
  Weapons Element for that art (for example, to use 
  Karate Weapons with the Karate maneuvers), the 
  character can use those Skill Levels with weapons 
  used with his Martial Maneuvers. However, if he 
  ANALYZE STYLE TABLE
  Makes Roll By Information Gained
  0 (Exactly) 
  Whether the target is a poor, 
  medium, good, or master-level 
  ﬁ ghter.
  1 or 2 
  How the target compares 
  to the character in terms of 
  ﬁ ghting prowess: i.e., “I’m far 
  superior to him,” “It would be 
  a close thing but I think I’d 
  win,” “It’s anybody’s guess who 
  would win,” “He has the edge 
  over me,” or “I don’t stand a 
  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.)
  
  114 
  The Ultimate Martial Artist
  buys maneuvers from outside his art (say, a Ken-
  jutsu sword maneuver), he cannot use the 3-point 
  CSLs with his original art with the “outside” maneu-
  vers.
  In general, characters are better oﬀ  buying 
  5-point CSLs with Hand-To-Hand Combat, since 
  these Levels apply to the Martial Maneuvers, other 
  maneuvers bought outside the character’s style, 
  ordinary HERO System Combat Maneuvers, and 
  weapons not used within the character’s style.
  Combat Skill Levels with Non-Weapon Weapons 
  A character could buy 3-point CSLs with Non-
  Weapon Weapons. Here’s what it means and what 
  it does:
  When a character picks up a piece of furniture 
  or other unusual item — a weapon of opportunity 
  — and slugs a target with it, the GM usually just 
  determines what sort of club the item corresponds 
  to and assigns damage based on that. But if a char-
  acter buys 3-point CSLs with Non-Weapon Weap-
  ons, the GM should take a diﬀ erent approach. He 
  should consider the item being picked up and then 
  decide which three maneuvers the character’s Skill 
  Levels apply to when he’s using this weapon. (As 
  you know, 3-point CSLs normally only aﬀ ect three 
  maneuvers.) He should make his decision based 
  on the look of the item and how he imagines the 
  character can use it in combat. Th e accompanying 
  sidebar provides general guidelines for types of 
  non-weapons and what combat eﬀ ects they might 
  have.
  Alternately, a character could buy a 1-point 
  Weapon Element with speciﬁ c objects (Use Art 
  with Bicycle, Use Art with Sawhorse, and so forth). 
  Th at allows him to use the object normally with his 
  Martial Maneuvers.
  COMBAT SKILL LEVELS BOUGHT AS 
  POWERS 
  Th ough it’s not normally appropriate to buy 
  Skill Levels as Powers, sometimes it’s all right to do 
  so to construct certain abilities or powers. Remem-
  ber that Combat Skill Levels bought with Limita-
  tions only aﬀ ect OCV (or, very rarely, only aﬀ ect 
  DCV); see the HERO System 5th Edition, Revised, 
  page 53, for further information. 
  Hand-To-Hand Skill Levels Which Cost END 
  In the movies especially, a character may go 
  out to ﬁ ght, ﬁ nd his opponent was tougher than he 
  thought, and begin really concentrating on the ﬁ ght 
  — ﬁ ghting “above himself,” tiring himself out faster, 
  but ﬁ ghting more eﬀ ectively.
  To simulate this, characters can buy 5-point 
  CSLs for Hand-to-Hand Combat with the Limita-
  tions Costs Endurance (-½) and Increased Endur-
  ance Cost (x2 END; -½). Th is creates CSLs that each 
  cost 1 END per Phase to use.
  Hand-To-Hand Levels Depending On Acrobatics, 
  DCV Only
  To simulate the incredible DCV acrobatic 
  martial artists have when using their Acrobat-
  ics Skill, you can purchase 5-point DCV CSLs 
  for Hand-to-Hand Combat with the Limitation 
  Requires An Acrobatics Roll (-½). Remember, each 
  two Skill Levels (10 Active Points) result in a -1 to 
  the Acrobatics roll.
  Hand-To-Hand Levels Versus A Speciﬁ c Style 
  Th ese CSLs apply Only Against [Speciﬁ c 
  Martial Arts Style] (-1). Th ey simulate a charac-
  ter who has studied a particular style extensively 
  and learned its weaknesses. Characters may also 
  take the Limitation Requires A KS: [Speciﬁ c Style] 
  Roll for these Levels. Th is sort of CSL is especially 
  appropriate for a martial arts villain. He can use his 
  Levels to easily defeat the PCs in an early encoun-
  ter; later, aft er the PCs have gotten additional train-
  ing or learned ways to mask the weaknesses the 
  villain exploited, they can return and defeat him.
  FAST DRAW
  In Japan, this Skill is called iaijutsu; it’s the 
  samurai’s ability to unsheathe his sword instantly 
  and attack without hesitation. Tradition attributes 
  the creation of Iaijutsu to one Hõjõ Jinsuke, who 
  developed it as part of a quest to avenge his father’s 
  murder.
  Warriors oft en regard Iaijutsu as a martial 
  art in itself, but it’s suﬃ  cient for game purposes to 
  describe it as a “companion art” to Kenjutsu. It has 
  four basic techniques:  nukitsuke (the sudden draw-
  ing of the blade); kiritsuke (the cut(s) used to injure 
  or kill the opponent); chiburi (the shaking of blood 
  from the sword-blade; this maneuver is sometimes 
  used to blind an opponent by ﬂ icking blood into 
  his eyes); and noto (resheathing the sword). Other 
  techniques dealt with countering surprise attacks, 
  attacks by multiple opponents, ﬁ ghting in the dark, 
  and so forth. (Th us, to truly simulate Iaijutsu, a 
  character should purchase not only Fast Draw 
  but Combat Sense and Defense Maneuver as well; 
  Lighting Reﬂ exes is also recommended.) Knowl-
  edgeable characters can identify diﬀ erent substyles 
  of Iaijutsu by the grips they teach, the ﬁ ghter’s 
  NON-WEAPON 
  COMBAT EFFECTS 
  Flexible, Lengthy:  Skill 
  Levels apply to Block, 
  Choke Hold, Strike.
  Rigid, Intricate, Bulky:  
  Reduced OCV with 
  damaging attacks; Skill 
  Levels apply to Disarm, 
  Bind, Grab.
  Rigid, Simple, Bulky:  
  Reduced OCV with 
  damaging attacks; Skill 
  Levels apply to Block, 
  Disarm, Bind.
  Example: 
  A 
  small 
  bookshelf isn’t a good 
  weapon to hit people 
  with; someone using 
  it 
  to 
  Strike 
  with 
  should suﬀ er about 
  a -3 OCV penalty. 
  But a character could 
  maneuver an attacker 
  into stabbing at him 
  between the shelves, 
  and then rotate the 
  bookshelf to Disarm 
  the weapon, Bind the 
  weapon, or lock the 
  attacker’s arm. Th ere-
  fore the GM decides 
  the character gets his 
  OCV/DCV bonuses 
  with Bind, Disarm, 
  and Grab maneu-
  vers. Small bookcases 
  aren’t much good for 
  hitting people, so the 
  GM might give it 2d6 
  Normal Damage.
  Example: A sawhorse 
  also doesn’t look like 
  much of a striking 
  weapon, though it’s 
  better than a book-
  shelf; give it a -1 OCV. 
  Like the bookshelf, it 
  does have small areas 
  the character can use 
  to trap an incoming 
  limb or weapon, and 
  its shape is suited 
  to blocking attacks. 
  Th erefore the GM 
  decides the character 
  can use his skill levels 
  with Bind, Block, and 
  Disarm 
  maneuvers. 
  Sawhorses have rigid 
  legs 
  with 
  narrow 
  points on them, so 
  the GM rules that 
  the weapon does 3d6 
  Normal Damage.
  Example: A garden 
  hose would do neg-
  ligible damage, but 
  it isn’t clumsy; it 
  Continued on next page
  
  115 
  Hero Games
  emphasis on certain techniques, and so forth.
  Fast Draw has another function outside of 
  combat:  a character can use it to snatch things out 
  of someone’s hand before he can close it — a trick 
  oft en performed to impress someone. Th e character 
  has the other person hold something in his open 
  palm, and tells the fellow he can snatch the object 
  out of his hand before the fellow can close his hand. 
  With a successful Fast Draw roll in a Skill Versus 
  Skill Contest against the target’s Fast Draw or DEX 
  Roll, he can do this. If the character succeeds and 
  immediately makes an appropriate Presence Attack, 
  grant him +1d6 for every two points by which he 
  beat the target’s Fast Draw or DEX Roll.
  A character can also use Sleight Of Hand, if 
  he possesses it, to make a switch. With successful 
  Fast Draw and Sleight Of Hand rolls (the target 
  can make a PER Roll in a Skill Versus Skill Contest 
  with the Sleight Of Hand), our hero can take the 
  object oﬀ  the other fellow’s palm and drop another 
  in its place... without the target realizing what’s hap-
  pened. Th e target feels the object in his hand and 
  thinks he won the contest.
  KNOWLEDGE SKILLS 
  Th e following Knowledge Skills are especially 
  appropriate for martial artist characters. 
  Knowledge Skill:  Chinese Healing
  KS: Chinese Healing reﬂ ects a character’s 
  knowledge of ancient Chinese healing techniques. 
  It corresponds, in game mechanics, to SS: Medicine 
  and PS: Doctor.
  Chinese Healing uses a combination of herbal 
  medicine and acupuncture. It works to put the 
  body’s internal systems back in balance to combat 
  disease or cope with traumatic injury. In game 
  terms, it works just like PS: Doctor (a character 
  with it must buy a 1-point License To Practice Medi-
  cine Fringe Beneﬁ t separately if he wishes to prac-
  tice medicine legally).
  Characters can use Chinese Healing to undo 
  the eﬀ ects of dim mak attacks (see Drain on page 
  123). A character with KS: Chinese Healing can 
  make a normal Skill Roll to detect that his patient 
  is suﬀ ering from dim mak techniques. To cure his 
  patient, he must succeed in a Skill Versus Skill Con-
  test against the Chinese Healing Skill of the charac-
  ter who performed that dim mak attack. If he wins 
  the contest, he “turns oﬀ ” the eﬀ ects of the dim mak 
  attack. Th is cure doesn’t instantly heal the victim 
  back to health; it just stops the progressive eﬀ ects of 
  the dim mak and allows the patient to begin healing 
  normally. If he fails the roll, he can do nothing to 
  forestall the continuation of the dim mak eﬀ ects.
  Regional variations on this Skill include KS: 
  Indian Healing and KS: Korean Healing, which 
  are appropriate for some martial arts from those 
  regions.
  Knowledge Skill: Th e Martial World 
  In modern-day campaigns, the Martial World 
  is a worldwide martial arts subculture; you ﬁ nd it 
  in any nation or city where there are martial arts 
  schools or traditions.
  KS: Th e Martial World is similar to the Street-
  wise Skill, but deals only with the world of the 
  martial arts. Streetwise doesn’t do much good 
  among martial artists, because those who belong 
  to the Martial World are rather insular and closed-
  mouthed about it when talking to outsiders.
  A successful KS: Martial World roll allows a 
  hero to use the Martial World grapevine to hear 
  about unusual events and happenings in the Mar-
  tial World, and to send messages to other people in 
  the Martial World. For example, if a hero hears that 
  an assassination was performed using an interest-
  ing but little-known Taijutsu technique, a successful 
  KS: Martial World roll might let him ﬁ gure out who 
  can reveal the culprit’s identity to him (or, simply, 
  who the culprit is). Th is Skill also keeps the char-
  acter up to date about who’s on top in the sporting 
  competition forms of the martial arts and other 
  current aﬀ airs in the signiﬁ cant martial arts schools 
  around the world.
  Knowledge Skill:  Mon
  Mon are symbols and designs used to repre-
  sent Japanese families; every major Japanese family, 
  especially the more traditional ones, has a distinc-
  tive mon design. Knowledge Skill of mon gives a 
  character a good grounding in the recognition of 
  these designs. He can recognize famous designs 
  automatically, and identify others with a success-
  ful Skill Roll. Th is can be important in martial arts 
  campaigns centered around Japan, where recogniz-
  ing a character’s family by his mon can make all the 
  diﬀ erence in determining who is friend and who is 
  foe.
  Knowledge Skill:  Speciﬁ c Martial Art
  You saw in Chapter One that every martial arts 
  style recommends purchase of a Knowledge Skill. 
  Th is skill has several functions in the campaign:
  History: Th e character has a grounding in the his-
  tory of his style. He knows the factors that led to its 
  development, the inﬂ uences which aﬀ ected the art, 
  and the names of the persons who contributed sig-
  niﬁ cantly to its development. With a successful Skill 
  Roll, he can answer more diﬃ  cult questions about 
  the style’s history.
  Philosophy: Th e character has an understanding 
  of the philosophical side of his style. Most Eastern 
  martial arts have a very important philosophi-
  cal side to them, oft en grounded in Buddhism. 
  Th is is seldom important in an action-adventure 
  game, though wise practitioners of the art are oft en 
  inclined to baﬄ  e young adventurers with cryptic 
  riddles and metaphors, which a successful Knowl-
  edge Skill roll can help unravel.
  Personalities: Th e character knows major practitio-
  ners of the art, at least by name and reputation. If 
  the art is practiced as a sport (for example, Karate 
  has a full-contact sport as a sideline), he knows who 
  the current champions and contenders are with a 
  successful Skill Roll. In modern-day campaigns, he 
  also knows what they look like due to appearances 
  in magazines covering the style.
  Schools: Th e character can, with a successful roll, 
  recognize the precise style of another practitioner 
  shouldn’t impose an 
  OCV penalty. A char-
  acter can also use it to 
  catch incoming weap-
  ons (blunt weapons 
  only — sharp ones 
  would 
  cut 
  right 
  through), to choke a 
  foe, or to swing the 
  metal cap at the end 
  at the target. Th ere-
  fore the GM decides 
  the 
  character 
  can 
  use his skill levels 
  with Block, Choke 
  Hold, 
  and 
  Strike 
  maneuvers using the 
  hands (i.e., Punches, 
  not Kicks). Garden 
  hoses aren’t terribly 
  eﬀ ective weapons; the 
  GM rules they do 1d6 
  Normal Damage.
  Non-Weapon Weapons 
  are all considered Clubs 
  for purposes of a char-
  acter’s skill with them... 
  and everyone auto-
  matically has Weapons 
  Familiarity with Clubs.
  Continued from last page
  
  116 
  The Ultimate Martial Artist
  of the same art. One karateka (Karate practitioner) 
  observing another in combat can make his Skill 
  Roll; with a successful roll, he will know (or at 
  least have a good idea) of which branch of the 
  style the other character learned, and may (if he 
  makes his roll by 3 or better) know exactly who 
  trained this character. 
  Symbols: With a successful roll, the character can 
  recognize the distinctive symbols used by many 
  schools or branches of his style. Where appropri-
  ate, he can recognize variations in the weapons 
  used by diﬀ erent branches of his style. For exam-
  ple, diﬀ erent ninja clans were supposed to have 
  diﬀ erent-looking shuriken; a character with KS: 
  Ninjutsu could, with a successful roll, determine a 
  shuriken’s school or clan of origin (if any).
  Other Styles: With a successful roll at -2, the char-
  acter can recognize a style not his own. He might 
  see a ﬁ ghter in combat, make his roll, and recog-
  nize that the other fellow was performing Savate 
  maneuvers. Th e GM can apply additional penalties 
  based on how unfamiliar he believes the character 
  to be with the style he’s observing. Th is use of the 
  Skill doesn’t allow the character to recognize spe-
  ciﬁ c schools or styles of the other art.
  Analyze Style: If the character has the Analyze Style 
  Skill, and has a KS of the same style being used by 
  the character he’s analyzing, he can use his KS as a 
  Complementary Skill to the Analyze Style Skill.
  LANGUAGE: NINJA CLAN CODES AND 
  SYMBOLS
  Only ninja who belong to ninja clans may 
  learn this Skill. It’s a series of special code-words, 
  hand-signs, and commands that allow a ninja to 
  communicate secretly and silently with one of 
  his own clan. Characters must buy it this way: 2 
  points in a language (Ninja Clan Codes), and 1 
  point for Literacy (Ninja 
  Clan Symbols). Buying 
  more points in the 
  language doesn’t 
  do any good.
  Each ninja clan 
  has its own set of 
  codes and symbols. 
  Consider each 
  clan’s language 
  linguistically unre-
  lated to all other 
  clan languages (or 
  any other language, 
  for that matter) for 
  purposes of learning 
  more than one.
  Two ninja of 
  the same clan, 
  sitting together, 
  could hold an 
  ordinary conver-
  sation with normal 
  speech and 
  exchange secret 
  information 
  through use of code-words and hand-signs casual 
  observers could not detect (or would not know 
  the meaning of). A ninja in the ﬁ eld can give tacti-
  cal commands to his subordinates through spoken 
  words and hand-signs. A ninja can bury an impor-
  tant object at a particular site and leave a “mean-
  ingless scratch” on a wall or tree nearby; a ninja of 
  his own clan can interpret the scratches and ﬁ nd 
  the buried goods.
  Consider this a complete language which 
  may be performed at any time either with voice, 
  or with hand-signs, or both. But it’s not a sophis-
  ticated language, so the GM can assign INT Rolls 
  and INT Roll penalties to ninja trying to com-
  municate complicated thoughts or stories when 
  using it.
  PROFESSIONAL SKILL:  INSTRUCTOR
  Characters who want to teach their martial 
  art to others should buy this Skill. Anyone can 
  teach, of course, but someone with PS: Instructor 
  is more skilled at doing so, and better able to eval-
  uate the best methods for instructing a particular 
  student or class, the progress of a student, and so 
  forth. Th is Skill includes knowledge of some very 
  basic sports medicine techniques to help with 
  common dojo injuries.
  SCIENCE SKILL: SPECIFIC MARTIAL ART
  A Science Skill in a particular style gives a 
  character knowledge of the mechanical aspects 
  of his ﬁ ghting maneuvers, including their kine-
  siology and the scientiﬁ c principles which make 
  them work. At the GM’s option, this may include 
  some appropriate “sports medicine” techniques 
  for common dojo injuries and/or some very 
  basic knowledge of human anatomy. In appropri-
  ate circumstances, this SS and PS: Instructor are 
  Complementary to one another, since oft entimes 
  the more one knows about an art, the better one 
  can teach that art to others.
  SLEIGHT OF HAND 
  At the GM’s option, characters can use this 
  Skill as a Half Phase Action to perform “feints” 
  or “foists” in combat. Th is means the character’s 
  trying to “fake out” his opponent, creating an 
  opening he can exploit. For every 2 points the 
  character makes his Sleight Of Hand roll by, he 
  gains +1 to his OCV, up to a maximum of +3. 
  However, each time aft er the ﬁ rst he tries this 
  against a particular opponent, he takes a cumula-
  tive -2 penalty to his Sleight Of Hand roll. Th us, 
  sooner or later a recurring enemy learns the 
  character’s tricks and how to avoid them. Other 
  characters who have watched the character ﬁ ght, 
  or who make the character’s Reputation roll, may 
  also know of his tricks, thus subjecting him to the 
  same penalty even if this is the ﬁ rst time he’s ever 
  fought them. 
  If the character fails his Sleight Of Hand roll, 
  and his opponent makes a PER Roll at -2, the 
  attacker suﬀ er a -2 OCV penalty on his attack, 
  since his target has seen through the “feint” and 
  knows what to expect.
  
  117 
  Hero Games
  P
  erquisites which are useful in martial arts 
  campaigns include:
  CONTACT
  Several types of Contacts oft en appear in mar-
  tial arts stories:
  Th e Ex-Master:  Th e martial arts expert who trained 
  the character. If bought as a Contact, he won’t 
  normally come along with the hero on his adven-
  tures, but can oft en answer questions about the 
  hero’s newest opponent or give the hero additional 
  between-adventures training.
  Th e Old Buddy:  Th is character was in the armed 
  forced with the hero, was a co-student with him 
  back in the old days, or something of the sort. 
  He’s oft en a lower-grade martial artist himself; 
  frequently, he’s also wealthy, or a weaponsmith of 
  some sort. He can make (normal) weapons for the 
  hero, or protect the rescued NPC when the hero 
  doesn’t need to be burdened with the presence of a 
  non-ﬁ ghter.
  FOLLOWER
  Th e most common type of Follower for a mar-
  tial artist to have is a student. Many martial artists 
  attract non-ﬁ ghters or beginning ﬁ ghters who 
  wish to learn from them. Th e character can guide 
  the student’s development by deciding how much 
  to spend on his Follower Perk; when the Follower 
  reaches an ample level of ability and it’s time for the 
  characters to part, the PC can “turn in” his Follower 
  and get his points back. He has to use those points 
  to buy oﬀ  Disadvantages related to the Follower, or 
  to buy other Followers, Bases, Vehicles, and such 
  things — he cannot spend them on Characteristics, 
  Skills, or Powers.
  FRINGE BENEFITS
  Accredited Instructor (1 point) 
  Th is Perk indicates the character has received 
  accreditation as an expert and instructor in a spe-
  ciﬁ c martial arts style by a recognized body which 
  regulates that style (for example, the “World Kung 
  Fu Masters Federation” for a Kung Fu practitio-
  ner). Th is increases his proﬁ le in the Martial World 
  and helps him attract students (should he wish to 
  teach).
  Since this Perk indicates someone who’s an 
  expert and a qualiﬁ ed instructor, the GM should 
  ordinarily require a character to be a black belt (see 
  page 13 for qualiﬁ cations), or possess a similar level 
  of skill and learning, before he can buy Accredited 
  Instructor.
  “Black Belt” (1 point) 
  Th is optional Perk indicates the character is 
  recognized as a “black belt,” or expert ﬁ ghter, by a 
  governing body of his style (or some similar orga-
  nization) and has the right to refer to himself as 
  such. A character with this Perk can sometimes rely 
  on members of the Martial World for work (i.e., 
  teaching martial arts), shelter, and the like.
  Th is Perk is strictly an optional one; its avail-
  ability depends on the GM’s ruling regarding how a 
  character qualiﬁ es to be a black belt. Refer to Black 
  Belt Status In Th e HERO System, page 13, for details.
  Kirisutogomen (10 points) 
  Only characters in feudal-era Japanese cam-
  paigns can take this Fringe Beneﬁ t. It represents a 
  samurai’s right to kill anyone of a lower social class. 
  In some periods, samurai all had this right, but dif-
  ferent samurai implemented it in diﬀ erent ways. 
  More calm and philosophical samurai exercised it 
  only when deliberately oﬀ ended; touchier samurai 
  killed anyone who accidentally stepped across their 
  blades, didn’t bow down quite far enough, or oth-
  erwise inadvertently bothered them for any reason. 
  However, characters should remember that daimyo 
  (lords) tend to frown upon the indiscriminate kill-
  ing of their subjects, peasants or otherwise.
  Right To Marry (1 point) 
  Th is is a necessary Perk of Buddhist monk 
  characters.
  Right Of Shelter (1 point) 
  Th is is a necessary Perk of Buddhist monk 
  characters. It doesn’t mean the character has the 
  right to barge into peoples’ homes and demand 
  food and shelter, but rather that in predominantly 
  Buddhist countries or regions, someone (usually 
  a peasant or a monk from the local monastery) 
  will always oﬀ er him shelter (if he’s known to be a 
  monk).
  MONEY
  Martial arts campaigns are not about money, 
  and so a martial artist character should only take 
  the Money Perk as part of his background concep-
  tion. If he’s a multi-millionaire who’s also a martial 
  artist, he should take Wealthy; if he has chosen a 
  lifestyle where he’s continually impoverished, he 
  should take Destitute.
  REPUTATION
  Many martial artists have a Reputation reﬂ ect-
  ing their ﬁ ghting skill. Th ey should buy this as a 
  Perk, since it causes others to back down rather 
  than ﬁ ght them, makes it easier to intimidate 
  PERQUISITES
  ‘T
  he roots of 
  education 
  are bitter, but the 
  fruit is sweet.’
  — Aristotle
  
  118 
  The Ultimate Martial Artist
  punks, earns the character a measure of respect in 
  appropriate circles, and so forth. Th e Martial World 
  counts as a medium-sized group for purposes of 
  buying Reputation.
  VEHICLES AND BASES
  Th e most common sort of base found in a 
  martial arts campaign is the school. Only masters 
  and master villains have schools, so a character 
  with a base should also teach his “agents,” or stu-
  dents.
  Point-purchased special vehicles are very 
  uncommon in martial arts campaigns.
  Th e GM may decide that martial arts char-
  acters in his campaigns do not get to buy bases or 
  vehicles with their own points — they’re limited to 
  the sorts of bases and vehicles bought with money.
  TALENTS
  M
  any of the Talents from the HERO 
  System are very useful when build-
  ing martial arts characters. Th e most 
  important ones include:
  COMBAT SENSE 
  Many martial artists train to ﬁ ght when 
  blindfolded or blinded; you can represent that 
  ability with Combat Sense. It can be a life-saver 
  for a martial artist when the lights go out, his 
  opponent blows some dust into his eyes, he’s been 
  successfully Flashed, and so on. Blind martial art-
  ists also have this Talent.
  Combat Sense also proves useful if the char-
  acter has to ﬁ ght an invis-
  ible foe. A martial 
  artist who makes a 
  Combat Sense roll 
  will not have 
  his OCV 
  reduced by half (the typical eﬀ ect of invisibility 
  on hand-to-hand and ranged combat) — he can 
  ﬁ ght the invisible character with his full OCV. Th e 
  character can get bonuses to his roll if he ﬁ gures 
  out clever ways to reduce the eﬀ ects of the invis-
  ibility (making his opponent ﬁ ght in an area with 
  a lot of dust in the air or water on the ﬂ oor, for 
  example).
  Remember that standard Combat Sense 
  stands on its own — it isn’t subject to the Simu-
  lated Sense Rule. Characters can link it to a Sense 
  Group if they wish. Th is greatly reduces its cost, 
  but also makes it much more likely their Combat 
  Sense will be Flashed or otherwise “blocked.”
  DANGER SENSE 
  Like Combat Sense, Danger Sense can alert 
  the martial artist to an attack even when there’s 
  no obvious sign of that attack coming. Th is is a 
  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 ﬁ rst 
  oft en triumphs. Th us, many martial artists buy 
  this Talent to reﬂ ect 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
  Th is is an unusual, but not unheard 
  of, ability among martial artists. It’s most 
  oft en learned by masters who have total 
  control over their bodies.
  
  119 
  Hero Games
  C
  haracters can use many HERO System 
  Powers to create interesting abilities, 
  powers, and “super-skills” for martial 
  arts characters. In Superheroic games, 
  they can even use Powers to create abilities deriv-
  ing from ancient Chinese sorcery or many other 
  strange sources.
  AID 
  Th ere are many uses for Aid for martial arts 
  characters, including the ones described below.
  Battles are oft en unpredictable things, which is 
  why characters should build the abilities described 
  in this section with Aid — Aid’s eﬀ ects are similarly 
  unpredictable. However, some players ﬁ nd this 
  unpredictability frustrating — they can never know 
  precisely how much increase a Characteristic will 
  receive from an Aid, making it diﬃ  cult to plan or 
  use certain tactics. If you feel this way, apply the 
  Standard Eﬀ ect Rule to your Aid powers, or per-
  haps substitute Combat Skill Levels for Aid (char-
  acters can take many of the Limitations applicable 
  to Aid, such as the need to remain close to your 
  partners for an Array, on the CSLs).
  Arrays 
  An Array is a ﬁ ghting style where two or more 
  ﬁ ghters have trained together so long and so well 
  that the whole is greater than the sum of its parts. 
  When ﬁ ghting together, the partners in the Array 
  are much more formidable than when ﬁ ghting 
  alone or ﬁ ghting alongside someone who is not 
  their partner.
  A character can buy an Array as an Aid DEX 
  for himself with these Advantages, Limitations and 
  restrictions: 
  (1)  Array Aid powers should be limited to a maxi-
  mum of Aid DEX 6d6.
  (2)  Characters cannot increase the maximum 
  number of Character Points they can add to a 
  Characteristic; i.e., if you have an Aid 6d6, you 
  cannot add more than 36 Character Points to the 
  aﬀ ected Characteristic (this translates into a limit 
  of +12 DEX). 
  (3)  Th e power must have the following Advantage: 
  Invisible Power Eﬀ ects (Fully Invisible; +1).
  (4)  Th e power must have the following Limita-
  tions:  Only For Increasing OCV And DCV (-¼), Self 
  Only (-½); Usable Only Within 5” Of [Speciﬁ c Other 
  Person(s)] (-1½ to -½). Th e “Speciﬁ c Other Persons” 
  Limitation is worth -1½ if all members of a speciﬁ c 
  team must be present; -1 if only one speciﬁ c other 
  person (a permanent partner) must be present; or 
  -½ if one or more 
  members of a speciﬁ c team (the team may have 
  up to seven characters total) must be present. Th e 
  “OCV/DCV Only” Limitation means the charac-
  ter doesn’t change his place on the Combat Order 
  Sheet; this helps to keep the power from irritating 
  the GM.
  (5)  Th e character can apply the Delayed Return 
  Rate Advantage to decrease the loss rate for the Aid, 
  up to wearing oﬀ  at a rate of 5 Character Points per 
  Minute (+¼).
  If characters in an Array become separated in 
  combat beyond the 5” range, they cannot use their 
  Aid bonus at that moment... but it does not wear oﬀ  
  instantly. If the characters get back within range of 
  one another before the Aid wears oﬀ , the Aid bonus 
  is instantly restored.
  Example:  Jiro and Eiko are a brother-and-sister 
  ﬁ ghting Array. Each of them buys the following 
  power:  Aid DEX 3d6, Invisible Power Eﬀ ects 
  (Fully Invisible; +1) (60 Active Points); Self 
  Only (-½), Usable Only Within 5” of Sibling (-
  1), Only Increases OCV And DCV (-¼). Total 
  cost: 22 points.
  If they later become part of a larger ﬁ ghting 
  team, one with ﬁ ve members, they could either 
  decide the ability works only when all members 
  were within 5”, or when any one other member 
  was within 5”. Assuming they choose the latter, 
  the ability becomes:  Aid DEX 3d6, Fully Invis-
  ible (+1) (60 Active Points); Self Only (-½), 
  Usable Only Within 5” Of Any Member Of 
  Five-Man Team (-½), Only Increases OCV 
  And DCV (-¼). Total cost: 27 points.
  Ch’i Aid
  Because martial arts characters oft en tap 
  into their inner strength, or ch’i, they can buy Aid 
  powers (with numerous Limitations) deﬁ ned as 
  “summoning one’s ch’i.”  Th e following guidelines 
  apply to Ch’i Aid abilities:
  (1)  Ch’i Aid powers are limited to 2-4d6 Character 
  Points of Aid (see below).
  (2)  Characters cannot increase the maximum 
  number of Character Points which they can add to 
  a Characteristic; i.e., if you have Aid STR 3d6, you 
  cannot add more than 18 Character Points to STR.
  (3)  All Ch’i Aid abilities must take the Invisible 
  Power Eﬀ ects Advantage (Fully Invisible; +1).
  (4)  All Ch’i Aid abilities must take the Self Only 
  (-½) Limitation.
  POWERS
  
  120 
  The Ultimate Martial Artist
  (5)  Th e following Limitations are recommended or 
  appropriate, but not required unless the GM says 
  so:  Activation Roll, Concentration, Extra Time, 
  Gestures, Incantation, Increased Endurance Cost.
  (6)  Characters can buy Ch’i Aid to aﬀ ect one or 
  more of the following Characteristics: STR, CON, 
  EGO, PRE, REC, END, and/or STUN at a maxi-
  mum of Aid 4d6; or BODY, PD, and/or ED at a 
  maximum of Aid 2d6. Aid BODY powers must take 
  the Limitation Aid Can Only Raise Characteristics 
  To Starting Values (-1). See Kiai Aid, below, for 
  options for PRE Aid powers.
  (7)  Characters cannot buy Ch’i Aid to aﬀ ect DEX, 
  INT, COM, or SPD.
  (8)  Characters cannot take the Delayed Return 
  Rate Advantage for this Aid. Ch’i Aids must wear 
  oﬀ  at the standard 5 Character Points per Turn rate 
  (though they could wear oﬀ  sooner, if appropri-
  ately Limited).
  (9)  You can only put Ch’i Aid powers into Power 
  Frameworks with the GM’s permission (refer to the 
  Power Frameworks section, below, for more infor-
  mation).
  Example:  Aid STR 3d6, Invisible Power Eﬀ ects 
  (Fully Invisible; +1) (60 Active Points); Self 
  Only (-½), Activation Roll 14- (-½), Increased 
  Endurance Cost (x5 END; -2). Total cost:  15 
  points.
  At the GM’s discretion, some of the restric-
  tions described here may diminish or vanish in 
  campaigns which are wilder, Superheroic, or more 
  oriented toward martial arts. 
  Kiai Aid
  A kiai is a war-shout — a mighty shout which 
  surprises opponents, upsets their timing, some-
  times even stuns them. In HERO System terms, 
  a kiai is best represented as an Aid PRE bought 
  according to the following guidlines:
  (1) Characters cannot buy a Kiai Aid PRE shout 
  with more than 8d6.
  (2) Characters cannot increase the maximum 
  number of Character Points they can add to a 
  Characteristic; i.e., if you have Aid PRE 3d6, you 
  cannot add more than 18 Character Points to PRE.
  (3) All Kiai Aid abilities must take the Invisible 
  Power Eﬀ ects Advantage (Fully Invisible; +1).
  (4) All Kiai Aid abilities must take the Self Only 
  (-½) Limitation.
  (5) The following Limitations are recommended 
  or appropriate, but not required unless the GM 
  says so:  Activation Roll, Charges, Only To Make 
  Offensive Presence Attacks (-½), Increased 
  Endurance Cost.
  (6) Characters cannot take the Delayed Return Rate 
  Advantage. Kiai Aids must wear oﬀ  at the standard 
  5 Character Points per Turn rate (though they 
  could wear oﬀ  sooner, if appropriately Limited).
  (7)  You can only put Ch’i Aid powers into Power 
  Frameworks with the GM’s permission (refer to 
  the Power Frameworks section, below, for more 
  information).
  A sample of a Kiai Shout power might look 
  like this:
  Example: Aid PRE 4d6, Invisible Power Eﬀ ects 
  (Fully Invisible; +1) (80 Active Points); Self 
  Only (-½), Only To Make Oﬀ ensive Presence 
  Attacks (-½), 4 Charges (-1), Costs END (-½), 
  Increased Endurance Cost (x4 END; -1½). 
  Total cost:  16 points. 
  Th is represents the sort of Kiai Shout a char-
  acter might buy initially. As he gains experience, 
  he’d doubtless buy oﬀ  the Charges Limitation, buy 
  down the Increased Endurance Cost, and perhaps 
  increase the dice of eﬀ ect. 
  Aid With A Skill Roll 
  Sometimes characters who make a successful 
  Skill Roll can gain combat advantages against their 
  opponent. In HERO System terms, you can simulate 
  such bonuses by Aiding certain Characteristics. 
  Sense Ch’i and Analyze Style are the most common 
  Skills used for this ability, and DEX is almost 
  always the Characteristic Aided. Th e examples 
  given below assume Analyze Style is the Skill used 
  and DEX is Aided.
  Here are the Limitations on the power: 
  (1)  A Heroic-level character may only buy up to 
  Aid DEX 2d6 (which results in a maximum of 12 
  Character Points of DEX, or 4 points of DEX). He 
  may increase the amount of Character Points his 
  Aid give him, up to 48 Character Points of DEX (or 
  16 points of DEX). Superheroic characters may buy 
  up to Aid DEX 4d6, and may increase the amount 
  of Character Points the Aid gives him, up to 63 
  Character Points (or 21 points of DEX).
  (2) Characters must take the following Limitations 
  for a Skill Roll Aid:  Self Only (-½), Requires An 
  Analyze Style Roll (-½), Extra Time (Full Phase; 
  -½), Must Watch Target Fighting Someone Else For 
  One Full Phase Per Skill Roll (-½), Failed Skill Roll 
  Or Interruption Prevents Further Skill Rolls At 
  Th is Time (-½), Concentration (½ DCV; -¼), Only 
  For Increasing OCV And DCV (-¼), Only Versus 
  One Observed Foe (-1). Total Limitation:  -4.
  (3) Characters may, if they wish, use Delayed 
  Return Rate to increase the time period over which 
  the Aid’s eﬀ ects wear oﬀ  to as much as 5 Character 
  Points per 5 Minutes (a +½ advantage), but no 
  higher.
  In play, what happens is this:
  A character with the power observes his 
  enemy fighting. (Often, he asks one of his friends 
  or orders his student to confront the enemy so he 
  can observe.)
  Each Phase the character watches his target 
  ﬁ ghting, he may make his Analyze Style roll; with 
  each successful roll, he can activate his Aid power.
  Each application of his Aid increases his DEX, 
  but only to improve his own OCV and DCV, and 
  only against this one opponent. It doesn’t improve 
  
  121 
  Hero Games
  his SPD, his placement on the combat order list, his 
  Agility Skill Rolls, or anything of the sort. If he ﬁ ghts 
  a character other than his target, he doesn’t get the 
  DEX bonus; however, if he ﬁ nishes with the other 
  character and returns to his target before his DEX 
  Aid wears oﬀ , then he’ll still beneﬁ t 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 ﬁ ght. (Th e exact 
  length of a “ﬁ ght” 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 “ﬁ ght” to remain in eﬀ ect.)
  Th is 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 
  beneﬁ t 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 ﬁ ght his enemy with his 
  OCV and DCV substantially improved. Gradually, 
  his Aid wears oﬀ ; this corresponds to his opponent 
  ﬁ guring out how to compensate for the weak spots 
  in his own ﬁ ghting 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 Th ree of this book and the 
  Weapons and Armor section of the HERO System 
  5th Edition, Revised for details).
  CLINGING 
  Superheroic martial artists can buy Clinging in 
  the usual fashion. So can characters in “wild” style 
  martial arts campaigns, who sometimes display the 
  ability to run up walls and along narrow rooft ops 
  eﬀ ortlessly.
  For Heroic characters, the GM should consider 
  imposing one or both of the following Limitations 
  on Clinging (perhaps in addition to Requires A 
  Climbing Roll):
  Sideways Movement Is At ½ Ground Movement 
  Rate:  -¼
  No Ceiling Movement Or Angles Of Less Th an 
  80o:  -¼
  With the ﬁ rst Limitation shown above, a char-
  acter is about as slow going sideways as he is going 
  up. With the second Limitation, the character can 
  scale shallow inclines, steep inclines, vertical (90o) 
  inclines, and even overhangs up to 80o ... but not 
  any steeper overhangs.
  Heroic characters should not be allowed to 
  buy up the STR of their Clinging; their base STR is 
  quite enough.
  CLINGING 
  EXAMPLES
  RAPID CLIMBING
  Clinging (normal STR) 
  (10 Active Points); 
  Requires A Climbing 
  Roll (-½), Sideways 
  Move At ½ Ground Rate 
  (-¼), No Ceiling Or 
  Angles Less Th an 80o 
  (-¼). Total cost:  5 
  points.
  WIRE-FU 
  WALL-SCALING
  Clinging (normal STR) 
  (10 Active Points); 
  Requires An Acrobatics 
  Roll (-½). Total cost:  7 
  points.
  
  122 
  The Ultimate Martial Artist
  DAMAGE REDUCTION
  Martial arts characters absorb an incredible 
  amount of abuse in the movies and ﬁ ction, then 
  come back for more. You can simulate this with a 
  limited form of Damage Reduction.
  Th is ability is especially appropriate for char-
  acters in martial arts campaigns. Having this power 
  can mean the diﬀ erence between being a good, 
  eﬀ ective minion-type character and being a master 
  martial artist or damage-resistant hero. Th erefore, 
  only PCs and the best NPC martial artists (aged 
  teachers, master villains, powerful minions, and the 
  like) should have this ability.
  Th e GM should consider imposing the fol-
  lowing Limitations and restrictions on this form of 
  Damage Reduction:
  (1)  Characters can buy a maximum of Damage 
  Reduction, Resistant, 50%.
  (2)  Characters can only buy Physical and Energy 
  Damage Reduction (or Physical only, for Heroic 
  characters); they cannot buy Mental Damage 
  Reduction.
  (3)  Th e Damage Reduction must take these Limi-
  tations:  Character Must Be Aware Of Attack (-¼), 
  Does Not Work Against Dim Mak (-¼).
  (4)  Optional Limitations include:  STUN Only 
  (-½); Activation Roll (equal to character’s EGO 
  Roll; -1 to -¼) (the character must make an EGO 
  Roll whenever he takes damage, and if he fails his 
  roll he takes full damage). (At the GM’s option, the 
  character may substitute other appropriate rolls, 
  such as a CON Roll.)
  With this arrangement, the character must 
  know he’s being attacked (this is automatic for 
  most attacks from the direction he’s facing, but can 
  require a PER Roll, or even Danger Sense roll for 
  surprise attacks). In one form of the power, he must 
  force himself to ignore the pain, hence the Activa-
  tion Roll (EGO Roll) requirement.
  Characters with this arrangement cannot buy 
  their Activation Rolls up higher than their EGO 
  Rolls. Th is may make them want to have strong 
  EGOs, which is appropriate for martial arts heroes. 
  If a character has an EGO Roll of 13-, he can buy a 
  14- Activation Roll, since there is no 13- Activation 
  Roll limitation.
  DAMAGE RESISTANCE
  Characters in martial arts campaigns can buy 
  Damage Resistance, with this Limitation:  Only 
  Versus Unarmed Martial Arts Killing Attacks (-1). 
  (In campaigns where unarmed Killing Attacks are 
  less common, increase this Limitation’s value to -2.) 
  Th is allows the character to resist the worst eﬀ ects 
  of martial arts Killing Attacks, but provides him 
  with no extra defenses versus the knife of a mugger, 
  the claws of a bear, the gun of an assassin, or any 
  other type of Killing Attack.
  Damage Resistance:  Breath Control
  Breath Control is a form of Damage Resistance 
  available to Superheroic martial artists and char-
  acters in martial arts-oriented campaigns. It allows 
  a character to make himself much more resistant 
  to damage by closing oﬀ  certain vulnerable energy 
  points called “Gates,” thus protecting most of his 
  body against Killing Damage. However, one Gate 
  must always remain open, leaving the character 
  vulnerable to attack there; the character must deﬁ ne 
  his open Gate when he buys Breath Control. When 
  a location is actually two locations (for example, 
  location 7 is forearm, and the character has two, 
  right and left ), the player can deﬁ ne which one it is. 
  If he wishes his open Gate to be in his right hand, 
  he deﬁ nes it as Location 6 (Right). In combat, when 
  someone attacks him and hits the proper location, 
  unless he speciﬁ cally aimed for the proper one, he 
  must roll 1d6; a 1-3 means he hit the left  limb, a 4-6 
  means he hit the right.
  Rules for buying Breath Control: 
  (1)  Th e character may only buy Damage Resistance 
  to Physical attacks. 
  (2)  Th e character must take the following Limita-
  tions for the power:  Does Not Work Against Guns 
  (-¼; Breath Control only works against attacks 
  from hand-to-hand, thrown, and muscle-powered 
  weapons); One Hit Location Left  Undefended (-¼) 
  (or 15- Activation, if you’re not using Hit Loca-
  tions).
  (3)  If the campaign uses the Hit Location chart, 
  and the player chooses as his open Gate a Hit 
  Location which reduces the damage of an attack 
  (Locations 6-8, 15-18), then he must take the fol-
  lowing Vulnerability:  2 x BODY To Attacks To Gate 
  (Uncommon), 10 points. Th is only gives him points 
  to spend if he bought Breath Control when he was 
  ﬁ rst created. If he buys Breath Control aft er charac-
  ter creation, and deﬁ nes his open Gate as being in 
  one of the limb locations, he still gets the Vulnera-
  bility, but he doesn’t get any Character Points for it.
  GM’s Note:  Breath Control is a very inexpensive, 
  very useful ability. If you allow it in your campaign, 
  just about every character will want it. It makes 
  small bladed weapons next to useless; only martial 
  arts, large weapons, and guns remain eﬀ ective. If 
  you prefer to keep your PCs respectful of lower-
  powered Killing Damage weapons, do not allow this 
  power in your campaign.
  DESOLIDIFICATION 
  Characters can use Desolidiﬁ cation as a defen-
  sive ability — a style of blocking or parrying incom-
  ing blows which is so adroit, no one can penetrate it 
  to actually hit the defender. Th is sort of Desolidiﬁ ca-
  tion is vulnerable to mystic attacks and to martial 
  arts attacks speciﬁ cally intended to overcome it.
  Example:  Desolidiﬁ cation (aﬀ ected by magical 
  attacks or any maneuver speciﬁ cally designed 
  to overcome this ability), Invisible Power Eﬀ ects 
  (Fully Invisible; +1) (80 Active Points); Only 
  To Protect Against Martial Arts Attacks (-1), 
  Requires A DEX Roll (-½). Total cost:  32 points.
  Th e GM must deﬁ ne which attacks are “speciﬁ -
  cally intended to overcome” this power. A martial 
  arts ability bought with Aﬀ ects Desolidiﬁ ed (+¼) 
  would certainly qualify (characters take Aﬀ ects 
  DAMAGE 
  REDUCTION 
  EXAMPLES
  RESILIENCE I
  Physical Damage 
  Reduction, Resistant, 
  50% (30 Active Points), 
  Must Be Aware of Attack 
  (-¼), Activation Roll (-
  ¾, assuming a 12- EGO 
  Roll), Does Not Work 
  Against Dim Mak (-¼). 
  Total cost:  13 points.
  RESILIENCE II
  Physical Damage Reduc-
  tion, Resistant, 50% (30 
  Active Points), Must Be 
  Aware Of Attack (-¼), 
  STUN Only (-½), Does 
  Not Work Against Dim 
  Mak (-¼). Total cost:  15 
  points.
  DAMAGE 
  RESISTANCE
  EXAMPLES
  BREATH CONTROL
  Damage Resistance (8 
  PD) (4 Active Points); 
  Does Not Work Versus 
  Guns (-¼), Location 3 
  (Forehead) Left  Unde-
  fended (-¼). Total cost:  
  3 points.
  
  123 
  Hero Games
  Desolidiﬁ ed at the +¼ level in this instance to reﬂ ect 
  the fact that the attack only aﬀ ects a single, limited 
  form of Desolidiﬁ cation). 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 deﬁ ned 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 (deﬁ ned as 5 points of Sight 
  Group Flash Defense). Hitoshi, a generally non-
  violent person, would prefer to end the ﬁ ght 
  quickly by using Martial Flash, but the motor-
  cycle helmet oﬀ ers his opponent a full defense 
  against that attack. Hitoshi decides to use his 
  gadget-breaking power to smash the helmet. 
  He successfully hits his target and rolls 12 on 
  his Dispel dice. Th is exceeds the 5 Active Points 
  in the gadget, so the helmet’s faceplate shatters. 
  Hitoshi’s attacker’s eyes are now fully exposed 
  to attack.
  DRAIN 
  General Uses
  Characters can use Drain to create a wide 
  variety of martial arts attacks which weaken, numb, 
  or otherwise debilitate a target. Most such attacks 
  buy down the recovery time so the target does not 
  recover quickly. Limitations such as Only Works On 
  Humans (-½), Requires A SS: Anatomy Roll (-½), or 
  Requires A Sense Ch’i Roll (-½) are appropriate for 
  most Drain-based martial attacks. Characters can 
  also use Drain to create “feint” maneuvers (refer to 
  Feints, below, for details).
  Drain:  Dim Mak Techniques
  Dim Mak is the infamous “delayed death touch,” 
  a nearly magical method of striking (or even merely 
  touching) an opponent, transferring ch’i energy into 
  him, and causing an imbalance in his body which 
  eventually kills him. Th is is a Chinese technique, 
  and not widely known; the GM should restrict its 
  purchase so that only one or two PCs (at most) ever 
  learn Dim Mak. (If several characters know it, it 
  becomes mundane and boring, not the dangerous, 
  mysterious art it should be.)
  In a Heroic campaign, characters buy Dim Mak 
  this way: 
  (1)  Dim Mak is bought as a Drain — mostly a Drain 
  BODY, though characters can add other Drains to 
  simulate the eﬀ ect of the victim’s body wasting away. 
  (2)  Characters may not buy more than a Drain 10d6. 
  If they Link non-BODY Drains to the BODY Drain, 
  the Linked Drains cannot exceed 6d6.
  (3)  Characters must buy Dim Mak powers with the 
  following Advantages:  Invisible To Sight And Hear-
  ing Groups (+¾), Time Delay (+¼), Delayed Return 
  Rate (BODY returns at the rate of 5 Character Points 
  per Week; +1½). (Th ey can improve this last Advan-
  tage further, to 5 CP per Month or per Season, if they 
  wish to spend the points.)
  (4)  Characters must buy Dim Mak powers with the 
  Gradual Eﬀ ect Limitation, at either the 1d6 of eﬀ ect 
  per 6 Hours (-1½) or 1d6 of eﬀ ect per 1 Day (-1¾) 
  level. Th e damage of a Dim Mak attack doesn’t take 
  eﬀ ect all at once; the victim sickens before dying. 
  Apply 1d6 Drain at each time increment (if the 
  Dim Mak technique is built as several Drains — for 
  instance, a BODY, STR and CON Drain — apply 1d6 
  of each Drain at each time increment). 
  (5)  Characters must buy Dim Mak powers with 
  this special Limitation:  Can Be Cured By Chinese 
  Healing (-¼). A character with the Chinese Heal-
  ing Skill might be able to cure a Dim Mak attack. 
  He can’t make his roll to cure the victim until the 
  onset of the ﬁ rst 1d6 of damage. Since Dim Mak 
  practitioners must also know Chinese Healing (see 
  item #6 below), the GM should resolve this as a Skill 
  Versus Skill Contest between the two characters 
  with Chinese Healing. (Also, if the victim is below 0 
  BODY, the character trying to heal him suﬀ ers a -1 
  penalty to his Skill Roll for every 2 BODY the victim 
  is below 0 BODY.)
  (6)  Characters must buy Dim Mak powers with the 
  following Limitation:  Requires A Chinese Healing 
  Roll (no Active Point penalty, but 16+ automatically 
  misses; -¼).
  (7)  Th e following Advantage is appropriate for Dim 
  Mak powers but may only be taken instead of (not 
  
  124 
  The Ultimate Martial Artist
  in addition to) Time Delay:  Trigger (Trigger can 
  change each time power is used; +½). Usually, the 
  Trigger is a certain number of steps taken by the 
  victim:  aft er three steps, 100 steps, 1,000 steps, or 
  whatever, the target begins suﬀ ering the eﬀ ects of 
  the power.
  (8)  Th ese Limitations are appropriate (but not 
  required) for Dim Mak powers:  Attacker Must Make 
  A Special Sequence Of Blows Against Target (one 
  blow, -0; two blows, -¼; three blows, -½; four blows, 
  -¾; ﬁ ve or six blows, -1); Attacker Must Make Very 
  Accurate Blows Against Target (each blow is at -3 
  OCV for placement, -½; each blow is at -8 OCV for 
  placement, -1); Special Sequence Of Blows Does No 
  Damage (-½); Timing Must Be Perfect: Attacker May 
  Not Miss A Phase Or A Hit (-1). In other words, the 
  attacker must hit his target in several places around 
  the body to set up the Dim Mak chain reaction. One 
  (easy) way to buy it might be Five Blows (-1), no other 
  limitation; this means the attacker must ﬁ rst hit his 
  target ﬁ ve times, and on the sixth may apply his Dim 
  Mak attack. One (very diﬃ  cult) way to buy it might be 
  Five Blows, Each at -8, Do No Damage, Timing Per-
  fect (total Limitation:  -3 ½). Th e attacker would have 
  to hit his target every Phase with a 0-damage strike 
  (no damage is rolled, and there is no other combat 
  eﬀ ect), each blow at -8 OCV, not missing a single 
  attack (he cannot miss, he cannot be blocked, and so 
  forth, or he will have to start over); only aft er all that 
  is set up can he, on the sixth blow, apply the Dim Mak 
  touch. Th e player and GM should decide what these 
  preparatory blows look like, what locations they must 
  hit (with a -3 modiﬁ er, the character can be presumed 
  to hit anywhere he wishes on the character’s torso; 
  with a -8 modiﬁ er, the character can be presumed to 
  hit any target on the body he wishes), and the like. 
  (9)  Dim Mak powers are hand-to-hand and so may 
  not be bought with the Ranged Advantage.
  A character struck by a Dim Mak attack who 
  drops below 0 BODY can be treated by a character 
  with Professional Skill: Doctor. A successful Skill 
  Roll merely means the character doesn’t perish 
  swift ly (in other words, he won’t lose 1 BODY every 
  Post-Segment 12 from being at 0 BODY or below); 
  Skills such as Paramedic and Professional Skill: 
  Doctor cannot keep the Dim Mak eﬀ ects from con-
  tinuing, though.
  GMs should allow characters to buy Dim Mak 
  attacks which far exceed the campaign’s normal 
  Active Point limits. Th e Limitations on the power 
  keep it from being as lethal as its Active Point totals 
  would otherwise indicate.
  Here’s one example of a Dim Mak attack as a 
  PC might buy it:
  Example:  Dim Mak:  Drain BODY 10d6 
  plus Drain STR 6d6, Invisible To Sight Group 
  And Hearing Group (+¾), Time Delay (+¼), 
  Delayed Return Rate (BODY returns at the 
  rate of 5 Character Points per Week (+1¾) 
  (600 Active Points!); Gradual Eﬀ ect (1d6 
  BODY and STUN Drain per Day; -1¾); Can 
  Be Cured By Chinese Healing (-¼); Requires A 
  Chinese Healing Roll (no Active Point penalty, 
  but 16+ automatically misses; -¼); Attacker 
  Must Make Sequence Of Five Blows, Each At -3 
  OCV, Blows Do No Damage, And Timing Must 
  Be Perfect (-3); 2 Charges/Day (-1½); Activa-
  tion Roll 15- (-¼). Total cost:  75 points.
  Obviously, Dim Mak techniques are very 
  costly, as the heavily-Limited example above shows. 
  Th ey’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.
  
  125 
  Hero Games
  ENERGY BLAST 
  Characters can use Energy Blast to create 
  an unusual form of martial arts attack:  the NND 
  Breath Attack. Th is is an unusual power not 
  entirely inappropriate for a martial arts campaign. 
  Th e owner of this attack lives on a special diet (a 
  Dependence Disadvantage is appropriate, but not 
  required). When he wishes to, he may summon up 
  a huge breath of noxious, horrible stench which 
  overpowers, sickens, or knocks out enemies. Th is 
  sort of attack comes as a great surprise. It’s very 
  appropriate for villain characters — it’s an attack for 
  a weird lieutenant or master criminal to pull out at 
  a dramatic moment.
  It can be bought in this fashion:
  Example: EB 6d6, No Normal Defense (defense 
  is Life Support:  Self-Contained Breathing; +1), 
  Area Eﬀ ect (13” Cone; +1) (90 Active Points); 
  4 Charges (-1), Extra Time (Full Phase; -½), 
  Costs Endurance (-½), Increased Endurance 
  Cost (x2 END; -½), No Range (-½). Total cost: 
  22 points.
  ENHANCED SENSES 
  Many Enhanced Senses are appropriate for 
  Heroic characters in martial arts campaigns. Most 
  are bought with various Limitations. Th e list of 
  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.” Th is power is most 
  appropriate for “blind master” characters.
  Analyze; Discriminatory:  Th ese is Sense Modiﬁ ers 
  are appropriate for various Senses for characters 
  deﬁ ned as having a “higher awareness.” Blind char-
  acters oft en have Discriminatory Touch, for exam-
  ple. No special Limitations are required.
  Enhanced Perception:  Th is 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 Modiﬁ er only for their Hearing Group or 
  a special Spatial Awareness. It’s most eﬃ  cient when 
  combined with Spatial Awareness, or with Active 
  Sonar or Targeting Hearing; this is common in 
  martial arts ﬁ ction 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). Th is 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.
  Example:  Infrared Perception (Sight Group) (5 
  Active Points); Costs END (-½), Extra Time (1 
  Turn to activate, but requires no extra time to 
  use thereaft er; -½). Total cost: 2 points.
  Mental Awareness:  Th is, too, is a power permissible 
  to characters who are supposed to have achieved 
  some sort of heightened awareness. However, the 
  GM should limit things so that only one or (per-
  haps) two characters in a campaign have this power.
  Spatial Awareness:  Th is is appropriate for charac-
  ters in martial arts campaigns, especially for mas-
  ters who ﬁ ght as well when blinded as not. Again, 
  not all PCs in a campaign should have this power, 
  but its cost is likely to discourage everyone from 
  buying it.
  Targeting Sense:  Buying Targeting Sense for Hear-
  ing is appropriate for a master ﬁ ghter (see Spatial 
  Awareness, above). Targeting Smell and Targeting 
  Taste are not as appropriate; don’t use them in 
  Heroic campaigns. 
  Telescopic:  Inappropriate for Heroic human charac-
  ters. A generous GM might allow a character to buy 
  a maximum of +2 to PER rolls with the Limitations 
  described above for Infrared Perception.
  Tracking:  Th is is rare, and is perhaps more appro-
  priate for the “boy raised by wolves” sort of charac-
  ‘T
  he Way 
  of the 
  warrior is to 
  master the virtue 
  of his weapons.’
  —Miyamoto 
  Musashi, Go Rin No 
  Sho (“A Book of 
  Five Rings”)
  
  126 
  The Ultimate Martial Artist
  ter... but there’s nothing that says such a character 
  couldn’t be a martial artist.
  Ultraviolet Perception:  Can be purchased with the 
  same Limitations as Infrared Vision, above.
  In Superheroic campaigns, these restrictions 
  basically don’t exist. Superpowered martial artists 
  can take just about any sort of Enhanced Sense jus-
  tiﬁ ed by their character conception which the GM 
  allows them to have.
  ENHANCED SENSE:  SENSE CH’I 
  Th e concept of ch’i (or ki in Japanese) pervades 
  many of the martial arts. Meaning literally “breath” 
  or “air,” ch’i signiﬁ es a sort of life force or inner 
  power that ﬂ ows throughout the body. Skilled mar-
  tial artists can make their ch’i ﬂ ow correctly and use 
  their command of it to enhance their abilities. In 
  some cases, such as the Monkey Slap of the Hsing-I 
  style, one of a style’s Martial Maneuvers reﬂ ects the 
  practitioner’s ability to manipulate and/or project 
  his ch’i; in other cases, it’s bought as a “special abil-
  ity” or power known to masters of that art. Most of 
  the abilities listed in the “Special Abilities” section 
  of each style’s description could be considered “ch’i 
  abilities,” even if the style does not use that particu-
  lar term for them.
  Some martial artists can sense the ﬂ ow of 
  ch’i within others, which has all sorts of potential 
  beneﬁ ts for them. In HERO System terms, this is a 
  form of the Enhanced Sense Detect (ch’i counts as 
  a 5-point Detect category, since it can have 
  a signiﬁ cant eﬀ ect on combat). A suc-
  cessful Sense Ch’i roll allows 
  a character to know what 
  ch’i abilities his oppo-
  nent is currently using 
  (and, if the roll is made 
  by enough, to know other 
  abilities that he possesses, 
  even if they are not 
  currently in use); 
  will tell the 
  character 
  the location of his enemy’s open Gates (refer to 
  Damage Resistance, above); and so forth. Oft en a 
  character can Link other abilities, such as Danger 
  Sense, Lightning Reﬂ exes, or Combat Skill Levels, 
  to his Sense Ch’i ability or can use it as a Required 
  Skill Roll.
  At the GM’s option, if a character makes a 
  Sense Ch’i roll on himself in a particularly crucial 
  situation (such as right before a major test of his 
  martial abilities or an all-or-nothing attack on 
  which great stakes depend), he may receive a bonus 
  to whatever he attempts — an additional point of 
  OCV, an extra DC or two, or the like.
  Although Sense Ch’i is a form of Detect, it’s 
  called Sense Ch’i and not Detect Ch’i for a reason 
  — it’s almost always bought as a Sense (+2 points), 
  not as a simple Detect. Detect requires a level of 
  concentration which a martial artist oft en cannot 
  aﬀ ord in the midst of combat, when the Sense Ch’i 
  ability is most useful. Similarly, Sense Ch’i is almost 
  always bought so that it’s usable at Range (+5 
  points).
  If the situation allows, a character usually takes 
  extra time to gain bonuses to his Sense Ch’i roll. At 
  the GM’s option, he may gain other bonuses from 
  meditating, making an EGO Roll as a Complemen-
  tary Skill Roll, and so forth. If he’s disturbed, emo-
  tionally upset, Enraged/Berserk, suﬀ ering from a 
  Dependence, or subject to similar forms of 
  stress (“My mind and my spirit are going north 
  and south!”), he suﬀ ers a penalty to his Sense 
  Ch’i rolls, or maybe cannot make 
  them at all.
  Example:  Sense Ch’i:  
  Detect 
  Ch’i, 
  Range, 
  Sense. Total cost:  12 
  points.
  
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  Hero Games
  EXTRA LIMBS
  Characters with Extra Limbs oft en have an 
  advantage in martial arts combat — aft er all, it’s dif-
  ﬁ cult to defend against a large number of attacks 
  from a single source, particularly if the character has 
  Stretching and can launch some of them from behind 
  the target!  To simulate this advantage, characters 
  with Extra Limbs can buy Combat Skill Levels with 
  Hand-To-Hand Attacks.
  FORCE WALL
  A character can use this Power to create a nigh-
  impenetrable defensive “wall” around himself, deﬁ ned 
  as his ability to block, deﬂ ect, or dodge any incoming 
  attack. Th is sort of Force Wall should take the Limita-
  tions Self Only (-½), since the character cannot use it 
  at range or to protect others, just himself.
  FEINTS 
  A Feint is a false or deceptive move designed 
  to trick an opponent into reacting the wrong way so 
  he exposes himself to the attacker’s real attack. In the 
  HERO System, characters can simulate Feints with a 
  Drain DEX or with Images (also refer to the discus-
  sion of Sleight Of Hand feints, above).
  Drain DEX Feints 
  Characters can create a Drain DEX Feint with 
  the following Advantages:  Invisible Power Eﬀ ects 
  (Fully Invisible; +1) and Trigger (character’s decision 
  to use the Drain DEX; +¼). Th e Drain also takes the 
  following Limitations:  Only For Reducing Hand-To-
  Hand DCV (-1), DCV Reduction Only Works For 
  Attacker (-1), DCV Reduction Only Lasts For One 
  Phase (-½). Th e GM may also require the Advantage 
  No Normal Defense (defense is making a PER Roll, 
  Danger Sense roll, or KS: Speciﬁ c Style roll by 3 or 
  more; +½), since Power Defense should not normally 
  apply against this sort of Drain; however, this may 
  have the eﬀ ect of inﬂ ating the cost of this ability 
  unnecessarily.
  What these Advantages and Limitations give the 
  attacker is a Drain DEX that only aﬀ ects the target’s 
  DCV. Th e reduction in DCV only works for the 
  character using the Drain (the target gets his normal 
  DCV against anyone else who attacks him), and only 
  lasts for one Phase. Since characters usually have to 
  reset Triggers aft er using them, the GM might rule 
  that a character can only use his Feint once per battle; 
  he resets the Trigger between battles.
  Example:  Drain DEX 6d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1), Trigger (+¼) (135 
  Active Points); Only For Reducing Hand-To-
  Hand DCV (-1), DCV Reduction Only Works 
  For Attacker (-1), DCV Reduction Only Lasts 
  For One Phase (-½). Total cost:  38 points.
  Note:  a character could construct a similar abil-
  ity using a Suppress which could not be “continued” 
  (i.e., all points Suppressed would return aft er one 
  Phase).
  Images Feints 
  An Images Feint is bought with the Advantage 
  Trigger (+¼) and the Limitations DCV Reduction 
  Only Works For Attacker (-1), DCV Reduction Only 
  Lasts For One Phase (-½), and Only For Martial Arts 
  Feints (-1). If the target misses his PER Roll he suﬀ ers 
  -1 DCV for every two points he missed his roll by. If 
  he makes the PER Roll, the attacker suﬀ ers a -1 OCV 
  on the real attack which he makes that Phase (a -¼ 
  Side Eﬀ ect). When making the target’s PER Roll, the 
  GM should not let the player know the eﬀ ect of the 
  attempted Feint until aft er he (the player) makes his 
  real attack.
  Example:  Sight Group Images, -2 to PER Rolls, 
  1” radius, Trigger (+¼) (20 Active Points); No 
  Range (-½), DCV Reduction Only Works For 
  Attacker (-1), DCV Reduction Only Lasts For 
  One Phase (-½), Only For Martial Arts Feints 
  (-1), Side Eﬀ ects (if target makes PER Roll, 
  attacker suﬀ ers -1 OCV on real attack; -¼). 
  Total cost:  5 points.
  Combat Maneuver Feints 
  At the GM’s option, characters may not need 
  to pay for Feints at all — they may be a basic part of 
  the campaign rules, like Combat Maneuvers. If the 
  GM prefers to take this route, he should come up 
  with an appropriate list of Feints for the characters 
  to use. A character would have to have a KS of a 
  particular Feint to use it; if the target has Danger 
  Sense or a KS in that Feint and makes his roll, he 
  realizes what the other character is up to and avoids 
  the eﬀ ects of the Feint entirely. Each Feint should 
  be about 6d6 of Drain (enough to reduce the tar-
  get’s DCV by 2 on the average).
  GLIDING 
  Characters in Heroic martial arts campaigns 
  cannot ﬂ y or glide (except with a boarding pass). 
  However, they can purchase Gliding for one special 
  purpose only:  walking without leaving any tracks. 
  Th is technique is called hing kung in Chinese. All 
  they have to do is buy Gliding with the Ground 
  Gliding Limitation (-¼) (see page 182 of the HERO 
  System 5th Edition, Revised). Th at way they can 
  walk over rice paper or nightingale ﬂ oors without 
  leaving a trace or alerting anyone. A character can 
  also buy hing kung as Invisible Power Eﬀ ects (Fully 
  Invisible; +1) for his Running.
  HANDTOHAND ATTACK HA
  Characters can substitute HAs for Martial 
  Maneuvers in many instances. Th is allows the 
  character to put an Advantage on his attack (which 
  can’t be done for a martial arts maneuver without 
  GM permission) and to put his martial arts attacks 
  in a Power Framework. See page 408 of the HERO 
  System 5th Edition, Revised for rules for purchasing 
  Advantages for HAs.
  HEALING
  In Superheroic campaigns, martial artists 
  could buy Healing to aﬀ ect both themselves and 
  others. Th ere are two rationales for this:  kiai 
  (the ki-based shout of martial arts warriors, said 
  to be able to heal as well as harm); and Chinese 
  Medicine. Th erefore, for a martial artist to buy this 
  power, he must take it one of these two ways:
  
  128 
  The Ultimate Martial Artist
  Kiai Healing:  Th e character must take these Power 
  Modiﬁ ers for his Healing:
  (1)  He can only buy a maximum of Healing BODY 
  or STUN (or Simpliﬁ ed Healing) 4d6.
  (2)  All Kiai Healing powers must take Invisible to 
  Sight Group (+½), Ranged (+½).
  (3)  Kiai Healing powers may take the Increased 
  Endurance Cost Limitation, but this is not required.
  Example:  Simpliﬁ ed Healing 4d6, Invisible to 
  Sight Group (+½), Ranged (+½) (80 Active 
  Points); Increased Endurance Cost (x5 END; 
  -2). Total cost:  27 points. 
  Chinese Medicine Healing:  Characters must buy 
  Healing based on the application of Chinese Medi-
  cine this way: 
  (1)  Th ey can buy a maximum of Healing BODY or 
  STUN (or Simpliﬁ ed Healing) 8d6. Th e GM may, 
  if he wishes, also allow the character to buy up to 
  Healing 4d6 to other Characteristics listed on page 
  119 under Ch’i Aid.
  (2)  All Chinese Medicine Healing powers must 
  take Invisible Power Eﬀ ects (Fully Invisible; +1).
  (3)  All Chinese Medicine Healing powers must 
  take these Limitations:  Requires A KS: Chinese 
  Healing Roll (-¼); Does Not Work Versus Dim Mak 
  Unless Skill Versus Skill Contest Succeeds 
  (-¼); Extra Time (at least 1 Turn (-1); longer times 
  are acceptable); OIF (either herbs or acupuncture 
  needles, character’s choice; -1).
  (4)  Th e following Limitation is optional; the GM 
  might permit a character to take a Healing power 
  exceeding the recommended limit if it has this 
  Limitation:  Healing Wears Oﬀ  Instantly When 
  Acupuncture Needles Removed (-1). In other 
  words, the acupuncturist can apply his techniques 
  to get a badly-wounded warrior back on his feet, 
  but the recovery only lasts as long as the needles 
  remain in the body; a Grab or Disarm remov-
  ing a needle makes the Healing beneﬁ t disappear 
  instantly.
  Example: Healing BODY 4d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1) (80 Active Points), 
  Requires A KS: Chinese Healing Roll (-¼), Does 
  Not Work Versus Dim Mak Unless Skill Versus 
  Skill Contest Succeeds (-¼), Extra Time (5 
  Minutes; -2), OIF (Acupuncture Needles; -½). 
  Total cost:  20 points.
  KILLING ATTACK, RANGED
  A character could buy a Ranged Killing Attack, 
  up to the campaign’s limits, based on a Obvious 
  Inaccessible Focus deﬁ ned as any weapon of oppor-
  tunity (any Focus which he happens to pick up, and 
  which the GM agrees is suitable to be used for a 
  thrown Killing Attack). He can’t use the power with 
  an olive, a foam rubber ball, or a pastry — but can 
  use it with practically anything harder or sharper 
  (including silverware, pebbles, broken-oﬀ  chair 
  legs, playing cards, bicycle spokes, and so forth). 
  OIF, not OAF, applies to this power because it’s an 
  “object of opportunity” Focus, as discussed on page 
  292 of the HERO System 5th Edition, Revised.
  Example: RKA 2d6 (30 Active Points); OIF 
  (appropriate objects of opportunity; -½), Range 
  Based On STR (-¼). Total cost: 17 points.
  KNOCKBACK RESISTANCE
  A character can buy Knockback Resistance to 
  simulate his ability to avoid damage from Knock-
  back and similar occurrences:  as a form of “super-
  Breakfall” or “super-agility,” if you will. Th is means 
  he uses his acrobatic talents to avoid the eﬀ ects of 
  Knockback, including the resulting damage. At the 
  GM’s option, based on the nature of the attack used 
  against him, the character may actually be “knocked 
  back” several inches, but he won’t take any damage 
  from this and automatically “bounces to his feet” 
  without taking any time or having to make any 
  additional rolls.
  Example:  Knockback Resistance -8” (16 points); 
  Nonpersistent (-¼), Requires A DEX (or Break-
  fall) Roll (-½). Total cost:  9 points.
  LACK OF WEAKNESS
  Th is Power is usually appropriate for martial 
  artist characters. Heroic-level martial artists may 
  buy up to 5 points of Lack Of Weakness, for just 
  about any defense they have; Superheroic ones may 
  buy as much as they wish and the GM allows.
  LEAPING
  In many martial arts ﬁ lms, masters of martial 
  arts can leap prodigious distances, though this 
  seems to require acrobatic training. To simulate 
  this, buy Leaping with the Limitation Requires An 
  Acrobatics Roll (-½). Heroic-level martial artists can 
  only buy enough Leaping to double their basic leap.
  Example: A STR 20 character can normally 
  leap 4”. Th erefore, in a Heroic martial arts 
  campaign, he can buy no more than 4” of Leap-
  ing. Th is costs 4 points, with a -½ Limitation 
  for Requires An Acrobatics Roll, resulting in a 
  ﬁ nal cost of 3 points. Four Active Points does 
  not result in a minus to the Acrobatics roll. 
  Superheroic-level martial artists have no 
  restriction on the amount of Leaping they can buy, 
  other than whatever limit the GM sets. In some 
  movies and comic books martial artists can leap to 
  the horizon; PCs should be allowed to have similar 
  abilities if it suits the campaign.
  LUCK 
  Luck is a good Power for simulating char-
  acters who are “blessed by the gods” or who have 
  achieved such a state of enlightenment that are “at 
  one with the universe” and therefore things always 
  seem to go their way. 
  MENTAL DEFENSE 
  Mental Defense is appropriate for martial art-
  ists, who oft en have extraordinary willpower and 
  keen senses which help them resist most Mental 
  Powers. Heroic-level martial artists may buy any-
  
  129 
  Hero Games
  where from 5 points to a maximum of 10 points of 
  Mental Defense; Superheroic ones can buy as many 
  points as they wish, up the the maximum allowed 
  by the GM. 
  MISSILE DEFLECTION AND REFLECTION 
  A classic cinema martial artist trick is to bat away 
  incoming arrows, thrown knives, shuriken, and so 
  forth — even to snatch them out of the air and throw 
  them back at the attacker. In HERO System terms, this 
  requires Missile Deﬂ ection & Reﬂ ection.
  Heroic-level martial artists can buy Missile 
  Deﬂ ection up to the 10-point level, which lets 
  them deﬂ ect arrows, sling stones, and other non-
  gunpowder projectiles. Many martial artists just 
  buy this Power at the 5-point level (versus thrown 
  objects only). Superheroic martial artists can buy 
  Missile Deﬂ ection to any level. Any character can 
  buy bonuses to his Missile Deﬂ ection roll, and 
  Deﬂ ection to aﬀ ect attacks not aimed directly at 
  them, normally. To buy the +1 Advantage to deﬂ ect 
  attacks at range, the character will also have to have 
  some sort of Focus (i.e., he throws objects in the 
  path of incoming missile attacks to deﬂ ect them).
  Martial artists can buy Reﬂ ection, but for 
  Heroic characters it’s only usable against thrown 
  weapons. If a Heroic character’s Deﬂ ection aﬀ ects 
  attacks other than throw weapons, he must apply a 
  -¼ Limitation, Only Works Against Th rown Weap-
  ons, to the cost of Reﬂ ection.
  Some characters prefer to buy Deﬂ ection with a 
  Focus; war-fans, swords, shields and other weapons 
  are especially appropriate for this. If a character 
  takes the Focus Limitation with the explana-
  tion that he can use anything he 
  picks up to Deﬂ ect incoming 
  attacks, he takes it as OIF since 
  it’s an “object of opportunity.” 
  Th e classic cinema-ninja trick of 
  catching an enemy’s thrown knife or 
  shuriken and hurling it back at him would 
  preclude use of the OIF Limitation; if 
  you want that ability, buy the power 
  without a Focus Limitation.
  A typical purchase of Missile 
  Deﬂ ection & Reﬂ ection might look 
  like this:
  Example:  Missile Deflection (non-gunpow-
  der projectiles); At Range (adjacent hexes; 
  +½) (15 Active Points); OIF (objects of oppor-
  tunity; -½) (total cost:  10 points) plus Reflec-
  tion, Can Reflect Attacks At Any Target (30 
  Active Points); Only Works Against Thrown 
  Weapons (-¼); OIF (objects of opportunity; 
  -½) (total cost:  17 
  points). Total cost: 
  27 points.
  POWER DEFENSE
  Martial arts charac-
  ters may purchase Power 
  Defense with the Limitation 
  Only Protects Against Drain-
  Based Martial Attacks (-1). 
  Th is will protect them against the sort of abilities 
  described under Drain, above, and Transform, 
  below. At the GM’s option this form of Power 
  Defense might also oﬀ er protection against certain 
  kinds of Oriental sorcery.
  Power Defense would normally work against 
  Dim Mak, since that ability is built with Drain. 
  However, Dim Mak is supposed to be scary; for 
  this reason, GMs should not let Heroic-level mar-
  tial artists buy Power Defense to protect them-
  selves against it, and should require Superheroic 
  martial artists to take a -¼ (or -0, if the GM pre-
  fers) Limitation on the Power Defense because it 
  oﬀ ers no protection against the death touch.
  STANCES 
  Stances and footwork are very important in 
  many martial arts styles. Characters can, if they 
  wish, use minor applications of several Powers to 
  simulate stances and other body positioning. At 
  the GM’s option, a character can group his stances 
  together into a Power Framework.
  Th e examples given here are taken from 
  stances frequently used in Kung Fu, Karate, and 
  other common martial arts. Players are encour-
  aged to research their character’s style and devise 
  a set of stances appropriate speciﬁ cally to it.
  Cat Stance:  A short stance in which one foot is 
  drawn up on its ball close to the other foot, so that 
  the character is ready to attack quickly:  +2 Light-
  ning Reﬂ exes (3 Active Points); Costs END (-½). 
  Total cost:  2 points. (Alternately, 
  Cat Stance could provide +1 to 
  Fast Draw rolls.)
  Crab Stance:  A high stance in which the char-
  acter stands with his knees turned inwards 
  and his ﬁ sts on his hips:  +1 OCV with 
  Punch and similar maneuvers (some Kill-
  ing Strikes, Nerve Strikes, and so forth) (3 
  Active Points); Costs END 
  (-½). Total cost:  2 points.
  Crane Stance:  A high stance 
  in which the character draws 
  one knee up (so that he stands on 
  one leg) and keeps his hands in front of his 
  face and upper chest:  +1 OCV with Block 
  (2 Active Points); Requires A DEX Roll (-½), 
  Costs END (-½). Total cost:  1 point.
  Horse Stance:  A low, solid stance in which the 
  character spreads his legs and squats down 
  (so that he appears to be riding an imaginary 
  horse):  Knockback Resistance 
  -1” (2 Active Points); Costs 
  END (-½). Total 
  cost:  1 point.
  Phoenix Stance:  
  A low stance in 
  which the character 
  bends his rear leg and 
  squats down on it while 
  extending the other leg 
  in front of him:  +1 
  OCV with Block and 
  
  130 
  The Ultimate Martial Artist
  Legsweep (3 Active Points); Requires A DEX Roll 
  (-½), Costs END (-½). Total cost:  1 point.
  Snake Stance:  A low stance in which the character 
  squats sideways with his legs underneath him:  +1 
  OCV with Block and Dodge (3 Active Points); 
  Costs END (-½). Total cost:  2 points.
  Tiger Stance:  In this stance the character leans 
  forward and keeps his hands up in a claw shape, 
  ready to take advantage of a momentary lapse in an 
  opponent’s defense:  +1 OCV with a Crush or Kill-
  ing Strike maneuver (depending upon the style) (2 
  Active Points); Costs END (-½). Total cost:  1 point.
  At the GM’s option, characters may not need 
  to pay for Stances at all — they may be a basic part 
  of the campaign rules, like Combat Maneuvers. 
  If the GM prefers to take this route, he should 
  come up with an appropriate list of Stances for the 
  characters to use. Each Phase during a combat, 
  characters declare what Stance they’re using; they 
  may change or “shift ” Stances in the same manner 
  as Combat Skill Levels.
  TELEKINESIS 
  If the GM permits, a character could buy Tele-
  kinesis, deﬁ ning 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 Eﬀ ects 
  (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 
  Th e 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 
  ﬁ lm ninja) can escape capture by digging 
  into soft  terrain and then covering themselves 
  with a thick coating of the earth. (Th ey usually do 
  this when concealed by smoke from a smoke gre-
  nade, by darkness, and the like.) To simulate this in 
  Heroic campaigns, characters can buy a maximum 
  of 1” of Tunneling, with the Limited Medium (soil; 
  -½) and Maximum Distance 1” (-1) Limitations. 
  Th is means the character can dig his way into the 
  earth to conceal his entire body, but can’t keep dig-
  ging a tunnel through the earth. Characters cannot 
  buy the “dig through +1 DEF for +3 points” func-
  tion; they can only dig through soft , 1 DEF mate-
  rial such as sand, fresh-turned soil, mud, a bog, or 
  the like. Th ey must buy the Fill In Adder, and must 
  always use that function.
  To make the area he has dug into look natural 
  (i.e., undisturbed), a character should use Conceal-
  ment Skill; the GM can assign severe minuses on 
  terrain where it’s hard to conceal signs of digging 
  (such as a neat grass lawn, where sod would be 
  torn up and ﬂ ung in all directions). Dusty and 
  sandy terrain is much better for this purpose. 
  (Another option is to buy the Tunneling with 
  Invisible Power Eﬀ ects.)
  Example: Tunneling 1”; Fill In (15 Active 
  Points); Limited Medium (soil; -½), Maximum 
  Distance 1” (-1). Total cost: 6 points.
  
  131 
  Hero Games
  POWER ADVANTAGES
  See page 408 of the HERO System 5th Edition, 
  Revised for rules regarding the application of Advan-
  tages to HAs, and page 104 of this book for informa-
  tion on placing Advantages on Martial Maneuvers.
  AREA OF EFFECT 
  One Hex
  Characters can use this Advantage to simulate 
  an attack so swift  and powerful the target cannot 
  avoid it except by Diving For Cover. Abilities 
  bought with this sort of Advantage should take 
  the Accurate (-0) Limitation (and, possibly Can Be 
  Blocked [-¼]).
  Selective 
  One way to build a “punch-several-guys-at-the-
  same-time” ability is to buy an HA or HKA with the 
  Advantage Area Of Eﬀ ect (One Hex, Doubled, Selec-
  tive; +1). Th is way, the character could make one 
  attack each on every enemy in his hex and in sur-
  rounding hexes. Because it’s bought with Selective, 
  the character doesn’t have to hit everything in those 
  hexes ... just enemies he wishes to target. Remember, 
  though, with Selective, he doesn’t hit every target as 
  if it were DCV 3; he must attack against each target’s 
  normal HTH DCV.
  Example: HKA 1d6, Area Of Eﬀ ect (One Hex, 
  Doubled, Selective; +1). Total cost: 30 points. 
  AUTOFIRE
  Applying Autoﬁ re to an HA or HKA simulates 
  the quick-handed martial artist who can punch his 
  foe so fast and so oft en he looks like a blur. Damage 
  for the attack should not exceed the character’s usual 
  martial arts damage (and the GM may prefer for it to 
  be one or two DCs less).
  An example of such an attack might look like 
  the following. Let’s say a character has a STR of 20 
  and gets +6d6 from his best maneuver (a Martial 
  Strike). For the character to have a similar Autoﬁ re 
  attack, he’d buy:
  Example: HA +6d6, Autoﬁ re (5 shots; +½), 
  Reduced Endurance (½ END; +½) (60 Active 
  Points); Hand-To-Hand Attack (-½). Total cost:  
  40 points (5 END per blow).
  DAMAGE SHIELD
  Damage Shield For Powers
  A character can purchase an HA or HKA with 
  the Damage Shield (+½) Advantage to simulate eﬀ ec-
  tive counterpunch and counterstrike techniques, or a 
  weapons ﬂ ourish.
  Some notes on the way to purchase this:
  (1)  If the ability is bought as an HA, the character 
  must deﬁ ne it as a Physical attack.
  (2)  Th e damage done by the Damage Shield may 
  not exceed the amount of damage the character does 
  with the attack the power “substitutes for.” In other 
  words, if the character has a 6d6 Punch attack, but 
  no Hand-To-Hand Killing Attack, and he’s deﬁ n-
  ing his Damage Shield as a counterpunch, then the 
  Damage Shield should do 6d6 Normal Damage (or 
  less) — not an HKA 2d6 or a HA +8d6.
  (3)  Remember that the Attack Power used for the 
  Damage Shield must be Constant, or the character 
  must purchase the Continuous Advantage for it. In 
  either case, the character must take the Limitation 
  Power Stops Working Instantly If Character Is Stunned 
  Or Knocked Out (-¼). Ordinarily, such powers keep 
  functioning until the end of the Phase; this one 
  ceases to work as soon as the character is Stunned 
  or Knocked Out. Characters cannot buy counter-
  strike Damage Shields with the Persistent Advantage, 
  though they may buy Reduced Endurance.
  (4)  Characters must take the Requires A Success-
  ful Attack Roll (-½) Limitation for this power. 
  Counterpunch/counterstrike Damage Shields can’t 
  hit automatically — they depend on a successful 
  Attack Roll, just like any other attack. (However, an 
  advantage to this power is that it doesn’t take a char-
  acter’s attack action; aft er his Damage Shield coun-
  terstrike, or even several, he still has an action left .)
  (5)  Characters may take the Limitation Not When 
  Grabbed (-¼) for one of these Damage Shields, but 
  are not required to. Th is represents the fact that if 
  the character is restrained, he can’t lash out with his 
  counterstrike or properly ﬂ ourish his weapon.
  (6)  If the ability depends on a weapon (i.e., it’s 
  deﬁ ned as a weapons ﬂ ourish), then it should 
  be bought with the Limitation Cannot Do More 
  Damage Th an Th e Weapon Being Used Would Nor-
  mally Do (-¼). For example, let’s say a character who 
  can do HKA 2½d6 with his katana buys a Damage 
  Shield which he deﬁ nes as a deadly weapons ﬂ our-
  ish. He’s limited (by note #2 above) to HKA 2½d6 
  damage with the Damage Shield, and he does that 
  damage when using his katana. However, during a 
  ﬁ ght, he loses his katana and must use his dagger, 
  with which he can only do HKA 1d6+1. His Damage 
  Shield only does HKA 1d6+1 while he uses the 
  dagger. Later, in the same ﬁ ght, he switches to a 
  greatsword with which he can do 3d6 damage. 
  However, his Damage Shield is still limited to only 
  HKA 2½d6 — that’s what he paid for, so that’s limit 
  of his power. (In other words, characters who want 
  to use a weapon ﬂ ourish Damage Shield with any 
  weapon they ﬁ nd should buy this ability for use with 
  the highest-damage weapon commonly used in the 
  campaign.)
  Example:  Counterstrike:  HA +6d6, Damage 
  Shield (+½), Continuous (+1), Reduced Endur-
  ance (½ END; +¼) (82 Active Points); Hand-To-
  Hand Attack (-½), Requires A Successful Attack 
  Roll (-½), Not When Grabbed (-¼). Total cost:  
  36 points.
  Example:  Blade Kata:  HKA 2d6, Damage Shield 
  (+½), Continuous (+1), Reduced Endurance (½ 
  END; +¼) (82 Active Points); OIF (any weapon 
  of opportunity; -½), Requires A Successful Attack 
  Roll (-½), Cannot Do More Damage Th an Th e 
  Weapon Being Used Would Normally Do (-¼), 
  
  132 
  The Ultimate Martial Artist
  Power Stops Working Instantly If Character 
  Is Stunned Or Knocked Out (-¼), Not When 
  Grabbed (-¼). Total cost:  30 points.
  When a character with this ability is hit in 
  HTH combat, the Damage Shield automatically acti-
  vates. Use the character’s base OCV, plus any OCV 
  and DCV modiﬁ ers from the weapon or situation. 
  Combat Skill Levels must stay as they were arranged 
  before he was struck; other Skill Levels do not apply. 
  With a successful Attack Roll, the character coun-
  terstrikes his opponent; if his roll fails, the Damage 
  Shield does no harm to the target.
  Damage Shield For Martial Maneuvers 
  Placing a Damage Shield on a Martial Maneu-
  ver can lead to all sorts of interesting and potentially 
  game-unbalancing consequences. Imagine, for exam-
  ple, the eﬀ ects of a Martial Th row Damage Shield 
  — every time someone attacks the character, the 
  attacker gets thrown to the ground!  Not only will he 
  be hurt, he’ll be placed in a highly disadvantageous 
  position, and the character with the Damage Shield 
  may still have an action left  in the Phase.
  Th erefore, GMs should be very wary about 
  allowing characters to take this Advantage for a 
  Martial Maneuver. At the very least, all restrictions 
  and guidelines outlined above for counterstrikes 
  should apply.
  INDIRECT 
   
  When bought for an HA, HKA, or RKA, this 
  Advantage allows the character to simulate the 
  showoﬀ  technique of stacking bricks, striking the top 
  one, and leaving it unharmed while destroying one 
  of the bricks beneath. It has some pos-
  sible combat uses as well (for example, 
  when a villain is on the other 
  side of a wall, our hero 
  could hit the wall 
  and transmit 
  all the damage 
  of his blow to the target, 
  without the wall itself acting 
  as armor against the attack).
  To buy this ability, start 
  with an HA and apply the 
  Advantage Indirect (always 
  comes from the same location; 
  +¼) and the Limitations Target 
  Must Be Touching Barrier 
  (-1), and Attack Must Be 
  Made Th rough Barrier 
  (-½). Th ese Limita-
  tions mean that 
  unless the target 
  is touching the 
  barrier through 
  which the character 
  transmits the force of the attack, the attack won’t 
  work. As usual, a character may not buy this abil-
  ity with more damage than the best of his normal 
  Martial Maneuvers.
  Example:  HA +6d6, Indirect (always comes 
  from the same location; +¼) (37 Active Points); 
  Target Must Be Touching Barrier (-1), Attack 
  Must Be Made Th rough Barrier (-½). Total cost: 
  15 points. 
  When placed on Martial Maneuvers or other 
  HAs, this Advantage has an extremely powerful eﬀ ect 
  — it prevents the attack from being Blocked (unless 
  the defender has bought the Advantage Hardened for 
  his Block maneuver). Particularly when combined 
  with the  Area Of Eﬀ ect (One Hex) Advantage, which 
  prevents an attack from being dodged, this Advantage 
  may create an attack which unbalances the campaign; 
  GMs should be cautious about allowing its use.
  INVISIBLE POWER EFFECTS 
  Characters use Invisible Power Eﬀ ects to create 
  martial arts attacks so swift  an opponent cannot 
  see them. If he applies this Advantage to an HA, the 
  character must pay for it for his STR as well as for 
  the HA, regardless of the Active Points involved. If 
  he doesn’t buy the Invisible Power Eﬀ ects for his 
  STR, the attack is invisible only when used at its 
  purchased damage; whenever the character adds 
  damage from his STR, the attack becomes visible. 
  Th is rule also applies if the Advantage is applied to a 
  Martial Maneuver (see Chapter One).
  GMs should allow characters to buy Invisible 
  Power Eﬀ ects for one Sense Group only. If they’re 
  allowed to buy a Fully Invisible attack (other than 
  in the examples provided elsewhere in this book), 
  they’ll be able to get away with murder (literally and 
  ﬁ guratively) in the campaign. 
  TRIGGER 
   
  Th is is another Advantage which can have 
  potentially devastating eﬀ ects if added to a Martial 
  Maneuver. Imagine a fencer whose Martial Disarm 
  is Triggered by his opponent’s attempt to block his 
  Martial Strike; a character whose Killing Strike is 
  Triggered whenever he’s Grabbed; or a wrestler with 
  a Grab maneuver Triggered whenever a character 
  escapes from a Grab the wrestler already had him in!
  Characters can use Trigger to create “one-two” 
  punches and similar combination attacks. Some-
  times they can apply the Limitation Requires A Suc-
  cessful Second Attack Roll (-½) so that they have to 
  make another Attack Roll to hit the target with the 
  second part of the attack.
  Since Trigger has the eﬀ ect of giving a character 
  a Zero-Phase Action attack, oft en in addition to some 
  other attack, the GM should look long and hard at 
  any Triggered Martial Maneuvers. Th ose which seem 
  unduly eﬀ ective or which would adversely aﬀ ect cam-
  paign balance should be disallowed.
  VARIABLE ADVANTAGE
  Adding this Advantage to a Martial Maneuver 
  or HA at the +½ Advantage level is quick and easy 
  way of giving a character access to a large selection 
  of “special attacks” and powers, particularly in cam-
  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. 
  
  133 
  Hero Games
  POWER LIMITATIONS
  ACTIVATION ROLL
  Th is Limitation is a good way to simulate 
  attacks which require such precise targeting or 
  timing that they don’t always work. Th e Attack Roll 
  indicates the character hit his target, the Activa-
  tion Roll indicates he hit the target in the right way. 
  Other Limitations which characters can apply to 
  this sort of attack are Concentration and Extra Time.
  GESTURES
  As a Limitation on some martial arts powers, 
  Gestures indicates the character has to have his 
  hands (and/or feet) free to perform the ability. For 
  example, a Force Wall ability deﬁ ned as the char-
  acter blocking all incoming attacks might take this 
  Limitation, since the character can’t do any block-
  ing if he’s restrained or Entangled. GMs should be 
  wary of allowing characters to take this Limitation 
  on oﬀ ensive abilities, however, since some players 
  may try to take it on any martial arts attack (claim-
  ing they have to use their hands to punch, strike, or 
  whatever). Th is leans towards abusiveness, so GMs 
  should almost always disallow it.
  REDUCED PENETRATION
  A character can use this Limitation to create a 
  “one-two punch” special ability. He simply buys a 
  large HA (or other hand-to-hand Attack Power) and 
  uses Reduced Penetration to simulate a rapid-ﬁ re 
  two-punch sequence. Th is makes it easy to Stun a 
  foe without injuring him severely. He can take the 
  Limitation Separate Attack Rolls Required (-¼) on 
  this ability if he wishes, but it’s not required.
  Example:  Kagamite (“Mirrorhand”) possess 
  knowledge of a secret technique allowing him 
  to instantly follow a right-handed punch with 
  a left -handed punch, such that if the ﬁ rst punch 
  connects, the second surely will as well!  He buys 
  this ability as follows:
  Kagamite Punch:  HA +7d6 (Kagamite has STR 
  25, so it is a 12d6 HA total) (35 Active Points); 
  Hand-To-Hand Attack (-½), Reduced Penetra-
  tion (-¼). Total cost:  20 points.
  With this ability, Kagamite has a good chance 
  of Stunning his foes (it’s a 12d6 HA for purposes 
  of calculating Stunning), but relatively little 
  chance of severely injuring them (the two 6d6 
  attacks have their BODY applied to defenses 
  separately).
  POWER FRAMEWORKS
  Superheroic martial artists can put martial 
  arts abilities and attacks in an appropriate Power 
  Framework, such as a Multipower of HA attacks. 
  Heroic-level martial artists cannot do this without 
  the GM’s permission.
  Th e GM should make sure all the powers in the 
  Power Framework link together logically. Should 
  a GM allow a character to buy his Armor Piercing 
  HKA (a ﬁ st blow), his NND Breath Attack, and his 
  Hing Kung Gliding in the same Multipower? No. 
  Th ough they’re remotely linked by the buzzword 
  “Martial Arts,” they are, in game terms, three wildly 
  diﬀ erent eﬀ ects and should not be in the same 
  Multipower. Th ey might, however, be allowed in an 
  Elemental Control, depending upon the campaign 
  and the GM’s standards for such things.
  Th e GM should never allow questionable or 
  potentially unbalancing powers in a Power Frame-
  work. Th is includes some of the ones described in 
  this section (such as Skill Levels bought with Limi-
  tations). Th ey don’t belong in Power Frameworks. 
  Th ey’re already on the verge of being abusive; put-
  ting them in a Framework deﬁ nitely makes them 
  abusive. Just Say No.
  MULTIPOWER 
  Below are some examples of Multipowers 
  appropriate for most Superheroic martial artists.
  Th e Multipower Martial Art Style 
  Th e following Multipower is (approximately) 
  a Martial Art. Essentially, it’s a series of attacks the 
  character deﬁ nes as a Martial Art. Th is Multipower 
  assumes a STR 20 character and a 10 DC cap on 
  campaign damage.
  Th is sort of Multipower doesn’t count as a style 
  for purposes of the character acquiring a Style Dis-
  tinctive Feature. Characters may only take Style Dis-
  tinctive Features for martial arts styles built with the 
  rules from the “Designing Martial Maneuvers” section. 
  Naturally, used with a STR 20, all the HAs go up 
  to 10d6, and the HKA goes up to 3d6+1. Of course, 
  the character spends the END for his STR in addi-
  tion to any listed for the Multipower slot.
  Th is set of abilities is too expensive for most 
  games, but is not at all inappropriate for Superheroic 
  games... and it can be quite eﬀ ective. 
  MARTIAL ARTS MULTIPOWER
  Cost
  Powers
  END
  75
  Martial Arts Attacks:  
  Multipower, 75 point reserve
  4u
  1)  Slashing Fist:
  HA +6d6, Armor Piercing 
  (+½), Reduced Endurance (0 
  END; +½); Hand-To-Hand 
  Attack (-½)
  0
  5u
  2)  Flashing Fist:
  HA +6d6, Autoﬁ re (5 shots; 
  +½), Reduced Endurance (0 
  END; +1); Hand-To-Hand 
  Attack (-½)
  0
  3u
  3)  Whirlwind Fist:
  HA +6d6, Area Of Eﬀ ect 
  (One Hex Doubled, +¾); 
  Hand-To-Hand Attack (-½)
  5
  4u
  4) Yama Fist: 
  HKA 2d6, Reduced 
  Endurance (0 END; +½)
  0
  ‘K
  nowl-
  edge 
  studies others,
  Wisdom is 
  self-known;
  Muscle masters 
  brothers,
  Self-mastery is 
  bone.’
  —Lao Tzu, 
  Tao Te Ching
  
  134 
  The Ultimate Martial Artist
  Th e Kiai Multipower 
  Kiai, the art of shouting and utilizing ki (ch’i) 
  energy, allows a character to do more than surprise 
  (Presence Attack) an enemy. A trained kiaijutsuka 
  can, according to tradition, knock an enemy out cold, 
  promote healing, and even injure or kill an oppo-
  nent. A Multipower utilizing all of these abilities 
  might look like this:
  Th e Ch’i Multipower
  As discussed elsewhere in this book, characters 
  can use ch’i to improve one or more of their Charac-
  teristics for a brief period of time. A typical Multip-
  ower using the Aid Power looks like this:  
  A character with this Multipower can only use 
  one of the ﬁ rst three slots at a time, but can have 
  both the fourth and ﬁ ft h on at the same time. How-
  CH’I POWERS
  Cost
  Powers
  END
  27
  Ch’i Powers:  Multipower, 80 
  point reserve, all powers Self 
  Only (-½), Extra Time (Full 
  Phase; -½), Concentration (0 
  DCV; -½), Increased Endur-
  ance Cost (x2 END; -½)
  3u
  1) Powerful Ch’i:
  Aid STR 4d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1); 
  Common Limitations (-2) 
  16
  3u
  2) Mind Ch’i:
  Aid EGO 4d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1); 
  Common Limitations (-2)
  16
  3u
  3) Restoring Ch’i:
  Aid REC 4d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1); 
  Common Limitations (-2)
  16
  1u
  4) Iron Ch’i:
  Aid PD 2d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1); 
  Common Limitations (-2)
  8
  1u
  5) Iron Ch’i:
  Aid ED 2d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1); 
  Common Limitations (-2)
  8
  KIAI POWERS
  Cost
  Powers
  END
  40
  Kiai Powers:  Multipower, 
  80 point reserve, all slots 
  Increased Endurance Cost (x3 
  END; -1)
  3u
  1) Healing Kiai:
  Healing 4d6 (Simpliﬁ ed 
  Option) Invisible Power 
  Eﬀ ects (Normal Sight; +¼), 
  Ranged (+½); Increased 
  Endurance Cost (x3 END; -1)
  24
  3u
  2) Daunting Kiai:
  Aid PRE 4d6, Invisible Power 
  Eﬀ ects (Fully Invisible; +1), 
  Self Only (-½); Increased 
  Endurance Cost (x3 END; -1)
  24
  2u
  3) Painful Kiai:
  EB 4d6, No Normal Defense 
  (defense is ear coverings [such 
  as earmuﬀ s] or making an 
  EGO Roll at -3; +1); Increased 
  Endurance Cost (x3 END; -1)
  12
  1u
  4) Deadly Kiai:
  RKA 1d6+1, Invisible Power 
  Eﬀ ects (Normal Sight; +¼), +1 
  Increased STUN Multiplier 
  (+¼); Increased Endurance 
  Cost (x3 END; -1)
  9
  
  135 
  Hero Games
  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 ﬁ nal 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 aﬀ ect DEX and 
  SPD, an aged character with Extra DC to make up for 
  his lack of physical strength can still be a very eﬀ ective 
  martial artist.
  DEPENDENT NPC
  DNPCs in martial arts adventures are more at 
  risk than in many other genres. Martial arts adven-
  tures are oft en revenge melodramas, so DNPCs 
  are abused and killed a lot more frequently than in 
  other genres. Characters taking DNPCs should bear 
  this in mind.
  Th at doesn’t make the DNPC less of a limitation 
  than in other genres, though. DNPCs get in trouble 
  just as oft en, and the trouble is oft en worse. If an 
  enemy kills a DNPC, you can be sure that the PC has 
  quite a few other cousins, naive younger siblings, and 
  lovers to act as the DNPC in the next adventure.
  If the PC gets tired of this, he should buy oﬀ  
  the Disadvantage. If he doesn’t, and just starts let-
  ting his DNPCs get maimed or killed because it’s 
  inconvenient to rescue them, or he gets bored with 
  the whole aﬀ air and decides not to avenge them, 
  then he’ll certainly pick up a nasty Hunted to 
  replace the DNPC — the family and friends of the 
  DNPC, intent on killing the PC for his neglect of 
  his responsibilities and/or the insult to their clan.
  DISTINCTIVE FEATURES
  Distinctive Features:  Style 
  Th e martial arts Style Distinctive Feature 
  which accompanies most styles is bought as a con-
  ditional Distinctive Feature, built this way:  Not 
  Concealable (15 points), Always Noticed And Rec-
  ognizable (+0 points), Detectable By Large Group 
  (-5 points). It has three functions.
  First, any martial arts practitioner observing the 
  character with the Style Distinctive Feature will, 
  with a simple PER Roll, recognize the style (unless 
  it is some strange, secret art, in which case he rec-
  ognizes that fact). If the character does not have a 
  Style Distinctive Feature, it takes a successful KS 
  roll of the art being practiced, or with the GM’s per-
  mission an INT Roll at a -2, to recognize the style.
  Second, since (in martial arts adventures) many 
  martial arts styles and schools are enemies or 
  competitors, the Style Distinctive Feature acts as 
  a “Major Prejudice” factor to practitioners of the 
  enemy style. (On the other hand, other practitio-
  ners of the same style may decide to help the char-
  acter against their mutual enemies.)
  Th ird, a character using the Analyze Style skill on a 
  target with a Style Distinctive Feature receives a bonus 
  to his Skill Roll; see the description of that skill.
  Other Types Of Distinctive Features 
  Other Distinctive Features which frequently 
  appear in martial arts adventures include:
  Bearing:  Th e character has a distinctive attitude 
  which makes him easier to recognize. Th e feudal 
  samurai has this Disadvantage. It becomes a 
  strong habit of the character, a habit which is very 
  hard to break, so it is bought this way: Conceal-
  able (with major eﬀ ort), Is Noticed And Recog-
  nizable:  10 points.
  Ninja Night-Suit:  Th e ninja night-suit (also called 
  the igabakama) is a common Distinctive Feature in 
  many martial arts campaigns. If the character usu-
  ally wears traditional ninja garb when performing 
  his martial arts heroics, he should take this Disad-
  vantage. (Note that a ninja character doesn’t have to 
  wear a distinctive ninja outﬁ t. Most players prefer 
  for their characters to do so, however.)
  
  136 
  The Ultimate Martial Artist
  Igabakama Distinctive Feature (Modern):  
  Ninja 
  Night-Suit 
  (Easily 
  Concealable, 
  Noticed And Recognizable):  5 points.
  Igabakama Distinctive Feature (Feudal 
  Japan):  Ninja Night-Suit (Easily Conceal-
  able, Causes Extreme Reaction [fear and 
  loathing]):  15 points.
  Scars:  The character has facial scars, usually 
  from a previous martial arts fight with an oppo-
  nent who will appear in some later adventure. 
  Bought as Concealable with Disguise Skill, Is 
  Noticed And Recognizable:  10 points.
  Tattoo:  The character wears tattoos, either 
  purely decorative ones or ones which identify his 
  clan, business, or martial arts school. Bought as 
  Easily Concealable (under clothes), Is Noticed 
  And Recognizable:  5 points. If the tattoo is of a 
  famous, hated order, it might instead be: Easily 
  Concealable (under clothes), Causes Extreme 
  Reaction (hatred). If only martial artists recog-
  nize the tattoo, subtract 5 points because only a 
  Large Group sees the feature as distinctive.
  Yakuza Mutilation:  Some members of the Japa-
  nese yakuza (organized crime families) apologize 
  for grievous mistakes by cutting oﬀ  parts of their 
  ﬁ ngers and oﬀ ering them to their lords (a practice 
  known as yubitsume); if this token of apology is 
  accepted, he does not have to kill himself for his 
  mistake. Characters can buy this as Easily Conceal-
  able (wear gloves), Causes Major Prejudice.
  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: 
  Code Of The Buddhist Monk (Common, 
  Strong:  15 points):  This is the code of most 
  Buddhist monks. It mandates that the char-
  acter cannot initiate violence (though he can 
  defend himself); he must remain celibate; 
  he cannot eat red meat. Historically, many 
  monks did not take this limitation; it’s not 
  required of the Buddhist monk, merely rec-
  ommended.
  Code Of The Bushi (Common, Total:  20 
  points):  This is the code of the Japanese war-
  rior/retainer. Samurai had it; so did many 
  ninja. The Bushido Code demands absolute 
  obedience to one’s lord, even if he orders the 
  character to kill himself or destroy every-
  thing he loves. This means a samurai char-
  acter often finds himself in situations where 
  his own goals conflict with his lord’s, and his 
  Psychological Limitation demands he follow 
  his lord’s dictates above his own desires.
  A cruel thing to do to a samurai character is 
  to insult or dishonor him, then have his lord 
  order him to leave the person who insulted 
  him alone. This places the character in a 
  position where he either has to kill himself or 
  wait, suffering from the insult and resulting 
  loss of face, until his lord rescinds the order.
  
  137 
  Hero Games
  Code Of The Chinese Knight (Very Common, 
  Total:  25 points):  The Chinese knight’s code 
  of behavior demands he right any wrongs he 
  sees, correct any social injustices, keep any 
  oaths of loyalty he takes, and meet all obli-
  gations he accepts. He must always honor 
  good people and spend all his money on good 
  deeds and good times.
  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 
  vengeance of a good beating. Maiming, an 
  attempted assassination, or any other vicious 
  insult requires him to kill the insulter.
  Must Avenge All Insults To Self (Common, 
  Total:  20 points):  This is like the one above, 
  but only applies to insults directed at the PC. 
  This Disadvantage can also be defined as 
  Must Avenge All Insults To Self And Lord for 
  the same point value (a samurai would buy 
  the Disadvantage that way).
  Must Avenge Murder Of Any Friend, Family 
  Member, Or Protected Party (Uncommon, 
  Total:  15 points):  The character must kill 
  the murderer and anyone who collaborated 
  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 ﬁ ghts him. (A 
  particularly unscrupulous gunﬁ ghter-mental-
  ity villain will capture or kill a hero’s DNPCs 
  and friends to force him to ﬁ ght.)
  REPUTATION 
  Many positive Reputations, such as being a 
  master or highly skilled ﬁ ghter, should be bought 
  as Perks, since they beneﬁ t the character in many 
  ways. Such a Reputation may also draw challeng-
  ers and the like to the character, but that doesn’t 
  make the Reputation a Disadvantage.
  Some disadvantageous Reputations for 
  martial artists include:
  ‘W
  hen you 
  take up 
  a sword, you 
  must feel intent 
  on cutting the 
  enemy.’
  —Miyamoto 
  Musashi, Go Rin No 
  Sho (“A Book of 
  Five Rings”)
  
  138 
  The Ultimate Martial Artist
  “Hands Registered as Lethal Weapons,” 8-, 
  Extreme Reputation (10 points):  Actually, 
  the character’s extremities aren’t registered as 
  weapons — that’s a braggart’s conceit — but 
  the character is known to the police, who 
  consider him a ﬁ ghter and a trouble-maker. 
  Police oﬃ  cers who check his name in their 
  records tend to be hostile to him and consider 
  him a suspect in any martial arts-related 
  attacks where the identity of the perpetrator 
  is not known.
  Vicious Fighter, 11-, Extreme Reputation (15 
  points):  Characters who are known for need-
  lessly killing or maiming opponents should 
  take this Reputation; they usually also have 
  several villainous Psychological Limitations. 
  Th is isn’t a “Gosh, He’s a Tough Dude” Disad-
  vantage for PCs (they should buy a Reputa-
  tion Perk if they want to be known for their 
  toughness and skill); it’s a Disadvantage for 
  thugs, brutes, and villains in need of a quick 
  trip to the cemetery.
  RIVALRY
  Ordinary Rivalries between two PCs are 
  perfectly acceptable. Martial artists can also take 
  “Rivalry with another school” as a Professional 
  Rivalry. Th is means all characters who learned 
  their art from this speciﬁ c school have a (usu-
  ally not-too-ﬁ erce) rivalry with another speciﬁ c 
  school. Rivals from the other school should show 
  up in numerous adventures, always challenging 
  or interfering with the PC. Th ey’re not the villains 
  of the adventures — they’re nuisances, sometimes 
  very capable ones, who delay the hero, intrude 
  on him when he’s doing something much more 
  important, and so forth. If a Rivalry between 
  schools is a bloody feud, characters should usu-
  ally buy it as a Hunted.
  SOCIAL LIMITATION
  Plenty of Social Limitations work well for 
  martial artists. Martial arts are oft en developed 
  by oppressed or enslaved peoples who can’t 
  carry weapons, and Social Limitations reﬂ ect 
  that status. A well-known martial arts movie star 
  might have Famous or Public Identity. One who 
  ﬁ ghts crime in a superheroes campaign may have 
  a Secret Identity. A martial artist who belongs to a 
  strict school run by a domineering master might 
  be Subject To Orders.
  VULNERABILITY 
  Attacks To One Location 
  Some martial artists take extra damage from 
  blows to one speciﬁ c body location (an Uncom-
  mon attack). Buy this Vulnerability as follows:
  
  139 
  Hero Games
  Name, 1½ x STUN (or BODY), Attacks to 
  One Location (Uncommon):  5 points.
  Name, 2 x STUN (or BODY), Attacks to One 
  Location (Uncommon):  10 points.
  A character can have one of these Vulner-
  abilities, or several. Some examples include:
  Glass Jaw (2 x STUN, Location 5 — chin):  
  10 points.
  Old Internal Injuries (2 x STUN, 10 points, 
  and 1½ x BODY, 5 points, Location 12 
  — stomach):  15 points.
  For each Vulnerability, the player deﬁ nes a 
  speciﬁ c body location which, if hit, activates the 
  Vulnerability. Each location should correspond 
  to one number from 3-18 on the Hit Locations 
  Chart, just as the two examples above showed. 
  When a Hit Location result actually indicates two 
  body parts (for example, there are two Locations 
  6 — i.e., two hands), the character only has to 
  deﬁ ne one of them as receiving the Vulnerability 
  (for example, Left  Hand).
  If the campaign uses Hit Locations, then 
  any blow which rolls that location activates the 
  Vulnerability. Th is can be from a random roll on 
  the Hit Location chart, or can be a Placed Shot 
  against that precise body part. If the character 
  chooses a body part which normally modiﬁ es 
  damage, use both the location damage modiﬁ er 
  and the Vulnerability modiﬁ er. For example, a 
  character takes 2 x STUN to his Left  Knee (Loca-
  tion 15). He’s hit in the left  knee with a 6 BODY 
  Killing Attack. With Location 15, this normally 
  results in 3 BODY and 3 STUN. Th is character, 
  who receives 2 x STUN to that knee, actually 
  takes 3 BODY and 6 STUN.
  With Normal Damage attacks, the character 
  ﬁ rst applies the multiplier for the Vulnerability, 
  then subtracts his PD from the attack, then modi-
  ﬁ es the damage for the location roll. For instance, 
  a character takes 1½ x STUN to Stomach (Loca-
  tion 12) blows. He has PD 8. He’s hit in the 
  stomach with a Punch doing 25 STUN, 8 BODY. 
  Because of his Vulnerability, he actually takes 37 
  STUN and 8 BODY. Now he subtracts his PD, and 
  so takes 29 STUN and 0 BODY. Th en he applies 
  the modiﬁ cations for the location; Stomach loca-
  tion does x1.5 to Normal STUN, x1 to BODY, so 
  the character has taken a grand total of 43 STUN 
  from the attack.
  If the campaign doesn’t use the Hit Locations 
  chart, then the GM has a choice. Either he can 
  use the Hit Locations chart, not using their usual 
  damage modiﬁ ers, or he can treat each Vulner-
  ability has having an 8- Activation Roll.
  Many players will wish to take this Limita-
  tion on arms and legs, because in campaigns 
  utilizing Hit Locations they start out with a x½ 
  multiplier (for location) on damage. Th at’s ﬁ ne, if 
  you’re using the optional Hit Location rules from 
  Chapter Th ree; these locations are hit more oft en 
  by 2d6+1 and 2d6+7 Hit Location rolls than by 
  3d6 Hit Location Rolls, and so they’ll be hit oft en 
  enough to keep this Disadvantage balanced.
  To Speciﬁ c Styles
  Likewise, a character could take a Vulner-
  ability to a speciﬁ c martial arts style. Th e com-
  
  140 
  The Ultimate Martial Artist
  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. Th is 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 signiﬁ cant 
  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. Th e 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 oﬀ ensive 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. Th e value of the Disadvantage depends 
  upon how common Style B is. 
  At the GM’s option, Style Vulnerabilities may 
  always cover both oﬀ ensive and defensive maneu-
  vers, or characters can buy the oﬀ ensive and 
  defensive aspects of the Vulnerability separately 
  (the same way characters can purchase STUN and 
  BODY Vulnerabilities separately). 
  Th e 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”)
  
  T
  his chapter presents revised and expanded infor-
  mation on Combat Maneuvers, optional rules for 
  unusual combat situations or forms of attack, and an 
  expanded list of weapons for use by martial artists.
  ‘I
  f the enemy opens the door, you must race in.’
  — Sun Tzu, The Art of War
  A Zen master and one of his students were 
  walking in a field. They frightened a 
  pheasant, which flew away from them and hid 
  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
  
  142 
  The Ultimate Martial Artist
  T
  his text supplements the Combat 
  Maneuvers section from the HERO 
  System 5th Edition, Revised, pages 
  383-400. Th ese rules apply to martial 
  arts-oriented campaigns, and in other types of cam-
  paigns at the GM’s discretion.
  Bind
  To use Bind, a character performs an OCV 
  versus OCV attack as with a Block; a successful hit 
  binds his opponent’s weapon, resulting in a tempo-
  rary deadlock. Th e attack does no actual damage. 
  Normally, the attacker uses a weapon, and binds the 
  target’s by pinning it up against the target’s body. 
  However, characters can use this maneuver bare-
  handed, usually by pinning the target’s weapon arm 
  against his body, or pinning the target’s weapon 
  under the target’s own arm aft er a wild swing.
  If the character’s Attack Roll succeeds, the 
  target’s weapon is momentarily bound; both ﬁ ghters 
  immediately make STR Rolls. If the target possesses 
  the Escape maneuver or the Bind maneuver, he can 
  use its STR bonus in the STR Versus STR Rolls. If he 
  knows both, he can only use the bonus from one of 
  them. If the attacker wins or the roll is a tie, the Bind 
  stays in eﬀ ect; if the defender wins, he breaks the 
  Bind and the ﬁ ght can resume normally.
  If the attacker 
  wins another, immediate STR Roll (which takes no 
  time but may only be attempted once per Phase), 
  he may also elect to shove his opponent back 1”, 
  maintaining the Bind, as long as there’s room for the 
  defender to move backwards; if the attacker fails or 
  merely ties this second STR Roll, he may not do this.
  On each of the Bound character’s Phases, both 
  characters again roll the STR Versus STR Rolls, as 
  before. Th is takes the Bound character a Half Phase; 
  resisting an attempt to escape the Bind is an action 
  which takes no time. Th e Bound character can follow 
  his attempt to escape with an attack or movement. (If 
  the weapon remains Bound, the character cannot use 
  it in an attack.) Th e defender can also break a Bind 
  automatically by moving 1” backward in one of his 
  Phases.
  While the characters remain Bound together, 
  they may still talk, attack with their free hands (if 
  any), and so forth. Th ey are at their normal OCV 
  and DCV against one another, but the Bound char-
  acter is at ½ DCV against attacks from third parties, 
  while the attacker is at full DCV against attacks from 
  third parties.
  Block
  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 Deﬂ ection 
  In martial arts-oriented campaigns, Blocks can 
  aid Missile Deﬂ ection in some ways. (Gamemasters 
  may apply these rules in other types of campaigns if 
  they wish.)
  ■ If the GM permits, a character can use his Martial 
  Block maneuver with his Missile Deﬂ ection instead 
  of his normal Block, thereby gaining the Martial 
  Block’s CV bonuses with his Missile Deﬂ ection.
  ■ If a character has Missile Reﬂ ection deﬁ ned 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. Th rowing it 
  on a later Phase constitutes an Attack Action, not as a 
  continuation of his Missile Reﬂ ection.
  ■ Weapons which have large striking surfaces (like 
  war fans and shields) can add their OCV bonuses 
  COMBAT 
  MANEUVERS
  BINDS IN 
  FANTASY HERO
  In Fantasy Hero, 
  Weapon Bind is a Stan-
  dard Combat Maneuver 
  which any character 
  can use. Th is is because 
  weapons-based combat 
  (particularly sword-
  play) is a much more 
  common aspect of fan-
  tasy games than of other 
  genres. You might con-
  sider making Weapon 
  Bind a free maneuver in 
  other sorts campaigns 
  featuring frequent use 
  of weapons. Or, if you 
  prefer more consistency 
  from genre to genre, you 
  can remove Weapon 
  Bind from the list of 
  free maneuvers available 
  to Fantasy Hero charac-
  ters. Refer to Converting 
  Martial Arts Maneuvers 
  To Standard Maneuvers 
  for more information.
  
  143 
  Hero Games
  to the Missile Deﬂ ection Block attempt.
  Blocking For Someone Else 
  A character can Block for someone else — for 
  example, to try to defend an injured or defenseless 
  person from an attacker. To do this, he must be 
  in range of either the attacker or the target with a 
  hand-to-hand weapon. If the weapon is Short or 
  Medium, he must be in the same hex or an adjacent 
  hex to either; if the weapon has a range of 1” or 
  more, he must be within that range. He performs 
  the Block at a -2 OCV, as usual against the attacker’s 
  OCV. If it succeeds, he Blocks the attack.
  See also the rules for Interposing in the 
  Combat Modiﬁ ers, Special Cases, And Optional 
  Rules section of this chapter.
  Blocks Combined With Other Elements 
  Some maneuvers, such as Defensive Th row 
  and Grappling Block, combine Block with a Non-
  Exclusive Basis such as Grab or Th row. Since these 
  maneuvers have an oﬀ ensive or aggressive aspect to 
  them, a character cannot Abort to them (even if he 
  wants to use just the Block part of the maneuver).
  Choke Hold
  Choke Hold’s Grab element Grabs one limb 
  — the head. Th us, a character in a Choke Hold can’t 
  speak or shout. Th is is why it’s a preferred tech-
  nique for taking out guards.
  A character who renders a target unconscious 
  with a Choke Hold can kill him by continuing to 
  apply the maneuver. Once the target falls uncon-
  scious, a maintained Choke Hold inﬂ icts 1 BODY 
  per Phase (the only defense against this is not 
  needing to breathe). (See the Holding Breath and 
  Drowning rules from the HERO System 5th Edition, 
  Revised, page 424.)
  A character may make a Choke Hold one-
  handed, using the usual rules for Grabbing with 
  only one hand (see below under Grab). Th is only 
  aﬀ ects the STR of the Grab part of the maneuver; it 
  still does 2d6 NND(2).
  For more information about martial arts 
  NNDs, refer to Nerve Strike, below.
  Cover
  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 eﬀ ect this. Th erefore, 
  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 ﬁ rst, 
  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 
  his Sight Group PER Roll; or
  ■ if he makes a DEX Roll by more than the Cover-
  ing character makes his DEX Roll.
  Before attempting to break the Cover, the char-
  acter must decide which of the three methods to 
  use. If he fails his roll, the character Covering him 
  can choose to attack him with the Covering attack.
  Disarm 
  Remember, Disarms aren’t automatically suc-
  cessful when the Disarming character succeeds 
  with his Attack Roll. As soon as he makes his roll to 
  hit, he must make a STR Versus STR Roll with his 
  victim. If the attacker rolls higher or the rolls tie, 
  the Disarm succeeds; if the victim of the Disarm 
  wins the contest, he keeps hold of the weapon.
  Two optional rules may apply to Disarms if 
  the GM wishes. First, a character attacked with a 
  Disarm while completely unaware of the attack 
  only gets his Casual STR (half his normal STR) to 
  resist the Disarm. Second, characters with Disarms 
  can use the maneuver’s STR bonus to resist being 
  Disarmed. Th is option prevents fencers and similar 
  characters from constantly Disarming each other.
  Disarming Two-Handed Weapons 
  It’s a little more diﬃ  cult to Disarm a two-
  handed weapon than a weapon held in one hand. A 
  character trying this should take a -2 OCV penalty 
  on his Disarm. Alternately or in addition, the target 
  gets +5 STR in the STR Versus STR Roll to keep 
  hold of his weapon.
  Disarming Incoming Attacks 
  Oft en a character delays his attack to Disarm 
  an incoming attack. Th is happens especially oft en 
  when a character makes a Half Move and then 
  Holds his Action, waiting for his attacker 
  to reach him. But a Disarm versus an 
  incoming attack doesn’t automati-
  cally mean the character Disarms 
  REDEFINING BLOCK 
  Th e basic Block maneu-
  ver allows the character 
  to avoid all damage 
  from a Hand-To-Hand 
  attack and then go ﬁ rst 
  in the next Phase if both 
  combatants have their 
  next Phase in common. 
  If the GM prefers, he 
  can redeﬁ ne Block 
  slightly to allow diﬀ er-
  ent combat dynamics. 
  Th e following are some 
  suggestions along these 
  lines:
  1)  A Block deﬂ ects all 
  damage from an attack, 
  but does not let the 
  Blocker go ﬁ rst in the 
  next Phase. Th is sort 
  of Block is sometimes 
  referred to as an “active 
  Dodge.”
  2)  A Block deﬂ ects half 
  of the damage from an 
  attack, and allows the 
  Blocker to go ﬁ rst in the 
  next Phase.
  3)  A Block deﬂ ects half 
  of the damage from an 
  attack, and does not 
  allow the Blocker to go 
  ﬁ rst in the next Phase.
  4)  A Block deﬂ ects all 
  of the damage from 
  one attack only, and 
  provides its DCV 
  bonus against all other 
  attacks that Phase. In 
  other words, characters 
  cannot use Block to 
  avoid successive attacks 
  in the same Phase, 
  though they get the 
  DCV bonus from 
  the maneuver.
  
  144 
  The Ultimate Martial Artist
  his target before the target hits him.
  To decide who goes ﬁ rst, have both parties 
  make a DEX Roll. If the Disarming character makes 
  the DEX Roll by more, he goes ﬁ rst. If he success-
  fully Disarms his opponent, the opponent doesn’t 
  get his attack this Phase. If the Disarm misses or 
  does not succeed, the opponent gets an attack 
  this Phase. If the attacker makes his DEX Roll by 
  more, he goes ﬁ rst and attacks before the Disarm 
  attempt. If the Disarming character is not Stunned 
  or Knocked Out by the attack, he can then perform 
  the Disarm.
  Th rows are handled the same way:  they don’t 
  automatically negate the incoming attack.
  Flying Kick
  Several styles, such as Kung Fu and Tae 
  Kwon Do, have a ﬂ ying kick of some sort as 
  one of their maneuvers. In HERO System 
  terms the ﬂ ying kick is represented as a 
  Sacriﬁ ce Strike, not a Passing Strike, to 
  achieve the necessary level of power (the 
  +v/5 element of the Passing Strike rarely 
  adds enough damage to equal the +4 
  DC of the Sacriﬁ ce Strike). However, in 
  Superheroic games, where characters 
  oft en have large amounts of movement, 
  a Passing Strike might more accurately 
  reﬂ ect this sort of attack.
  Grab
  CHANGES TO 
  GRAB
  Th e basic Grab 
  maneuver from the HERO 
  System 5th Edition, and Martial 
  Maneuvers built with the stan-
  dard Grab Opponent Element, 
  only immobilize two of the 
  Grabbed character’s limbs (of course, 
  some targets have no limbs, so this 
  aspect of the maneuver is unimport-
  ant). Characters can build 
  maneuvers that Grabs 
  more than two limbs, 
  of course. If a character’s 
  Martial Maneuver only 
  Grabs one limb (like many joint-
  locks), the basic Grab provides a distinct tactical 
  option (the joint-lock probably has more STR for 
  purposes of Grabbing, but the Grab maneuver 
  immobilizes more limbs).
  Available Limbs 
  Characters are considered to have ﬁ ve limbs:  
  two arms, two legs, and one head. Th e head counts 
  as a limb because a character can use it to attack 
  (i.e., headbutt) an opponent close enough to Grab 
  him. Th us, to completely and totally immobilize 
  someone adds 3 points to the cost of a Martial 
  Grab-type maneuver. Joint-locks and similar 
  attacks normally Grab one to two limbs, “pins” and 
  bearhug-type holds, such as those used in Wres-
  tling, may Grab three or more limbs. Of course, a 
  character can always choose to Grab fewer limbs 
  than the maximum allowed by his maneuver.
  A character can Sweep a Grab maneuver to 
  Grab more than the maneuver’s basic number of 
  limbs. Each limb (or group thereof, if the maneuver 
  immobilizes two or more limbs at its basic level) 
  counts as a separate attack.
  Example:  Okamura Hiromi is using her 
  Jujutsu to ﬁ ght a big, tough street thug wield-
  ing a pair of knives. She wants to capture him 
  for interrogation. However, her Joint Lock 
  maneuver only immobilizes one limb (typi-
  cally, one arm), leaving her vulnerable to 
  being stabbed by the knife the thug is 
  carrying in his other hand. She also 
  prefers to prevent him from kick-
  ing her with his hobnail boots.
  Since she has a 12 OCV and the 
  thug only has a 5 DCV, Hiromi 
  decides to try to Grab both of 
  his arms and one of his legs. 
  Th is requires her to Sweep him 
  with her Joint Lock. Th e Joint 
  Lock immobilizes one limb, so 
  each additional limb counts as 
  a separate target, imposing a -
  4 on each of her Attack Rolls. 
  She rolls a 14, an 11, and a 
  10, hitting all three times. In 
  the space of but a second, she 
  has used her martial arts to 
  almost completely immobi-
  lize the thug. Now she 
  can bear him to the 
  ground so he can’t 
  stomp on her foot 
  with his free leg.
  Had Hiromi missed one of 
  her rolls, no further rolls 
  would be allowed and all 
  remaining 
  target 
  limbs 
  would have been free 
  to move.
  Example:  Suppose the 
  thug in the above example 
  faces Strongarm, a low-level 
  “brick” superhero. Strongarm 
  isn’t any more willing to be stabbed or stomped 
  on by this miscreant than Hiromi was, even 
  though he’s harder to hurt. Since a basic Grab 
  immobilizes two limbs, each additional two 
  limbs impose a cumulative -2 on each of his 
  Attack Rolls. He decides to Sweep his Grab, 
  so he can Grab the thug’s arms and legs. Th is 
  imposes a -2 to both of his rolls, since the arms 
  count as his ﬁ rst two limbs, and the legs as his 
  second two limbs. He rolls a 7 and a 10, easily 
  hitting both times. Th e thug is now trussed up 
  like a Th anksgiving turkey.
  ROLEPLAYING 
  COMBAT
  As you read through 
  this chapter, remember 
  not only the strategic 
  aspects of the rules, but 
  the roleplaying aspects 
  as well. All too oft en 
  players and GMs look 
  at combat solely as an 
  exercise in tactics, strat-
  egy, and power-gaming, 
  but in fact it has a lot of 
  role-playing potential.
  When using martial 
  arts, you can best real-
  ize this potential if you 
  “talk out” your battles as 
  much as possible.  Th is 
  simply means describ-
  ing what your character 
  does in real-world terms 
  rather than just game 
  terms.  “I hit him with 
  my Oﬀ ensive Strike” is 
  a lot less exciting than 
  “I step to his side, pivot, 
  and kick him hard in 
  the ribs!” Roleplaying 
  combat is fun, adds an 
  important dimension 
  to the battle, and can 
  even result in some 
  tactical bonuses — such 
  as when the GM likes a 
  maneuver’s description 
  so much he awards a 
  Surprise Move bonus to 
  the character.
  When describing attacks 
  this way, you don’t have 
  to use Hit Location 
  penalties. A player can 
  say, “Okay, I punch him 
  in the head!” without 
  taking a -8 OCV pen-
  alty. So long as the char-
  acter doesn’t receive the 
  game beneﬁ ts of hitting 
  someone in the Head 
  (x2 BODY, x2 NSTUN, 
  and so forth), he doesn’t 
  suﬀ er the penalties 
  either. A “described 
  shot” to the Head does 
  ordinary damage, it’s 
  just portrayed that way 
  to make the combat 
  more enjoyable. Of 
  course, if the character 
  wants the extra damage 
  for hitting his opponent 
  in the Head, he can take 
  the -8 OCV penalty for 
  his attack in the usual 
  way.
  
  145 
  Hero Games
  ACTIONS WITH GRAB 
  In the HERO System 5th Edition, the Grab 
  maneuver allows you to do a couple of important 
  things: Grab and Squeeze, or Grab and Th row.
  We’re going to add to that list. Characters can 
  now perform six possible actions with a Grab:
  Grab and Block
  Grab and Control
  Grab and Redirect
  Grab and Shove
  Grab and Squeeze
  Grab and Th row
  A character can only perform one of these 
  additional elements in a Phase. Having Grabbed a 
  target, the character cannot Block and Redirect in 
  the same Phase, or Squeeze and Th row, or any other 
  combination.
  Grab And Block
  With this combination, a character Grabs 
  someone — and then, at any time while the Grab 
  is still in eﬀ ect, Blocks an incoming attack with the 
  Grabbed character’s body. To do this, he performs 
  the Grab normally. If the Grabbed character does 
  not immediately escape, the Grabber can perform 
  a Block with his body. Roll the Block maneuver 
  (or Martial Block maneuver) at a -2 to OCV. If it 
  succeeds, the Grabber has Blocked the attack; the 
  Grabbed character takes the damage of the incom-
  ing attack. You can only Block this way once per 
  Phase, unlike ordinary Blocks.
  Th is 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 aft er 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 Th row 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-
  acter in the same or an adjacent hex as the wielder. 
  If his normal STR is enough to use the weapon, 
  he doesn’t suﬀ er an OCV penalty. However, he 
  only does the weapon’s base damage; because the 
  wielder of the weapon resists him, the character 
  doesn’t get to use any of his STR which exceeds the 
  weapon’s STR Minimum to increase the damage 
  done by the weapon.
  Grab And Shove 
  Once a character has Grabbed someone, he 
  may attempt to Shove the victim backwards. He 
  makes a STR Versus STR Roll. If he succeeds, he 
  may shove the victim back a maximum of 1”. He 
  moves with the victim and continues to hold on to 
  him as he does so.
  A character may perform this option even 
  aft er he’s performed a Half Move and Grab/Shove. 
  For example, a character with 7” of Running moves 
  4” forward and Grabs his target successfully. He 
  can now elect to Shove his target back 1”, even 
  though, at Phase’s end, he’s moved a total of 5” 
  (more than his half-move) and still performed an 
  attack.
  Shoving does no damage to a target unless he’s 
  shoved into a surface such as a wall; in that case, 
  he takes the character’s STR damage. A STR 18 
  character shoving a target into a wall will do 3½d6 
  Normal Damage to that target. If the campaign 
  uses Hit Locations, this is just generalized damage.
  Anyone who Grabs can Shove. Th ere’s also 
  a special martial Shove maneuver which allows 
  GRABBING AND 
  COMBAT VALUES
  Performing, or being the 
  victim of, a Grab aﬀ ects 
  a character’s OCV and 
  DCV. See page 256 of 
  the HERO System 5th 
  Edition for details.
  
  146 
  The Ultimate Martial Artist
  characters to shove more eﬀ ectively. Refer to Shove, 
  below, for more details.
  Grab And Squeeze 
  Grab and Squeeze allows the character to do 
  his regular STR damage to the victim. If the cam-
  paign uses Hit Locations, a Grab maneuver hitting 
  Location 5 (the Head) both does extra damage 
  (Head locations take 2x STUN and BODY from 
  Normal Damage attacks) and cuts oﬀ  the target’s 
  breath, making him unable to shout or talk (see the 
  rules above for Choke Holds). A Grab maneuver 
  hitting Locations 3 and 4 does the extra damage, 
  but doesn’t cut oﬀ  the victim’s breath.
  Grab And Th row  
  Grab and Th row acts just as 
  described in the HERO System 
  5th Edition. Th e Grabber may 
  choose whether to main-
  tain the Grab aft er the 
  Th row (of course, if he 
  throws the victim a long 
  distance rather than simply 
  dashing him to the ground, 
  he cannot maintain his 
  hold). Refer to Th row, below, 
  for more information on 
  throwing characters; the eﬀ ects 
  of a Grab and Th row usually match 
  those of any other Th row in terms of 
  eﬀ ect on placement in the combat 
  order in the next Phase, damage 
  taken, and so forth. However, 
  because in many situations a Grab 
  and Th row has less “ﬁ nesse” than a 
  full-blown Martial Th row, the 
  GM may rule that some of the 
  beneﬁ ts of a Th row maneu-
  ver are not available when 
  using Grab and Th row. 
  GRABBING AND 
  HIT LOCA
  TIONS 
  In the 
  HERO System 
  5th Edition, Grab 
  immobilizes the target’s arms and accessible Foci. 
  Th at approach presumes the Grabbing character 
  either speciﬁ es the arms as a target or does not 
  specify any particular target.
  Within the bounds of realism, characters can 
  choose which limbs to immobilize with a Grab 
  maneuver. With a standard Grab, the maneuver 
  almost always aﬀ ects the two arms, but with a Mar-
  tial Grab just about any combination is possible.
  Regardless of which limb the character 
  chooses as a target, Hit Location Attack Roll and 
  damage modiﬁ ers do not apply, just like with any 
  maneuver deﬁ ned as speciﬁ cally targeting a Hit 
  Location. At the GM’s option, a character may 
  suﬀ er penalties to a standard Grab maneuver if he 
  tries to Grab anything other than the arms or the 
  head.
  NUMBER OF HANDS REQUIRED 
  TO GRAB SOMEONE
  Th e basic Grab maneuver/element presumes 
  the character uses both hands. Grabs which only 
  immobilize one limb (i.e., which take the “One 
  Limb” restrictive element) only require one hand to 
  perform at full STR.
  If a character uses only one hand for a Grab 
  requiring two hands, he is at -5 STR, and can only 
  use half of the STR bonus his Martial Maneuver 
  provides to Grab. But if he manages to hold on, he 
  can use his free hand for other attacks.
  Example:  Ken the sumo 
  wrestler is STR 
  20. 
  He 
  executes a 
  Sumo Grab 
  on 
  his 
  opponent, 
  but uses only 
  one 
  hand, 
  the 
  better to pummel 
  his foe with the other. Ken 
  normally uses his full STR of 
  20 and gets a +10 STR from the 
  Grab maneuver. But 
  this time, using only 
  one hand, he gets 
  only STR 15 and 
  +5 STR from the 
  Grab 
  maneuver 
  (total of STR 20).
  GRABBING AND WEAPONS  
  A Grabbed character ﬁ nds it 
  harder to use weapons. Depending 
  upon what limbs he has free, he 
  may not be able to use any weapons 
  at all — if the Grabbed character 
  only has a sword, and an attacker 
  immobilizes his sword-arm, 
  he can’t use the sword (at least 
  not in that hand; if it’s possible to draw the sword 
  with his oﬀ -hand, he could try to use it with the 
  usual oﬀ -hand penalties). Assuming weapons use 
  is possible, a Grabbed character can use any Short 
  weapon at no additional penalty, any Medium 
  weapon at a -2 penalty to OCV, and any Long 
  weapon at a -5 penalty to OCV.
  Grab Weapon
  When one character Grabs another’s weapon 
  (whether with the Standard Grab Maneuver or a 
  Martial Maneuver with the Grab Weapon element), 
  this does not aﬀ ect the DCV of either character. 
  Th e Grabbing character take no damage from 
  touching or grabbing hold of the weapon.
  ‘E
  xistence 
  is infi-
  nite, not to be 
  defined.’
  —Lao Tzu, 
  Tao Te Ching
  
  147 
  Hero Games
  Joint Locks And 
  Related Maneuvers
  Several types of maneuvers — the Joint Break, 
  the Joint Lock/Th row, and Grabs deﬁ ned 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. 
  Th is causes great pain (simulated by the NND 
  DMG Element of the Joint Lock/Th row maneuver). 
  Th is may also break the joint (the Killing Damage 
  and Disable elements of the Joint Break) or force 
  the target to fall down (the Th row element). Th e 
  holding and locking aspect of these maneuvers is of 
  course simulated with the Grab element.
  In adjudicating the eﬀ ects 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 ﬂ ak jacket, oﬀ er 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. Th e GM might want to 
  grant these attacks a sort of NND eﬀ ect where the 
  “defense” against the attack is wearing something 
  which keeps the joint from being bent backwards, 
  having pliable limbs (i.e., Stretching), buying an 
  Exert maneuver to ﬁ ght the eﬀ ect of the joint-
  break, or something similar. However, this could 
  make joint-breaks more eﬀ ective than other types 
  of Killing Damage maneuvers, so the GM should 
  be careful not to unbalance the campaign by doing 
  this.
  GMs should also keep the Impairing and 
  Disabling rules (HERO System 5th Edition, Revised, 
  pages 416-17) in mind when characters use joint-
  breaks; refer also to the discussion of Disabling 
  Attacks in the Combat Modiﬁ ers, Special Cases, And 
  Optional Rules section of this book.
  Killing Throw
  Killing Th rows divide into two types. Th e 
  ﬁ rst type, discussed under Joint Locks And Related 
  Maneuvers, above, involves twisting a joint to break 
  it and force the target to fall down. Th e damage 
  occurs during the throw, not as a result of the tar-
  get’s impact with the ground. Th e other is a throw 
  intended to make the target fall in such a way that 
  he takes Killing Damage (broken bones and the 
  like) because of his impact with the ground. Play-
  ers and GMs should keep these “special eﬀ ects” in 
  mind when creating Killing Th row maneuvers and 
  adjudicating their eﬀ ects.
  Martial Escape 
  Th e time required to perform a Martial Escape 
  (or to use the Escape Element of any maneuver) 
  depends upon the situation. See page 399 of the 
  HERO System 5th Edition, Revised for guidelines.
  If a maneuver which has Escape as one of its 
  features also has some other element which aﬀ ects 
  the person whose Grab is being Escaped from 
  (such as Target Falls or Disarm), the second ele-
  ment only works if the Escape succeeds.
  At the GM’s option, a character does not have 
  to make a complete escape from a Grab or Entan-
  gle. Instead, he can try to free only one limb, and 
  then use it as he sees ﬁ t. Th is allows +5 STR on the 
  attempt to “Escape,” since the character can concen-
  trate his eﬀ orts on freeing just one limb.
  Move By/Move Through
  Move By and Move Th rough can increase 
  the damage done by a weapon (see pages 389-91 
  and 406 of the HERO System 5th Edition, Revised 
  for details). At the GM’s discretion, Move Bys and 
  Move Th roughs may add damage to NND attacks. 
  Each 5” velocity from a Move By, or 3” velocity 
  from a Move Th rough, adds +½d6 NND to the 
  NND attack. Th e NND attack has to be some sort 
  of physical punch or blow rather than a nerve 
  touch or energy discharge, of course.
  Move By and Move Th rough are speciﬁ c 
  Combat Maneuvers. You can’t do an “Oﬀ ensive 
  Strike Move Th rough,” adding both +4d6 from the 
  Oﬀ ensive Strike maneuver and +v/3 damage from 
  the Move Th rough. You use only the basic damage 
  for the attack (for instance, STR from a punch, or 
  weapon damage plus STR bonuses for a weapon) 
  plus the velocity modiﬁ er. Th is means if a character 
  has a Killing Strike Martial Maneuver, he cannot 
  use it with a Move By or Move Th rough:  they’re 
  two distinct, separate maneuvers he cannot com-
  bine.
  
  148 
  The Ultimate Martial Artist
  Nerve Strike
  DEFENSES FOR NERVE STRIKES
  Th e HERO System 5th Edition describes two 
  basic types of NND strikes and their possible 
  defenses:  solid Armor (resistant PD) or a PD 
  Force Field or Lack of Weakness for a Nerve Strike 
  (“NND(1)”); solid Armor (resistant PD) on the 
  neck or not having to breathe for a Choke Hold 
  (“NND(2)”). Th ese options are perfectly accept-
  able for most campaigns, but can cause problems 
  in Superheroic campaigns or other games where 
  those defenses are common (which makes the 
  maneuvers useless). 
  If this problem exists in your campaign, 
  there’s a twofold solution:  ﬁ rst, deﬁ ne the defenses 
  to a Nerve Strike better; second, oﬀ er more poten-
  tial defenses, so Nerve Strikes have some variety. 
  As always, the GM has the ﬁ nal say on what 
  defenses are acceptable. Here’s an expanded list of 
  possible defenses, with explanations:
  NND 1:  Rigid resistant PD on vital areas or Lack 
  of Weakness
  NND 2:  Rigid resistant PD on the neck or not 
  having to breathe
  NND 3:  Rigid resistant PD on a speciﬁ c Hit Loca-
  tion
  NND 4:  Solid ear coverings
  NND 5:  Resistance
  NND 6:  PD Force Field or Power Defense
  NND 7:  Various defenses against joint-bending; 
  see below
  NND 1:  Rigid resistant PD on vital areas or Lack 
  of Weakness:  Th e NND(1) defense requires the 
  target to have solid, rigid resistant PD over his 
  vital points. “Rigid” means a suﬃ  ciently solid 
  defense to prevent the attacker from being con-
  tacting the target’s vital points. Th e stereotypical 
  “bulletproof spandex” worn by many superheroes 
  is not stiﬀ  enough for this purpose. Nor does the 
  super-strong skin of most “brick” characters suf-
  ﬁ ce, since they still have nerve endings a trained 
  martial artist can ﬁ nd and strike. A brick with 
  tough “plates” in place of skin, or who transforms 
  into rock or metal, probably has “rigid” defenses, 
  as does any brick who took Reduced Sense Of 
  Touch as a Physical Limitation because his super-
  tough skin prevents him from feeling things 
  properly. Suits of powered armor, kevlar backed by 
  ceramic or steel plates, PD Force Fields, and simi-
  lar types of resistant PD block this Nerve Strike, as 
  do most forms of Lack of Weakness (though not, 
  for example, a Lack Of Weakness deﬁ ned as pre-
  venting the attacker from seeing the weak points).
  “Vital points” are particularly vulnerable 
  places on the body. Th ey include nerve clusters 
  close to the skin, places where an attack can 
  quickly and easily cut oﬀ  blood ﬂ ow (such as the 
  neck), places where vital organs are relatively close 
  to the skin, locations where an attack can easily 
  interrupt the ﬂ ow of ch’i throughout the body, and 
  so forth. In campaigns featuring a wide variety of 
  humanoid species, such as some science ﬁ ction 
  settings, a martial artist may have to buy a Sci-
  ence Skill reﬂ ecting his knowledge of a particular 
  species’s anatomy to use this type of Nerve Strike 
  against that species. An NND(1) may have no 
  eﬀ ect, or reduced eﬀ ect, on some species (particu-
  larly non-humanoid ones).
  NND 2:  Rigid resistant PD on the neck or not 
  having to breathe:  Th is is the defense for Choke 
  Holds and other NND strikes which cut oﬀ  the 
  target’s ability to breathe. Th e general comments 
  about defenses appropriate for NND(1) apply here 
  as well.
  NND 3:  Rigid resistant PD on a speciﬁ c Hit Loca-
  tion:  NND(3) is the defense for a Nerve Strike 
  which always targets a speciﬁ c nerve cluster or 
  vital point. Th e character must deﬁ ne the target 
  point when he buys the Nerve Strike. As with 
  other attacks targeting a particular Hit Location, 
  such a strike should not receive any to-hit or 
  damage modiﬁ ers because of the location struck.
  NND 4:  Solid ear coverings:  NND(4) is the 
  defense for a Nerve Strike deﬁ ned as clapping 
  one’s palms against the target’s ears, causing ter-
  rible pain (and sometimes disorientation). A “bul-
  letproof spandex” mask or super-strong skin oﬀ ers 
  no protection against this sort of attack; a helmet, 
  earphone-like gadgets, or having no ears would.
  NND 5:  Resistance:  NND(5) attacks cause so 
  much agony that only characters who can with-
  stand a high level of pain (i.e., who have bought 
  the Talent Resistance) have any defense against 
  them. In some cases, unusual nervous systems and 
  certain other powers or abilities might also act as 
  a defense against this NND.
  NND 6:  PD Force Field or Power Defense:  
  NND(6) usually represents some sort of mystical, 
  ch’i/ki-based ability to hurt a target by attack-
  ing his life force. Only a PD Force Field or Power 
  Defense oﬀ ers enough protection to save someone 
  from this sort of attack.
  NND 7:  Defenses against joint-bending:  Charac-
  ters use NND(7) to simulate the excruciating pain 
  caused by maneuvers which bend or torque a joint 
  in a way it’s not supposed to move. Th e defenses 
  against this include Resistance, having rigid armor 
  on the joint in question which prevents improper 
  bending, Powers with a similar eﬀ ect (such as 
  Stretching), or STR (as a Characteristic or Exert 
  maneuver) double or more that of the STR used 
  to bend the joint. In some cases the Talent Double-
  Jointed may have the same eﬀ ect. Refer to the 
  discussion of joint-locks and similar maneuvers, 
  above, for more information. 
  DISABLING NERVE STRIKES
  Characters can use Nerve Strikes to tempo-
  rarily Impair or Disable a limb. Refer to the dis-
  cussion of Disabling Attacks in the Combat Modi-
  ﬁ ers, Special Cases, and Optional Rules section of 
  this book.
  VITAL POINTS 
  AROUND 
  THE WORLD
  Th e body’s vital points 
  are known in Japan as 
  kyusho (and an attack 
  against those points 
  is an atemi strike); in 
  China as tien-hsueh; 
  in Korea as kuepso or 
  keupso; in Vietnam as 
  huyet; in Indonesia as 
  rahasia; and in India as 
  marman. 
  AVLDS
  If you’re having trouble 
  making NND strikes 
  eﬀ ective in your games 
  aft er using the other 
  suggestions oﬀ ered 
  in this book, consider 
  converting the NND 
  damage to AVLD 
  damage. Th is may have 
  major eﬀ ects on cam-
  paign balance, however, 
  so treat such a change 
  carefully and remain 
  willing to return to the 
  old system if it becomes 
  too unbalancing or inef-
  ﬁ cient.
  
  149 
  Hero Games
  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 diﬀ erent 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/
  Th row, 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 “Th row” 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 ﬁ rst 
  using the “Grab” element. Th e GM is ﬁ nal arbi-
  ter over whether an element has to be used in a 
  maneuver.
  Root
  Characters use the Root maneuver to counter 
  the Shove maneuver (see below). Use the STR from 
  a Root to calculate the total STR opposing a Shove. 
  Of course, if the character resists the Shove suc-
  cessfully, he does not move at all, and the character 
  attempting the Shove is left  looking foolish.
  Note, however, that Root also has the “Block” 
  element. Th is is just another way of deﬁ ning the 
  resistance to being Shoved:  if the character Blocks 
  the Shove, it has no eﬀ ect on him at all. Th e special 
  eﬀ ect in this case is “immovability,” not the typi-
  cal block associated with most martial arts — the 
  Shover has struck the Rooted character solidly, but 
  has not moved him! If the Block fails, the character 
  can still use the extra STR from the Root to resist 
  Shove. In most cases, the GM should not allow 
  characters to use the Block element of the Root 
  maneuver to Block attacks other than Shoves, but 
  this depends upon the situation.
  Characters with the Root maneuver may add 
  its STR to their own when they brace to resist 
  Knockback (HERO System 5th Edition, Revised, page 
  421).
  Shove
  Th e discussion of “Grab And Shove,” above, 
  generally applies to the Shove maneuver as well. 
  However, Shove oﬀ ers several additional beneﬁ ts. 
  First, when using Shove, a character does not have 
  to Grab his opponent, which can be time-consum-
  ing and potentially dangerous.
  Second, a character using Shove can propel 
  his target back more than 1”, and does not have 
  to move with him. For every 10 STR in the Shove 
  maneuver, a character can push a target back 1”; 
  thus, at even its lowest level a Shove moves its 
  target back 2”. A Shoved character can make a DEX, 
  Breakfall, or Acrobatics roll (his choice) at -1 for 
  every point by which the Shoving character made 
  his Attack Roll to fall down at any point during his 
  “move.”  Th is eliminates any further movement and 
  halves the damage the Shove would have caused. 
  However, the fallen character is at the same disad-
  vantage as a Th rown character — the Shoving char-
  acter gets to attack him ﬁ rst on their next Phase (if 
  they both have their next Phase in the same Seg-
  ment), regardless of relative DEX.
  
  150 
  The Ultimate Martial Artist
  Th e third advantage to Shove is that the extra 
  STR of the maneuver not only adds to the distance 
  a character can move his target, it adds to any 
  damage he does if he shoves the target into a solid 
  object. Th e target cannot take more dice of damage 
  than the (DEF+BODY) of the object he hits (just 
  like Knockback).
  Th e fourth advantage to Shove is that a char-
  acter can use it on more than one target at a time, 
  in two ways. First, an attacker can Shove one target 
  into another target, causing damage to both of them. 
  Th e attacker needs to make a separate Attack Roll 
  to hit the second target; any OCV bonuses bought 
  with the Shove maneuver do not apply to hitting the 
  second 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 
  oﬀ  of him. In this sort of situation, the Shoving 
  character uses his base STR plus Shove maneuver 
  bonus STR. To calculate the combined STR of the 
  characters resisting the Shove, determine their lift ing 
  capacity, based on the Strength Table on page 34 of 
  the HERO System 5th Edition, Revised. Add their lift -
  ing capacities together, then use that ﬁ gure and the 
  Strength Table to determine their combined STR for 
  the purpose of resisting a Shove.
  Example:  Th ree thugs attack Cheng Fei, a prac-
  titioner of Tai Ch’i Ch’uan. Cheng gets his fore-
  arm between himself and the three thugs as they 
  try to knock him down, so he decides to push 
  them away from him, using his Shove maneuver; 
  he has STR 40 for this purpose. Th e thugs have 
  STRs of 10, 15, and 10. Th eir lift ing capacities 
  are 100, 200, and 100 kilograms, respectively, for 
  a total of 400 kg. Th is equals STR 20 for pur-
  poses of resisting Shove. Cheng rolls 9 BODY 
  on his dice, the thugs roll 3 on theirs, so they’re 
  thrown back 4” from their intended target!
  Standard Maneuvers
  Players of martial artist characters sometimes 
  forget that their characters can still use the Standard 
  Maneuvers — the non-martial maneuvers described 
  on pages 383-98 of the HERO System 5th Edition, 
  Revised. Any player character who forgets or turns 
  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. Th ree-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. Th ere’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 justiﬁ cation 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 eﬀ ective as 
  their martial counterparts, so characters who buy 
  Martial Maneuvers still beneﬁ t 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 
  
  151 
  Hero Games
  application of special eﬀ ects can “convert” a Stan-
  dard Maneuver into a Martial Maneuver. For 
  example, you could deﬁ ne a Grab and Th row as a 
  “footsweep” or “takedown” of some sort.
  Sweep
  Th e Sweep maneuver is very useful in martial 
  arts combats. Characters can use it to simulate a 
  wide variety of unusual and colorful attacks against 
  multiple foes.
  Characters can perform Sweeps with non-
  damaging maneuvers as well as damaging ones. 
  Sweeps are especially eﬀ ective (and ﬂ ashy) when 
  combined with Martial Maneuvers like Legsweep, 
  Martial Th row, Flying Tackle, and Disarm.
  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 
  together constitutes Sweeping a Grab and Crush.
  Generally, a character can only perform a 
  Sweeping Martial Grab on two targets. Th e excep-
  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 
  attempt to Sweep as many limbs as he wants; this 
  reﬂ ects his ability to tangle an enemy up so he can’t 
  use his limbs properly.
  Sweep does not work with maneuvers such 
  as Root and Escape (which are not attacks), Crush 
  or any other attack with the Follow Element (the 
  Sweep would have to be performed with the origi-
  nal attack, such as the Grab part of a Crush), and 
  Shove (which a character can already use on several 
  people at once, refer to Shove, above).
  
  152 
  The Ultimate Martial Artist
  Takeaway
  Visually, a Takeaway can look as rough as 
  grabbing a weapon and yanking it out of the target’s 
  hand, or can be more elegant, resembling a Disarm 
  in which the weapon ﬂ ies out of the target’s hand 
  and into the attacker’s. In any event, the attacking 
  character takes no damage from the weapon when 
  he takes it away.
  When a character performs a Takeaway, he can 
  immediately toss the weapon to someone or hand 
  it to a character in his hex or an adjacent hex as an 
  Action which takes no time. Tossing the weapon at 
  someone to hurt or even distract him constitutes an 
  attack, so he can’t do it until his next Phase.
  Throw
  DAMAGE FROM THROWS 
  Th e damage a character takes from a Th row 
  depends in part on the surface he lands on. Th e 
  surface also modiﬁ es the Breakfall roll the charac-
  ter can make to only take half damage (see accom-
  panying table). Th ese penalties are cumulative; an 
  extremely hard, uneven surface (say, a sidewalk 
  with a lot of broken bricks and trash lying around) 
  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 suﬀ ers a penalty of 
  -1 per 2d6 of damage the Th row does. Neither that 
  modiﬁ er nor the ones described in this chart apply 
  to a Breakfall roll made simply to stand up without 
  taking a Half Phase.
  THROWING DISTANCE
  Normally a Th rown 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. Th rowing a target further away from 
  you does not add to the damage done by the Th row 
  maneuver. Consult the STR Table and the Th row-
  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 Th row 
  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 Th rowing Table, he can throw his 
  opponent 4”. If he wants to hit something with 
  his opponent (say, an obnoxious fan), he suﬀ ers 
  a -4 penalty to the Range Modiﬁ er.
  A characters can also increase the distance he 
  Th rows a character by subtracting damage from the 
  Th row. For every -1d6 of damage, he can Th row the 
  target +1”. Th is reﬂ ects the way he uses his skill and 
  his opponent’s momentum to increase the distance 
  of the Th row rather than the damage the Th row 
  does.
  THROW MODIFIERS TABLE
  Surface
  Damage
  Breakfall
  Soft  (water, a cushion 
  or mat, extremely soft  
  earth)
  —
  -0 - +1
  Average (carpeted ﬂ oor, 
  average earth or sand)
  +1d6
  -1
  Hard (wooden or tile 
  ﬂ oor, packed earth)
  +2d6
  -2
  Extremely Hard (cement 
  or asphalt, metal)
  +3d6
  -3
  Evenness
  Smooth or even surface 
  (ﬂ oor, most sidewalks)
  —
  -0
  Sloped surface (hillside, 
  ramp)
  —
  -0 to -1
  Bumpy, uneven surface; 
  cluttered surface (stairs, 
  trash-strewn alley, rocky 
  ground)
  +1d6
  -1
  
  153 
  Hero Games
  THROWS AND INCOMING ATTACKS 
  When you delay to Th row an incoming 
  attacker, your Th row does not automatically pre-
  vent his attack. See the rules for Disarm, above.
  RESISTING THROWS WITH SKILLS
  Acrobatics 
  A character may attempt to resist being 
  Th rown if he has the Acrobatics Skill (this applies 
  to both Grab and Th row, and maneuvers with the 
  “Target Falls” Element). As described on page 112, 
  if the Th rown character makes his Acrobatics roll 
  at a -3 penalty, he keeps his feet. (Visually, he may 
  have been thrown and somersaulted instantly 
  back to his feet, or have jumped above the attack-
  ing Legsweep, and so forth.) However, he still 
  takes full damage from the attack (including sur-
  face modiﬁ ers, as detailed in the accompanying 
  table).
  Breakfall 
  As explained on page 113, a character can 
  make a Breakfall roll to halve the damage taken 
  from a fall (he can also use Breakfall to stand up 
  without taking a Half Phase, but that requires a 
  separate roll). He suﬀ ers a penalty of -1 per 2d6 
  to the roll; if he fails the roll he takes full damage 
  from the Th row. Additional penalties for the type 
  of surface are described in the accompanying 
  table. Th ese penalties do not apply to a Break-
  fall roll made to stand up without taking a Half 
  Phase.
  RESISTING THROWS WITH POWERS
  Many Powers enable a character to resist 
  maneuvers built with the Target Falls Element. A 
  power which allows the character to resist being 
  thrown sometimes also prevents him from taking 
  damage from the maneuver. Th is works as follows.
  If the maneuver is one where the attacker’s impact 
  knocks the target to the ground (such as Flying 
  Tackle and some Killing Th rows), the target who 
  uses Powers to resist being Th rown still takes full 
  damage.
  If the maneuver is one where the attacker knocks 
  the target’s feet from under him (such as Leg-
  sweep and Takedown), the target who uses 
  Powers to resist being Th rown takes only half 
  damage from the maneuver.
  If the maneuver is one where the attacker levers, 
  unbalances, or redirects the target into hitting 
  the ground, and all the damage comes from the 
  impact with the ground (maneuvers such as 
  Grappling Th row, Martial Th row, and Sacriﬁ ce 
  Th row), the target who uses Powers to resist being 
  Th rown takes no damage from the maneuver.
  Clinging 
  When a martial artist uses a maneuver with 
  the Target Falls Element on a character with 
  Clinging, he must also roll and win a STR Versus 
  STR Roll:  his STR versus the STR of the target’s 
  Clinging. If he fails, the target does not fall down. 
  If he ties or wins, the target does fall.
  Density Increase, Growth, And Heavy Targets 
  If the attacker’s Pushed STR (whether he’s 
  currently Pushing it or not) is inadequate to pick 
  up the target, then his attack cannot Th row the 
  target down. Th e rule keeps human-strength char-
  acters from Martial Th rowing 700-ton mecha, 
  for instance, but it applies to all situations using 
  Martial Th row maneuvers, not just those involv-
  ing Density Increase or Growth. Th e GM has ﬁ nal 
  authority over which characters/objects are too 
  heavy for a martial artist to pick up and/or throw.
  Note the phrase “...the attacker’s Pushed STR 
  (whether he’s currently Pushing it or not)...” Th is 
  means a character can Martial Th row anything he 
  could pick up with his fully-Pushed STR, regardless 
  of how much STR he’s currently using. For instance, 
  a STR 5 character in a Superheroic campaign could 
  Push his STR to 15 and pick up 200 kg; therefore, 
  a STR 5 character could Martial Th row any target 
  weighing up to 200 kg. A STR 10 (i.e., normal) 
  character could Martial Th row something weighing 
  in at 400 kg — 880 pounds! 
  A character can build a Martial Th row-type 
  maneuver with a STR bonus from the Exert basis, 
  with the STR bonus applying not to increase the 
  damage done by the Th row but to add to the char-
  acter’s Th rowing strength. Extra DC bought with 
  the martial art with such a maneuver would either 
  add to STR damage or to the Exert bonus, not to 
  both (the character must choose which aspect of 
  the maneuver the Extra DC increase when he buys 
  them; he does not get to switch them around on an 
  attack-by-attack basis).
  Th e GM can adjudicate the eﬀ ects of these 
  Th rowing rules as he sees ﬁ t; some campaign styles 
  may call for characters to be able to Th row heavy 
  objects; some may not.
  Flight
  Characters can use Flight to resist Th rows. If 
  the character is not currently ﬂ ying, has his Flight 
  power available to him, and knows the attack 
  is coming, he can use his Flight to resist being 
  Th rown; he will not be Th rown down. However, if 
  he’s already ﬂ ying, he can’t do this; the attacker is 
  already using his Flight against him with the Th row 
  maneuver.
  Knockback Resistance 
  If a character has any Knockback Resistance 
  and is prepared to use it (i.e., is not attacked from 
  Surprise), he does not fall when struck by Th row 
  maneuvers where the attacker’s impact knocks the 
  target to the ground (such as Flying Tackle and 
  some Killing Th rows). However, all other Th row 
  maneuvers work normally on him.
  Stretching; Shape Shift 
  Th rows may not work on characters with mal-
  leable bodies — a character with Stretching, and 
  some forms of Shape Shift , simply manipulates or 
  “moves” his body so the attacker cannot get lever-
  age to throw him. GMs should adjudicate this eﬀ ect 
  on a case-by-case basis.
  
  154 
  The Ultimate Martial Artist
  T
  his section includes some rules for 
  combat in unusual situations, as well as 
  some new types of Combat Modiﬁ ers. 
  In some cases, these rules supplement 
  the rules for environmental conditions on page 379 
  of the HERO System 5th Edition, Revised. Th e GM 
  decides whether to use these rules in his campaign.
  BLINDED CHARACTERS 
  AND MARTIAL ARTS
  As you know, when blinded, a character is at ½ 
  DCV, ½ OCV in Hand-To-Hand Combat, and 0 OCV 
  with Ranged Combat; if he can make a PER Roll with 
  a Nontargeting Sense, then he is only -1 DCV, ½ OCV 
  in Hand-To-Hand, and ½ OCV at range.
  However, when a character Grabs another 
  character, he gets a bonus in hand-to-hand combat. 
  Grabbing and holding onto another character auto-
  matically gives the attacker a successful PER Roll 
  with a Nontargeting Sense (Touch) against that foe. 
  However, he’s still at ½ DCV against the person he 
  has Grabbed.
  In other words, if a blinded character can 
  Grab his foe, he’ll be only at -1 OCV and ½ DCV 
  when ﬁ ghting his opponent. He’s at 0 OCV against 
  anyone he’s not Grabbing, and is at 0 DCV at range.
  BOUND CHARACTERS 
  AND MARTIAL ARTS 
  When a martial artist is bound, he suﬀ ers OCV 
  and DCV penalties.
  Hands Bound in Front:  Th e character is at -1 DCV, 
  and is at -1 OCV for all Hand-To-Hand attacks and 
  Combat Maneuvers (including Martial Maneuvers). 
  Th e GM may rule that he cannot use certain weap-
  ons (such as bows).
  Hands Bound in Back:  Th e character is at -1 DCV, 
  and is at ½ OCV for all Hand-To-Hand attacks and 
  Combat Maneuvers (including Martial Maneuvers). 
  Th e GM may rule that he cannot use any hand 
  weapons or punching maneuvers.
  Feet Bound Apart:  Th e 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. (Th is 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). Th e 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:  Th e 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. (Th is OCV minus is eliminated if he is 
  Grabbing his opponent; see Grab, above.) Th e GM 
  may rule that the character cannot use any Kicking 
  maneuvers (except through use of Acrobatics, or 
  when kicking from a prone position).
  Combinations:  Th ese modiﬁ ers are cumulative. Two 
  -1 modiﬁ ers 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 
  SPECIAL CASES AND 
  OPTIONAL RULES
  
  155 
  Hero Games
  hands bound in back and his feet bound together is 
  at 0 OCV, 0 DCV, and cannot run (though if he is 
  able to get up, he can hop at 1” per Phase; the GM 
  should require a DEX roll at -3 or an ordinary Acro-
  batics roll to stand up unassisted, and one DEX or 
  Acrobatics roll per Phase of hopping).
  Acrobatics Skill:  A character with Acrobatics can 
  negate the eﬀ ects of being bound for each Phase he 
  successfully makes his Skill Roll. If the character’s 
  hands are bound in front, he receives a -1 to Acro-
  batics; if his hands are bound in back, he receives a 
  -3; if his feet are bound apart, he receives a -2; if his 
  feet are bound together, he receives a -5; and com-
  binations of the above are cumulative (i.e., hands 
  bound in back and feet bound together mean a -8). 
  Each Phase the character makes his Acrobatics roll at 
  the listed penalties; if he succeeds, he can ignore the 
  OCV and DCV penalties of his bound state during 
  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 ﬁ lms, characters oft en punch or 
  thrust through a door, wall, or even roof to stab the 
  assassin on the other side. Th is can already be done 
  in the HERO System, but it’s not as eﬀ ective as in 
  the martial arts ﬁ lms, 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, modiﬁ ed 
  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 
  Oﬀ ensive Strike (kick) adds 4d6, for a total of 
  7d6; therefore half of that is 3½d6. Th e 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 
  Th e Concealment rules from the HERO 
  System presume you’re concealing Obvious, 
  Accessible Foci, and require a PER Roll versus 
  Concealment roll (with various modiﬁ ers) to detect 
  the object. But many of the weapons built for mar-
  tial artist characters (the “Concealed” versions of 
  the weapons in the Weapons section of this book) 
  are built as Inobvious Accessible Foci. Th ough 
  they’re in “plain sight” most of the time, they’re 
  either artfully built into another object, or clever 
  decoration or construction cleverly disguise their 
  true purpose. 
  Th e Inobvious part of the Focus Limitation 
  corresponds to a Concealment “Skill” of 13- (11- 
  base roll, +2 for the fact that the weapon is built 
  into an object); extremely well made concealed 
  weapons may merit higher Concealment “Skills.” 
  Th erefore, when someone tries to spot an Inobvi-
  ous (or concealed) object, that person makes a PER 
  Roll against the object’s Concealment roll in a Skill 
  Versus Skill Contest. A successful roll only reveals 
  
  156 
  The Ultimate Martial Artist
  that there’s something unusual in the construction 
  of the item; the perceiving character has to perform 
  a hands-on search with another PER Roll versus 
  Concealment Roll contest to open the weapon up 
  or determine what it does.
  Naturally, once the Inobvious weapon is 
  used as such, it’s no longer Inobvious. When you 
  pull your ninja-to out of its sheath disguised as a 
  vacuum cleaner, the other fellow doesn’t have to 
  make a PER Roll to realize what it is; its function is 
  now obvious.
  CRITICAL HITS 
   
  Warning:  These critical hits rules, if added to a 
  campaign, make combat more dangerous and 
  unbalancing. The GM should only add them to 
  his campaign if he wants unpredictable and 
  lethal combats.
  A “critical hit” is a blow so accurate it does a 
  lot of extra damage. One occurs when a character’s 
  roll to hit is less than half of what he needed to hit 
  the target.
  Example:  An OCV 6 character strikes at a 
  DCV 5 character. He needs a 12 or less to hit. 
  To critical, he needs less than a (12/2) 6 to hit 
  — i.e., he must roll a 5 or below.
  Example:  An OCV 7 character strikes at a 
  DCV 5 character. He needs a 13 or less to hit. 
  To critical, he needs less than a (13/2) 6.5 to hit 
  — he must roll a 6 or less.
  If a character makes a critical hit, he does max-
  imum damage for the attack. Th erefore, a Killing 
  Attack 2d6 does 12 BODY. An 8d6 Normal Damage 
  attack does 48 STUN, 16 BODY. A 2d6 NND attack 
  does 12 STUN.
  If the campaign uses the Hit Location rules, a 
  Killing Attack does the normal STUN Multiplier 
  for the location; 12 BODY to the Vitals corresponds 
  to 48 STUN, for instance. If those rules are not in 
  use, a Killing Attack does the maximum possible 
  STUN; if the STUN Multiplier is 1d6-1, as with 
  most Killing Attacks, then 12 BODY corresponds to 
  60 STUN.
  Characters may only do critical hits to living 
  targets. Critical hit results against targets like doors, 
  walls and cars are ignored (it would be far too easy 
  to get a critical hit on a DCV-0 door, for instance).
  DISABLING ATTACKS
  Sometimes a character beneﬁ ts most in 
  combat not by doing raw STUN to an opponent 
  but by disabling or weakening him so he ﬁ ghts less 
  eﬀ ectively, making it easier to defeat him. In the 
  HERO System, there are four ways to attack to dis-
  able. Also refer to the rules on breaking limbs on 
  page 412 of the HERO System 5th Edition, Revised.
  STANDARD IMPAIRING AND DISABLING 
  RULES
  Th e ﬁ rst is to do enough damage to a limb 
  to Impair or Disable it, as described in the HERO 
  System 5th Edition, Revised, pages 416-17. Th is form 
  of Disabling usually results from an attack which, 
  though not speciﬁ cally intended to disable, does 
  enough damage to Impair/Disable the area anyway. 
  Attacks of this sort suﬀ er the standard Attack Roll 
  and damage modiﬁ ers for the location struck (but 
  of course, the damage modiﬁ er does not matter for 
  purposes of determining whether a limb has been 
  Impaired or Disabled).
  Th e advantage to using this form of disabling 
  attack is that it’s likely to result in long-term 
  Impairment or Disablement. Th e drawbacks are the 
  Attack Roll and damage modiﬁ ers, and the possibil-
  ity of severely injuring the target.
  THE DISABLE ELEMENT 
  Th e second way is to buy a Martial Maneuver 
  with the Disable Element. Maneuvers of this sort 
  are speciﬁ cally intended to target limbs, and do not 
  suﬀ er either to-hit or damage penalties for the loca-
  tion targeted. 
  A Disable-based attack makes it easy to Impair 
  or Disable a limb, or even to break or destroy one. 
  On the other hand, characters can normally only 
  use an attack with the Disable Element for that one 
  purpose, and it may be too severe in some situ-
  ations. Characters should consider Pulling their 
  Punch or using fewer dice in situations where too 
  
  157 
  Hero Games
  much damage to a limb will have inappropriate or 
  undramatic consequences.
  DISABLING NERVE STRIKE
  Th e third way to disable a limb is to use a 
  Nerve Strike to temporarily Impair or Disable it. 
  To Impair a location, the STUN done by the blow 
  must equal or exceed the target’s BODY score, 
  either before or aft er modiﬁ ers for the Hit Location. 
  If a character has 12 BODY, the Nerve Strike must 
  inﬂ ict 12 STUN. To Disable a location, the STUN 
  done by the blow must equal or exceed 2x the 
  target’s BODY score, either before or aft er modiﬁ ers 
  for the Hit Location. If a character has 10 BODY, 
  the Nerve Strike must inﬂ ict 20 STUN.
  Nerve Strike disabling attacks suﬀ er the stan-
  dard Attack Roll penalties for the area they are 
  aimed at.
  Th e precise eﬀ ects of the Impairing or Dis-
  abling blow are listed on the accompanying table. 
  Of course, a character can make no attacks with a 
  disabled limb.
  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 
  Impairing/Disabling Time Table.
  Th e advantage of using a disabling Nerve 
  Strike are that the opponent suﬀ ers no permanent 
  injury. Th e drawback is the temporary nature of the 
  Impairment/Disability.
  DECLARED DISABLING ATTACKS 
  Th e fourth and ﬁ nal way to disable a limb is 
  the Declared Disabling Attack (DDA). Th is attack, 
  in eﬀ ect a new Combat Maneuver, is entirely 
  optional and is subject to GM approval — it’s a 
  “caution sign” ability.
  A DDA allows a character to declare that a 
  particular hand-to-hand attack will be a disabling 
  attack (at the GM’s option, this might require a 
  DEX roll or other Skill Roll). Th e attack suﬀ ers 
  the usual Attack Roll modiﬁ ers for that particular 
  target. If the attack hits, convert the BODY damage 
  rolled on the dice into Phases of Impairment:  one 
  Phase for each BODY rolled. Th e target takes the 
  STUN rolled as normal, with the standard modiﬁ -
  ers for Hit Location. Th us, a DDA doesn’t cause any 
  real injuries, but does hamper a character signiﬁ -
  cantly for a short but crucial period of time.
  At the GM’s option, an especially high DDA 
  BODY roll may Impair the limb for a longer time:  
  the entire combat, the rest of the day, or whatever 
  seems appropriate and dramatic. Alternately, it 
  might do some actual BODY to the limb.
  Example:  Jean-Claude, a savateur, realizes he 
  needs to weaken his opponent Francois before 
  he can get in a really telling blow. He decides 
  to use his coup de pied bas (low kick) to target 
  Francois’s right knee with a DDA. His normal 
  10 OCV will suﬀ er a -6 penalty for targeting the 
  Legs. If he hits he will do normal STUN damage 
  to his target, with the x½ modiﬁ er, and the 
  BODY he does will become Phases of Impair-
  ment. He rolls a 5 and hits!  He does 8 BODY 
  and 29 STUN. Francois has 10 PD; his right leg 
  becomes numb and useless for 8 Phases, and he 
  also takes 4 STUN ([29 x ½] - 10). Th e 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.
  DISGUISING DAMAGE
  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 
  onlookers won’t suspect the level of force he’s using 
  on his opponent. Another possible use is to make a 
  Nerve Strike look like a Normal Damage attack, so 
  observers don’t know the paciﬁ stic attacker is reluc-
  tant to use more damaging maneuvers.
  To do this, the attacker must make his Attack 
  Roll at -1 OCV for every 2 Damage Classes in the 
  attack — thus, an HKA 2d6 would impose a -3 
  penalty. If the Attack Roll succeeds, the target takes 
  the damage in the usual method for that type of 
  damage, but to anyone else observing the attack, it 
  looks like a Normal Damage attack. 
  If the GM allows characters to buy Power 
  DISABLING RESULTS TABLE
  Area 
  Effect Of Disabling Attack
  Head 
  Target is conscious, but 
  unable to act, and at ½ DCV
  Hands, Arms, 
  Shoulders 
  Target loses use of limb 
  from that point down; any-
  thing in his grasp is dropped
  Chest, Stomach 
  Character cannot take 
  Recoveries and is at -2 OCV 
  and -2 DCV
  Vitals 
  Target is conscious, but 
  nearly paralyzed; he’s at half 
  movement, ½ OCV, and ½ 
  DCV
  Th ighs, Legs, Feet 
  Target loses use of limb 
  from that point down; he’s at 
  half movement and ½ DCV
  NERVE STRIKE IMPARING/
  DISABLING TIME
  1d6 
  Time Condition Lasts
  1 
  1 Phase
  2 
  2 Phases
  3 
  1 Turn
  4 
  1 minute
  5 
  5 minutes
  6 
  1 hour or more (GM’s option)
  
  158 
  The Ultimate Martial Artist
  Advantages for Martial Maneuvers (see page 104), 
  you can also achieve this eﬀ ect without the OCV 
  penalty by buying a +¼ Invisible Power Eﬀ ects 
  Advantage for the maneuver you want to disguise. 
  Th e character could take a Requires A DEX Roll 
  (-½) Limitation on the Advantage if the GM desires.
  HEALING 
  Th is is an optional rule for campaigns in which 
  characters ﬁ nd themselves nicked to death before 
  ever reaching the story’s climax. If this is happening 
  and you don’t like it, use this rule:
  In combat, characters should keep track not 
  just of how much BODY they lose, but to which 
  attacks. Instead of just saying “I’ve lost 7 BODY,” a 
  player needs to be able to say, “I took three blows, 
  one doing 1 BODY, one doing 2 BODY, and one 
  doing 4 BODY.”
  Characters with PS: Doctor or KS: Chinese 
  Healing (or other ethnic healing KSs, but not Para-
  medics) can cure a little BODY damage from each 
  wound. Th e character rolls his PS: Doctor or KS: 
  Chinese Healing Skill once for each wound. For 
  each successful roll he makes, the character regains 
  1 BODY from that wound. Each wound may only 
  be treated once, and may not regain more than 1 
  BODY from this treatment.
  Th e treatment of each wound takes a minute or 
  two per wound and requires bandages of some sort; 
  even a wound deﬁ ned as a nasty bruise should be 
  taped up and supported. Th us, the rule is not useful 
  to characters during combat... only aft erwards.
  HINDERING 
  CIRCUMSTANCES AND 
  MARTIAL ARTS 
  Not every ﬁ ght takes place when the character 
  is at his best on clear, level ground. Th is section 
  oﬀ ers some guidelines on determining the eﬀ ects of 
  various hindering circumstances to supplement the 
  rules in Chapter Two of the HERO System 5th Edi-
  tion, Revised.
  In many cases, a character can eliminate the 
  eﬀ ects of hindering circumstances if he succeeds 
  with a roll for a particular Skill. He must make such 
  Skill Rolls each Phase; if he fails a roll he’ll suﬀ er 
  whatever penalties are involved for that Phase. Th e 
  appropriate Environmental Movement Talent also 
  eliminates some or all of the penalties associated 
  with hindering circumstances.
  ARMOR
  Most martial arts styles aren’t designed for use 
  while the ﬁ ghter is wearing armor — armor oft en 
  impedes a ﬁ ghter’s ability to move and to see, which 
  robs a martial artist of many of 
  the beneﬁ ts of his ﬁ ghting style. 
  If forced to use his martial arts 
  in armor, a character may suﬀ er 
  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 suﬀ ers a -1 
  to -3 penalty to OCV. Th e extent 
  of this penalty depends on the 
  amount and type of armor, and 
  the character’s ﬁ ghting 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 ﬁ ghters (such as 
  Kenjutsu or Weapons Combat) 
  do not require their practitioners 
  to purchase this Element; it’s a 
  “default” Element of that style.
  CLIMBING
  
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  Hero Games
  Penalties for ﬁ ghting 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 ﬁ ghting 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 aﬀ ects the type of 
  weapons he can use (see below for details). A 
  character may be able to eliminate some of 
  these penalties with a successful Acrobatics roll.
  FALLING AND FLYING
  Every now and then a character may have to 
  ﬁ ght during a long fall. Th e parachuting sequence 
  from the James Bond movie Moonraker probably 
  provides the classic example of this sort of thing 
  — two falling characters ﬁ ghting for a single para-
  chute. 
  Falling characters are severely restricted in 
  their use of martial arts. Attacks requiring them to 
  use their legs — just about all kinds of kicks and 
  sweeps, for example — are diﬃ  cult or impossible to 
  perform, as are most throws and dodges. Punches 
  or hand attacks are allowed, and grappling and 
  choking attacks are the easiest of all (and oft en the 
  most logical choice, too). Th ere’s no way to elimi-
  nate these penalties. 
  In some situations characters need to remem-
  ber the possibility of doing Knockback, something 
  they’ll oft en want to avoid — if your opponent has 
  the only parachute, you want to stick close to him 
  and take it from him, not knock him away from 
  you.
  Parachuting characters oft en use the reverse 
  of these rules — punching and grappling attacks 
  are not really possible, but some kicks are. Th e GM 
  should determine what maneuvers a character can 
  use based on the situation.
  Refer to Zero Gravity And Martial Arts, below, 
  for information about ﬁ ghting in situations where 
  there is no gravity at all. 
  FOOTING/SLIPPERY GROUND
  Penalties for ﬁ ghting when the footing is poor, 
  such as on icy or muddy ground, are described on 
  page 379 of the HERO System 5th Edition, Revised. 
  Th e GM may impose additional penalties on some 
  attacks, such as kicks. A successful Breakfall roll 
  eliminates these penalties. Some styles, such as 
  Pentjak-Silat, speciﬁ cally train ﬁ ghters to ﬁ ght on 
  slippery ground.
  GROUNDFIGHTING 
  Sometimes ﬁ ghts end up with two characters 
  struggling on the ground, rather than standing up 
  trading blows. Unfortunately, many martial arts 
  styles do not teach maneuvers for groundﬁ ght-
  ing (though they may teach a “grounded” ﬁ ghter 
  to dodge attacks from an upright attacker by using 
  Acrobatics; see page 112).
  Groundﬁ ghting has several eﬀ ects on the use of 
  martial arts. First, it restricts the maneuvers a charac-
  ter can use. Obviously he cannot use many kicks, and 
  all maneuvers which damage a character by causing 
  him to fall are useless; characters are oft en limited to 
  punches, grappling, and similar maneuvers. Second, 
  a character not trained in groundﬁ ghting suﬀ ers a 
  -2 OCV and ½ DCV penalty. He can eliminate these 
  penalties as to his groundﬁ ghting opponent if he 
  makes a PS: Groundﬁ ghting roll (at the GM’s option, 
  characters could use a special Element, Use Art while 
  Prone, in place of this Skill). Th e ½ DCV penalty 
  normally applied to prone characters targeted by 
  non-prone characters still applies even if that roll is 
  made (or Element known).
  MOUNTS 
  Sometimes martial artists have to ﬁ ght while 
  riding a horse or some other mount. Th is is of course 
  more common in fantasy campaigns, but can occur 
  in other settings as well. If the mount is unruly 
  and bucks, the character is at -3 OCV while 
  ﬁ ghting. Characters can eliminate this penalty 
  by succeeding with a Riding roll. See page 368 
  of the HERO System 5th Edition, Revised for 
  more information on mounted combat.
  TIGHTROPES AND NARROW SUR
  FACES 
  Penalties for ﬁ ghting on narrow surfaces, 
  such as tightropes and some ledges or tree 
  limbs, are described on page 379 of the HERO 
  System 5th Edition, Revised. Additionally, some 
  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.
  
  160 
  The Ultimate Martial Artist
  WATER 
  Penalties for ﬁ ghting underwater or in water 
  are described on page 379 of the HERO System 5th 
  Edition, Revised. Th e GM may restrict maneuvers 
  characters can use in such circumstances; kicks, for 
  example, are oft en harder or impossible.
  HIT LOCATIONS 
  Some HERO System GMs dislike Killing 
  Damage weapons in their campaigns because they 
  don’t put victims down with even the spotty regu-
  larity of real-world weapons.
  Th at’s a fair criticism. Th e HERO System was 
  written and developed to simulate heroic action. 
  Th at means characters can take a lot of damage and 
  keep going. A GM can use the Disabling/Impairing 
  rules to get around this, but those rules are a little 
  complicated.
  But it’s easy to institute a simpler ﬁ x. If you 
  want Killing Damage weapons to do more damage, 
  but don’t want to use the Disabling/Impairing rules, 
  or (worse) have to change all the damage dice for 
  weapons, try this simple tactic instead:  double the 
  BODYx Column of the Hit Location Chart for Kill-
  ing Damage attacks.
  With this approach, the Head and Vital loca-
  tions have a BODYx multiple of x4, instead of x2, 
  with Killing Damage only (Normal Damage would 
  still use x2). Hands, Arms, Legs and Feet would be 
  x1 instead of x½, and Shoulders, Chest, Stomach, 
  and Th ighs would be x2 instead of x1. Th is makes 
  Killing Damage weapons much more fearsome, but 
  you don’t have to ﬁ ddle with the damages listed for 
  weapons in all Hero Games rulebooks and supple-
  ments.
  Th is approach is not recommended for martial 
  arts-oriented campaigns, but it is appropriate for 
  gritty, “realistic” campaigns in which martial arts 
  sometimes appear.
  IGNORING OPPONENTS 
  In the HERO System, it’s possible to run right 
  past and ignore an opponent standing in your 
  way, even if he’s delaying to hit you, and you won’t 
  suﬀ er any sort of penalty. But that’s inappropriate 
  for many martial arts campaigns. Th e following 
  optional rule corrects this problem:
  If one character moves right past (i.e., through 
  the same or an adjacent hex) a foe using a Held 
  Action to strike at him, the moving character has 
  only ½ his DCV against the attack.
  If the character moves right up to the fellow 
  waiting to attack him and stops there, or moves 
  past in a Move Th rough and attacks him, he keeps 
  his normal DCV. Aft er moving up to that hex and 
  performing a maneuver (Strike, Block, Dodge, 
  anything) the character can continue on during his 
  next Phase and suﬀ ers no DCV penalty... but he 
  must spend at least one Phase in conﬂ ict with his 
  enemy or he suﬀ ers the penalty.
  INTERPOSING 
   
  In the HERO System, it’s very diﬃ  cult to defend 
  someone else. You can attack whomever is attack-
  ing him. Using the Block rules on page 142, you can 
  even Block some attacks made against him. You can 
  Dive for Cover in front of damage coming at him, 
  but that’s a desperation move:  you’ll automatically 
  take the damage he would have taken.
  If you want to have a more aggressive (but 
  dangerous) way to defend someone, you can use this 
  optional rule (for Hand-To-Hand Combat only). 
  Th ese rules are complicated and not particularly 
  intuitive, so only GMs who have felt a particular 
  need for more “defend-someone-else” options 
  should introduce them into their campaigns.
  To Interpose himself into a ﬁ ght, a character 
  moves in between the attacker and the person he 
  wants to defend. Th en he tells the GM what sort of 
  a DCV penalty he wants to take. Every -1 he takes 
  to his DCV is a +1 to his OCV if the attacker again 
  attacks the person he’s defending. Th e attacker 
  knows this; he can tell what the character’s doing 
  and the potential consequences. Th e DCV pen-
  alty and OCV bonus apply only against that one 
  attacker; against all others, the character has his 
  usual OCV and DCV.
  A character who doesn’t want to be defended 
  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-
  ing character is aware of the decision, the Interpos-
  ing eﬀ ects go away; he gets his full DCV back. If the 
  Interposing character is not aware of the decision, 
  his DCV stays reduced... but he does not get an 
  OCV bonus if the other fellow attacks the person 
  the character thinks he’s defending.
  A character can Interpose to protect a doorway 
  or window, to keep someone from getting through 
  it. If the attacking character tries to get past him, the 
  interposing character gets his OCV bonus.
  INTERPOSING 
  EXAMPLE
  Lt. Harry Cho tries 
  to defend his injured 
  partner, Mace, from 
  the attacks of an 
  assassin. He moves 
  between Mace and 
  the assassin, Interpos-
  ing himself. He puts 
  his Skill Levels into 
  DCV and has a base 
  DCV of 10; he opts 
  to reduce it by 5, to 
  5. Th is tells the assas-
  sin he’s going to have 
  to 
  expose 
  himself 
  to Cho’s attack if he 
  attacks Mace — Cho 
  gets a +5 OCV on 
  attacks against the 
  assassin (which he 
  could use for a Block 
  or an oﬀ ensive attack). 
  His base OCV is 7; it’s 
  12 versus the assassin 
  only, and only if the 
  assassin attacks Mace 
  instead of him.
  
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  Hero Games
  KNOCKBACK AND 
  MARTIAL ARTS
  Increasing Knockback
  In some source material, such as Japanese 
  animation, martial arts attacks oft en do tremen-
  dous amounts of Knockback — much more than 
  characters normally do with the regular HERO 
  System rules, which restrict the amount of Knock-
  back from martial arts attacks. If you want more 
  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). Th is “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. Th e 
  character takes a ﬂ at -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 
  additional Knockback. Th e player declares his 
  desire to have his character make a Pushback attack 
  instead of a regular attack. If the attack hits, the 
  player decides how much damage to trade oﬀ . For 
  every 1 DC sacriﬁ ced, the attack does +2 BODY 
  solely for purposes of calculating Knockback. Visu-
  ally, the character may use an attack to “throw” an 
  opponent away from him, or project ch’i into an 
  enemy to force him away.
  Example:  Two karateka, Maeda and Egami, are 
  ﬁ ghting on a bridge over a deep gorge. Maeda 
  Th rows Egami, injuring him and putting him 
  near the edge of the bridge. Egami decides to fake 
  
  162 
  The Ultimate Martial Artist
  a serious injury rather than get to his feet and 
  risk being knocked oﬀ  of the bridge by Maeda’s 
  next attack. He makes his Acting roll by 3; Maeda 
  misses his PER Roll and falls into Egami’s trap. 
  Maeda leaps at Egami, planning to knock him 
  oﬀ  the edge. Egami tries a Pushback attack to 
  move Maeda far enough away from him that he 
  can get up and move away from the edge before 
  Maeda’s next attack. He uses his 10d6 side kick 
  and decides to sacriﬁ ce 5 DC for +10 BODY for 
  Knockback purposes. He hits Maeda and rolls 
  5d6 for damage:  17 STUN and 5 BODY. For 
  purposes of Knockback, this means 15 BODY. 
  Th e Knockback roll comes up 9, and Maeda goes 
  ﬂ ying back 6”. Th e GM explains that Egami got 
  his foot in the pit of Maeda’s stomach and shoved 
  him away. Unfortunately for Maeda, the bridge 
  is only 4” wide....
  GMs should only adopt this rule if it’s appropri-
  ate and useful in the campaign. In some games it may 
  have the eﬀ ect of making the Shove maneuver and 
  the Double Knockback Advantage eﬀ ectively useless.
  MYSTERY DAMAGE 
  Th is is an option which only works for GMs who 
  are willing to keep track of more details in combat. It 
  is not recommended for any GM unless he likes being 
  the one to keep track of character damage, or has a 
  special reason in a one-shot game to keep his players 
  oﬀ -balance.
  In real life, a person cannot take an injury and 
  know “Ah-ha, I’ve taken 4 BODY, it hurts but I’m not 
  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 conﬁ dence in his ability to shrug oﬀ  the 
  injury.
  If you want to simulate this in the game, the GM 
  himself must keep track of all BODY damage done 
  by Killing Attacks; he can let the players keep track of 
  their own STUN damage from Killing Attacks, and 
  of STUN and BODY damage from Normal Damage 
  attacks. He’ll have to know how much BODY the 
  characters start with, and their Resistant Defenses 
  (and what parts of the body they protect). He must 
  make sure the players tell him about any BODY their 
  characters take from Normal Damage attacks, and 
  must record that BODY with the Killing Damage 
  they’re taking.
  MYSTERY DAMAGE WITHOUT HIT 
  LOCATIONS
  Whenever an NPC hits a PC with a Killing 
  Attack, the GM rolls the damage, rolls the STUN 
  Multiplier, and announces something like this: “Ed, 
  he’s stabbed you in the chest, right below the ribs. It 
  hurts a lot:  take 12 STUN.”
  Now, Ed knows only that it “hurts a lot” from the 
  STUN total he took; he doesn’t know how bad the 
  injury is. He doesn’t know if the GM rolled 3 BODY 
  and a 4x STUN Multiplier; perhaps it was 6 BODY 
  and a 2x STUN Multiplier; maybe it was 2 BODY 
  and a 6x STUN Multiplier (from the Increased STUN 
  Multiplier Advantage) or even 12 BODY and a 1x 
  STUN Multiplier.
  To get an idea of how bad the wound is, he must 
  use a Half Phase Action to look at it. At that point, 
  the GM should say nothing more than: “It looks shal-
  low,” or “It looks deep but you’ve had worse,” or “It’s 
  deep and nasty-looking.” Th us, characters won’t know 
  when they’re mortally wounded, though the GM can 
  tell them how they’re bleeding like stuck pigs and 
  swift ly growing weaker and weaker.
  MYSTERY DAMAGE WITH HIT LOCATIONS 
  When you use Hit Locations in your game, 
  mystery damage becomes a bit more complicated. A 
  character who’s stabbed in the stomach and takes 12 
  STUN automatically knows he took 3 BODY. Th ere-
  fore, in campaigns using Hit Locations, you have to 
  do things a little diﬀ erently.
  In this sort of campaign, you don’t just use the 
  STUNx column from the Hit Location chart. You use 
  that column, but also make two quick rolls. Th e 1d6 
  roll is for subtract/add: a 1-3 means subtract, and a 4-
  6 means add. Th e 2d6 roll is how much STUN to add 
  or subtract to the STUN done by the attack.
  Example: Sonoda Toshio is hit in the Chest for 8 
  BODY. Th at 8 BODY to the Chest normally does 
  24 STUN. Th e GM now rolls 1d6 and gets a 1: 
  Subtract. He rolls 2d6 and rolls a 7. He takes the 24 
  STUN, subtracts 7, and gets 17. He tells the player, 
  “You’ve been hit in the chest; take 17 STUN.” Th e 
  player has no way of knowing how that amount 
  was reached; it isn’t possible for him to calculate 
  how much damage he took.
   Alternately, the GM can simply keep track of the STUN 
  of the attack, along with the BODY.
  SEQUENCE ATTACKS
  A sequence attack (also known as a pattern 
  attack) is an attack built up over several Phases to 
  gain an advantage over an opponent in the end. 
  Visually, a sequence attack usually requires 
  the attacker to make several feints or attacks whose 
  main purpose is to force the target into a disadvanta-
  geous position for the ﬁ nal blow — setting the enemy 
  up for the kill, in other words.
  Characters can use two types of sequence 
  attacks:  unstructured and structured. Th e GM 
  should decide which of these two types of sequence 
  attacks to allow in his campaign, if any. Although 
  sequence attacks are intended primarily for Hand-
  To-Hand Combat, in some situations it might be 
  possible to use them with Ranged Combat (for 
  example, deliberately missing someone with three 
  shots to force him into an open area where he has no 
  cover to hide behind).
  UNSTRUCTURED SEQUENCE ATTACKS
  In an unstructured sequence attack, the attacker 
  does not have to specify in advance which maneu-
  vers he’ll use against his target — in fact, maneuvers 
  aren’t really used at all. To begin an unstructured 
  sequence attack, the character declares the length (in 
  Phases) of the sequence he intends to attempt. An 
  unstructured sequence attack can be of any length, 
  
  163 
  Hero Games
  but tends to have a practical limit of three to ﬁ ve 
  Phases.
  To execute the sequence, the character makes 
  an attack against his target in each Phase of the 
  sequence. He makes this attack against the target’s 
  base DCV (DCV as derived from DEX, without any 
  maneuver modiﬁ ers or Combat Skill Levels). Th e 
  attacker may use any Combat Skill Levels he has 
  with Hand-To-Hand Combat or with a martial arts 
  style; he may not use Levels which only apply to one 
  or two speciﬁ c maneuvers. A hit does no damage 
  — it doesn’t actually contact the target at all, it simply 
  indicates the target was moved into position for the 
  next part of the sequence.
  For the unstructured sequence attack to suc-
  ceed, the character has to “hit” his target during each 
  Phase of the sequence. If he stops the sequence at 
  any time, if he misses even one of the attacks, or if 
  he takes Knockback/Knockdown, is Stunned, or is 
  Knocked Out, the sequence is disrupted and ruined. 
  (However, if he takes damage without being knocked 
  back, Stunned, or Knocked Out, the sequence is not 
  disrupted — sometimes a ﬁ ghter deliberately sub-
  jects himself to punishment to deliver a truly telling 
  blow against his enemy.)
  Th e character realizes the beneﬁ ts of making a 
  sequence attack in the ﬁ rst Phase aft er the sequence 
  ends. Th at beneﬁ t is:  for every Phase of the 
  sequence, the attacker may add +1 to his OCV or +1 
  DC to the damage he does to the target. Th e attacker 
  must pick one option or the other; he cannot, for 
  example, use half of his Phases for an OCV bonus 
  and half for a damage bonus. Th us, a sequence attack 
  oﬀ ers the attacker the chance to set a superior ﬁ ghter 
  up for a devastating blow. 
  STRUCTURED SEQUENCE ATTACKS
  Structured sequence attacks are similar to 
  unstructured sequence attacks, with a few important 
  diﬀ erences. 
  First, the attacker must specify in advance which 
  maneuvers he will use in each of the Phases of his 
  attack. Each maneuver must be oﬀ ensive in nature, 
  whether it’s a Strike, Th row, Disarm, Bind, or what 
  have you — no Dodges, Blocks, or other primarily 
  defensive maneuvers allowed. All normal modiﬁ ers 
  apply, and the attack is made against the target’s DCV 
  as modiﬁ ed by maneuvers, levels, and the like.
  Second, if the attacks made during a structured 
  sequence attack hit, the target does take damage, but 
  only half damage.
  Th ird, aft er the attacker successfully completes 
  the sequence, he gains a bonus of +1 OCV or +1 
  DC damage per Phase of the sequence, and he may 
  divide his bonuses between OCV and damage as he 
  pleases.
  DETECTING AND DEFENDING AGAINST 
  SEQUENCE ATTACKS
  One of the reasons sequence attacks are so dif-
  ﬁ cult is that they’re relatively easy to detect and avoid.
  To detect a sequence attack (of either type), 
  the target can make a roll against any of the follow-
  ing Skills:  Tactics, KS: Analyze Style, KS: [attacker’s 
  speciﬁ c martial arts style]. If the target does not have 
  any of these Skills, the GM may at his option allow 
  the character to make a PER Roll at -4. Regardless of 
  which Skill the target usea, the attacker may attempt 
  an Acting or Sleight Of Hand roll to make his 
  sequence attack harder to detect; for every 2 points 
  he makes the roll by, he imposes a -1 to the target’s 
  roll.
  A character can avoid a sequence attack in 
  many ways. Th e ﬁ rst is to not get hit — if the target 
  can block or dodge even one of the sequence’s blows, 
  the whole sequence falls apart. Second, he can Stun, 
  Knock Out, or do Knockback to his attacker, or hit 
  him with a maneuver that ruins the sequence (such 
  as a Martial Grab). Th ird, he can simply move far 
  enough away from his attacker to force him to make 
  a full move to catch up — this is enough to break 
  up the sequence, since the attacker has to forego an 
  attack to follow his quarry. Fourth, the GM might 
  rule that some Surprise Moves (HERO System 5th 
  Edition, Revised, page 381) disrupt the sequence 
  because they startle the attacker.
  SEQUENCE ATTACKS BETWEEN PLAYER 
  CHARACTERS
  It’s even more diﬃ  cult for a PC to use a 
  sequence attack on another PC, because it’s virtually 
  impossible to hide the fact that the character is using 
  a sequence attack. Once the other player realizes 
  what’s going on, he can easily have his character dis-
  rupt the sequence.
  Th e only way for a PC to use a sequence attack 
  on another PC without giving himself away is to 
  enlist the help of the GM. Usually this is done in 
  advance, but it can also be done by passing the GM 
  a note or speaking with him privately. Th e player 
  should inform the GM of what he wants to do, and 
  the GM helps him by maintaining a deceptive front. 
  Th is requires a high level of player and GM coopera-
  tion, and may require the player to give false read-
  ings of his die rolls in some cases (for example, in an 
  unstructured sequence attack, 
  telling the other player that 
  an attack made against 
  his character just 
  missed, while secretly 
  signalling the 
  GM that the 
  attack hit for 
  purposes of 
  maintaining the 
  sequence).
  UNSTRUCTURED 
  SEQUENCE ATTACK 
  EXAMPLE
  Inohara Mitsuo and 
  Sotomura Takuji, two 
  karateka, ﬁ ght one 
  another for the hand 
  of the beautiful Prin-
  cess Miyoko. Inohara, 
  the younger and less 
  experienced 
  ﬁ ghter, 
  is DEX 20, SPD 4. 
  Sotomura is DEX 23, 
  SPD 4, and does an 
  average of 2 DC more 
  damage per maneuver 
  than Inohara. Aft er 
  the ﬁ rst two Phases 
  of combat, Inohara 
  knows his chances to 
  defeat Sotomura in a 
  straightforward battle 
  are slim. Desperate to 
  win the hand of the 
  Princess, he decides to 
  risk all on an unstruc-
  tured sequence attack 
  4 Phases long.
  Th e sequence begins 
  in Phase 6. Sotomura 
  attacks and does 22 
  STUN, 6 BODY to 
  Inohara, no Knock-
  back. Th e young war-
  rior (PD 12, CON 
  19, STUN 38) shrugs 
  oﬀ  the pain and 
  begins his sequence 
  attack. He puts all of 
  his Levels into OCV, 
  giving him a total 
  OCV of 10. Sotomu-
  ra’s base DCV is 8, so 
  Inohara needs a 13- 
  to hit him. He rolls an 
  11, and his ﬁ rst feint 
  succeeds. (Note that 
  Sotomura takes no 
  damage.)
  In Phase 9, Sotomura 
  attempts a Knifehand 
  Strike and misses. 
  Inohara 
  counters 
  with a Spin Kick. He 
  keeps his levels in 
  OCV and rolls a 13, 
  barely succeeding and 
  forcing Sotomura fur-
  ther into position. In 
  Phase 12, Sotomura 
  punches Inohara and 
  does 27 STUN, 9 
  BODY, no Knockback. 
  Inohara is still stand-
  ing, but the wear and 
  tear are beginning to 
  Continued on next page
  
  164 
  The Ultimate Martial Artist
  WEAPON LENGTHS 
  Th is optional rule is for use in Heroic games; 
  Superheroic campaigns don’t need to worry about 
  it. Gamemasters of Heroic campaigns do not need 
  to include it if they ﬁ nd it inconvenient. All weap-
  ons in the Martial Arts Weapons section are listed 
  as Short, Medium, and Long for 
  convenient reference when you 
  use this rule.
  Weapon Ranges
  A Short or Medium weapon 
  (including unarmed combat) can strike 
  targets in the character’s own hex or 
  in adjacent hexes.
  Long weapons have 
  ranges of 1” or 2”. A weapon 
  with a 1” range can strike 
  characters in adjacent hexes 
  or 1” further than that. A 
  weapon with a 2” range can 
  strike characters in adjacent hexes or 
  up to 2” further than that.
  OCV Penalties 
  Unarmed combatants and wielders 
  of Short weapons are at a disadvantage 
  when ﬁ ghting opponents with Long 
  weapons. When a character with a 
  Short weapon (including unarmed 
  characters) ﬁ ghts a target with a 
  Medium weapon, the character is at -
  1 OCV. When he ﬁ ghts a target with 
  a Long weapon, he is at -2 OCV. 
  When a character with a Medium 
  weapon ﬁ ghts a target with a Long 
  weapon, the character is at -1 OCV. 
  Th e character with the longer weapon 
  doesn’t get a bonus to OCV.
  Now, this OCV penalty only lasts 
  as long as it takes the character with the 
  shorter weapon to hit the target with 
  the longer weapon. As soon as he’s hit 
  the target, it means he’s gotten inside his 
  target’s range, and the situation reverses. Th e target 
  with the longer weapon now has an OCV penalty 
  identical to the penalty the character previously 
  had. To get rid of the penalty, he has to back up 1” 
  to get his range back, or has to hit his foe in spite 
  of the OCV penalty (that means he has once again 
  thrown his foe back to his preferred ﬁ ghting range).
  Now, when a character has a weapon the 
  same length as his foe’s (for example, if both have 
  polearm Long Weapons), but decides to make an 
  unarmed attack (for instance, kicking his oppo-
  nent), he does not suﬀ er the OCV penalty; because 
  he has a weapon of length similar to his foe’s, he 
  ﬁ ghts at no range disadvantage.
  Shields And Longer Weapons
  A shield constitutes a Short weapon when used 
  to attack a target (i.e., a shield-bash attack). Th ere-
  fore, a character trying to shield-bash a target hold-
  ing a spear suﬀ ers a -2 OCV.
  However, the shield does not suﬀ er an OCV 
  penalty when its bearer chooses a Block maneu-
  ver, regardless of the length of the weapon being 
  Blocked. A shield blocks a dagger, a sword, a battle 
  axe, and a pike with the same OCV.
  Weapon Lengths 
  And Enclosed Space
  Long weapons aren’t much good 
  when you’re ﬁ ghting in a space the size 
  of a telephone booth, and this optional 
  rule simulates that fact. Th e accompanying 
  table lists a variety of diﬀ erent ﬁ ghting 
  environments and their eﬀ ects on dif-
  ferent types of weapons.
  WOUNDS
  Targeting 
  Injured Areas
  Sometimes a char-
  acter wants to target 
  an opponent’s existing 
  injuries or inﬁ rmities 
  as a way of weakening, 
  disabling, or torturing 
  him. Th is isn’t always 
  very heroic, of course 
  — but then 
  again, not all 
  characters are 
  heroes.
  For purposes of 
  these rules, an injury 
  or wound is deﬁ ned as 
  any point on the body 
  where a character has 
  taken BODY damage, 
  regardless of the 
  type of attack 
  used to inﬂ ict 
  that damage 
  or whether the 
  area is visibly 
  injured. Cuts and 
  stab wounds from 
  swords and knives, claw 
  wounds from animals, 
  bullet wounds, and the like are all “injuries.”  
  Targeting an existing injury can be easy or 
  diﬃ  cult, depending on the size of the wound. A 
  large wound (for example, a long cut from a sword) 
  imposes a -4 to -5 OCV modiﬁ er. A medium-sized 
  Continued from last page
  take their toll. He per-
  forms the third part 
  of his sequence and 
  rolls a 7, easily draw-
  ing Sotomura further 
  into his trap.
  In Phase 3 of the next 
  Turn, Sotomura once 
  again tries his knife-
  hand 
  attack, 
  and 
  again misses. Inohara 
  feints at him again, 
  rolls a 10, and suc-
  cessfully 
  completes 
  his sequence attack. 
  In Phase 6, Soto-
  mura connects with 
  his Knifehand Strike, 
  doing 8 BODY, 24 
  STUN, no Knock-
  back. Inohara is on 
  the ropes, but now he 
  has Sotomura right 
  where he wants him. 
  He chooses to add 
  +4d6 to his normal 
  6d6 attack, puts all 
  of his Levels into 
  OCV, and launches a 
  side kick. Sotomura’s 
  DCV is currently 10, 
  Inohara’s OCV is 8. 
  He rolls an 8 and 
  connects!  He rolls 43 
  STUN, 11 BODY, and 
  2” Knockback, Stun-
  ning Sotomura and 
  knocking him out of 
  the ring. Th e Princess 
  is his at last!
  STRUCTURED 
  SEQUENCE ATTACK 
  EXAMPLE
  In the example given 
  above, suppose that 
  Inohara had declared 
  a structured sequence 
  attack using these 
  maneuvers:  Punch, 
  Punch, 
  Knifehand 
  Strike, and Spin Kick. 
  His attacks are made 
  against 
  Sotomura’s 
  regular 
  DCV 
  (his 
  base of 8, plus any 
  levels or maneuver 
  modiﬁ ers available). 
  Each 
  hit 
  damages 
  Sotomura, but he only 
  takes half damage. At 
  the end, aft er each 
  attack hits, Inohara 
  gets a bonus of +4, 
  which he may split 
  
  165 
  Hero Games
  wound (for example, claw wounds from a tiger) 
  imposes a -5 to -7 OCV modiﬁ er. A small wound (for 
  example, a stab wound or a bullet wound) imposes 
  a -7 to -12 OCV modiﬁ er. Th ese modiﬁ ers take the 
  place of the Hit Location modiﬁ ers normally used for 
  Placed Shots (in eﬀ ect the wound becomes a separate 
  target).
  Hitting a wound or injured area has several 
  painful eﬀ ects. Th e ﬁ rst hit to an existing wound is so 
  painful that negative damage modiﬁ ers (such as x½) 
  for STUN and BODY for the location of the wound 
  are ignored. Th e victim takes full damage, calculated 
  with any positive modiﬁ ers (such as x1½ or x2).
  Th e second hit to an existing injury has the same 
  eﬀ ect as the ﬁ rst hit, plus it Impairs the area (the GM 
  should roll the Impairment Time normally). Th e 
  third and any subsequent hits to an existing injury 
  have the same eﬀ ect as the second hit, plus the BODY 
  damage done by the attack is Penetrating. (At the 
  GM’s option, the attack may instead automatically be 
  Disabling.)
  Twisting The Blade
  A favorite trick of many villains (and a few 
  vengeful heroes) is to stick a weapon into an enemy 
  and then twist the blade, causing intense pain and a 
  worse wound. To do this in HERO System combat, 
  the attacking character must declare his intention to 
  twist the blade before he makes the initial attack; fur-
  thermore, characters can only perform this maneuver 
  with Short or Medium length weapons. Th e attack is 
  at -3 OCV (to reﬂ ect both the diﬃ  culty of impaling 
  someone this way and certain game balance consid-
  erations), and must do BODY damage to the target. 
  If the target takes Knockback, the attempt automati-
  cally fails. If the attack succeeds, does BODY, and 
  does no Knockback, and the target cannot escape (see 
  below), then in his next Phase the attacker may twist 
  the blade in the wound, doing half of the weapon’s 
  base damage (i.e., damage without STR or Damage 
  Classes added to it), against which the target gets no 
  defenses at all. Twisting the blade in this way is a Half 
  Phase Action (but may only be performed once per 
  Phase), so the character can make another attack, if 
  possible.
  Example: Isamu (CV 7) and Takeshi (CV 6), two 
  kenjutsuka, hate each other bitterly. Th ey begin 
  to duel with katanas. Isamu decides he will try 
  to hit Takeshi and then twist the blade, to make 
  Takeshi suﬀ er. Isamu uses a Lightning Stroke; his 
  OCV is 7 (base of 7, +2 for the maneuver, +1 for 
  the weapon, -3 for the attempt to impale). He 
  rolls a 9 and hits. Th e weapon does a base 1½d6 
  HKA, and Isamu is STR 10, so the attack does 
  2d6+1 HKA total. He rolls 8 for damage, pene-
  trating Takeshi’s 4 PD Armor and doing 4 BODY. 
  Th e Hit Location Roll says Takeshi was struck 
  in the stomach, so he takes 32 STUN against his 
  defenses. Isamu’s katana is now stuck in Takeshi’s 
  body.
  Takeshi decides he’d better get oﬀ  of Isamu’s 
  katana before he’s hurt worse. He decides to try 
  a DEX Roll at -4 (-1 per BODY taken), and fails 
  miserably. Because of his failure, he takes half 
  of the weapon’s base damage, with no defense. 
  Isamu rolls ½d6+1 for damage, for a total of 3 
  BODY and 12 STUN, which Takeshi takes all 
  of (he gets no defense). In Isamu’s next Phase, 
  he twists the blade, doing 3 more BODY and 12 
  STUN. Takeshi is unconscious and bleeding to 
  death.
  Th e victim of this sort of attack can escape 
  having the blade twisted in several ways. First, 
  he can Knock Out, Stun, or kill his attacker 
  with an attack of his own. Because the attacker 
  has to get extremely close to the target to try 
  an attack of this sort, he is at -2 DCV against 
  attacks the target makes against him. Second, 
  he can use a Full Phase Action to try to move 
  oﬀ  of the weapon without injuring himself. 
  Th is requires the target to step away from his 
  attacker and make a DEX Roll at -1 per BODY 
  taken from the initial attack. If the DEX Roll 
  succeeds, the target extracts the blade without 
  sustaining further injury. If the roll fails, the target 
  takes damage just as if the attacker had twisted 
  WEAPON LENGTH 
  EXAMPLE
  Harry 
  Cho 
  ﬁ ghts 
  Nakagawa Shiro. Cho 
  is unarmed (corre-
  sponding to a Short 
  weapon); Nakagawa 
  is using the kwan 
  dao, a polearm (a 
  Long Weapon). Cho 
  is at a -2 OCV pen-
  alty to hit Nakagawa. 
  On his ﬁ rst Phase of 
  combat, he fails to hit 
  Nakagawa; he’s kept 
  back at the range of 
  the kwan dao. On the 
  second Phase, he hits 
  Nakagawa, even with 
  the -2 OCV penalty. 
  Th is means he’s gotten 
  inside the weapon’s 
  reach. On the third 
  Phase, 
  Nakagawa 
  now has the -2 OCV 
  penalty, while Cho 
  isn’t penalized. Nak-
  agawa suﬀ ers the -2 
  OCV until he backs 
  up 1” or hits Cho even 
  with the penalty.
  TARGETING 
  WOUNDS EXAMPLE
  Th e tongs hire Xiu 
  Kwan, the lin kuei 
  assassin, to kill a 
  prominent 
  shop-
  keeper who refused to 
  pay them protection 
  money. Th e killing is 
  supposed to be painful 
  to set an example. Xiu 
  ambushes his target 
  during the working 
  ENCLOSED SPACE AND WEAPON LENGTH
  Setting
  Unarmed
  Short
  Weapon
  Medium
  Weapon
  Long
  Weapon
  Coﬃ  n
  -2
  -3
  n/p
  n/p
  Phone Booth
  -1
  -2
  -3
  n/p
  Narrow Hallway (3’ wide)
  —
  — 
  -1
  -2
  Room Crowded w/Fur-
  niture
  —
  -1 
  -2
  -3
  Doorway (3’ wide)
  —
  -1
  -2
   -3
  Room w/ Low Ceiling (6’)
  —
  —
   —
  -1
  —: Combat abilities are unaﬀ ected. 
  n/p: Use of this weapon is not possible.
  Continued on next page
  
  166 
  The Ultimate Martial Artist
  the blade. If the target cannot move away from his 
  attacker (for example, if he’s been backed against a 
  wall), then he cannot remove the blade from him-
  self in this fashion.
  ZERO GRAVITY 
  AND MARTIAL ARTS 
  It’s not likely to come up very oft en, but a 
  martial artist could ﬁ nd himself in Zero-G (no 
  gravity). Th is could occur in a diving plane or in a 
  space station adventure.
  Th e eﬀ ects of Zero-G on Hand-To-Hand 
  Combat fall into four categories: OCV Penalties, 
  DCV Penalties, Damage Penalties, and Action/
  Reaction. Th ese penalties all apply when the char-
  acter is in free fall in Zero-G. If he’s braced against 
  a surface (for instance, if he wears magnetic shoes 
  and stands on a steel surface), they do not apply.
  OCV/DCV PENALTIES 
  All side kicks, spinning kicks, and other 
  attacks requiring the character to have his feet on 
  the ground take a -3 OCV when performed in free 
  fall. In some situations the GM may rule that char-
  acters cannot use these maneuvers at all. Martial 
  arts characters are at ½ DCV when in free fall. 
  DAMAGE PENALTIES 
  All martial arts Strikes take a -1 DC damage 
  penalty when performed in free fall, as they nor-
  mally beneﬁ t 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 
  ﬂ ying — 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”.
  Th e 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 aft er 
  that, and so on until he runs into something.
  GRAPPLING
  Grabbing someone negates OCV penalties 
  for strikes and the Action/Reaction eﬀ ect (when 
  you’ve Grabbed someone and hit him, doing 
  Knockback, neither of you goes anywhere).
  PROFESSIONAL SKILL:  ZEROG OPERA
  TIONS 
  If a character wants to cancel Zero-G penal-
  ties, he should buy the PS: Zero-G Operations. Th is 
  is a 3-point, DEX-based Professional Skill (+1 to 
  the roll for +1 point). A character with this Skill 
  can perform all ordinary tasks in Zero-G with 
  none of the penalties listed above; when the task is 
  especially diﬃ  cult or complicated, he must make 
  his PS: Zero-G Operations roll. Failure merely 
  means he suﬀ ers the usual penalties, not that he 
  can’t perform the tasks.
  day where several 
  customers and other 
  merchants can see 
  him. First he throws 
  a volley of shuriken, 
  doing 2 BODY to the 
  victim’s Right Leg, 1 
  BODY to his Chest, 
  and 1 BODY to his 
  Left  Arm. Th en he 
  moves in to make his 
  victim suﬀ er. Th e GM 
  rules the leg wound is 
  small and imposes a 
  -8 OCV modiﬁ er on 
  Xiu. With all of his 
  levels in OCV, Xiu 
  targets the leg wound 
  and hits it, causing 
  full STUN (no x½ 
  modiﬁ er is applied). 
  Th en, to make sure 
  the shopkeeper won’t 
  run away, Xiu hits 
  the leg wound again, 
  causing full STUN 
  and Impairing the leg 
  for 1 hour (GM rolls 
  4 on the Impairment 
  Time Table). If he hits 
  it a third time, the 
  BODY damage done 
  is Penetrating.
  Continued from last page
  
  167 
  Hero Games
  T
  his section describes weapons (and 
  other gear) appropriate for martial 
  arts characters and campaigns. Costs 
  for each weapon are given, so you can 
  use them in Superheroic campaigns; for Heroic 
  campaigns, characters don’t have to pay points for 
  these weapons, but are subject to the listed STR 
  Minimum (see below).
  OCV:  Th is is applied as a bonus or penalty against 
  all attacks made with the weapon. OCV bonuses 
  are bought as 5-point Combat Skill Levels with the 
  OAF, Required Hands, and Real Weapon Limita-
  tions. OCV bonuses that apply only to a tight group 
  of maneuvers (normally, the Bind, Disarm, and 
  Takeaway maneuvers) are bought with a -½ Limita-
  tion. OCV bonuses that apply only to one type of 
  maneuver (normally Block) are bought with a -1 
  Limitation. OCV penalties are a minor Side Eﬀ ect 
  (automatically occurs; -½) for the weapon.
  RMod:  Th is represents a modiﬁ er to the weapon’s 
  accuracy at Range. Positive values (bought as 3-
  point Penalty Skill Levels versus the Range Group 
  with the Focus and Required Hands Limitations) 
  help to oﬀ set the standard Range Modiﬁ er; nega-
  tive values (a minor Side Eﬀ ect (automatically 
  occurs; -½)) add to it. RMod can never raise a 
  character’s base OCV, it can only negate penalties.
  Damage:  Th e damage done by the weapon. 
  Weapon damage appearing without parentheses 
  — for instance, 1d6+1 — refers to Killing Damage 
  (built using HKA or RKA), while weapon damage 
  appearing in parentheses — for instance, (4d6) 
  — refers to Normal Damage (built using EB 
  or HA). Th rowable melee weapons have the 
  Advanted Range Based On STR (+¼).
  STUNx:  Th is is the STUN Multiplier for Killing 
  Damage weapons (a 0 means “no modiﬁ cation”; 
  use the standard 1d6-1 STUN Multiplier). Apply 
  the STUNx modiﬁ er to the STUN Multiplier roll 
  (or to the STUNx for the Hit Location struck, 
  if the campaign uses Hit Location rules). For 
  example, if a character with a War Flail (STUNx 
  +1) hit an opponent in the Head, the total STUNx 
  would be 6.
  STRMin:  STR Minimum. See pages 478-79 of 
  the HERO System 5t Edition, Revised for rules. 
  Remember to apply the rules in Adding Damage, 
  pages 405-09, when using STR to increase the 
  damage of a weapon bought with Advantages.
  BODY:  Th e weapon’s BODY.
  DEF:  Th e weapon’s DEF.
  Mass:  Th e weight of the weapon in kilograms.
  Shots:  Th e number of Charges a ranged weapon 
  has (usually Recoverable Charges [RC]).
  Max Range:  Th e weapon’s maximum Range in 
  game inches (hexes). Of course, its eﬀ ective range 
  — the range over which it’s likely to hit a target 
  — is much less, thanks to the Range Modiﬁ er.
  A/N/C Cost:  Th e Active Point cost and Real Point 
  cost of the weapon for Normal (OAF, -1) and 
  Concealed (IAF, -½) versions.
  Cultr:  Th e culture or nation which created the 
  weapon. Th e entries in the “Master List” of weap-
  ons descriptions oft en contain information about 
  equivalent weapons from other cultures. 
  Length:  Th e weapon’s length — Short, Medium, 
  or Long. See page 480 of the HERO System 5t 
  Edition, Revised for information on how these 
  are bought, and see page 186 of Fantasy Hero and 
  page 164 of this book for more information on 
  weapons lengths generally.
  Notes:  This catch-all category includes any 
  information not listed elsewhere; refer to the 
  Notes And Key section after the chart for more 
  information.
  Ultimate Martial Artist PDF Note:  The weapons 
  tables in this PDF have been redone to format 
  them like the weapons tables in Fantasy Hero, 
  and revised to take into account new rules and 
  procedures in the HERO System 5t  Edition, 
  Revised rulebook and Fantasy Hero. Therefore 
  they may differ in some respects from the tables 
  in the printed Ultimate Martial Artist book; in 
  that case, the information in this PDF supersedes 
  the information in the printed book.
  MARTIAL ARTS
  WEAPONS
  
  168 
  The Ultimate Martial Artist
  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
  Th ree-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
  Weapon 
  OCV RMod Damage STUNx 
  Min 
  BODY DEF Mass Shots Range 
  Cost 
  Cultr 
  Notes
  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
  Weapon 
  OCV RMod Damage STUNx 
  Min 
  BODY DEF Mass Shots Range 
  Cost 
  Cultr 
  Notes
  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
  
  169 
  Hero Games
  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 Th r
  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 Th r, 1½H 
  Bundi 
  0 
  1d6 
  0 
  10 
  3 
  4 
  0.7 
  27/9/12 
  M 
  India 
  +1 OCV w/ Block
  Butterﬂ y 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 Th r
  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 Th r, 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 Th r
  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 
  Th r
  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
  
  170 
  The Ultimate Martial Artist
  HAND-TO-HAND WEAPONS TABLE
  Weapon 
  OCV 
  Damage STUNx STR Min BODY 
  DEF 
  Mass A/N/C Cost Length Cultr 
  Notes
  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 Th r, 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 Th r
  Pedang 
  0 
  1d6 
  0 
  10 
  5 
  5 
  1.2 
  26/9/11 
  M 
  Indon Th r
  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-Th e-
  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 Th r
  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 Th r
  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 Th r, 2H
  Kusarigama or 
  Kyogetsu Shoge 
   
   
   
   
  4 
  5 
  1.3 
  See text 
  L2 
  Japan Th r,  2H, Ninja Weapon; see 
  Kama, Kusari
  Manriki-Gusari
  or Kusari-fundo 
  0 
  (3d6) 
  — 
  8 
  3 
  5 
  1.0 
  26/7/8 
  M 
  Japan Th r, 2H, Ninja Weapon
  Rante 
   
   
   
   
  4 
  5 
  1.4 
  29/13/15 
  L 
  Indon
  Chain 
  0 
  (3d6) 
  — 
  5
  Blade 
  0 
  ½d6 
  0 
  5
  
  171 
  Hero Games
  HAND-TO-HAND WEAPONS TABLE
  Weapon 
  OCV 
  Damage STUNx STR Min BODY 
  DEF 
  Mass A/N/C Cost Length Cultr 
  Notes
  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 Th r
  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, Th r, +2 OCV w/Bind, 
  Block, Disarm, Takeaway
  Blade 
  0 
  1 ½d6 
  0 
  17
  Shaft  
  0 
  (4d6) 
  — 
  17
  
  172 
  The Ultimate Martial Artist
  HAND-TO-HAND WEAPONS TABLE
  Weapon 
  OCV 
  Damage STUNx STR Min BODY 
  DEF 
  Mass A/N/C Cost Length Cultr 
  Notes
  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 Th r, 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 Th r
  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 Th r, +2 OCV w/Bind, Block, 
  Disarm, Takeaway
     Normal 
  0 
  (3d6) 
  — 
  8 
  3 
  5 
  1.1 
  36/13/15 
  S 
  Japan Th r, +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 Th r
  Tetsubo 
  +1 
  (6d6) 
  — 
  15 
  6 
  4 
  2.4 
  57/17/19 
  L 
  Japan 2H
  Th ree-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 Th r
  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 Th r, +2 OCV w/Bind, Block, 
  Disarm, Takeaway 
     Traditional 
  0 
  (3d6) 
  — 
  8 
  3 
  5 
  0.8 
  36/13/15 
  S 
  China Th r, +2 OCV w/Bind, Block, 
  Disarm, Takeaway
  
  173 
  Hero Games
  NOTES AND KEY
  Notes
  All the weapons above are built as follows:
  1. This weapon has an additional Power: Armor 
  (6 PD/6 ED) (18 Active Points); Only Protects 
  Location 6 (i.e., the hand holding the weapon) 
  (-2), OAF (-1) for normal form or IAF (-½) for 
  concealed form. Cost: 4 points (normal form) or 
  5 points (concealed form). This cost is added to 
  the weapon cost.
  2. Th is weapon has an additional Power: Armor (6 
  PD/6 ED) (18 Active Points); Only Protects Loca-
  tion 6 (i.e., the hand holding the weapon) (-2), 
  Activation Roll 11- (-1), OAF (-1) for normal form 
  or IAF (-½) for concealed form. Cost:  4 points 
  (normal or concealed form). Th is cost is added to 
  the weapon cost.
  3. Th is weapon is built with an additional Power: 
  +1 to Climbing  Rolls (2 Active Points); OAF (-1) 
  or IAF (-½). Cost: 1 point (either form). Th is cost is 
  added to the cost of the weapon.
  See page 478 of the HERO System 5t Edition, 
  Revised for more information on building weapons.
  Key
  †:  STR Minimum Doesn’t Add Damage (a -½ 
  Limitation)
  1½H:  One-and-a-half-handed weapon (a -¼ Limi-
  tation)
  2H:  Two-handed weapon (a -½ Limitation)
  Act:  Activation Roll
  AE1:  Area Of Eﬀ ect (One Hex)
  AF5:  Autoﬁ re (5 shots; +½)
  AP:  Armor Piercing
  Conc:  Concentration (½ DCV “throughout” the 
  loading and/or ﬁ ring process; -½)
  Dkns:  Darkness to Sight Group
  Ent:  Entangle
  Euro:  Europe
  Flash:  Sight Group Flash
  Indon:  Indonesia
  L:  Long-length weapon (see pages 164, 167)
  L2:  A Long-length weapon that’s 2” long 
  M:  Medium-length weapon
  NWF:  No Weapon Familiarity required
  RBS:  Range Based On STR
  RC:  Recoverable Charges
  RP:  Reduced Penetration
  S:  Short-length weapon
  Th r:  Weapon can be thrown (i.e., it has the Range 
  Based On STR (+¼) Advantage)
  MASTER LIST 
  OF WEAPONS
  To see which weapons require which Weapon 
  Familiarities, refer to the Weapon Familiarity 
  Table on page 76 of the HERO System 5th Edition, 
  Revised.
  Arare:  “Hailstones,” a Japanese missile 
  weapon in the form of a spiked ball. 
  It came in three sizes:  joarare (large, 
  thrown one at a time); chuarare 
  (medium, thrown like shuriken, could 
  be used as tetsubishi as well [see below]); 
  and koarare (similar to chuarare, but smaller).
  Cost Power
  16 
  Chuarare:  Multipower, 36-point reserve, 9 
  Recoverable Charges (+¼) for entire Multip-
  ower; all OAF (-1), STR Minimum (10; -½), 
  Real Weapon (-¼)
  1u 
  1)  Th rown:  RKA 1d6-1, Autoﬁ re (5 shots; 
  +½); OAF (-1), Range Based On STR (-¼)
  1u 
  2)  Dropped:  RKA 1d6-1, Area Of Eﬀ ect 
  (One Hex; +½), Continuous (+1), Uncon-
  trolled (removable by spending a Full Phase 
  to sweep them aside; +½); OAF (-1), Activa-
  tion Roll 14- (-½), STR Minimum (10; -½), 
  Real Weapon (-¼), Only Aﬀ ects Characters 
  Moving On Th e Ground (-¼), DEX Roll 
  Cancels Eﬀ ect (-¼), Automatically Targets 
  Hit Location 18 (-0)
  Total cost:  18 points (or 22 points for IAF (-½) 
  version)
  Koarare:  total cost 13 points (or 15 for IAF (-½) 
  version)
  Joarare:  Change to just RKA 1d6+1 (20 
  Active Points); OAF (-1), STR Minimum (10; 
  -½), Real Weapon (-¼), Range Based On STR 
  (-¼), 1 Recoverable Charge (-1¼). Total cost:  5 
  points (or 5 points for IAF (-½) version)
  Arbir:  A polearm used in some styles of Pentjak-
  Silat. It is a 5’-long weapon consisting of a shaft , a 
  convex chopping blade at one end, and a sharpened 
  metal spike on the other end. It’s used two-handed 
  to slash and stab; the pole is not generally used as 
  a staﬀ .
  Arit:  Th e Indonesian sickle, adapted for combat. 
  Its blade is much rounder than that of the kama. A 
  similar weapon is the tjelurit.
  Arrows:  Th e Japanese created many unusual types 
  of arrowheads for their arrows (ya). Several of 
  the more interesting ones are listed in the Ranged 
  Weapons Table; they add damage to, or otherwise 
  change the eﬀ ect of, the damage caused by a stan-
  dard arrow (their exact cost depends on the type 
  of bow used; if necessary recalculate the bow’s cost 
  with the enhanced damage). Each of these arrows is 
  more expensive and rarer than the average arrow.
  
  174 
  The Ultimate Martial Artist
  Th e Dragon’s Tongue arrow is ﬁ nely-
  craft ed, with a slightly rounded point 
  that penetrates armor easily.
  Th e Frog Crotch arrow is shaped 
  roughly like a V, with a sharpened 
  inner edge; it’s especially useful for 
  cutting cords and similar objects.
  Th e Hikime is an arrow with a wooden ball, not 
  an arrowhead, on the tip. It is used to stun, not 
  kill, an opponent.
  Th e Skinsplitter is an extremely 
  wide, heavy arrowhead. GMs should 
  consider adding +1 to the STR Min of the Bow 
  whenever a character uses this arrowhead.
  Th e Willow Leaf is a long, straight 
  arrowhead which can slip easily between armor 
  plates and the like.
  Th ese are just a few of the many diﬀ erent types of 
  Oriental arrowheads available; with a little research 
  you can uncover many others.
  Th e yazuka, or standard length, of an arrow (with-
  out arrowhead) is from the top of the archer’s ster-
  num to the tip of his middle ﬁ nger. Th is allows him 
  to achieve extra power, since he has to draw the 
  bow back as far as he possibly can to shoot.
  Ashiko:  Th ese are climbing claws strapped onto a 
  ninja’s feet; they are the companions to the shuko. 
  Th ey can become weapons when the wearer uses 
  a kick attack. Th ey provide a +1 to the wearer’s 
  Climbing roll if he has the Climbing skill. Th e char-
  acter must wear both ashiko to get the +1 to his 
  Climbing roll.
  Axe, Chinese:  Th is weapon has a medium-length 
  handle and a single broad blade; it’s chieﬂ y used by 
  southern Chinese kung fu ﬁ ghters.
  Bo:  A 5’-6’ hardwood staﬀ , also known as a 
  rokushakubo (“six-foot staﬀ ”). Use these game 
  statistics for the Chinese staﬀ  (kuen), the Indone-
  sian staﬀ  (toya), the Korean staﬀ  (jang bong), the 
  Th ai staﬀ  (plong), and the Okinawan oar (eiku; also 
  known as a chizikunbo or sunakakebo). 
  Th e bo is one of the principal weapons of 
  Karate (the others are kama, nunchaku, sai, eiku, 
  tekko, timbe and rochin, and tonfa).
  Th e kuen is one of the most famous weapon 
  of Kung Fu; these statistics can also be used for two 
  other Chinese weapons, the Long Rod (gunn) and 
  Water & Fire Rod (shui for gunn).
  Bokken:  Th is is a wooden practice sword shaped 
  like a katana. It does Normal, not Killing, damage. 
  It’s no toy or mere practice blade, though; it’s made 
  of heavy, tough wood, unlike the shinai. Many duels 
  in feudal Japan were fought with bokken; it is pos-
  sible to kill an opponent with one.
  Brass Knuckles:  Th is classic street weapon is a ridged 
  brass knuckle-protector which protects the striking 
  hand, allowing the character to strike harder. Brass 
  Knuckles also provide 6 DEF (physical and energy, 
  on an 11- Activation Roll) to the hand wearing them. 
  Th e Japanese tetsu and tekko and the Indonesian roti 
  kalong all use these statistics.
  Bundi:  Also known as a katar or a 
  punch-dagger, the bundi is a broad, 
  double-edged knife-blade set into a 
  frame/handle grasped in the ﬁ st (thus, 
  the wielder’s arm appears to have a 
  blade on the end rather than a hand). 
  Two panels of the frame/handle extend 
  down the sides of the arms for about a 
  foot, helping the user block an enemy’s 
  attacks. Use the bundi’s statistics (minus 
  the +1 OCV for Blocks) for any sort of 
  modern punch-dagger or T-knife.
  Bunot-Page:  Th is weapon is simply the tail of a sting-
  ray, cut from the animal and used to strike an oppo-
  nent. Some Arnis/Kali/Escrima exponents ﬁ ght with 
  it. Th e stingray spine itself does relatively little damage 
  — but the poison in it can kill. Usually enough poison 
  remains in the tail for about two good hits. Th e eﬀ ects 
  of the poison are not included in the cost listed in the 
  table, since it varies in amount and potency; the aver-
  age poison would work roughly as follows:
  Stingray Poison:  RKA 1d6, NND (defense is 
  Life Support [appropriate Immunity]; +1), 
  Does BODY (+1) (45 Active Points); Linked (to 
  HKA; -¼), Spine HKA Must Do BODY (-½), 
  No Range (-½), 2 Charges (-1 ½). Total cost: 
  12 points.
  Butterﬂ y Sword:  Th is short sword has 
  a heavy, ﬂ at cleaver-like blade with one 
  cutting edge. It is used by ninja and by 
  Kung Fu practitioners, oft en in pairs. 
  Th e Willow Leaf Knife, the Korean dan 
  sang gum (twin short swords), and the to of 
  Kuntao are all very similar in appearance to 
  the butterﬂ y sword and share the same statis-
  tics. Don’t confuse the Butterﬂ y Sword with 
  the balisong, a switchblade-like Filipino knife 
  sometimes called a “butterﬂ y knife.”
  Cestus:  Th is weapon is a glove with spikes or 
  jagged protrusions along its knuckles and back. Th e 
  character using it does his normal Punch damage, 
  and also does 1 point of Killing Damage (he cannot 
  add to this with his STR; it always does only 1 point 
  of Killing damage). Th e Cestus provides 4 DEF 
  (physical and energy) to the hand wearing it.
  Cost Power
  2 
  Cestus Spikes:  HKA 1 point, Reduced 
  Endurance (0 END; +½) (7 Active Points); 
  OIF (-½), Linked (to wearer’s Punch; -½), No 
  STR Bonus (-½), Real Weapon (-¼)
  3 
  Cestus Wrappings:  Armor (4 PD/4 ED) (12 
  Active Points); OIF (-½), Only Protects Hand 
  Wearing It (-2)
  Total cost:  5 points (or 7 points for IIF (-¼) 
  version).
  CONCEALED 
  AND INOBVIOUS 
  WEAPONS
  Almost every weapon 
  described in this sec-
  tion can be carried as 
  a normal weapon or as 
  a concealed weapon. It’s 
  a tradition in martial-
  arts ﬁ lms — especially 
  ninja movies — that 
  characters can disguise 
  many unusual weapons 
  as ordinary objects. 
  Following are some 
  examples of weapons 
  and ways characters 
  could disguise them:
  Blowgun:  As a ﬂ ute, 
  or a walking stick; it 
  can be combined with 
  a jo or a used as a 
  sword scabbard.
  Bokken, Katana, Jien, 
  Ninja-to, 
  No-daichi, 
  Wakizashi: 
   
  Con-
  cealed within a bo 
  staﬀ  that acted as its 
  sheath; about a foot 
  and a half of the staﬀ  
  would actually be the 
  hilt of the blade.
  Brass Knuckles:  Th is 
  weapon could be fash-
  ioned as the lining of 
  a pair of gloves or as 
  the handle of a suit-
  case.
  Cestus:  Th is could 
  be an ordinary-look-
  ing pair of gloves. An 
  observer would not 
  notice that the inner 
  lining is Kevlar and 
  that the ﬁ rst heavy 
  blow with these make 
  short 
  spikes 
  poke 
  through 
  the 
  outer 
  lining.
  Chain Whip, Kusari, 
  Manriki-gusari:  Easily 
  worn as a belt.
  Climb line, Kusari, 
  M a n r i k i - g u s a r i , 
  Marbles, 
  Tetsubishi:  
  Oft en carried inside 
  the hollow hilt of 
  another weapon.
  Fist-Load:  A ﬁ st-load 
  can look like practi-
  cally anything:  a 
  Continued on next page
  
  175 
  Hero Games
  Chai-Dao:  Th is Chinese polearm is also called the 
  “Bandit’s Encampment Broadsword.” It is usually 
  about 5’3” tall, with 2’6” of that length a wicked 
  curved blade; the rest is haft . Traditionally, it was 
  used in camp defense, oft en to chop at the legs of 
  horses riding through.
  Cost Power
  11 
  Chai-Dao:  Multipower, 30-point reserve; 
  all OAF (-1), STR Minimum (12; -½), Real 
  Weapon (-¼)
  1u 
  1) Blade:  HKA 1d6+1 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (12; -½), Real Weapon (-¼)
  1u 
  2) Shaft :  HA +3d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (12; -½), Real 
  Weapon (-¼)
  2 
  Long Weapon:  Stretching 1”, Reduced Endur-
  ance (0 END; +½) (7 Active Points); OAF (-
  1) [or IAF (-½) for concealed form], Always 
  Direct (-¼), No Noncombat Stretching (-¼), 
  Only To Cause Damage (-½), No Velocity 
  Damage (-¼) (total cost for IAF 
  (-½) version:  2 points)
  Total cost:  15 points (or 17 points for IAF (-½) 
  version).
  Chain Sword:  Th is weapon, called lien tzu jen in 
  Chinese, consisted of two sword-like blades about 
  as long as a human forearm connected by 1-2’ of 
  chain. Sometimes the blades can be detached for 
  throwing (this would be bought by turning the 
  weapon into a Multipower:  one slot for the con-
  nected blades, one with two Recoverable Charges 
  of RKA).
  Chain Whip:  Th is Chinese weapon (bian) is like 
  a whip, but its length consists of metal plates con-
  nected by chain links; it has a slashing blade at the 
  tip. It shares a Weapon Familiarity with the normal 
  bullwhip, but does not have that weapon’s range. 
  Th is weapon’s statistics also apply to the bian tzu 
  chiang, or Whip Spear, a 6’-plus length of chain 
  whip with a spearhead attached at both ends.
  Chakar:  This unusual weapon, used by Gatka 
  practitioners, resembles a wagon wheel with a 
  heavy weight at the end of each spoke. To use it, 
  the wielder spins it, building up momentum and 
  power, and then strikes with it to cause serious 
  crushing injuries.
  Chiang:  Th e Chinese spear, which comes in dozens 
  of unusual styles (use the write-up of the Chai-Dao, 
  above, for its game statistics). Oft en the spear has a 
  red tassel tied behind its head, partly for decoration 
  and partly to keep blood from running back down 
  the shaft  and fouling the spearman’s grip. Use these 
  statistics for the following weapons in addition to 
  the standard spear:  mao chiang (“snake spear,” a 
  wavy-bladed spear); the Eyebrow Spear (a spear 
  with a crescent-shaped head); ba (“rake,” a combat 
  rake with sharp tines); ba tou (a hoe converted to 
  combat uses); chan (“shovel,” a term for several 
  types of polearms with heads shaped like large 
  coins, crescent moons, shovels, and other objects); 
  chang (Korean spear); sodegarami (a T-shaped 
  Japanese spear with barbs all around the end to 
  entangle an enemy’s sleeve); tombak and tjio (two 
  of dozens of diﬀ erent types of Indonesian spears); 
  kuntham (Indian spear); kue (an Okinawan hoe 
  used as a weapon by some Kobujutsu practitioners); 
  thuan (Th ai spear).
  Chu-ko-nu:  Th is is the famous Chinese repeating 
  crossbow. It resembles an ordinary crossbow, except 
  that it has a box on top of it holding ten bolts. Th e 
  shooter works a lever to reload the crossbow by 
  cocking it and dropping one of the quarrels into 
  place. Th e chu-ko-nu is heavier and has a shorter 
  range than a standard crossbow, but can be ﬁ red 
  much more quickly:  the STR Min listed is the mini-
  mum to carry and hold the weapon, not to reload it, 
  and a character can load the weapon in a half Phase 
  and ﬁ re the weapon in a half Phase. 
  Comet Star Hammer:  Th is missile weapon, called 
  lieu shen chuai in Chinese and also known as a 
  Shooting Star Hammer or Wolf’s Teeth Hammer, 
  consisted of a chain linking two spiked metal balls. 
  It was typically thrown at the legs of horses or sol-
  diers to snare and injure them. Some versions of this 
  weapon had only one spiked ball; the damage and 
  other eﬀ ects are the same.
  Cost Power
  9 
  Comet Star Hammer:  Multipower, 37-point 
  reserve; 1 Recoverable Charge (-1 ¼) for 
  entire reserve, all OAF (-1), STR Minimum 
  (10; -½), Real Weapon (-¼), Range Based On 
  STR (-¼)
  1u 
  1)  Deadly Hammer:  RKA 1d6+1; OAF (-1), 
  STR Minimum (10; -½), Real Weapon (-¼), 
  Range Based On STR (-¼)
  1u 
  2)  Snaring Hammer:  Entangle 3d6, 3 DEF, 
  Entangle And Character Both Take Damage 
  (+¼); OAF (-1), No Defense (-1½), Cannot 
  Form Barriers (-¼), STR Minimum (10; -½), 
  Real Weapon (-¼), Range Based On STR (-¼)
  Total cost:  11 points (or 12 points for IAF (-½) 
  version)
  Continued from last page
  statuette, a strangely-
  heavy 
  telephone 
  receiver, and so forth.
  Garrotte:  Th is weapon 
  can be an ordinary-
  looking (though rein-
  forced) scarf or belt; 
  wire garrotes can be 
  built into the lining of 
  clothes or into decora-
  tive hair-ribbons.
  Grenades, Flash and 
  Smoke:  Disguised 
  ﬂ ash and smoke gre-
  nades can look like 
  cuﬄ  inks, 
  marbles, 
  pebbles, fresh fruit, 
  juggling balls, or any-
  thing small, roundish, 
  and inconspicuous.
  Hanbo:  A bo could 
  break down into twin 
  hanbo.
  Kusarigama:  A kama 
  (sickle) with a chain 
  in its hollow hilt could 
  be instantly converted 
  into a kusarigama.
  Nunchaku:  A hanbo or 
  an innocuous-looking 
  walking cane could 
  pull apart or unscrew 
  into 
  nunchaku; 
  a 
  bo staﬀ  could break 
  down into two pair. 
  Any normal-looking 
  length of stout mate-
  rial, such as a tent 
  pole, a ﬂ ag staﬀ , or a 
  chair leg could con-
  ceal nunchaku....
  Sai:  One interesting 
  prospect is that of the 
  high-tech sai, an ordi-
  nary-looking 
  stick 
  which (at the press of 
  a button) pops out the 
  extra tines.
  Shuriken:  Small star 
  shuriken can be dis-
  guised as buttons, 
  loose change, the glit-
  tering baubles sewn 
  onto the skirt of an 
  exotic dancer, or the 
  dangling 
  elements 
  of a mobile. Th ey 
  and bo shuriken can 
  also be hidden in the 
  hollow hilt of another 
  weapon.
  Continued on next page
  
  176 
  The Ultimate Martial Artist
  Copper Hammer:  A short-haft ed hammer with 
  a large ball of copper on the striking end. You can 
  also use this weapon’s statistics for other types of 
  Chinese hammers (chuai), and for the ton zen (a 
  type of mace in the shape of a 2-3’ tall solid brass 
  statue of a man, somewhat similar in appearance 
  to the “Oscar” statuette given to Academy Award 
  winners).
  Cutlass:  Th is is a European weapon, a short slash-
  ing blade with a heavy guard to protect the hand; 
  fencers use it. Th e hand-guard provides 6 DEF to 
  the hand holding it; the character can attack with 
  the blade or punch with the hand-guard. Th e Viet-
  namese counterpart to this weapon is the song dao.
  Cost Power
  8 
  Cutlass:  Multipower, 22-point reserve, all 
  OAF (-1), STR Minimum (10; -½), Real 
  Weapon (-¼)
  1u 
  1) Blade:  HKA 1d6 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (10; -½), Real Weapon (-¼) 
  0
  1u 
  2) Hilt:  HA +3d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (10; -½), 
  Real Weapon (-¼) 
  0
  4 
  Protective Hilt:  Armor (6 PD/6 ED); OAF 
  (-1), Only Protects Hand Used To Hold It 
  (-2) (or 5 points for the IAF (-½) version)
  Total cost:  14 points (or 17 for the IAF (-½) 
  version)
  Cymbal:  Th is weapon is a small, hand-held cymbal 
  with sharpened edges. Warriors can use it as a 
  punching/slashing weapon, or throw it. Th is weap-
  on’s statistics also apply to the Tooth Saber, a sort 
  of half-cymbal that comes in two varieties:  the Sun 
  Tooth Saber, with sharp teeth along its cutting edge; 
  and the Moon Tooth Saber, which is smooth-edged. 
  Tooth Sabers cannot be thrown.
  Darn Do:  Th e Chinese sabre, a long, heavy, single-
  edged sword with a curved blade. It is also known 
  as a dau. Th e Vietnamese equivalent is the ma dao.
  Dropped Marbles:  Characters can drop these 
  where they think targets will run. Marbles do not 
  require a Weapon Familiarity.
  Dropped marbles can be bought one of three 
  ways. Th e ﬁ rst is as a form of Telekinesis:
  Dropped Marbles:  Telekinesis (20 STR), Area 
  Of Eﬀ ect (One Hex; +½), Continuous (+1), 
  Uncontrolled (removable by spending a Full 
  Phase to sweep them aside; +½) (90 Active 
  Points); OAF (-1), Activation Roll 14- (-½), 
  Cannot Be Used To Cause Damage (-1), Only 
  To Th row Target To Ground (-2), Only Aﬀ ects 
  Characters Moving On Th e Ground (-¼), DEX 
  Roll Cancels Eﬀ ect (-¼), Real Weapon (-¼), 2 
  Recoverable Charges (-1). Total cost:  12 points 
  (or 13 points for IAF (-½) version).
  Th e drawbacks to this form of Dropped Mar-
  bles are that they cover only a small area (1” radius) 
  and do no damage to the target when he falls. At 
  the GM’s option, a character can buy the One Hex 
  up to a full Area of Eﬀ ect (Radius) and can buy oﬀ  
  the Cannot Be Used To Cause Damage Limitation.
  Th e second form uses Change Environment to 
  make it harder to remain standing in the area cov-
  ered by the marbles:
  Dropped Marbles:  Change Environment 2” 
  radius, -5 to DEX Rolls to move through, Uncon-
  trolled (removable by spending a Full Phase to 
  sweep them aside; +½) (33 Active Points); OAF 
  (-1), Only Aﬀ ects Characters Moving On Th e 
  Ground (-¼), Real Weapon (-¼), 2 Recoverable 
  Charges (-1). Total cost:  9 points (or 11 points 
  for IAF (-½) version).
  This version has the advantage of being 
  easier to understand and adjudicate in most 
  game situations.
  Th e third form of Dropped Marbles utilizes 
  the “Power Advantages For Martial Arts Maneu-
  vers” rules on page 104.
  Dropped Marbles:  Th e following Advantages for 
  Martial Th row:  Area Of Eﬀ ect (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 Aﬀ ects Characters Moving 
  On Th e Ground (-¼), DEX Roll Cancels Eﬀ ect 
  (-¼), Real Weapon (-¼), 2 Recoverable Charges 
  (-1). Total cost:  18 points (or 20 points for IAF 
  (-½) version).
  Th e 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. Th e drawback is that the 
  character has to have the Martial Th row maneuver 
  to use this weapon (unless the GM permits you to 
  include the cost for Martial Th row with the cost of 
  the weapon itself).
  Continued from last page
  Three-section 
  Staff:  
  Perhaps a character 
  could have a piece of 
  lawn furniture break 
  down into a pair of 
  three-section staves.
  Tonfa:  As any normal 
  cane or baton, with the 
  perpendicular handle 
  a locking swing-out 
  mechanism.
  War Fan:  Th e best dis-
  guise for this weapon 
  is to make it look like 
  a normal fan, carried 
  by some fashionable 
  lady martial artist, 
  and used for the 
  normal purposes of 
  keeping cool and ﬂ irt-
  ing... until it’s time for 
  combat to begin.
  Wind and Fire Wheels:  
  Worn as the brim of 
  a hat.
  
  177 
  Hero Games
  Dropped marbles are oft en bought as IAFs 
  because they’re supposed to be inconspicuous when 
  dropped. Depending on the situation, this might not 
  be the case.
  Endokuken:  A type of shuriken that doesn’t just 
  impale the target with a blade. It also emits a 1” 
  radius cloud of poisonous smoke when it contacts 
  its target:  
  RKA 1d6, NND (defense is Life Support [Self-
  Contained Breathing or appropriate Immu-
  nity]; +1), Does BODY (+1), Area Of Eﬀ ect 
  (One Hex; +½) (52 Active Points); OAF (-1), 
  STR Minimum (10; -½), Linked (to shuriken’s 
  RKA; -¼), Range Based On STR (-¼), Real 
  Weapon (-¼), 9 Charges (-¼). Total cost:  15 
  points (or 17 points for the IAF (-½) version) 
  (in addition to the cost for the blade of the 
  shuriken itself).
  Epee:  A light steel practice sword used by fencers. 
  Modelled aft er the rapier, it has a light, ﬂ exible blade 
  ending in a blunt steel tip (which is itself covered by 
  a plastic cap), and is used only for thrusting.
  Fang:  Th e fang, a Chinese weapon developed from 
  an Indian elephant goad, is a heavy iron rod about 2’ 
  long with a point at one end. About one-third of the 
  way from the top a curved blade projects to one side, 
  similar to the blade of a kama (see below). Th e ﬁ ghter 
  can use the blunt portion of the rod to stun his foes, or 
  the point or blade to injure and kill them.
  Cost Power
  5 
  Fang:  Multipower, 15-point reserve, all 
  OAF (-1), STR Minimum (8; -½), Real 
  Weapon (-¼)
  1u 
  1) Blade/Point:  HKA ½d6 (plus STR), 
  Reduced Endurance (0 END; +½); OAF (-1), 
  STR Minimum (8; -½), Real Weapon (-¼)
  1u 
  2) Rod:  HA +2d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (8; -½), Real 
  Weapon (-¼)
  Total cost:  7 points (or 9 points for IAF (-½) 
  version).
  Fist-Load:  Th is is a small, heavy rod held in in the 
  character’s ﬁ st. A thong or ring protruding from 
  the center of the rod goes around one or two of the 
  wearer’s ﬁ ngers to hold it in place. A ﬁ st-load is also 
  known as a yawara.
  Flying Claw:  Similar to the Rope Dart (see below), this 
  weapon is a large, clawed metal hand on the end of an 
  up to 25’ long  rope. Th e user whirls the hand around 
  and slashes people with it; sometimes the claws are 
  poisoned. Th e Chinese call it a fei chua. You can also use 
  this weapon’s statistics for:  the Dragon’s Beard Hook 
  (don shu gao), which resembles a U with a serrated, 
  barbed outer edge; the Iron Lotus (tai lien far), which 
  resembles a bladed lotus ﬂ ower; and the Rope Hook 
  (gin tao sou), a large, barbed hook.
  Flying Guillotine:  Th is peculiar Tibetan weapon 
  consists of a metal hoop with a very sharp inner 
  edge; the hoop attaches to a rope. It’s an eﬀ ective 
  ambush weapon; if the attacker can get above an 
  unsuspecting target, he can drop the Guillotine 
  over the target’s head and yank. It’s somewhat less 
  eﬀ ective in active combat; the weapon only does 
  damage if it hits an extremity (head, hand, arm, leg, 
  or foot). Th e attacker can roll Hit Locations normally 
  (with attacks to Locations 9-14 simply failing to do 
  damage); or he can choose to aim for speciﬁ c loca-
  tions, taking the OCV penalties for aiming.
  In game terms, the requirement to hit an 
  extremity is a -½ limitation. In campaigns that 
  don’t use Hit Locations, the attacker always suﬀ ers a 
  -6 OCV penalty.
  Fo:  A weighted cloak hem, used as a weapon by 
  some fencers. At the appropriate moment, the fencer 
  ﬂ icks his cloak at his opponent, causing the weight 
  sewn into the hem to strike him.
  Foil:  Th is weapon is much like the epee, but even 
  lighter and more ﬂ exible. You can also use its sta-
  tistics for the daab, a Th ai sword used in Krabi-
  Krabong.
  Fukimi-bari:  Tiny darts a character hides in his 
  hand (to throw at an enemy) or in his mouth (to 
  blow into an enemy’s face). Th ey’re always bought 
  as IAFs because it’s so easy to conceal them. Th e 
  attack has No Range (-½), since the character can 
  only throw/blow the darts a few feet at most. (Th is 
  weapon doesn’t grant an automatic head shot, but 
  most users who place fukimi-bari in their mouths 
  try to achieve a surprise result and take a Placed Shot 
  at the head). Th is is a ninja weapon. You can also use 
  this weapon’s statistics for the Chinese mei far chen 
  (Plum Flower Needles).
  Fukiya:  Th e classic blowgun, a weapon consisting 
  of a long, hollow tube and numerous light darts to 
  ﬁ re through it. Th e darts themselves do very little 
  damage, but are usually tipped with some sort of 
  poison. Th e darts are nearly invisible and are ﬁ red 
  silently, but can certainly be felt upon impact. A 
  character who wants darts so light they can’t be felt 
  will have to buy an Invisible Power Eﬀ ects (Fully 
  Invisible; +½ [because the source of the power 
  remains visible]) blowgun with his own Character 
  Points. Use this weapon’s statistics for the Filipino 
  blowgun, or sumpit.
  Gada:  Th e gada is a heavy wooden club used by 
  Kalaripayit exponents. It has a relatively thin shaft  
  and a large, bulbous head, making it look something 
  like a large wooden mace. It requires great strength 
  to wield eﬀ ectively.
  Garotte:  Th is is a strangling cord or wire. It comes 
  in two varieties:  the Strangling garotte, which may 
  be any strong rope, scarf, or cord; and the Wire 
  garotte, a piece of strong, sharp wire with a handle 
  tied to either end. Th e attacker loops either kind 
  around the victim’s neck and applies pressure; there-
  fore the garotte is usually used from surprise — it’s 
  an assassin’s weapon.
  Th e Strangling garotte chokes the victim to 
  death, and is no good against any Hit Location 
  except the Head. Th e Wire garotte can slice through 
  ﬂ esh, and can therefore cut a throat or cut a head 
  entirely oﬀ ; it harms any body part the attacker can 
  loop it around.
  
  178 
  The Ultimate Martial Artist
  Any chain weapon described in this section 
  can be used as a Strangling Garotte; the manriki-
  gusari is especially appropriate.
  Cost Power
  7 
  Strangling Garrotte:  Energy Blast 2d6, NND 
  (defense is having rigid armor on the neck, 
  a PD Force Field, or Life Support [Self-Con-
  tained Breathing]), Continuous (+1) (30 
  Active Points); OAF (-1), STR Minimum 
  (5; -¼), Real Weapon (-¼), Two-Handed 
  (-½), Must Follow A Successful Grab Maneu-
  ver (-¼), Must Be Aimed At Th e Head Loca-
  tion (-¾), No Range (-½) (total cost for IAF 
  (-½ version:  7 points)
  5 
  Wire Garrotte:  RKA ½d6, Continuous (+1) 
  (20 Active Points); OAF (-1), STR Minimum 
  (5; -¼), Real Weapon (-¼), Two-Handed 
  (-½), Must Follow A Successful Grab Maneu-
  ver (-¼), Must Be Aimed At A Target It Can 
  Loop Around (Head or Arm, typically; -½), 
  No Range (-½) (total cost for IAF (-½ ver-
  sion:  5 points)
  Ghi:  Th e Chinese halberd, which consists of a spear 
  with one or two crescent moon-shaped blades set just 
  below the spearhead. Th e Vietnamese equivalent is the 
  dai dao; the Th ai equivalent is the ngow.
  Cost Power
  11 
  Ghi:  Multipower, 30-point reserve; all OAF (-
  1), STR Minimum (13; -½), Real Weapon (-¼)
  1u 
  1) Blade:  HKA 1d6+1 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (13; -½), Real Weapon (-¼)
  1u 
  2) Shaft :  HA +4d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (13; -½), Real 
  Weapon (-¼)
  2 
  Long Weapon:  Stretching 1”, Reduced Endur-
  ance (0 END; +½) (7 Active Points); OAF 
  (-1) [or IAF (-½) for concealed form], Always 
  Direct (-¼), No Noncombat Stretching (-¼), 
  Only To Cause Damage (-½), No Velocity 
  Damage (-¼) (total cost for IAF (-½) version:  
  2 points)
  4 
  Skillful Weapon:  +2 OCV with Block, Bind, 
  and Disarm; OAF (-1), Only Applies To Th e 
  Th ree Listed Maneuvers (-½)
  Total cost:  19 points (or 22 points for IAF (-½) 
  version).
  Grenades, Smoke:  Some warriors (especially 
  ninja) use these grenades to blind and confound an 
  opponent, or to cloak their next action — such as 
  hiding or preparing a new attack. Smoke grenades 
  do not require a Weapon Familiarity.
  Smoke Grenades:  Darkness to Sight Group 1” 
  radius (10 Active Points); OAF (-1), Limited Eﬀ ect 
  (Normal Sight only; -¼), Range Based On STR 
  (-¼), Real Weapon (-¼), 8 Continuing Charges 
  lasting 1 Extra Phase each (-¼). Total cost:  3 
  points (or 4 points for the IAF (-½) version).
  Hanbo:  Th is is a ﬁ ghting-stick weapon, from 
  2’ to 3’ in length. Use these statistics also for 
  the scabbard of a short sword (any blade with 
  a base damage of 1d6) when used as a weapon, 
  for the pentjong (a knobbed club used in 
  Bhakti Negara Pentjak-Silat), and for the fol-
  lowing weapons from India:  kettukari (cane), 
  lathi (heavy cane), muchan (a tapered 2’ long 
  staﬀ ), and the otta (curved heavy sticks).
  Hand Mace:  Th is term refers to a number of 
  mace-like Chinese weapons in the shape of hands, 
  ﬁ sts, or claws. Some of the hands hold objects, 
  such as pens or brushes, or have one or two ﬁ n-
  gers upraised, which helps the mace pierce armor. 
  Examples of this sort of weapon include the ch’uan 
  bi (“ﬁ st pen”), chua (long-handled claw), and fu sou 
  (“Buddha hand”). 
  Hankyu:  Th is is a short, comparatively weak, easily-
  carried bow favored by ninja. One variant, the tabiumi, 
  was collapsible and hence easily hidden when neces-
  sary; hidden arrows could be carried as the ribs of a 
  straw hat or in many other ways. 
  Hook Sword:  Th is is a Chinese sword popular in 
  some Kung Fu styles. It includes a straight, double-
  edged blade, a forward-curving hook at the end 
  of that blade, a bladed crescent-shaped guard for 
  the hand (providing 6 DEF to the hand on an 
  11- Activation Roll), and a butt-spike protruding 
  from the hilt. Th is weapon has a +0 OCV bonus 
  for most maneuvers, but because of its unusual 
  conﬁ guration gets a +2 OCV for maneuvers includ-
  ing the Bind, Block, Disarm, and Takeaway (i.e., 
  Grab Weapon) maneuver elements. Th e Fire Wing 
  sword, Elephant Trunk sword, and the sang kauw of 
  Kuntao use the same statistics.
  Iron Mandarin Duck:  A throwing weapon made out 
  of iron and shaped like a mandarin duck. Th anks to 
  the duck’s weight and sharp points (feathers, wings, 
  beak, and so forth), it’s a lethal weapon.
  Jien:  Th e Chinese broadsword, oft en used in Kung 
  Fu styles. Th e weapon’s blade is straight, light, and 
  double-edged; it’s a thrusting weapon, and nor-
  mally only the four inches at the tip of the blade 
  are used in combat. Sometimes it comes in unusual 
  conﬁ gurations, such as:  the sher ther jien, or snake-
  tongued sword, which has a forked tip; the giau tzu 
  jen, which has tiny serrations along both edges; and 
  the wu grou jen, or Centipede Hook, which has a 
  hook protruding from one side. Th e Vietnamese 
  equivalent to the jien was the kiem.
  Jo:  Th is is a single stick around 4’ in length. Use 
  these statistics also for these weapons:  the scab-
  bard of a long sword (any sword with a damage of 
  1d6+1 or better) when used as a weapon; the sticks 
  used in the escrima martial art; the tieh tzu (“iron 
  ruler,” a ﬂ at iron bar used as a weapon); the chuu, a 
  weapon derived from the Chinese grain pestle; for 
  
  179 
  Hero Games
  the Indonesian sticks, tongkat and tekken (the latter 
  resembles a small walking cane); the Korean sticks, 
  dan bong and joong bong; and the Vietnamese stick, 
  tien bong. 
  Kama:  Th is is the Okinawan sickle, which consists 
  of a short handle topped by a short curved sickle 
  blade. It is one of the principal weapons of Karate 
  (the others are bo, eiku, nunchaku, sai, tekko, timbe 
  and rochin, and tonfa), and is oft en used in pairs. 
  You can also use the statistics for the kama for the 
  Chinese sickle (lian).
  Kanzashi:  Th e kanzashi is a wooden or metal hair 
  needle, about 12-20 cm long, with two tines run-
  ning parallel. It could be used as a weapon, and was 
  a favorite of the kunoichi, or female ninja.
  Kapak:  A small throwing hatchet used by the 
  Batak people of Indonesia. You can also use this for 
  any number of small, hatchet-like throwing weap-
  ons used by many diﬀ erent cultures. 
  Katana:  Th is is the traditional samurai sword; it 
  is the larger of the daisho, the pair of blades worn 
  by the samurai. Th e odachi is an older-style blade 
  using the same game statistics. Th e katana is worn 
  in the belt, edge upwards. Th e tachi, another long 
  Japanese blade, has identical game statistics to the 
  katana, but is slightly more curved than the katana; 
  the tachi is either worn in the belt (with the edge 
  down) or worn over shoulder instead of in belt. 
  Use the katana’s statistics for the traditional 
  Korean sword (gum), the Vietnamese sword 
  (guom), for the Chinese Seagull Sword (a double-
  bladed sword with a bulbous tip), and for the to 
  sangto, a form of twin swords used in Kuntao.
  Kiseru:  Th is weapon is a metal smoking pipe about 
  1’ long. It is easily concealed and can actually be 
  used for smoking.  
  Knuck-Knife:  Th is is a normal folding, lock-back 
  blade... except that its handle is a set of brass knuckles.
  Ko-Gatana:  A small knife attached to one side of 
  the scabbard of a wakizashi (q.v.).
  Kris:  Th is weapon is the Malaysian double-edged, 
  wavy-bladed sword/dagger. It is mainly a thrusting 
  weapon, and the waves in the blade make wounds 
  very, very painful and more likely to bleed pro-
  fusely. Kris blades vary in length from 5 inches to 
  over 30 inches. Th e Kris Knife stats shown are for a 
  blade in the 5-10 inch range, the Normal Kris stats 
  are for a blade in the 10-20 inch range, and the Kris 
  Sword stats are for a blade in the 20-30 inch range.
  Th e kris has the same signiﬁ cance for 
  Indonesians that the katana has for the 
  Japanese. Every part of the weapon has its 
  own designation and lore. A large number 
  of magical abilities, or tasawwaf, are attrib-
  uted to it (see page 50); they are allegedly 
  implanted in the blade by the pande, or 
  master smith, who craft s it. Every male 
  is supposed to possess a kris, and it is a 
  father’s duty to see that his son is furnished 
  with one. Kris from diﬀ erent areas of the 
  Indonesian archipelago can be told by their distinc-
  tive styles or forms.
  Kukri:  An Indian knife which is also frequently 
  used by Bando practitioners and by the Gurkas of 
  Nepal. It has a recurved blade and a slightly oval or 
  rounded point. It can be thrown. You can also use 
  the kukri’s statistics for the badik, a type of Indone-
  sian dagger, which is not normally thrown.
  Kusari:  A ﬂ exible 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 
  to trip him, or wrap around his arms to bind him). 
  For this reason, the kusari’s Stretching is not bought 
  with the Only To Do Damage Limitation, though it 
  doesn’t provide full manipulation at range.
  Kusarigama:  Th is is a kusari with a kama (sickle) 
  on one end. Th e wielder of the kusarigama holds 
  the kama by the hilt and swings the chain to strike 
  or grab a foe; once he snares the target, he follows 
  up with the sickle end.
  Several variants of the kusarigama deserve 
  mention. Th e ﬁ rst is the bakuhatsugama, a 
  kusarigama with a nagedeppo (explosive grenade, 
  see below) or metsubishi (ﬂ ash grenade, see below) 
  attached to the weighted end of the chain. Th e 
  second is the mamukigama, a kusarigama with 
  a live poisonous serpent loosely attached to the 
  chain!  In theory, the snake will bite an enemy 
  wrapped in the chain. Last is the oh-gama, an 
  extremely large (4’+) battleﬁ eld version of the 
  kusarigama; it does double the damage of the 
  kusarigama but has a correspondingly larger STR 
  Minimum in Heroic campaigns.
  Kyogetsu Shoge:  Th is weapon is much like the 
  kusarigama, but has a bladed grappling hook on the 
  end instead of a kama. It is also carried as a grap-
  pling hook, its chain acting as its climb-line.
  Lajatang:  A weapon used in the Indonesian ﬁ ght-
  ing style of Kuntao, consisting of a short wooden 
  staﬀ  with a crescent moon-shaped blade set per-
  pendicular to it at each end.
  
  180 
  The Ultimate Martial Artist
  Main-Gauche:  A European fencing dagger. It has 
  a heavy hand-guard (6 DEF on the hand holding 
  it) and extra-long quillions. It is especially good at, 
  and so receives an extra +2 OCV for, maneuvers 
  with the Bind, Block, Disarm, and Takeaway (Grab 
  Weapon) maneuver elements.
  Cost Power
  6 
  Main Gauche:  Multipower, 18-point reserve; 
  all OAF (-1), STR Minimum (7; -½), Real 
  Weapon (-¼)
  1u 
  1) Blade:  HKA 1d6-1 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (7; -½), Real Weapon (-¼)
  1u 
  2) Hilt:  HA +2d6 , Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (7; -½), Real 
  Weapon (-¼)
  4 
  Protective Hilt:  Armor (6 PD/6 ED); OAF 
  (-1), Only Protects Th e Hand Used To 
  Grasp It (-2)
  4 
  Skillful Weapon:  +2 OCV with Block, Bind, 
  Disarm, and Takeaway; OAF (-1), Only 
  Applies To Th e Four Listed Maneuvers (-½)
  Total cost:  16 points (or 20 points for IAF (-½) 
  version).
  Makila:  Used by Zipota practitioners, this is a 1.5 
  meter-long stick traditionally used as a shepherd’s 
  tool. One end has an iron cap, and the handle 
  unscrews to reveal a long, sharp needle-like thrust-
  ing weapon.
  Cost Power
  8 
  Makila:  Multipower, 22-point reserve, all 
  OAF (-1), STR Minimum (8; -½), Real 
  Weapon (-¼)
  1u 
  1) Stick:  HA +3d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (8; -½), Real 
  Weapon (-¼) 
  1u 
  2) Spike:  HKA 1d6 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (8; -½), Real Weapon (-¼) 
  Total cost:  10 points (or 12 points for IAF (-½) 
  version).
  Manriki-gusari:  Also called a manriki or a kusari-
  fundo, this is a 3’ chain with weights at both ends. It 
  can be swung to strike a foe or thrown to ensnare 
  him, just like the kusari. You can also use this 
  weapon’s statistics for the following weapons:  the 
  suruchin, a weighted rope used by some Kobujutsu 
  practitioners; the kabit, a chain weapon used in 
  Arnis; the panu, a scarf or handkerchief weighted 
  with coins used by some Arnis exponents; and the 
  sarong, a type of waistcloth worn in the Philippines 
  and Indonesia which is used like the panu, but is 
  much heavier — there are reports of skilled prac-
  titioners “ﬂ icking” the sarong at thick boards and 
  snapping them in two!
  Metsubishi:  Small grenades which can momen-
  tarily blind an opponent. Grenades do not require a 
  Weapon Familiarity. Alternatively, a “ﬂ ash grenade” 
  could be one use’s worth of eye-irritating dust, 
  either thrown at a foe or blown through an open-
  ended sword sheath, a small pillbox, or a similar 
  device. Th is type of metsubishi has No Range, since 
  it can only be used eﬀ ectively within a few feet.
  Metsubishi (thrown):  Sight Group Flash 2d6, 
  Area Of Eﬀ ect Nonselective (One Hex; +¼) 
  (12 Active Points); OAF (-1), Range Based On 
  STR (-¼), Real Weapon (-¼), 8 Charges (-½). 
  Total cost:  4 points (or 5 points for IAF (-½) 
  version).
  Metsubishi (blown powder):  Sight Group Flash 
  2d6 (10 Active Points); OAF (-1), No Range 
  (-½), Real Weapon (-¼), 1 Charge (-2). Total cost:  
  2 points (or 2 points for IAF (-½) version).
  Chinese du sar, “poison sand,” uses the same 
  statistics as the blown metsubishi.
  Mourn Staﬀ :  Known as a Th orn Staﬀ  or, in Chinese, 
  as a san men barn, this weapon actually resembles a 
  sword more than it does a staﬀ . It consists of a 3-4’ 
  wooden or metal shaft , with three-quarters of its 
  length studded with metal “teeth.”
  Nagedeppo:  A type of primitive explosive grenade. 
  Its explosion covers a One Hex radius. In feudal Japa-
  nese campaigns, the bang and ﬂ ash from this grenade 
  are as disorienting as its damaging eﬀ ects, since such 
  weapons were extremely uncommon in that period. 
  Naginata:  Th is Japanese weapon consists of a 2-3’ 
  edged blade on long staﬀ ; the weapon is usually 7-8’ 
  long. It is traditionally a very popular weapon with 
  female Japanese ﬁ ghters. Warriors use it as both a 
  bladed weapon and as a staﬀ ; it is very versatile. You 
  can also use this weapon’s statistics for the nagemaki 
  or nagakami, which has a somewhat longer and 
  heavier blade but a shorter handle.
  Cost Power
  12 
  Naginata:  Multipower, 37-point reserve; 
  all OAF (-1), STR Minimum (15; -¾), Real 
  Weapon (-¼)
  1u 
  1) Blade:  HKA 1½d6 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (15; -¾), Real Weapon (-¼)
  1u 
  2) Shaft :  HA +4d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (15; -¾), Real 
  Weapon (-¼)
  2 
  Long Weapon:  Stretching 1”, Reduced Endur-
  ance (0 END; +½) (7 Active Points); OAF (-
  1) [or IAF (-½) for concealed form], Always 
  Direct (-¼), No Noncombat 
  Stretching (-¼), Only To Cause Damage 
  (-½), No Velocity Damage (-¼) (total cost 
  for IAF (-½) version:  2 points)
  Total cost:  16 points (or 19 points for IAF (-½) 
  version).
  Navaja:  A large folding knife used by European knife-
  ﬁ ghters, with a very slight curve toward the tip of the 
  three to six inch-long blade.
  
  181 
  Hero Games
  Nekote:  Nekote, or “cat’s claws,” are a set of ﬁ ve metal 
  claws ﬁ tting on the ﬁ ngertips. By themselves they do 
  relatively little damage, but they are oft en poisoned. 
  Use this weapon’s statistics for Chinese ﬁ ngernail 
  razors (small blades that ﬁ t underneath the ﬁ nger-
  nails) and the Japanese kakute, or “horn ﬁ nger” ring. 
  Th is ring has a small spike on one side that is nor-
  mally poisoned, making even the lightest punch fatal.
  Net:  See Toami.
  Nine-Dragon Trident:  Th is Chinese polearm 
  consists of a 6’ shaft  with a trident on top, plus 
  two cross-bars further down (turned at 90o to 
  one another) which bear an indescribable array 
  of ﬂ anges and protrusions. It grants a +2 OCV to 
  maneuvers including the Bind, Block, Disarm, and 
  Takeaway (Grab Weapon) Bases. In Chinese, it is 
  called the gao loon cha.
  For the Nine-Dragon Trident’s game statistics, 
  use the Ghi, above.
  Nine-Ring Sword:  A single-edged, sabre-like weapon 
  with nine rings set into its back edge. Th e rings help 
  to catch an enemy’s weapon and disarm him. Another 
  name for this weapon is Ghost Hat Sword.
  Ninja-to:  Th is weapon, also called the shinobi-
  gatama, shinobigatana, and ninja-ken, is the tra-
  ditional ninja sword. It has a blade about 24” long 
  and is about 40” long overall. It looks something 
  like other Japanese swords such as the katana, but 
  the blade is straight and the handguard (tsuba) is 
  square instead of round. 
  Th e ninja-to is a tool as much as a weapon — 
  to use a modern comic book analogy, it is a sort of 
  “utility belt” for the ninja. It can be used for climb-
  ing and for digging holes in the earth as well, an 
  indignity the owner of a katana would never sub-
  ject his blade to. Its scabbard, or saya, is longer than 
  the sword itself and can be used to carry concealed 
  powder weapons or bo shuriken. Th e scabbard cord, 
  or sageo, has a variety of uses. Th ese additional uses 
  are bought as part of a Multipower.
   Ninja only use a ninja-to on stealth missions; 
  when disguised as ordinary people, they use what-
  ever weapons are appropriate to those folk. Ninja 
  also oft en use the katana.
  Cost Power
  22 
  Ninja-to And Saya:  Multipower, 44-point 
  reserve, all OAF (-1)
  1u 
  1) Blade:  HKA 1 ½d6 (plus STR), Range 
  Based On STR (+¼), Reduced Endurance 
  (0 END; +½); OAF (-1), STR Minimum (15; 
  -¾), Real Weapon (-¼), One-And-A-Half-
  Handed (-¼) 
  1u 
  2) Hilt/Saya As Club:  HA +2d6, Reduced 
  Endurance (0 END; +½); OAF (-1), Hand-
  To-Hand Attack (-½), STR Minimum (15; 
  -¾), Real Weapon (-¼), One-And-A-Half-
  Handed (-¼)
  1u 
  3) Saya And Sageo As A Climbing Platform:  
  +1 to Climbing Roll; OAF (-1) 
  1u 
  4) Blinding Powder In Saya:  As Metsubishi, 
  Blown, above
  1u 
  5) Sageo As Strangling Garrotte:  refer to 
  “Garrotte,” above, for details on that weapon
  1u 
  6) Saya As Breathing Tube (Takezutsu):  Life 
  Support (Breathe Underwater); OAF (-1), 
  Only Works Close To Th e Surface (-1) 
  Total cost:  28 points (or 36 points for IAF (-½) 
  version).
  No-daichi:  Th is is a Japanese two-handed sword.
  Nunchaku:  Th is weapon, one of the principal 
  weapons of Karate (the others are bo, eiku, kama, 
  sai, tekko, timbe and rochin, and tonfa), is an Oki-
  nawan wooden ﬂ ail. It consists of two pieces of 
  wood (each 12” to 14” long) connected by short 
  chain or cord (itself 1” to 5” long). Nunchaku are 
  oft en used in pairs.
  Parang:  A cleaver-like Indonesian blade, about 10 
  inches to three feet in length. You can also use its 
  statistics for other Indonesian weapons, including 
  the golok (which has a more convex cutting edge 
  and a sharper point than the parang).
  Pedang:  A straight or curved Indonesian short 
  sword (10-35” long). It is used one-handed. Other 
  Indonesian blades using similar statistics include 
  the kělewang (a single-edged sword with a pro-
  nounced notch near the tip on the blunt side).
  Pendjepit:  A weapon used in Prisai Sakti Pentjak-
  Silat. It is a metal pincher with sharp, tiny teeth in 
  the ends which are used to tear at the ﬂ esh grabbed. 
  Petjat:  A 4-6’ whip used in some parts of Indo-
  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’ buﬀ alo-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.
  
  182 
  The Ultimate Martial Artist
  Rante:  A chain weapon from Indonesia. Th e chain 
  can be used in typical fashion, to whip and snare, 
  but many rante also have some sort of blade or barb 
  attached to one end, making the weapon more lethal 
  than it otherwise would be.
  Cost Power
  9 
  Rante:  Multipower, 22-point reserve, all OAF 
  (-1), STR Minimum (5; -¼), Real Weapon (-¼)
  1u 
  1) Chain:  HA +3d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (5; -¼), Real 
  Weapon (-¼) 
  1u 
  2) Blade:  HKA ½d6 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (5; -¼), Real Weapon (-¼)
  2 
  Long Weapon:  Stretching 1”, Reduced Endur-
  ance (0 END; +½) (7 Active Points); OAF (-
  1) [or IAF (-½) for concealed form], Always 
  Direct (-¼), No Noncombat Stretching (-¼), 
  Only To Cause Damage (-½), No Velocity 
  Damage (-¼) (total cost for IAF (-½) version:  
  2 points)
  Total cost:  13 points (or 15 points for IAF (-½) 
  version).
  Rapier:  A long, narrow stabbing sword, a European 
  fencing weapon.
  Razor, Straight:  Th is is the normal shaving imple-
  ment; the large variety is larger than the types nor-
  mally used to shave. It is ineﬀ ective against Armor 
  (it has the “Reduced Penetration” Limitation) and 
  doesn’t do as much STUN as cleaving or stabbing 
  weapons. It is the preferred weapon of capoeiristas. 
  Two types of Straight Razors are shown on the chart, 
  one of ordinary length and one extra-long.
  You can also use the statistics for the smaller 
  Straight Razor for the Justice Pen (bi), a Chinese 
  stabbing weapon which resembled a large metal 
  brush or pen.
  Ring Needle:  Also known as an er mei tzu, or “sting,” 
  this weapon consists of a ring attached to a thin, 
  sharpened metal rod. It was originally designed for 
  underwater ﬁ ghting. Pakua practitioners use it to stab 
  or thrust, and can throw it.
  Rings:  Steel rings about 8’ in diameter, used as blud-
  geoning weapons or missiles.
  Rope Dart:  A small blade on the end of an up to 
  25’ long rope. Th e weapon was used by whirling the 
  dart around and slashing people with it. Th e Indo-
  nesian equivalent for this weapon is the suk piao, 
  used in Kuntao.
  Sabre:  Th is is the European fencing sabre, a sharp, 
  curved weapon used principally for slashing. You 
  can also use the sabre’s statistics for the krabi, a 
  sabre-like sword used in Krabi-Krabong.
  Sai:  Th is Japanese weapon, known as gen or cha in 
  China and as a tjabang or titjio in Indonesia, is one 
  of the principal weapons of Karate (the others are bo, 
  eiku, kama, nunchaku, tekko, timbe and rochin, and 
  tonfa). It is is trident-shaped truncheon, some 15-20” 
  long, made of metal. Th e point is blunted; it is not a 
  stabbing implement. Due to its trident shape, the Sai 
  receives an additional +2 OCV when 
  performing maneuvers which include 
  the Bind, Block, Disarm, and Takeaway 
  (Grab Weapon) Bases (thus receiving a 
  total of +3 OCV with these maneuvers).
  Th ese statistics are also used for 
  the jutte and nunte weapons. Th e jutte 
  (or jitte) looks like the sai but with one 
  tine missing; this makes it easier to 
  conceal, and thus popular among ninja. 
  Th e nunte looks like the sai but with 
  one tine bent backwards. Th e sai, jutte and nunte 
  can be thrown; the three weapons share an identical 
  Weapon Familiarity.
  Sai, Cinema:  Th ough historical sai appear never to 
  have been sharpened, sai in movies are sometimes 
  stabbing weapons. Th e statistics for this weapon can 
  also be used for the Chinese char, or trident dagger, 
  and for the siangkam, a Kuntao weapon resembling a 
  metal arrow about 1-2’ long.
  Schlaeger:  A duelling sword favored by German 
  students, particularly during the latter half of 
  the 1800s. It has a straight, double-edged blade, a 
  large basket hilt (to allow the wrist a full range of 
  motion), and a dull point (it was used for slashing, 
  not stabbing).
  Shinai:  Th is is a bamboo practice sword shaped 
  like a katana and used in the sport of kendo.
  Shinobi-zue:  Th is ninja weapon is a bamboo staﬀ . 
  One end is loaded with lead for a harder impact 
  when it hits. Th e other is capped with a metal plug; 
  when removed, this releases a concealed 6’ chain. Th e 
  staﬀ  is used as a bo; the chain is used like a kusari 
  but cannot be thrown. Th is weapon is also known 
  as a shikomi-zue. You can also use the shinobi-zue’s 
  statistics for the chigiriki, a staﬀ  or spear with a 3-10’-
  long chain with a weighted end attached to it (use the 
  yari’s statistics for the spearhead).
  Shuko:  Th ese are the ninja climbing claws worn on 
  the hands, usable in hand-to-hand combat to slash 
  a target. Th ey provide a +1 bonus to Climbing rolls 
  (when wearing both the shuko and the ashiko, or foot-
  claws, the ninja gets a total bonus of +2 to Climbing 
  rolls). A character cannot carry a weapon in a hand 
  which has a shuko in it. And the characer must wear 
  both shuko, one on each hand, to get the +1 to his 
  Climbing rolls. Shuko are also known as tekkokagi.
  Shuriken:  Commonly called throwing stars and 
  throwing spikes, these are ranged weapons used by 
  ninja and by modern martial artist heroes and vil-
  lains. Th ey come in three basic types:
  Bo Shuriken are sharply-pointed metal spikes a 
  few inches long. One to ﬁ ve bo shuriken may be 
  thrown at a time.
  Large (Star) Shuriken are star-shaped metal disks 
  several inches across, about half an inch thick, 
  and possessing three to eight sharp points.
  
  183 
  Hero Games
  Small (Star) Shuriken are shaped the same as 
  Large Star Shuriken, but are only about an 
  eighth of an inch thick and a couple of inches 
  across. One to ﬁ ve small star shuriken may be 
  thrown at a time.
  Star shuriken are called hira shuriken in Japa-
  nese. Th e four-pointed star, the most popular type, 
  is called a senban shuriken. Shuriken made out of 
  ﬂ at metal bars with sharpened ends are itaken. 
  Th e Chinese have a weapon called a Sleeve 
  Dart (shouu gen, darts easily concealed in a sleeve 
  or in various spring-loaded tubes hidden in 
  one’s clothes) which has the same statistics as bo 
  shuriken. Th e Chinese also created razor-edged 
  coins (lo han chain [Japanese, nasare en]) and 
  oddly-shaped Dart Knives (biau dau) which have 
  the same statistics as small star shuriken, as does 
  the piau, an Indonesian throwing blade vaguely 
  shaped like a hatchet-head. Th e Indian chakram or 
  cher-khi, a razor-edged throwing ring also called 
  a quoit, uses the statistics for a large shuriken. Th e 
  paku, a sort of sharpened throwing stick weapon 
  used in Indonesia, uses the bo shuriken’s statistics. 
  Many dart weapons, including specially-thrown 
  nails or the narrow darts sometimes slipped into 
  war fans, correspond to bo shuriken.
  Th e Ranged Weapons Chart shows a load of 9 to 
  12 shuriken. Ninja traditionally carried nine, because 
  that number has special signiﬁ cance to them.
  Sling Bow:  Th is missile weapon is a bow designed 
  to ﬁ re small iron balls — sort of a cross between 
  a bow and a slingshot. In Chinese it is known as a 
  dan kurn.
  Soft  Hammer:  Th is Chinese weapon (nuan chuai) 
  is the same as the European morningstar:  a metal 
  ball (spiked or not) connected to a wooden shaft  by 
  a short length of chain.
  Spread-Th e-Water Knife:  A bladed weapon 
  shaped like a thin D,  with the curved edge being 
  the blade and the straight bar being a wooden shaft . 
  Th e straight bar averaged about 2-3’ long. 
  Steel Olive:  An olive-shaped throwing weapon. 
  Th e ends taper down to sharp points, giving the 
  weapon an eye-shaped proﬁ le.
  Steel Toad:  A throwing weapon in the shape of a 
  toad!  Th e toad’s head tapers to slightly more of a 
  point that a normal toad’s does, so the weapon can 
  do more damage than it would if it were blunt.
  Sword-Spear:  A type of short (3-4’) Chinese spear, 
  known as a jen chian. Also use these statistics for 
  a Double Hook Arrow (shunn gou shih), a type of 
  large arrow with two hooks which curve away from 
  the arrow head.   
  Tai-Dao:  Th is Chinese polearm is two meters long 
  and topped with a heavy, curved blade. (Use the 
  Naginata’s write-up for its game statistics.) It was 
  used both from foot and horseback. Th e kwan dao 
  (also spelled quan tao, meaning “General Kwan’s 
  Knife”), da dau (a long-handled broadsword-like 
  weapon), bisento (a Japanese weapon), and the 
  chun jung whule-do (“heavenly dragon moon 
  knife,” a Korean weapon) use the same statistics as 
  this weapon, as do the kwanto and sjang sutai, two 
  weapons used in Kuntao.
  Tanto:  A Japanese dagger, sturdily constructed, 
  with a curved, single-edged, chisel-pointed blade. It 
  is 9” or so long and has no hand-guard.
  Use these statistics for two other Japanese 
  blades, the aikuchi and hamidashi, and for several 
  short Chinese bladed weapons, including the shaou 
  dau (“scrape saber,” a small version of the Chinese 
  saber) and shou li jen (“sleeve sword,” a sword about 
  the size of a dagger with a concealed spring that 
  allowed to to expand to twice its length). Th e tanto’s 
  statistics also apply to a number of Indonesian dag-
  gers, including the pisau. 
  Tetsubishi:  Th ese are caltrops — four-pointed 
  spikes which, when dropped on the ground, always 
  land with one spike pointed up. When the char-
  acter throws his tetsubishi onto the ground, he 
  rolls versus DCV 3 to hit his target hex. When a 
  target walks into the hex where tetsubishi have 
  been thrown, the attacking player (or GM) rolls the 
  14- Activation Roll; if it succeeds, the target takes 
  damage. In campaigns which use Hit Locations, 
  this damage is always to the character’s feet (loca-
  tion 18). A character who sees the caltrops ahead 
  of time may move through the hex without step-
  ping on them. Tetsubishi do not require a Weapon 
  Familiarity.
  Characters oft en buy tetsubishi at IAFs 
  because they’re generally inconspicuous when 
  dropped — though depending on the circum-
  stances, this may not be the case. In a pinch, a char-
  acter can use his tetsubishi as an improvised missile 
  weapon, doing 1d6 to all targets in a 1” radius.
  You can also use the tetsubishi write-up for 
  igadama (spiked iron balls similar to arare), hishi 
  (dried water chestnuts with spiky shells), and 
  dokubari (spiked balls of plant matter).
  Cost Power
  15 
  Tetsubishi:  Multipower, 45-point reserve; 
  all OAF (-1), 2 Recoverable Charges (-1) for 
  entire Multipower
  1u 
  1)  Dropped:  RKA 1d6, Area Of Eﬀ ect (One 
  Hex; +½), Continuous (+1), Uncontrolled 
  (removable by spending a Full Phase to 
  
  184 
  The Ultimate Martial Artist
  sweep them aside; +½); OAF (-1), Activa-
  tion Roll 14- (-½), Only Aﬀ ects Characters 
  Moving On Th e Ground (-¼), DEX Roll 
  Cancels Eﬀ ect (-¼), Automatically Targets 
  Hit Location 18 (-0)
  1u 
  2)  Th rown:  RKA 1d6, Area Of Eﬀ ect (One 
  Hex; +½); OAF (-1), Range Based On STR 
  (-¼), Inaccurate (user is at half OCV, and 
  Range Modiﬁ er increment drops to 3”; -¼)
  Total cost:  17 points (or 21 points for IAF (-½) 
  version)
  Tetsubo:  A Japanese hardwood war-staﬀ  6’ long 
  and covered with studded iron plates at the end; 
  the plated area of the shaft  is octagonal rather than 
  round. You can also use the tetsubo’s statistics for 
  the konsaibo, a hardwood staﬀ  reinforced with 
  metal strips and iron studs, and for the kanabo, an 
  iron club.
  Tetsu-To:  A heavy iron sword, curved in the Japa-
  nese fashion, used by samurai and ninja alike as a 
  strength-training weapon. It is too heavy for most 
  people to use eﬀ ectively in combat (see the weap-
  on’s STR Min).
  Th ree-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 ﬂ ail for long strikes, 
  or like a jo for close-in attacks.It’s very useful for 
  maneuvers containing the Bind, Block, Disarm, 
  and Takeaway (Grab Weapon) Bases:  it grants a 
  +2 OCV with them. If you’re using the Weapon 
  Lengths rules (page 164), the Th ree-Section staﬀ  
  is a special weapon:  other weapons attack against 
  the Th ree-Section Staﬀ  as if the staﬀ  were a Long 
  weapon, but the wielder of the Staﬀ  is never at an 
  OCV penalty when the attacker gets inside his 
  guard and strikes him.
  Th e Indonesian equivalent of the Th ree-Sec-
  tion Staﬀ , used in Kuntao, is the sa tjat koen.
  You can also use these statistics for the 
  “Sweeper,” or shao-tzu, a weapon consisting of a 
  short staﬀ  with an even shorter length of wood 
  attached to one end by a chain (a two-section staﬀ , 
  if you will). Th e Sweeper was most oft en used to 
  attack a horse’s legs.
  Tiger Fork:  Th e Tiger Fork, or hu cha, is a large, 
  trident-like weapon with broadly-spread tines.  
  (Use the Naginata’s write-up for its game statistics.) 
  You should also use these for various types of Chi-
  nese tridents, such as the shan char, and the Korean 
  trident, or dang pah.
  Timbe:  A 1-2’ shaft  with a small spearhead on one 
  end. It is used in combination with a tortoiseshell 
  shield called a rochin and is one of the principal 
  weapons of Kobujutsu.
  Tjaluk:  A blade weapon used in Setia Hati Pentjak-
  Silat. It consists of a hilt (with a curved metal hand-
  guard) from which a sickle-like curved blade about 
  1’ long emerges. Th e sharp edge of the weapon is 
  the reverse, or outside, edge — so parrying it can 
  be a risky proposition. It is best used in surprise or 
  assassination attacks, not in open combat.
  Toami:  A net. Its statistics depend upon its size:
  Small Toami:  Entangle 4d6, 4 DEF, Entangle 
  And Character Both Take Damage (+¼) (50 
  Active Points); OAF (-1), Range Based On STR 
  (-¼), Real Weapon (-¼), 1 Recoverable Charge 
  (-1 ¼). Total cost:  13 points (or 15 points for 
  IAF (-½) version).
  Normal Toami:  Entangle 4d6, 4 DEF, Entan-
  gle And Character Both Take Damage (+¼), 
  Area Of Effect (One Hex; +½) (70 Active 
  Points); OAF (-1), Real Weapon (-¼), Range 
  Based On STR (-¼), 1 Recoverable Charge 
  (-1 ¼). Total cost:  19 points (or 21 points for 
  IAF (-½) version).
  Large Toami:  Entangle 4d6, 4 DEF, Entangle 
  And Character Both Take Damage (+¼), 
  Area of Effect (5” Radius; +1) (90 Active 
  Points); OAF (-1), Real Weapon (-¼), Range 
  Based On STR (-¼), 1 Recoverable Charge 
  (-1 ¼). Total cost:  24 points (or 28 points for 
  IAF (-½) version).   
  Tonfa:  Th is is one of the traditional weapons of 
  Karate (the others are the bo, eiku, kama, nunchaku, 
  sai, tekko, and timbe and rochin). It consists of a trun-
  cheon with handle protruding at 90 degrees near one 
  end. It is oft en used in pairs. Unlike clubs, it requires 
  a Weapon Familiarity (it’s part of the WF for Karate 
  Weapons). However, ordinary people can pick up a 
  tonfa and use it as ordinary club, keeping the normal 
  weapon damage but losing the OCV bonus.
  Th e Indonesian counterparts to the tonfa are 
  the segu, which is used in Tapak Sutji Pentjak-Silat, 
  and the kwai, which is used in Kuntao.
  Tsubute:  A “blunt shuriken,” used to knock an 
  enemy unconscious. Th e same statistics apply to 
  blunt Chinese throwing coins, shouu chuan, or the 
  Sleeve Ring (a blunt metal ring hidden in the sleeve 
  and thrown at an enemy’s face).
  Umebi:  A form of primitive land mine used by the 
  ninja:
  Umebi:  RKA 1 ½d6, Area Of Effect (One 
  Hex; +½), Trigger (when stepped on, takes 1 
  Turn to reset; +¼) (44 Active Points); IAF (-
  ½), 1 Charge (-2), Real Weapon (-¼). Total 
  cost:  12 points.
  Urumi:  Th e urumi, or spring-sword, is a ﬂ exible 
  sword from India. It consists of a hilt with 1-4 
  blades of metal (sharpened on both edges) project-
  ing from it. Th e blades are thin and ﬂ exible, allow-
  ing them to be whipped through the air and into an 
  enemy. When not in use the urumi can be carried 
  around the waist like a belt.
  Cost Power
  8 
  Urumi (Single-Bladed):  HKA 1d6 (plus STR), 
  Reduced Endurance (0 END; +½) (22 Active 
  
  185 
  Hero Games
  Points); OAF (-1), STR Minimum (12; -½), Real 
  Weapon (-¼) (total cost with IAF (-½):  10)
  13 
  Urumi (Multi-Bladed):  HKA 1d6 (plus STR), 
  Autoﬁ re (up to 4 shots, depending on number 
  of blades and wielder’s desire; +½), Reduced 
  Endurance (0 END; +1) (37 Active Points); 
  OAF (-1), STR Minimum (12; -½), Real 
  Weapon (-¼) (total cost with IAF (-½):  16)
  Wakizashi:  Th is is the companion sword of the 
  katana; it is the smaller of the daisho pair of samu-
  rai blades. Th e kodachi is the older form of the 
  same blade.
  War Fan:  Th is weapon, known in Japanese as a 
  tessen or gunsen and in Chinese as a san, looks 
  like a normal hand-fan, but is larger than purely 
  decorative fans and is made of hardier materials. It 
  is used two ways:  closed, it is a punching weapon; 
  open, it is eﬀ ective at blocking attacks (+2 OCV 
  with Block maneuvers). Special War Fans come 
  with an additional blade option. Th e blade may be a 
  razor edge on the vanes of the fan, used in a slicing 
  motion when the fan is open, or it may be a spike 
  at the base of the fan, used when the fan is closed. 
  Both types are shown on the Melee Weapons Table. 
  War Fans are sometimes made with small darts 
  hidden in the vanes; if a character uses them, treat 
  these darts identically to Bo Shuriken.
  Cost Power
  8 
  War Fan, Edged:  Multipower, 22-point 
  reserve; all OAF (-1), STR Minimum (6; -½), 
  Real Weapon (-¼)
  1u 
  1) Folded Fan Attack:  HA +3d6, Reduced 
  Endurance (0 END; +½); OAF (-1), Hand-
  To-Hand Attack (-½), STR Minimum (6; -½), 
  Real Weapon (-¼) 
  1u 
  2) Spread Fan Attack:  HKA ½d6 (plus STR), 
  Reduced Endurance (0 END; +½); OAF (-1), 
  STR Minimum (6; -½), Real Weapon (-¼)
  3 
  Skillful Weapon:  +2 OCV with Block (10 
  Active Points); OAF (-1), Only Applies To 
  Block (-1), Real Weapon (-¼)
  Total cost:  13 points (or 16 points for IAF (-½) 
  version).
  Wind and Fire Wheels: Th ese are Chinese weap-
  ons. Th ey consist of broad metal hoops a foot or 
  two in diameter. Some feature protruding spikes 
  and handles; other are plain hoops. Fighters use 
  them to punch and slash, and receive a +2 OCV 
  bonus when used with maneuvers with the Bind, 
  Block, Disarm, and Takeaway (Grab Weapon) 
  Bases. Th e statistics for this weapon also apply to 
  the lun, which is similar in function but shaped 
  more like a coin, and the yue, which is eye-shaped.
  Wishful Steel Ball:  A small steel ball similar to a 
  modern ball-bearing, used as a weapon by ﬂ icking 
  it at high speed at the target.
  Wolf’s Teeth Staﬀ :  Th is weapon, called lan yar 
  barn in Chinese, consists of a staﬀ  approximately 6’ 
  long. About 1’ of one end of it is covered with small 
  metal spikes. Use the Naginata’s write-up for its 
  game statistics.
  Yari:  Th is is the Japanese spear. It comes in two 
  basic versions. Th e normal version works just like 
  any other spear. Another version, the Kamayari, 
  comes with a back-hook (a backward-point-
  ing spike mounted at the head), which gives the 
  weapon a +2 OCV bonus when used with maneu-
  vers with the Bind, Block, Disarm, and Takeaway 
  (Grab Weapon) Bases. Th ere are several other vari-
  eties with diﬀ erent spearhead and combinations of 
  hooks and and other projections. Th e Vietnamese 
  counterpart to this weapon is the thuong.
  Cost Power
  13 
  Yari:  Multipower, 37-point reserve; all 
  OAF (-1), STR Minimum (14; -½), Real 
  Weapon (-¼)
  1u 
  1) Blade:  HKA 1½d6 (plus STR), Reduced 
  Endurance (0 END; +½); OAF (-1), STR 
  Minimum (14; -½), Real Weapon (-¼)
  1u 
  2) Shaft :  HA +4d6, Reduced Endurance 
  (0 END; +½); OAF (-1), Hand-To-Hand 
  Attack (-½), STR Minimum (14; -½), Real 
  Weapon (-¼)
  2 
  Long Weapon:  Stretching 1”, Reduced 
  Endurance (0 END; +½) (7 Active Points); 
  OAF (-1) [or IAF (-½) for concealed form], 
  Always Direct (-¼), No Noncombat Stretch-
  ing (-¼), Only To Cause Damage (-½), No 
  Velocity Damage (-¼) (total cost for IAF 
  (-½) version:  2 points)
  4 
  Kamayari:  +2 OCV with Bind, Block, Disarm, 
  and Takeaway; OAF (-1), Only Applies To 
  Th e Four Listed Maneuvers (-½)
  -1 
  Kamayari:  Increase STR Min to 17
  Total cost (Yari):  17 points (or 20 points for IAF 
  (-½) version).
  Total cost (Kamayari):  20 points (or 23 points for 
  IAF (-½) version).
  Yoroi-toshi:  Th is weapon, the same approximate 
  size and shape as the tanto, is a dagger designed to 
  pierce armor. It is very heavy and very sharp, and 
  does armor-piercing damage.
  Yumi:  Th is is the Japanese bow, also known as a 
  daikyu. It can be anywhere from ﬁ ve to eight feet 
  long, and, unlike Western bows, is not held in the 
  middle; the handle is about one-third of the way 
  from the bottom. Th erefore it is easily used by 
  horsemen. Th e “One-Man, Two-Man, Th ree-Man” 
  designations indicate how many men it theoreti-
  cally takes to string the bow; for HERO System 
  purposes, the STR Min of the weapon is also the 
  STR Min it takes to string the bow.
  
  186 
  The Ultimate Martial Artist
  ARMOR
  Th ough body armor isn’t very common in 
  martial-arts adventures, a few types do show 
  up with some regularity:  samurai armor, kendo 
  armor, and body armor for full-contact karate 
  sparring, for example.
  Superheroic characters generally create 
  armor which provides consistent defense over 
  all the body locations, which does not have an 
  encumbrance rating, and so forth. In superhero 
  campaigns, such armor is usually built with 
  higher DEF ratings than real-world armor, and 
  simply looks identical to the real-world armors 
  described below, which are designed for Heroic-
  level campaigns.
  Full-Contact Karate Armor
  Th is is a set of vinyl or leather-covered pad-
  ding designed to minimize risk of injury while 
  characters are sparring or training. It includes 
  the following pieces (not all of which have to be 
  worn):
  Th e two columns listed under “Defense” are 
  R for Resistant and N for Non-Resistant. Resis-
  tant Defenses are bought as Armor (PD and ED); 
  Normal Defenses are bought as Physical Defense 
  and Energy Defense.
  Th e Weight column is included for those 
  Heroic campaigns using the HERO System 
  encumbrance rules (see the HERO System 5th Edi-
  tion, Revised, page 379). If your campaign doesn’t 
  use those rules, don’t worry about the Weight 
  column except to determine whether a character 
  can lift  the equipment at all. Weights are given in 
  tenths of a kilogram.
  You cannot “stack” armor; a character cannot 
  wear a Face Guard and a Full Face Guard and get 
  the beneﬁ ts of both. He only gets the beneﬁ t of 
  the greater of the two. 
  Kendo Armor
  Th e armor used by kendoka (practitioners of 
  Kendo, the modern sport form of Kenjutsu) in their 
  practices consists of several items.
  Th e men, or helmet, has a wire-frame mask 
  and padded armor which covers the top and back 
  of the head and the throat. Accompanying this are 
  a heavy chest-plate and gloves which cover the 
  forearms, both made of resilient padded material; a 
  padded apron; and a lighter protective jacket.
  In HERO System terms, it looks like this:   
  Th e Men has an additional Limita-
  tion:  it acts as Armor 0 versus Guns. 
  Th e Kote and Do have a similar 
  Limitation:  Half-Value versus 
  Guns. In other words, bul-
  lets automatically bypass the 
  armor of the helmet, and are 
  automatically Armor-Piercing 
  attacks against the Kote and Do. 
  Leather Hand-
  Wrappings
  Practitioners of ancient 
  boxing (see Boxing, Ancient in 
  the Martial Arts section) pro-
  tected their hands by wrap-
  ping them in leather strips; 
  this was the sort of protec-
  tion that ultimately evolved 
  into the boxing glove. A 
  character who wraps his 
  hands in this fashion has a 
  piece of equipment that 
  looks like this:   
  Rawhide Hand-Wrappings
  Rawhide hand-wrappings are just like leather 
  hand-wrappings, with one exception. Rather like 
  the cestus (see above in the melee weapons listing), 
  rawhide wrappings can cause a little extra Killing 
  Damage to the target.
  FULL-CONTACT KARATE ARMOR
  Name  
  Hit 
  Defense 
  Weight
  of Armor 
  Locations 
  R/N 
  (kg)
  Face Guard 
  4-5 
  2/6 
  .1
  Full Face Guard 
  3-5 
  2/6 
  .2
  Gloves (2) 
  6 
  2/6 
  .2
  Forearm 
  Guards (2) 
  7 
  2/6 
  .1
  Torso Guard 
  9-11 
  2/6 
  .8
  Chest Guard 
  10-11 
  2/6 
  .7
  Rib Guard 
  12 
  2/6 
  .4
  Athletic Cup 
  13 
  2/6 
  .2
  Shin Guards, 
  Sm (2) 
  16 
  2/6 
  .1
  Shin Guards, 
  Lg (2) 
  16-17 
  2/6 
  .2
  Leg Guard (2) 
  15-17 
  2/6 
  .3
  KENDO ARMOR
  Name  
  Hit 
  Defense 
  Weight
  of Armor 
  Locations 
  R/N 
  (kg)
  Men (Helmet) 
  3-5, 9 
  6/0 
  1.8
  Kote (Sleeevs) 
  6-7 
  4/2 
  .5
  Do (Breastplate) 
  10-11 
  4/2 
  1.1
  Keikogi (Jacket) 
  8-11 
  1/1 
  .6
  Tare (Apron) 
  12-13 
  2/2 
  .6
  LEATHER HAND-WRAPPINGS
  Name  
  Hit 
  Defense 
  Weight
  of Armor 
  Locations 
  R/N 
  (kg)
  Hand-
  Wrapping (2) 
  6 
  4/0 
  .2
  
  187 
  Hero Games
  With each punch that successfully hits a 
  target, the character with rawhide hand-wrappings 
  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 
  wrappings but uses some sort of NND DMG or K-
  damage attack, the rawhide adds nothing.
  Samurai Armor
  Th is armor is arranged much like the Kendo 
  armor described above, except that it is designed 
  to provide protection in real warfare. It is made of 
  metal and hardened leather plates, usually brightly 
  ornamented with decorative enamels.
  CREATING WEAPONS
  Powers Used In 
  Weapon Creation 
  Th e HERO System Powers used 
  to create most weapons and armor 
  described in this section include:
  Armor (either for armor suits or to 
  provide a weapon with protection for 
  the hand holding it);
  Entangle (for nets);
  Flash (for metsubishi and other blinding 
  weapons);
  Hand-To-Hand Attack; 
  Hand-To-Hand Killing Attack (some-
  times with “Ranged” Advantage, some-
  times with +1 Increased STUN Multi-
  plier);
  Ranged Killing Attack (sometimes 
  bought with Autoﬁ re, such as with small 
  shuriken); and
  Stretching (to give extra range to some 
  long melee weapons). 
  Telekinesis and Change Environment (for 
  dropped marbles).
  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. Th rown 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
  Th e new Limitations that have been intro-
  duced in this section are all examples of the “Lim-
  ited Use” Limitation. Th ey include:
  Value Description
  -¼ 
  Weapon Does Less Damage From Added STR:  
  Th e weapon receives +1 DC for every 10 
  STR above STR Min. Th is 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:  Th is 
  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.)
  SAMURAI ARMOR
  Name  
  Hit 
  Resistant Weight
  of Armor 
  Locations 
  Defense 
  (kg)
  Hachi/Shikoro
  (Helm/Shoulders) 
  4-5 
  6 
  1
  Happuri (Facemask) 
  3 
  6 
  .5
  Kote (Sleeves) 
  6-7 
  4 
  1
  O-Sode (Shoulers) 
  9 
  6 
  2
  Tateage
  (Breastplate) 
  10-13 
  6 
  9.5
  Haidate (Apron) 
  14-15 
  6 
  2.5
  Sune-ate (Greaves) 16-17 
  4 
  .75
  Th is armor has a Limitation:  it is Half Value 
  Versus Guns (-¼). For instance, the Hachi and 
  Shikoro, DEF 6 versus most attacks, is only DEF 3 
  versus bullets. 
  
  188 
  The Ultimate Martial Artist
  -2 
  Only To Th row Target To Ground:  Th is Limi-
  tation to Telekinesis means the power cannot 
  be used to carry people or objects around, to 
  catch someone who is falling, and so forth. It 
  is distinct from “Cannot Be Used To Cause 
  Damage,” and the two Limitations can be 
  taken together on a TK power.
  -¼ 
  Only Aﬀ ects Characters On Th e Ground:  Th is 
  Limitation on an Attack Power means it 
  does no harm to characters not touching the 
  ground. You can use it to simulate an electrical 
  attack that requires the character be grounded, 
  or to build attacks where the character must 
  step on some object to receive the damage.
  -½ 
  Only To Grab:  Th is Limitation on Stretching 
  means the character cannot use it to Strike his 
  target, only Grab and manipulate him.
  -2 
  Only Protects One Location (or Two Locations):  
  Th is is a Limitation for Defense Powers in 
  campaigns using the Hit Locations chart. Th e 
  builder of the power deﬁ nes which one loca-
  tion is protected, or which two are protected. 
  Each location covered must be one of the 
  number locations on the Hit Locations chart; 
  a character cannot say “Th is armor covers two 
  of my locations, Head and Shoulders” because 
  Head is already three locations (3-5) and 
  Shoulders is another (9), making that a total 
  of four locations. Th is Limitation roughly cor-
  responds to an 8- Activation Roll.
  varies Must Be Aimed At Speciﬁ c Location Or Has No 
  Eﬀ ect:  Th is Limitation on any Attack Power 
  means the power does not work if it strikes 
  the wrong location. Th is Limitation only 
  applies in campaigns using the Hit Locations 
  chart. Th e value for the Limitation depends on 
  how hard the location usually is to hit. If the 
  Hit Location modiﬁ er is usually a -1 to a -3, 
  there is no Limitation. If it is usually a -4 to a 
  -5, there is a -¼ Limitation. If it is usually a -6 
  to a -7, there is a -½ Limitation. If it is usually 
  -8 or worse, there is a -¾ Limitation. Th e user 
  of this power can increase his chance to hit by 
  striking from ambush, which usually reduces 
  the Hit Location penalties for aiming at spe-
  ciﬁ c hit locations.
  -¼ 
  Must Follow A Successful Grab Maneuver:  Th is 
  Limitation for any Attack Power means the 
  character cannot use the power unless he has 
  Grabbed his target. If the target is not in his 
  grasp, he cannot use the power.
  -¼ 
  Half Value Versus Guns:  Th is Limitation to 
  Resistant Defense Powers means bullets and 
  other super-high-speed projectile attacks 
  have an automatic Armor Piercing Advan-
  tage against this type of armor. (If the bullet 
  is already Armor Piercing, then only one-
  fourth of the defense is applied to the weapon 
  damage.)
  
  189 
  Hero Games
  Amberger, J. Christoph. Th e Secret History of the 
  Sword
  Anglo, Sydney. Th e Martial Arts of Renaissance 
  Europe
  Balin, Michael.  T’ai Chi Ch’uan:  Th e Martial Side
  Birch, Cyril.  Chinese Myths and Fantasies
  Carella, C.J.  GURPS Martial Arts
  Capoeira, Nestor. Th e Little Capoeira Book
  Chow, David, and Richard Spangler.  Kung Fu:  His-
  tory, Philosophy, and Technique
  Clements, John. Medieval Swordsmanship
  —Renaissance Swordsmanship
  Corcoran, John.  Th e Martial Arts Companion
  —Th e Martial Arts Sourcebook
  Corcoran, John, and Emil Farkas.  Th e Original 
  Martial Arts Encyclopedia:  Tradition, History, 
  Pioneers (formerly Martial Arts:  Traditions, History, 
  People)
  Cowie, A.P., and A. Evison.  Th e Concise English-
  Chinese Chinese-English Dictionary
  Craig, Darrell.  Japan’s Ultimate Martial Art: Jujitsu 
  Before 1882
  Crompton, Paul.  Th e Complete Martial Arts
  Crompton, Paul, trans.  A Dictionary of the Martial 
  Arts, by Louis Frederic
  Daniel, Charles.  Kenjutsu:  Th e Art of Japanese 
  Swordsmanship
  Draeger, Donn.  Th e Weapons and Fighting Arts of 
  Indonesia
  Draeger, Donn, and Robert Smith.  Comprehensive 
  Asian Fighting Arts
  Evangelista, Nick. Th e Encyclopedia of the Sword
  Finn, Michael.  Martial Arts:  A Complete Illustrated 
  History
  Gygax, Gary.  Oriental Adventures
  Hallander, Jane.  Th e Complete Guide to Kung Fu 
  Fighting Styles
  Hatsumi, Masaaki.  Ninjutsu:  History and Tradition
  Hayes, Stephen.  Th e Mystic Arts of the Ninja
  Hsieh, Douglas.  Ancient Chinese Hidden Weapons
  In Hyuk Suh and Jane Hallander.  Th e Fighting 
  Weapons Of Korean Martial Arts
  Kai, Hyõjun.  All-Romanized English-Japanese Dic-
  tionary
  Kim, Ashida.  Ninja Mind Control
  —Ninja Secrets of Invisibility
  —Secrets of the Ninja
  Lawler, Jennifer.  Th e Martial Arts Encyclopedia
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  Knife-Fighting Arts Of Spain
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  Martial Arts
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  Dedman.  GURPS Martial Arts Adventures
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  Park, Bok Nam, and Dan Miller.  Th e Fundamentals 
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  Piggott, Juliet.  Japanese Mythology
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  Reid, Howard, and Michael Croucher.  Th e Way of 
  the Warrior
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  Swordsmanship:  Technique and Practice
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  Yang, Dr. Jwing-Ming.  Introduction to Ancient Chi-
  nese Weapons
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  Martial Arts
  Zoran, Rebac.  Th ai Boxing Dynamite:  Th e Explo-
  sive Art of Muay Th ai
  Various martial arts magazines, including Black 
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  BIBLIOGRAPHY
  
  190 
  The Ultimate Martial Artist
  Th is Appendix contains some additional 
  information about, and rules for, various Martial 
  Maneuvers and other game elements frequently 
  used by martial artist characters.
  PAGE 99  RANGED MARTIAL ARTS
  A character can buy Ranged Martial Arts 
  for innate Ranged attacks, like his Energy Blast 
  — the rules don’t require that a Ranged Martial Art 
  involve a weapon. So, a character could develop a 
  Ranged Martial Art for his Energy Blast or other 
  innate/natural ranged attacks, assuming the GM 
  didn’t object. Th e GM might, to keep things bal-
  anced, let the character take one Energy Blast as a 
  free “Weapon Element,” then require the character 
  to buy any other Ranged attack (even a similar 
  Energy Blast with an Advantage) as a separate 
  “Weapon Element.”
  Characters cannot buy Ranged Martial Arts 
  for use with Mental Powers.
  Ranged Martial Arts DCV bonuses only apply 
  against Ranged attacks. Th e GM may waive this in 
  the interest of simplicity if preferred.
  If a character wants to apply Advantages or 
  Limitations to a Ranged Martial Arts maneuver, 
  every +1 bonus costs +3 Character Points, ever -1 
  penalty -3 Character Points.
  PAGE 101  EXTRA DAMAGE CLASSES
  A character cannot take a Limitation on Extra 
  DCs. However, if he wants to simulate a special 
  form of attack, he could buy some Extra DCs at full 
  price, then voluntarily restrict them to only certain 
  Maneuvers for no point savings.
  PAGE 102  WEAPON ELEMENTS
  In a Superheroic game, where a character pays 
  Character Points for his weapons, he does not have 
  to buy the appropriate WF to use his weapons with 
  his Martial Maneuvers. However, he does have to 
  buy the appropriate Weapon Elements.
  If a character has natural weapons — claws, 
  fangs, or the like — he cannot automatically use his 
  Martial Maneuvers to enhance the damage they do. 
  He must buy a Weapon Element, Use Art with Nat-
  ural Weaponry. Alternately, he could buy Martial 
  Arts deﬁ ned as working with his natural weaponry 
  by default (like the Red In Tooth And Claw style in 
  the HERO System Bestiary).
  Weapon Elements And Using Martial Maneuvers 
  To Add Damage
  When a character buys Martial Arts, his Mar-
  tial Maneuvers work with one form of attack as a 
  “default.” In most cases, that attack is “barehanded 
  STR damage.” A few styles, such as Fencing, Kyu-
  jutsu, or Saijutsu, are deﬁ ned as working with a 
  particular type of weapon as a default, which means 
  they only work with that weapon — the character 
  cannot use them barehanded.
  If a character wants to expand the scope of 
  attacks he can apply his Martial Maneuvers to, 
  he needs to buy Weapon Elements. It may help 
  conceptually if you think of the term “Weapon Ele-
  ment” as meaning “Game Element Characters Buy 
  To Let Th em Add Martial Maneuver Damage To 
  An Attack.”
  For example, if a character has a weapon and 
  wants to add Martial Maneuver damage and modi-
  ﬁ ers to its use, he must buy an appropriate Weapon 
  Element. If a character has claws and wants to add 
  Martial Maneuver damage and modiﬁ ers when he 
  uses them, he must buy Weapon Element:  Claws. 
  Of course, in either case the character could deﬁ ne 
  his Martial Maneuvers as working by default with 
  his weapon or his claws; then he wouldn’t need 
  a Weapon Element for that use, but would need 
  Weapon Element:  Barehanded to use the Martial 
  Maneuvers with just his STR. (Th e same rationale 
  applies to Ranged Martial Arts and Ranged attacks 
  like thrown weapons or Energy Blast.)
  One exception:  characters can add Hand-To-
  Hand Attack damage to Martial Arts normally, as 
  stated on page 185 of the HERO System 5th Edi-
  tion, Revised. Th is only applies to HA bought as 
  an innate power, though — if a character uses HA 
  to create a weapon like a club or a staﬀ , he needs a 
  Weapon Element to use that weapon with his Mar-
  tial Maneuvers.
  A few Weapon Elements (e.g., Use Art In Zero 
  Gravity, Use Art In Armor) work a little diﬀ erently 
  — they function sort of as Limited forms of Envi-
  ronmental Movement, allowing characters to use 
  their Martial Arts in situations where they would 
  otherwise be unable to use them or suﬀ er penalties.
  PAGE 112  ANALYZE STYLE
  Th e Analyze Style Skill in UMA lists certain 
  beneﬁ ts that are diﬀ erent from the ones described 
  in the HERO System 5th Edition, Revised rulebook. 
  Th ese are in addition to the beneﬁ ts describe in 
  the rulebook, and the character gets all the beneﬁ ts 
  with a single roll.
  PAGE 142  MARTIAL MANEUVERS
  Page 425 of the HERO System 5th Edition, 
  Revised rulebook notes that Martial Maneuvers 
  don’t cost END. However, unless the GM rules oth-
  erwise, a character performing one must still pay 
  the full normal END cost for his STR. Th is applies 
  even if the maneuver is one that doesn’t beneﬁ t 
  APPENDIX
  
  191 
  Hero Games
  from adding STR damage or capacity, such as a 
  Nerve Strike.
  If a character has a Martial Maneuver with two 
  bases, such as Block-Grab or Block Th row, there 
  may be some circumstances under which the GM 
  would allow him to use one “part” of the maneuver 
  without using the other. It depends on how the 
  maneuver’s deﬁ ned. Most Th row-based maneuvers, 
  for example, do their damage in whole or in part by 
  slamming the target to the ground, so not using the 
  Target Falls element makes the maneuver mean-
  ingless. Some maneuvers have the “Must Follow” 
  element, which obviously indicates that one part of 
  the maneuver must follow another. So, you have to 
  look at the maneuver from the perspective of spe-
  cial eﬀ ects, common sense, and dramatic sense. In 
  light of that, the GM could allow a character to use 
  only part of a maneuver if he wanted — but even in 
  that case, that should be the exception, not the rule. 
  Maneuvers with multiple elements are packaged 
  together speciﬁ cally because they’re meant to be 
  used together; a character who doesn’t want to do 
  those things together should purchase two maneu-
  vers that each do one of the things the “combo” 
  maneuver does all at once.
   
  A character cannot Link two or more 
  Martial Maneuvers together.
  Adding Damage
  Martial Maneuvers that don’t add dice 
  of damage — such as Killing Damage strikes, 
  NND Strikes, Exert-based maneuvers, and so on 
  — cannot be used to add damage to weapons or 
  other attacks. If the Maneuver doesn’t add DCs to 
  an attack — if it allows the character to do a dif-
  ferent type of damage than Normal (e.g., Killing or 
  NND) — it’s not going to add to weapon damage 
  at all. Its function isn’t to add, but to diﬀ erentiate. 
  Th at’s why weapons-based styles — Arnis, Fencing, 
  Gatka, Kenjutsu, and the like — don’t have Killing 
  Damage-based maneuvers, and why their NND 
  maneuvers (like the Atemi Strike in Naginatajutsu) 
  are expressed as straight damage, not a bonus to the 
  weapon like the other Maneuvers.
  PAGE 142  BLOCK
  Generally, a character cannot Block an 
  attack he cannot perceive. That means the GM 
  has to decide on a case-by-case basis whether a 
  character can “perceive” an attack. If the attack 
  is Fully Invisible (including the source of the 
  power), then a character probably has no chance 
  to Block it. On the other hand, if the character 
  can’t perceive the attack but can perceive his 
  attacker gesturing at him or initiating the attack, 
  perhaps the GM would simply apply the penal-
  ties for fighting an invisible attacker, or perhaps a 
  Surprised bonus, to the Block attempt.
  PAGE 143  CHOKE HOLD
  A Choke Hold prevents the use of headbutts. 
  A Choke Hold does not cut oﬀ  the victim’s senses, 
  but might interfere with them (i.e., cause PER Roll 
  penalties, as determined by the GM). It might cut 
  oﬀ , or diminish the eﬀ ectiveness of some powers 
  (such as a sonic scream), but that’s up to the GM, 
  who should make the call in light of game balance 
  considerations, common sense, and dramatic sense. 
  Th e GM should not let a PC turn a 4-point Martial 
  Maneuver into a frequently-used Drain All Powers 
  Emanating From Th e Head/Skull.
  If a character has Martial Grab, or some other 
  maneuver that adds STR to Grab, he does not get 
  the beneﬁ ts of that extra STR when using Choke 
  Hold. Choke Hold and Martial Grab are completely 
  separate Martial Maneuvers.
  PAGE 143  CRUSH
  Th e Crush Martial Maneuver uses the Follow 
  element. As indicated on pages 93-94, the Follow 
  element means the attack takes place on the Phase 
  following the indicated maneuver/event. To use 
  Crush, a character Grabs his target in a Phase (he 
  could then Squeeze the target, if desired, per the 
  usual rules for Grab). In his next Phase, provided 
  the target hasn’t escaped, the character can attack 
  with his Crush. Th is requires an Attack Roll (modi-
  ﬁ ed by the maneuver’s OCV modiﬁ er, the target’s 
  DCV penalty for being Grabbed, and so forth). If a 
  character wants to repeatedly Crush someone, he 
  has to make an Attack Roll each Phase he uses the 
  maneuver.
  PAGE 144  DODGE
  A character could create a Martial Maneuver 
  that combines Dodge with a Non-Exclusive Ele-
  ment such as Target Falls, thus allowing him to (for 
  example) “trip” people who attack him. However, 
  you must apply common sense when using such a 
  Maneuver. For example, the Target Falls part of the 
  maneuver would only aﬀ ect HTH attackers, not 
  persons who attack the character at range.
  PAGE 144  FLYING DODGE
  If a character has a Held Half Action, he may 
  use it to use Flying Dodge. In that situation, he gets 
  a Half Move and the +4 DCV bonus.
  If a character Aborts to a Flying Dodge, he gets 
  the Full Move worth of movement normally associ-
  ated with the maneuver.
  If a character with Flying Dodge moves out 
  of the way of an area-aﬀ ecting attack, compare the 
  inches moved to where the attack hits (typically the 
  hex the character was formerly standing in) and 
  the attack’s size — it’s possible that, as with a Dive 
  For Cover, the character’s movement didn’t carry 
  him far enough to get out of the way. If the Flying 
  Dodge’s movement carries him beyond the area 
  covered by the Area Of Eﬀ ect/Explosion, then the 
  attack doesn’t aﬀ ect him.
  If a character uses Flying Dodge to try to 
  avoid a ranged non-area-aﬀ ecting attack, he still 
  gets to move and still gets a DCV bonus from the 
  maneuver, but he’s not automatically missed — the 
  attacker still gets a roll to hit (unlike with Dive For 
  Cover, where the attack would automatically miss). 
  If it’s a HTH attack, the Attack Roll is irrelevant, 
  since the character won’t be in HTH combat range 
  any longer.
  If a character performs a Flying Dodge to, 
  for example, move around a corner so his attacker 
  
  192 
  The Ultimate Martial Artist
  cannot see him, that does not mean his attacker’s 
  attack automatically misses. Th e HERO System 
  combat rules model a highly dynamic situation 
  — two or more characters acting in the midst of 
  battle — with a relatively rigid set of timed and 
  controlled actions. It’s not as if one character moves 
  while everyone else does nothing, then the next 
  person acts, and so on — all the actions in a combat 
  Segment are occurring more or less “at once,” but 
  are resolved in a certain order to manage the game. 
  Th e attacker’s attack might hit just as the character 
  starts his Flying Dodge or the like. Th e fact that 
  he declares that he’s moving around an obstacle 
  doesn’t ensure he’ll get there in time — all the 
  maneuver provides is a DCV bonus.
   
  If a character Aborts to a Flying Dodge 
  against a Ranged attack, the Range Modiﬁ er that 
  applies to the attacker derives from the distance 
  between the attacker and where the character is at 
  the end of his movement. For example, if a charac-
  ter begins a Flying Dodge 4” away from his attacker 
  (-0 Range Modiﬁ er) and ends it 12” from his 
  attacker (-4 Range Modiﬁ er), the attacker suﬀ ers a 
  -4 Range Modiﬁ er penalty.
  PAGE 144  FULL MOVE
  If a character has a Martial Maneuver with 
  the FMove element, he can perform a Half Phase 
  Action before using it? However, that means he can 
  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.
  PAGE 144  GRAB
  If a character has Combat Skill Levels with 
  Grab, he cannot apply them to the OCV of, or 
  damage caused with, the Redirect or Block of a 
  Grab-and-Redirect or Grab-and-Block combina-
  tion. Nor can he apply Extra DCs to increase the 
  damage of those maneuvers.
  Characters can use Grab-and-Redirect with 
  Ranged attacks, assuming appropriate special 
  eﬀ ects (such a maneuver might work very well with 
  a gun, less well or not at all with a bow or throwing 
  knife). Characters cannot apply Range Skill Levels 
  with a Redirect, though.
  Page 146 — One-Handed Grabs
  If a character Grabs another character with 
  just one hand, that means both characters have at 
  least one free hand. Th ey can use their free hands 
  to attack each other if they want to. Standard Grab 
  modiﬁ ers (which include OCV penalties for the 
  Grabbed character to attack the Grabber) apply. 
  Technically the Grabber could squeeze the Grabbed 
  character, but the GM might want to restrict that 
  depending on the exact arrangement (e.g., if the 
  Grabber has only Grabbed the victim by the arm, 
  inﬂ icting damage by squeezing probably doesn’t 
  make much sense).
  If a character performs a Grab with only one 
  hand, he’s still at ½ DCV
  
  193 
  Hero Games
  PAGE 147  GRAPPLING BLOCK
  Grappling Block allows a character to Block a 
  HTH attack, and at the same time Grab the person 
  making the Block. If the character just wants to 
  Block, without Grabbing, he can Abort. Th e charac-
  ter cannot Abort to Grappling Block it if he wants 
  to use the Grab part of the maneuver.
  PAGE 149  RESPONSE
  If a character has a Martial Maneuver with 
  the Response Element defined that it only works 
  after his opponent performs some maneuver 
  or action, the opponent has to complete the 
  maneuver/action — just starting it isn’t enough. 
  However, the opponent doesn’t have to complete 
  it successfully; for example, a maneuver that’s a 
  Response to an attack doesn’t require that the 
  attack hit or hurt the character. However, if a 
  maneuver Must Follow Block, the character must 
  successfully Block an attack with it; if the Block 
  fails, he can’t use the maneuver to “respond.”
  A Response-based maneuver can only be 
  used against the character who “triggers” it. For 
  example, if an attack Must Follow Block, a char-
  acter can only use its attack against the person he 
  just successfully Blocked; he can’t make an attack 
  against some third party.
  If a character has a Martial Maneuver with 
  Response that speciﬁ es an attack as the precondi-
  tion for the maneuver, that means any type of that 
  attack. For example, a maneuver with “Must Follow 
  Grab” works with any type of Grab — i.e., a stan-
  dard Grab Combat Maneuver, or any Maneuver 
  with the “Grab Opponent” Element (Martial Grab, 
  Grappling Block, Joint Lock, or the like).
  PAGE 149  SHOVE
  Shove only works on opponents that can ﬁ ght 
  back; characters cannot ordinarily use it against 
  inanimate objects. However, a character could build 
  a similar Exert-based maneuver that worked on 
  objects, if the GM allowed.
  Th e GM can apply the rules and guidelines for 
  resisting Th rows with Powers (page 153) to eﬀ orts 
  to resist Shove, if appropriate and desired. However, 
  in general, Knockback Resistance should not have 
  any eﬀ ect — Shoving is not Knockback, and doesn’t 
  really depend on “impact” the way some Th rows do. 
  For Clinging, use the standard “STR versus Cling-
  ing” rules on page 143 of the HERO System 5th Edi-
  tion, Revised.
  At the GM’s option, any character can shove 
  another character the same distance he could 
  throw him with a Prone Throw; this is a standard 
  combat action involving STR and doesn’t require 
  the character to purchase any maneuver. The GM 
  may, if he wishes, allow a character with only 0 
  Extra STR to still shove someone ½”. The general 
  rules for Shove on pages 149-50 apply to this 
  type of shoving.
  PAGE 152  TAKEAWAY
  If a character has a Takeaway maneuver, at 
  the GM’s option he can use it to defend against 
  Takeaway maneuvers used by persons attacking 
  him, using the same optional rule as for Disarms 
  (page 143).
  PAGE 152  THROWS
  Th e weight limit for normal Th rows (the char-
  acter’s Pushed STR) also applies to Ranged Martial 
  Maneuvers with the Th row element.
  If a character applies the Area Of Eﬀ ect Advan-
  tage to a Th row maneuver, the weight limit for 
  Th rows applies per target, not over the entire area.
  With the GM’s permission, a character can 
  use a Th row-based maneuver to Th row a target 
  into another target. He uses only his base OCV 
  (OCV from DEX, without any positive modi-
  ﬁ ers) to roll to hit the second target. If he hits, he 
  does the maneuver’s damage to both targets. As 
  a default rule, the “missile” (the character being 
  Th rown) can’t do anything to interfere with or 
  stop this attack — the assumption is that the mis-
  sile isn’t suﬃ  ciently in control to prevent being 
  thrown. However, at the GM’s discretion, maybe 
  the missile’s ﬂ ailing around imposes a small OCV 
  penalty on the thrower’s Attack Roll, or perhaps the 
  missile would try to “cushion” the impact and take 
  oﬀ  a DC or two of damage by making a DEX Roll 
  at a -1 penalty for each point by which the thrower 
  made his Attack Roll. Since the “missile” is a Ranged 
  attack, he can be Missile Deﬂ ected, but not Blocked.
  A character cannot use a Th row-based maneu-
  ver to Th row a target who’s already prone.
  Th e rules indicate that a character can’t Th row 
  someone he can’t lift  with his Pushed STR. When 
  using a Th row-based maneuver, a character must 
  use a minimum of enough STR to lift  the target. He 
  doesn’t have to use his full STR if he doesn’t want 
  to. Furthermore, he may, with the GM’s permis-
  sion, use his STR only to “lift ,” not to cause damage 
  (though he still has to pay END for the STR when 
  doing this, of course).
  If the target of a Th row is standing still, his 
  velocity is 0” and adds no damage to the attack. If 
  he’s moving, use his relative velocity, as discussed 
  on page 97. If he’s Th rown in a Segment in which 
  he doesn’t have a Phase but the GM judges that he 
  is “moving” (e.g., he’s in mid-air or mid-run in a 
  situation when he moved last Phase and is obvi-
  ously going to keep moving in his next Phase), 
  the GM can assign him whatever velocity seems 
  appropriate. As always, apply common sense and 
  dramatic sense.
  PAGE 159  GROUNDFIGHTING
  Th e OCV penalty for groundﬁ ghting does not 
  apply to Ranged attacks, unless the GM rules oth-
  erwise.
  
  194 
  The Ultimate Martial Artist
  ULTIMATE MARTIAL ARTIST INDEX
  Acrobatics ...................................................112
  Activation Roll ...........................................133
  Advanced Ninjutsu ................................ 75-83
  Advantages
   
  Generally ............................................131
   
  For Martial Maneuvers .....................104
  Age  .............................................................135
  Aid (Power) .......................................... 119-21
  Aikido ........................................................... 15
  Alien Martial Artist (character 
  archetype) ...........................................107
  American from the Orient (character 
  archetype) ...........................................107
  American ninja, modern ............................ 83
  An Ch’i .......................................................... 16
  Analyze Style ..............................................112
  Arare (weapon) ..................................168, 174
  Arbir (weapon) ..................................171, 174
  Archetypes for martial artist 
  characters ............................................107
  Area Of Eﬀ ect ............................................131
  Arit (weapon) .....................................169, 174
  Armor (Power) ..........................................121
  Armor (various types) ........................ 186-87
  Arnis/Kali/Escrima ..................................... 17
  Arrows (weapon) ...............................168, 174
  Arte dell’Abbracciare .................................. 18
  Ashiko (weapon) ...............................171, 174
  Asura (substyle of Wrestling) ..................... 61
  Attack Versus Limited Defense 
  (AVLD) ...............................................148
  Autoﬁ re .......................................................131
  Avenger (character archetype) .................107
  AVLDs .........................................................148
  Axe, Chinese (weapon) .....................169, 174
  Bando ............................................................ 19
  Baru Silat (substyle of Pentjak-Silat) ......... 50
  Basis, for Martial Maneuvers ..................... 90
  Bear Style (substyle of Kung Fu) ............... 40
  Belts and Ranks ............................................ 13
  Bengkong ...................................................... 20
  Bersilat .......................................................... 19
  Bhakti Negara (substyle of 
  Pentjak-Silat) ........................................ 50
  Bibliography ...............................................189
  Bind .............................................................142
  Blade ﬂ ourish .............................................131
  Blinded Characters and Martial Arts ......154
  Block ............................................................142
  Bo (Staﬀ ) (weapon) ...........................171, 174
  Bo Shuriken (weapon) ......................168, 182
  Bojutsu/Jojutsu ............................................ 20
  Bokken (weapon) ..............................169, 174
  Bound Characters and Martial Arts ........154
  Boxing, Ancient ........................................... 21
  Boxing, Modern ........................................... 21
  Brass Knuckles (weapon) .................171, 174
  Breakfall ......................................................113
  Brick Martial Artist (character 
  archetype) ...........................................107
  Brick Tricks .................................................. 64
  Bruce Lee ...................................................... 30
  Building Styles ....................................... 10, 13
  Bundi (weapon) .................................169, 175
  Bûno (substyle of Wrestling) ...................... 61
  Bunot-Page (weapon) .......................171, 175
  Butterﬂ y Sword (weapon) .................169, 175
  Capoeira ....................................................... 22
  Career Path of the Martial Artist .............110
  Casual STR Versus Barriers ......................155
  Cestus (weapon) ................................171, 175
  Ch’i 15
  Ch’i Powers (Multipower) ........................134
  Ch’uan Po (ancient Chinese boxing) ........ 21
  Chai-Dao (weapon) ...........................171, 175
  Chain Sword (weapon) .....................171, 175
  Chain Whip (weapon) ......................171, 175
  Chakar (weapon) ...............................171, 181
  Chelak (substyle of Bersilat) ...................... 20
  Chiang (Chinese spear) (weapon) ...171, 175
  Chin Na (substyle of Kung Fu) .................. 40
  Choke Hold ................................................142
  Choy Lee Fut (substyle of Kung Fu) ......... 40
  Chu-ko-nu (weapon) ........................168, 175
  Chuarare (weapon) ...........................168, 174
  Chunin .......................................................... 75
  Cireum (substyle of Wrestling) .................. 61
  Climbing Equipment, Ninja ....................... 82
  Clinging ......................................................121
  Combat Manuevers ........................... 142-153
  Combat Sense ............................................118
  Combat Skill Levels ............................. 113-14
  Combat Values, eﬀ ect of Grab on ............145
  Comet Star Hammer (weapon) .......168, 176
  Commando Training .................................. 23
  Concealed and Inobvious Weapons ........174
  Concealed Weapons and Gadgets ...........155
  Contact ........................................................117
  Copper Hammer (weapon) ..............169, 176
  Counterpunching/counterstriking 
  techniques ..........................................131
  Cover ...........................................................142
  Crane Style (substyle of Kung Fu) ............. 41
  Creating Weapons .....................................187
  Critical Hits ................................................156
  Cutlass (weapon) ...............................169, 176
  CVs, eﬀ ect of Grab on ...............................145
  Cyberpunk/Near Future Martial Arts ....... 84
  Cymbal (weapon) ..............................169, 176
  Damage Classes, Extra ..............................101
  Damage Reduction ....................................122
  Damage Resistance ....................................122
  Damage Shield ...........................................131
  Dancing Spider ............................................ 64
  Danger Sense ..............................................118
  Darn Do (weapon) ............................169, 176
  Death touch (dim mak) ............................123
  Delima (substyle of Pentjak-Silat) ............. 51
  Dependent NPC ........................................135
  Designing Martial Arts Styles .................... 88
  Designing New Martial Arts .............. 88-103
  Desolidiﬁ cation ..........................................122
  Dim mak (death touch) ............................123
  Dirty Inﬁ ghting/Fisticuﬀ s/Cinematic 
  Brawling ................................................ 23
  Disabling Attacks .......................................156
  Disadvantages ............................................135
  Disarm ........................................................142
  Disguising Damage ...................................157
  Dispel ..........................................................123
  Distinctive Features ...................................135
  Do versus Jutsu ............................................ 15
  Doces Pares (substyle of Arnis/Kali/
  Escrima) ................................................ 18 
  Dragon Style (substyle of Kung Fu) .......... 41
  Dragon’s Tongue Arrow (weapon) ..168, 174
  Drain ..................................................... 123-24
  Dropped Marbles (weapon) .............168, 176
  Drunken Clown Kung Fu ........................... 65
  Drunken Style (substyle of Kung Fu) ....... 40
  Dumog (substyle of Wrestling) .................. 61
  Eagle Claw (substyle of Kung Fu) ............. 40
  Elements, of Martial Maneuvers .. 91-97, 100
  Enclosed spaces, Weapon Lengths and ...165
  Endokuken (weapon) ........................168, 176
  Energy Blast ...............................................125
  English School (substyle of Fencing) .. 26-27
  Enhanced Senses .......................................125
  Epee (weapon) ...................................169, 177
  External versus internal styles ................... 15
  Extra Damage Classes ...............................101
  Extra Limbs ................................................127
  Fang (weapon) ...................................171, 177
  Fantasy Hero, Binds in ..............................142
  Fantasy Martial Arts .................................... 84
  Fast Draw ....................................................114
  Feints ...........................................................127
  Fencing .......................................................... 24
  Fictional Martial Arts ............................ 64-74
  Fist-Load (weapon) ...........................171, 177
  Flying Claw (weapon) .......................171, 177
  Flying Guillotine (weapon) ..............171, 177
  Flying Kick .................................................143
  Fo (weapon) .......................................171, 177
  Foil (weapon) .....................................169, 177
  Follower ......................................................117
  Force Wall ...................................................127
  Frameworks, Power ...................................133
  French School (substyle of Fencing) ......... 27
  Fringe Beneﬁ ts ...........................................117
  Frog-Crotch Arrow (weapon) ..........168, 174
  Fukimi-bari (weapon) .......................168, 177
  Fukiya (weapon) ................................168, 177
  Fulﬁ ller of Prophecy (character 
  archetype) ...........................................108
  Full-Contact Karate Armor ......................186
  Gada (weapon) ...................................171, 175
  Garrotte (weapon) .............................171, 177
  Gatka ............................................................. 26
  Generic Martial Arts ................................... 27
  Genin ............................................................. 75
  Gestures ......................................................133
  Ghi (weapon) .....................................171, 177
  Ghost Eye Techniques ................................. 66
  Ghost Palm Techniques .............................. 66
  Gikan Ryu (substyle of Ninjutsu) .............. 46
  Gliding ........................................................127
  Glimae (substyle of Wrestling) .................. 61
  Glossary ......................................................110
  Goju-ryu (substyle of Karate) .................... 34
  Golden Demon Kung Fu ............................ 67
  Grab .............................................................143
  Grab Weapon .............................................146
  Grenade, Smoke (weapon) ...............168, 178
  Gulat (substyle of Wrestling) ..................... 61
  Gyokko Ryu (substyle of Ninjutsu) ........... 46
  Gyokkushin Ryu (substyle of Ninjutsu) ... 47
  Hakko-Ryu (substyle of Jujutsu) ............... 31
  Hanbo (weapon) ................................171, 178
  Hand Mace (weapon) ........................169, 178
  Hand to Hand Maneuvers ............................ 9
  Hand-To-Hand Attack ..............................127
  Hand-Wrappings, leather and rawhide ...186
  Hankyu (weapon) ..............................168, 178
  Hapkido ........................................................ 27
  Harimau Silat (substyle of 
  Pentjak-Silat) ........................................ 51
  Healing ........................................................127
  Healing ........................................................158
  Heidelberg School (substyle of Fencing) .. 27
  Hikime Arrow (weapon) ..................168, 174
  Hindering Circumstances and Martial 
  Arts ......................................................158
  Hing kung ...................................................127
  Hisardut ........................................................ 27
  Hit Locations
   
  Generally ............................................160
   
  Martial Maneuvers and ....................101
  Honorable Ninja (character archetype) ..108
  Hook Sword (weapon) ......................169, 178
  Horror Martial Arts ..................................... 85
  Hsing-I .......................................................... 28
  HTH and Ranged Maneuvers, mixing ....100
  Hung Gar (substyle of Kung Fu) ............... 40
  Hunted ........................................................136
  Hwarang-Do ................................................ 29
  Igabakama .................................................... 45
  Ignoring Opponents ..................................160
  Indirect ........................................................132
  Inﬁ ltration Equipment, Ninja .................... 82
  Inobvious and Concealed Weapons ........174
  Internal versus external styles .................... 15
  Interposing .................................................160
  Invisible Power Eﬀ ects ..............................132
  Iron Mandarin Duck (weapon) .......168, 178
  Irritable Student (character archetype) ..108
  Isshin-Ryu (substyle of Karate) ................. 34
  Italian School (substyle of Fencing) .......... 27
  Itto Ryu (substyle of Kenjutsu) .................. 36
  Jailhouse Rock .............................................. 29
  Jeet Kune Do ................................................ 30
  Jien (weapon) .....................................169, 178
  Jigen-Ryu (substyle of Kenjutsu) ............... 36
  Jo (weapon) ........................................171, 178
  Joarare (weapon) ...............................168, 174
  Joint Locks and Related Maneuvers ........147
  Jonin .............................................................. 75
  Jujutsu ........................................................... 30
  Jukenjutsu ..................................................... 32
  Jusul (Hwarang-Do special ability) ........... 29
  Jutsu versus Do ............................................ 15
  Kage Ryu (substyle of Kenjutsu) ................ 36
  Kajukenbo (substyle of Karate) ................. 34
  Kalaripayit .................................................... 32
  Kama (weapon) ..................................171, 178
  Kamayari (weapon) ...........................171, 185
  Kampfringen ................................................ 33
  Kanzashi (weapon) ............................171, 178
  Kapak (weapon) .................................168, 178
  Karate ............................................................ 33
  Karate Armor .............................................186
  Kashima (substyle of Kenjutsu) ................. 36
  Katana (weapon) ................................169, 178
  Kelantan (substyle of Bersilat) ................... 20
  Kendari Silat (substyle of Pentjak-Silat) ... 51
  Kendo Armor .............................................186
  Kenjutsu ........................................................ 35
  Kenpo (substyle of Karate) ......................... 34
  Kerojok .......................................................... 49
  Ki  ............................................................... 15
  Kiai Powers (Multipower) ........................134
  Kick-boxing, Th ai ........................................ 58
  Kickboxing (substyle of Karate) ................ 34
  Kickboxing Champion (character 
  archetype) ...........................................108
  Kickboxing Cop (character archetype) ...108
  Kid (character archetype) .........................108
  Killing Attack, Ranged ..............................128
  Killing Th row .............................................147
  Kirisutogomen (Fringe Beneﬁ t) ..............117
  Kiseru (weapon) ................................171, 178
  Kito-Ryu (substyle of Jujutsu) .................... 31
  Knight-Errant (character archetype) ......109
  Knockback and Martial Arts ....................161
  Knockback Resistance ..............................128
  Knowledge Skills ........................................115
  Knuck-Knife (weapon) .....................169, 178
  Ko-Gatana (weapon) .........................169, 178
  Koarare (weapon) ..............................168, 174
  Kobujutsu (variant of Karate) .................... 34
  Korogi Taijutsu ............................................ 76
  Koshti (substyle of Wrestling) .................... 61
  Koto Ryu (substyle of Ninjutsu) ................ 47
  Krabi-Krabong ............................................. 58
  Krav Maga .................................................... 37
  Kris (weapon) .....................................169, 179
  Kuk Sool Won .............................................. 37
  Kukri (weapon) ..................................169, 179
  Kukushinden Ryu (substyle of 
  Ninjutsu) ............................................... 47
  Kumango Silat (substyle of 
  Pentjak-Silat) ........................................ 51
  Kumogakure Ryu (substyle of 
  Ninjutsu) ............................................... 47
  Kung Fu ........................................................ 38
  Kunoichi ....................................................... 75
  Kuntao ........................................................... 43
  Kusari (weapon) ................................170, 179
  Kusari-fundo (weapon) ....................170, 179
  Kusarigama (weapon) .......................170, 179
  Kwan Dao (weapon) .................... 171, 182-83
  Kyogetsu Shoge (weapon) ................170, 179
  Kyokushinkai (substyle of Karate) ............ 34
  Kyujutsu ........................................................ 43
  Lack Of Weakness .....................................128
  Lacoste (substyle of Arnis/Kali/
  Escrima) ................................................ 18
  Lajatang (weapon) .............................171, 179
  Language .....................................................116
  Largo Mano (substyle of Arnis/Kali/
  Escrima) ................................................ 18
  Leaping ........................................................128
  Learning Martial Arts ................................. 10
  Leather Hand-Wrappings .........................186
  
  195 
  Hero Games
  Lee, Bruce ..................................................... 30
  Leopard Style (substyle of Kung Fu) ......... 41
  Lightning Reﬂ exes .....................................118
  Limitations .................................................133
  Limitations, for weapons creation ...........187
  Lin Kuei .................................................. 16, 83
  Long Fist (substyle of Kung Fu) ................ 40
  Lua 44
  Luck .............................................................128
  Maashira ....................................................... 86
  Main-Gauche (weapon) ....................169, 179
  Makila (weapon) ................................171, 179
  Mallayuddha (substyle of Wrestling) ........ 61
  Mana ............................................................. 15
  Maneuvers and Weapons ............................ 10
  Maneuvers Basis .......................................... 90
  Manriki-Gusari (weapon) ................170, 179
  Martial arts
   
  Archetypes ..........................................107
   
  Designing new ones/styles ......... 88-103
   
  Fictional .......................................... 64-74
   
  In other genres ..................................... 84
   
  Maneuvers, designing ......................... 89
   
  Other ways to build .......................... 103
   
  Power Advantages for .......................104
   
  Real world ............................................. 15
   
  Weapons ....................................... 167-86
  Martial Escape ...........................................147
  Martial Maneuvers
   
  Generally ................................................ 8
   
  Using weapons with ............................ 10
  Master (character archetype) ...................109
  Melee Weapons Table ........................ 169-172
  Mental Defense ..........................................128
  Metsubishi (weapon) ................... 168, 179-80
  Mijin (substyle of Kenjutsu) ...................... 36
  Miscellaneous Equipment, Ninja ............... 83
  Missile Deﬂ ection And Reﬂ ection ..........129
  Mist Viper Taijutsu ...................................... 76
  Mixing and Matching Archetypes .......... 107
  Mixing HTH and Ranged Maneuvers ....100
  Miyamoto Musashi ................................ 35, 37
  Modern American ninja ............................. 83
  Modern Day Samurai (character 
  archetype) ...........................................109
  Modifying and Building Styles .................. 10
  Money .........................................................117
  Mongoose Style ....................................97, 101
  Monkey Style (substyle of Kung Fu) ......... 40
  Mourn Staﬀ  (weapon) .......................171, 180
  Move By/Move Th rough ...........................147
  Muay Th ai (Th ai Kick-boxing) .................. 58
  Muk’na .......................................................... 58
  Mundane Ninja Abilities ............................. 78
  Musashi, Miyamoto ............................... 35, 37
  Muto (substyle of Kenjutsu) ....................... 36
  Mystery Damage ........................................162
  Mystic Ninja Abilities .................................. 79
  Naban (substyle of Wrestling) ................... 61
  Nagedeppo (weapon) ........................168, 180
  Naginata (weapon) ............................171, 180
  Naginatajutsu/Sojutsu ................................. 45
  Naive Hero/Heroine (character 
  archetype) ...........................................109
  Navaja (weapon) ................................170, 180
  Nekote (weapon) ...............................171, 180
  Nerve Strike ................................................148
  New and Multiple Styles, learning ............. 12
  Nine-Dragon Trident (weapon) ......171, 180
  Nine-Ring Sword (weapon) .............170, 180
  Ninja
   
  From Other Lands ............................... 83
   
  Gear and Equipment ........................... 82
   
  Package Deal ........................................ 75
   
  Special Abilities .................................... 78
  Ninja-To (weapon) ...................... 170, 180-81
  Ninjutsu
   
  Basic ...................................................... 45
   
  Advanced ........................................ 75-83
  Ninjutsu/Taijutsu, Variant Styles of ..... 76-78
  Nito (substyle of Kenjutsu) ........................ 37
  No-Daichi (weapon) .........................170, 181
  Nunchaku (weapon) .........................171, 181
  Okol (substyle of Wrestling) ...................... 61
  Optional Rules and Special Cases ..... 154-66
  Other Styles .................................................. 63
  Pakua ............................................................. 47
  Pamur (substyle of Pentjak-Silat) .............. 51
  Pankration .................................................... 48
  Parang (weapon) ................................170, 181
  Partial Maneuvers ......................................149
  Patai Silat (substyle of Pentjak-Silat) ........ 51
  Paths of the Seven Ghost Sisters ................ 67
  Pauh Silat (substyle of Pentjak-Silat) ........ 51
  Pedang (weapon) ...............................170, 181
  Pekiti Tersia (substyle of Arnis/Kali/
  Escrima) ................................................ 18
  Pendjepit (weapon) ...........................171, 181
  Pentjak-Silat ................................................. 49
  Perisai Diri (substyle of Pentjak-Silat) ...... 51
  Perquisites ...................................................117
  Petjat (weapon) ..................................171, 181
  Philosopher (character archetype) ..........109
  Poluraathkaa ................................................ 85
  Power Advantages
   
  Generally ............................................131
   
  For Martial Maneuvers .....................104
  Power Defense ...........................................129
  Power Frameworks ....................................133
  Power Limitations .....................................133
  Powers
   
  Generally ............................................119
   
  Resisting Th row with ........................153
   
  Used in Weapon Creation ................187
  Prana ............................................................. 15
  Praying Mantis Style (substyle of 
  Kung Fu) ............................................... 41
  Prisai Sakti (substyle of Pentjak-Silat) ...... 51
  Professional Skill ........................................116
  Professional Wrestling ................................ 62
  Psychological Limitation ..........................136
  Pulp Era Martial Arts .................................. 85
  Puñal (weapon) ..................................170, 181
  Pushback .....................................................161
  Qwan Ki Do ................................................. 52
  Ranged and HTH Maneuvers, mixing ....100
  Ranged Martial Arts
   
  Generally ...................................... 99-100
   
  And Weapon Types ............................. 10
  Ranged Martial Maneuvers Table ................ 9
  Ranged Weapons Table .............................168
  Rante (weapon) ..................................170, 179
  Rapier (weapon) ................................170, 181
  Razor Dancing ............................................. 84
  Razor, Straight (weapon) ..................170, 181
  Re-Eﬁ  Areh-Ehsee ....................................... 53
  Real World Martial Arts .............................. 15
  Reduced Penetration .................................133
  Redundant Maneuvers ................................ 89
  Repeticion (substyle of Arnis/Kali/
  Escrima) ................................................ 18
  Reputation (Disadvantage) ......................137
  Reputation (Perk) ......................................117
  Resplendent Dragon Kung Fu ................... 68
  Ring Needle (weapon) ......................171, 181
  Rings (weapon) ..................................171, 181
  Rivalry .........................................................138
  Rokushakubo (Staﬀ ) (weapon)  ...............174
  Roleplaying Combat ..................................144
  Ronin (character archetype) ....................109
  Root .............................................................149
  Rope Dart (weapon) ..........................171, 181
  Sabre (weapon) ..................................170, 181
  Sai (weapon) ................................. 171, 181-82
  Saijutsu .......................................................... 53
  Sambo (substyle of Wrestling) ................... 61
  Samurai (character archetype) .................109
  Samurai Armor ..........................................187
  Sandang Silat (substyle of Pentjak-Silat) .. 51
  Savate ............................................................. 53
  Schlaegar Swordﬁ ghting (substyle 
  of Fencing) ........................................... 27
  Schlaeger (weapon) ...........................170, 182
  Science Fiction/Far Future Martial 
  Arts ........................................................ 86
  Science Skill ................................................116
  Sense Ch’i ...................................................126
  Sequence Attacks .......................................163
  Serada (substyle of Arnis/Kali/Escrima) .. 18
  Serious Student (character archetype) ....110
  Setia Hati (substyle of Pentjak-Silat) ......... 52
  Sevillian Knifeﬁ ghting ................................ 54
  Shaolin Animal styles (substyles of 
  Kung Fu) ............................................... 41
  Shinai (weapon) .................................170, 182
  Shinden Fudo Ryu (substyle of 
  Ninjutsu) ............................................... 47
  Shinobi-Zue (weapon) ......................171, 182
  Shinobifuku .................................................. 45
  Shinobijutsu ................................................. 75
  Shinobizukin ................................................ 45
  Shito-Ryu (substyle of Karate) ................... 34
  Shorei-Ryu (substyle of Karate) ................. 35
  Shorin-Ryu (substyle of Karate) ................ 35
  Shorinji Kempo (substyle of Kung Fu) ..... 41
  Shotokan (substyle of Karate) .................... 35
  Shove ...........................................................149
  Shuai-chiao (substyle of Wrestling) .......... 61
  Shuko (weapon) .................................171, 182
  Shuriken (weapon) ............................168, 182
  Shurikenjutsu ............................................... 54
  Sidekick (character archetype) ................110
  Silent Path Taijutsu ...................................... 77
  Silken Blade Kung Fu .................................. 70
  Simgomdo .................................................... 55
  Simulate Death ...........................................118
  Skills ............................................................112
  Skinsplitter Arrow (weapon) ............168, 174
  Sleight Of Hand .........................................116
  Sling Bow (weapon) ..........................168, 182
  Snake Style (substyle of Kung Fu) ............. 41
  Social Limitation .......................................138
  Soft  Hammer (weapon) ....................169, 182
  Sosuishitsu-Ryu (substyle of Jujutsu) ....... 31
  Spanish School (substyle of Fencing) ....... 27
  Special Cases and Optional Rules ..... 154-66
  Speedster Martial Arts ................................ 71
  Splendid Fist ................................................. 71
  Spread-Th e-Water Knife 
  (weapon) .....................................170, 182
  Stances .........................................................129
  Standard Maneuvers .................................150
  Steel Olive (weapon) .........................168, 182
  Steel Toad (weapon) ..........................168, 182
  Sterlak Silat (substyle of Pentjak-Silat) ..... 52
  Style Descriptions .......................................... 8
  Style Distinctive Feature ...........................135
  Styles
   
  Additional ones not described 
  elsewhere .............................................. 63
   
  Designing new ones .................... 88-103
   
  Modifying and building ...................... 10
  Suio (substyle of Kenjutsu) ........................ 37
  Sulsa .............................................................. 83
  Sumo Wrestling ............................................ 55
  Super-Soldier (character archetype) .......110
  Superhero Martial Arts ............................... 87
  Sweep ..........................................................150
  Sword-Spear (weapon) .....................171, 182
  Tabi 45
  Tae Kwon Do ................................................ 55
  Tai Ch’i Ch’uan ............................................. 56
  Tai-Dao (weapon) ........................ 171, 182-83
  Taijutsu, Variant Styles of ...................... 76-78
  Takagi Yoshin Ryu (substyle of 
  Ninjutsu) ............................................... 47
  Takeaway .....................................................152
  Takenouchi-Ryu (substyle of Jujutsu) ....... 31
  Takijutsu ....................................................... 72
  Talents .........................................................118
  Tameshiwara ................................................ 34
  Tang Soo Do ................................................. 57
  Tanto (weapon) ..................................170, 183
  Tapak Sutji (substyle of Pentjak-Silat) ...... 52
  Targeting Injured Areas ............................165
  Tasawwaf ..............................................50, 179
  Tegumi (substyle of Wrestling) .................. 61
  Telekinesis ..................................................130
  Tenjin-Shinyo-Ryu (substyle of Jujutsu) .. 31
  Terelak (substyle of Bersilat) ...................... 20
  Tetsu-To (weapon) ............................170, 183
  Tetsubishi (weapon) ..........................168, 183
  Tetsubo (weapon) ..............................171, 183
  Th ai Kick-boxing ......................................... 58
  Th an Vo Dao ................................................ 59
  Th ang-Ta ....................................................... 58
  Th ree-Section Staﬀ  (weapon) ..........171, 183
  Th row .................................................... 152-53
  Th under Dragon Kung Fu .......................... 73
  Tiger Fork (weapon) .........................171, 183
  Tiger Style (substyle of Kung Fu) .............. 41
  Timbe (weapon) ................................171, 184
  Tjaluk (weapon) .................................170, 184
  Tjampur Silat (substyle of 
  Pentjak-Silat) ........................................ 52
  Tjimande (substyle of Pentjak-Silat) ......... 52
  Tjingkrik (substyle of Pentjak-Silat) ......... 52
  Toami (Net) (weapon) ......................168, 184
  Togakure Ryu (substyle of Ninjutsu) ........ 47
  Toledo (substyle of Arnis/Kali/Escrima) .. 18
  Tonfa (weapon) ..................................171, 184
  Transfer .......................................................130
  Transform ...................................................130
  Tridharma (substyle of Pentjak-Silat) ....... 52
  Trigger .........................................................132
  Trulkor .......................................................... 83
  Tsubute (weapon) ..............................168, 184
  Tuju 50
  Tunneling ....................................................130
  Twisting the Blade .....................................165
  Uechi-ryu (substyle of Karate) .................. 35
  Ueshiba, Morihei ......................................... 15
  Umebi (weapon) ................................171, 184
  Unsinbbop (Hwarang-Do special 
  ability) ................................................... 29
  Unwilling Fighter (character 
  archetype) ...........................................110
  Urumi (weapon) ................................170, 184
  Variable Advantage ....................................132
  Variant Styles of Taijutsu ...................... 76-78
  Vigilante Martial Artist (character 
  archetype) ...........................................110
  Villabrille (substyle of Arnis/Kali/
  Escrima) ................................................ 18
  Vital Points ................................................ 148
  Vovinam Viet Vo Dao ................................. 59
  Vulnerability ......................................... 139-40
  Wado-Ryu (substyle of Karate) .................. 35
  Wakizashi (weapon) ..........................170, 184
  War Fan (weapon) .............................171, 184
  Warrior-Monk (character archetype) .....110
  Water Equipment, Ninja ............................. 82
  Way of the Night Dragon ........................... 77
  Weapons
   
  Creating ..............................................187
   
  Flourish ...............................................131
   
  Lengths ......................................... 164-65
   
  Martial arts weapons ................... 167-86
   
  Martial Maneuvers used with ....10, 102
   
  Ranges .................................................164
  Weapons Combat ........................................ 59
  Whipﬁ ghting ................................................ 60
  White Crane (substyle of Kung Fu) .......... 42
  White Eyebrow (substyle of Kung Fu) ...... 42
  Wild West Martial Arts ............................... 87
  Willow Leaf Arrow (weapon) ..........168, 174
  Wind and Fire Wheels (weapon) 171, 184-85
  Wing Chun (substyle of Kung Fu) ............ 42
  Wishful Steel Ball (weapon) .............168, 185
  Wolf’s Teeth Staﬀ  (weapon) .............171, 185
  Wounds .......................................................165
  Wrestling ....................................................... 61
  Wrestling, Professional ............................... 62
  Yaghliguresh (substyle of Wrestling) ........ 61
  Yagyu Shinkage (substyle of Kenjutsu) ..... 37
  Yari (weapon) .....................................171, 185
  Yoroi-Toshi (weapon) .......................170, 185
  Yoshin-Ryu (substyle of Jujutsu) ............... 31
  Yu-Sool .......................................................... 62
  Yumi (weapon) ..................................168, 185
  Zen Riﬂ ery .................................................... 73
  Zero Gravity and Martial Arts .................166
  Zero Gravity Combat .................................. 87
  Zipota ............................................................ 63
  
SOURCE: textdata/thevault/Hero System/Hero System - The Ultimate Martial Artist.pdf