TEXT: An e23 Sourcebook for GURPS
  ®
  STEVE JACKSON GAMES
  Stock #37-0133
  Version 1.0 – September 2009
  ®
  Written by S.A. FISHER, SEAN PUNCH, and HANS-CHRISTIAN VORTISCH
  Edited by JASON “PK” LEVINE and NIKOLA VRTIS
  Illustrated by DAN SMITH
  GUN FU
  TM
  
  INTRODUCTION . . . . . . . . . . 3
  Publication History . . . . . . . . . . . . . . 3
  About the Authors . . . . . . . . . . . . . . . 3
  About GURPS . . . . . . . . . . . . . . . . . . 3
  1. LIGHTS, CAMERA . . .
  AND ACTION! . . . . . . . . 4
  WHAT IS GUN FU? . . . . . . . . . . . . . .4
  Gun Fu Terms. . . . . . . . . . . . . . . . . . . 4
  HISTORY OF GUN FU . . . . . . . . . . . .5
  Six-Shooters: The Old
  West Legacy . . . . . . . . . . . . . . . . . 5
  Machine Guns and Tuxedos:
  The Hollywood Tradition . . . . . . 6
  Wushu and Wondernines:
  The Chinese Connection . . . . . . . 6
  Over-the-Top and Faux
  Realism: Modern Action . . . . . . . 6
  Blasters and Ray Guns:
  Shooting the Future. . . . . . . . . . . 6
  2. SHOOTING
  WITH STYLE. . . . . . . . . 7
  BULLET BALLET . . . . . . . . . . . . . . . .7
  Getting Close . . . . . . . . . . . . . . . . . . . 7
  Simplified Range. . . . . . . . . . . . . . . . . 7
  Shooting on the Move. . . . . . . . . . . . 7
  Shooting While Mounted . . . . . . . . . 8
  Who Draws First?. . . . . . . . . . . . . . . . 8
  SHOOTING FOR EFFECT . . . . . . . . . .8
  One Shot, One Kill. . . . . . . . . . . . . . . 9
  Until You’re Dead, Dead, Dead! . . . . 9
  MULTIPLE ATTACKS . . . . . . . . . . . . . .9
  Kung Fu and Gun Fu. . . . . . . . . . . . . 9
  Multiple Targets. . . . . . . . . . . . . . . . 10
  All-Out Attacks. . . . . . . . . . . . . . . . . 10
  Rate of Fire. . . . . . . . . . . . . . . . . . . . 10
  Quick-Readying Nearby Weapons . . 10
  HIGH-SPEED SHOOTING . . . . . . . . .11
  Fanning. . . . . . . . . . . . . . . . . . . . . . . 11
  Fast-Firing . . . . . . . . . . . . . . . . . . . . 11
  Thumbing. . . . . . . . . . . . . . . . . . . . . 11
  Two-Handed Thumbing . . . . . . . . . 11
  TRICKY SHOOTING . . . . . . . . . . . . .11
  Prediction Shot . . . . . . . . . . . . . . . . 11
  Ranged Disarms. . . . . . . . . . . . . . . . 11
  Ranged Feint . . . . . . . . . . . . . . . . . . 12
  Shoot ’Em Up! . . . . . . . . . . . . . . . . . 12
  Precision Aiming . . . . . . . . . . . . . . . 12
  NEVER GO ALONE . . . . . . . . . . . . .12
  3. STYLE COMPONENTS . . 13
  ADVANTAGES . . . . . . . . . . . . . . . . . .13
  Desirable Advantages . . . . . . . . . . . . 14
  PERKS . . . . . . . . . . . . . . . . . . . . . .16
  Shooting Skills . . . . . . . . . . . . . . . . . 16
  SKILLS . . . . . . . . . . . . . . . . . . . . . .23
  Gun Fu Skills Levels . . . . . . . . . . . . 23
  New Skill: Zen Marksmanship. . . . 24
  Wildcard Skills . . . . . . . . . . . . . . . . . 24
  Wildcard Skills for Styles . . . . . . . . . 25
  TECHNIQUES . . . . . . . . . . . . . . . . . .25
  Immediate Action. . . . . . . . . . . . . . . 28
  Beyond Cinematic. . . . . . . . . . . . . . . 30
  4. STYLES . . . . . . . . . . . . 31
  Shootin’ Irons. . . . . . . . . . . . . . . . . . 31
  Double Trouble . . . . . . . . . . . . . . . . 31
  Reloading With Double Trouble. . . . 32
  Future Kill . . . . . . . . . . . . . . . . . . . . 32
  One-Man Army . . . . . . . . . . . . . . . . 32
  Sniper . . . . . . . . . . . . . . . . . . . . . . . . 33
  Ultimate Shootist. . . . . . . . . . . . . . . 34
  Crossbow Fu. . . . . . . . . . . . . . . . . . . 34
  Way of the West. . . . . . . . . . . . . . . . 35
  Way of the Galaxy. . . . . . . . . . . . . . . 35
  5. EQUIPMENT . . . . . . . . . 36
  GUNS, LOTS OF GUNS . . . . . . . . . .36
  How to Get Them. . . . . . . . . . . . . . . 36
  Real Guns. . . . . . . . . . . . . . . . . . . . . 36
  Fictional Guns . . . . . . . . . . . . . . . . . 38
  Combination Weapons . . . . . . . . . . 38
  Stats for Movie Guns. . . . . . . . . . . . 39
  Gun Cults . . . . . . . . . . . . . . . . . . . . . 39
  GUNSMITHING . . . . . . . . . . . . . . . .40
  Accurizing. . . . . . . . . . . . . . . . . . . . . 40
  Adding Accessories . . . . . . . . . . . . . 40
  Converting a Long Arm
  into a Bullpup. . . . . . . . . . . . . . . 40
  Converting a Semiautomatic
  to Full-Automatic. . . . . . . . . . . . 40
  Fitting a Gun to Its Owner . . . . . . . 41
  Shortening a Handgun . . . . . . . . . . 41
  Shortening a Long Arm . . . . . . . . . 41
  FIREARM ACCESSORIES . . . . . . . . . .41
  Weapon Customization. . . . . . . . . . 41
  Tacticool Gadgets. . . . . . . . . . . . . . . 42
  Holsters, Scabbards, and Slings. . . 42
  Go Tactical, or Go Home . . . . . . . . . 42
  Magazine Modifications and
  Reloading Aids . . . . . . . . . . . . . . 43
  APPENDIX: INSPIRATIONAL
  FICTION . . . . . . . . . . . 44
  FILMS AND TELEVISION . . . . . . . . .44
  What About Video Games? . . . . . . . 47
  BOOKS AND COMICS . . . . . . . . . . . .48
  INDEX . . . . . . . . . . . . . . . 49
  CONTENTS
  2
  CONTENTS
  Lead Playtester: Jeff Wilson
  Playtesters: Ken Clary, Douglas Cole, Dave Evans, Leonardo Holschuh, Jonathan Lang, Jason “PK” Levine,
  Garðar Ólafsson, Kenneth Peters, Christopher Rice, Antoni Ten, Roger Burton West
  GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Gun Fu, Pyramid, e23, and the names
  of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license.
  GURPS Gun Fu is copyright © 2009 by Steve Jackson Games Incorporated. Some art © 2009 JupiterImages Corporation. All rights reserved.
  The scanning, uploading, and distribution of this material via the Internet or via any other means without the permission of the publisher is illegal,
  and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage
  the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.
  GURPS System Design T STEVE JACKSON
  GURPS Line Editor T SEAN PUNCH
  Managing Editor T PHILIP REED
  e23 Manager T STEVEN MARSH
  Page Design T PHIL REED and
  JUSTIN DE WITT
  Art Director T WILL SCHOONOVER
  Production Artist & Indexer T NIKOLA VRTIS
  Prepress Checker T WILL SCHOONOVER
  Marketing Director T PAUL CHAPMAN
  Director of Sales T ROSS JEPSON
  GURPS FAQ Maintainer T –––––––
  VICKY “MOLOKH” KOLENKO
  Give a guy a gun, he thinks he’s
  Superman. Give him two and he thinks
  he’s God.
  – Superintendent Pang, Hard-Boiled
  
  INTRODUCTION
  3
  In the real world, gun battles are an excellent way to get
  maimed, crippled, or dead. Veteran soldiers and cops – and all
  but the most deranged career criminals – go to great lengths to
  avoid shootouts. When they can’t, they stack the deck with
  more men, heavier firepower, and better cover; they regard an
  ambush as sensible, not dishonorable. Done right, there’s no
  gunfight, because the other guys don’t get a chance to shoot;
  they’re just shot. This is the reality that the GURPS Basic Set
  and GURPS High-Tech tend to favor.
  Action movies and comics work nothing like this, though!
  There, gunmen with a beef will shoot up the scenery at the
  drop of a hat, and a big enough dose of lead and cordite can
  resolve almost any conflict. Gun-toting heroes prevail against
  superior numbers and weapons by being better, frequently
  more honorable, and inevitably cooler. The resulting gunfight
  might be a bloody massacre – but just as often, it’s a ballet of
  bullets – kung fu with guns . . . gun fu.
  GURPS Gun Fu bridges the gap between the deadly realism
  of the Basic Set and the “reality” of shoot-’em-up fiction. It
  delves into GURPS Martial Arts for rules that make movement
  and style as potent as caution and tactics, adapts them for cine-
  matic shootists, and adds numerous new options. It is
  primarily intended as support for cinematic TL4-9
  campaigns involving the use of firearms.
  PUBLICATION HISTORY
  Some rules for weapon handling, and several
  perks and techniques, were adapted and expanded
  from GURPS High-Tech (2007), by Shawn Fisher
  and Hans-Christian Vortisch. Other material origi-
  nally appeared in a different context in GURPS
  Martial Arts (2007), by Peter Dell’Orto and Sean
  Punch. Still other rules were introduced in Hans-
  Christian
  Vortisch’s
  GURPS
  Martial
  Arts:
  Fairbairn Close Combat Systems (2008). Further
  concepts originated in Sean Punch’s GURPS
  Action 1: Heroes (2008) and GURPS Action 2:
  Exploits (2008).
  ABOUT THE AUTHORS
  S.A. Fisher is currently pursuing a doctorate in
  history. A former teacher and infantryman, he has
  over a decade of experience in private security and is
  a certified law-enforcement firearms and defensive-
  tactics instructor. His previous works include
  GURPS High-Tech, GURPS WWII: Dogfaces, and
  GURPS WWII: Hand of Steel. Shawn has been an
  avid gamer for nearly 25 years; he devotes his spare
  time to camping and recreational shooting. He lives
  in Searcy, Arkansas, with his wife, Jennifer, and their
  two daughters, Elizabeth and Rachel.
  Sean “Dr. Kromm” Punch set out to become a par-
  ticle physicist in 1985, ended up the GURPS Line
  Editor in 1995, and has engineered rules for almost
  every GURPS product since. He developed, edited, or
  wrote dozens of GURPS Third Edition projects
  between 1995 and 2002. In 2004, he produced the GURPS Basic
  Set, Fourth Edition with David Pulver. Since then, he has created
  GURPS Powers (with Phil Masters), GURPS Martial Arts (with
  Peter Dell’Orto), and the GURPS Action, GURPS Dungeon
  Fantasy, and GURPS Power-Ups series . . . and the list keeps
  growing. Sean has been a gamer since 1979. His nongaming
  interests include cinema, cooking, and wine. He lives in
  Montréal, Québec, with his wife, Bonnie. They have two cats,
  Banshee and Zephyra, and a noisy parrot, Circe.
  Hans-Christian “Grey Tiger” Vortisch, M.A., began writing
  for GURPS as a freelancer in 2001. He was author or coauthor
  of GURPS Covert Ops; GURPS High-Tech; GURPS Modern
  Firepower; GURPS Special Ops, Third Edition; GURPS WWII:
  Motor Pool; and several e23 publications on martial topics. He
  wrote additional material for numerous other GURPS books;
  authored, translated, edited, or contributed to several German
  Call of Cthulhu products; and published many articles in
  American, British, and German gaming magazines. Hans has
  been an avid gamer since 1983. His nongaming interests include
  science fiction, shooting, history, and punk rock. He’s watching
  movies in Berlin.
  INTRODUCTION
  About GURPS
  Steve Jackson Games is committed to full support of GURPS
  players. Our address is SJ Games, P.O. Box 18957, Austin, TX
  78760. Please include a self-addressed, stamped envelope (SASE)
  any time you write us! We can also be reached by e-mail:
  info@sjgames.com. Resources include:
  New supplements and adventures. GURPS continues to grow –
  see what’s new at www.sjgames.com/gurps.
  e23. Our e-publishing division offers GURPS adventures, play
  aids, and support in PDF form . . . digital copies of our books, plus
  exclusive material available only on e23! Just head over to
  e23.sjgames.com.
  Pyramid (www.sjgames.com/pyramid). Our monthly PDF
  magazine includes new rules and articles for GURPS, systemless
  locations, adventures, and much more. Look for each themed issue
  from e23!
  Internet.
  Visit
  us
  on
  the
  World
  Wide
  Web
  at
  www.sjgames.com for errata, updates, Q&A, and much more. To
  discuss GURPS with our staff and your fellow gamers, visit our
  forums at forums.sjgames.com. The GURPS Gun Fu web page
  can be found at www.sjgames.com/gurps/books/gunfu.
  Bibliographies. Many of our books have extensive bibliogra-
  phies, and we’re putting them online – with links to let you buy
  the resources that interest you! Go to each book’s web page and
  look for the “Bibliography” link.
  Errata. Everyone makes mistakes, including us – but we do our
  best to fix our errors. Up-to-date errata pages for all GURPS releases,
  including this book, are available on our website – see above.
  Rules and statistics in this book are specifically for the GURPS
  Basic Set, Fourth Edition. Page references that begin with B refer
  to that book, not this one.
  
  LIGHTS, CAMERA . . . AND ACTION!
  4
  The term gun fu is a play on kung fu, and it specifically
  refers to those Asian – especially Hong Kong Chinese – genre
  films that feature extensive gunplay in painstak-
  ingly choreographed scenes. In these movies,
  sometimes also known as blood operas, guns
  take the place of martial-arts moves: The shoo-
  tists brandish handguns in both fists, firing and
  dodging while in motion, and moving around
  almost as if dancing.
  In a wider sense, gun fu is a modern term for
  any cinematic shooting – it stands for impossi-
  ble shots and impossible guns. Gun fu is about
  drawing faster than your shadow, shooting
  farther than you can see, and hitting targets that are smaller
  than a bullet. Gun fu isn’t confined to cinema, either. The movie’s
  little brother, television, is also
  a great inspiration, as are
  books, comics, and computer
  games – some literary gun fu
  shootists pre-date the inven-
  tion of film by a great deal!
  Gun Fu presents all the
  rules you require to recreate
  your favorite gun fu tricks in
  your games – and to invent
  entirely new ones!
  To me, Chow Yun Fat holding a gun is just like Wang Yu hold-
  ing a sword. All I intend to glorify is the hero.
  – John Woo, Ten Thousand Bullets
  This chapter discusses the development of gunplay in
  movies and other fiction media, and how the various genres
  influenced each other.
  CHAPTER ONE
  LIGHTS,
  CAMERA . . .
  AND ACTION!
  WHAT IS GUN FU?
  akimbo: Having a gun in both hands, all the time. Realis-
  tically, this makes it difficult or impossible to open a
  door, reload (especially both guns simultaneously!),
  etc., but “movie magic” makes it possible. See the
  Akimbo perk (p. 17) and some of the gadgets on p. 43.
  fanning: Increasing the RoF of a single-action revolver by
  holding down the trigger and hitting the hammer with
  the off-hand (p. 11).
  gun fu: Any cinematic shooting with firearms – but by
  extension, also with Gauss needlers, rocket launchers,
  tank guns, beam weapons, etc.
  Mexican standoff: A situation in which two or more oppo-
  nents have the drop on each other, so that neither can
  win – typically by being in close combat, with guns lev-
  eled at each others heads. Mexican standoffs are usually
  resolved by everybody slowing retreating . . . to fight
  another day. Otherwise, they end messily.
  New York reload: “Reloading” by simply dropping an
  empty gun and replacing it with a loaded one from a
  holster, waistband, convenient stashing place in the
  area of the firefight – or even thin air! The Fast-Draw
  skill (p. 24) helps a lot.
  thumbing: increasing the RoF of a single-action revolver
  by quickly recocking the hammer with the thumb of the
  shooting hand (p. 11).
  wondernine: A flamboyant term from the 1980s describ-
  ing any high-capacity semiautomatic pistol in 9¥19mm
  Parabellum caliber.
  Gun Fu Terms
  
  LIGHTS, CAMERA . . . AND ACTION!
  5
  Gun fu as a concept is actually at least two centuries old,
  even though the term describing it is much more recent.
  Literary treatments and shooting shows can be rightfully con-
  sidered as the forerunners of cinema in this regard. The devel-
  opment is traced below. See Inspirational Fiction (pp. 44-48)
  for extensive but far from exhaustive lists of exemplary films,
  books, and comics.
  SIX-SHOOTERS:
  THE OLD WEST LEGACY
  There have always existed gunfighters whose skill with
  firearms so overshadowed that of the common gun user that
  they became the center of (often wildly exaggerated) stories
  and legends. In 19th-century America, however, the superior
  skill of some shooters became known to a wider audience
  through newspaper articles and books. This started what
  would later become known as gun fu.
  Traveling shooting shows featured stars like Seth Clover,
  William “Buffalo Bill” Cody (GURPS Old West, p. 101), Annie
  “Little Sure Shot” Oakley, and Lillian Smith. These shows dif-
  fered from the legendary feats of famous real gunslingers in
  that, for the first time, their feats with the gun could be wit-
  nessed by a large audience and were replicated every day.
  Annie Oakley’s shooting was even captured on film by Thomas
  Edison as early as 1894! These early showmen displayed fast-
  drawing; shot off cigarettes held in the mouths of assistants; or
  blew small targets out of the air.
  Of course, some feats weren’t real – that is, applicable in a
  real gunfight. For example, unnoticed by onlookers, some trick
  shooters used dustshot shells in their weapons to shoot down
  glass balls from the air, increasing their chances to hit them
  compared to a single bullet.
  Romanticizing novels like James Fenimore Cooper’s The
  Last of the Mohicans (1826) or Karl May’s Winnetou (1893)
  often portrayed shootists that can easily be seen as gun fu
  stylists. When cinema and the entirely action-driven pulp fic-
  tion novel were born in the final days of the Old West, writ-
  ers and directors quickly introduced the old showmen’s
  tricks. In both literature and early cinema, shooters often
  possessed unerring accuracy with any weapon and at any
  range. The media also established many important motifs,
  such as the two-gun pistolero and the noontime face-to-face
  duel. These feats were made easy by the fact that the actors
  didn’t actually need to be able to hit – range, skill, lighting,
  psychological disposition, and other “details” that often make
  shooting difficult in real life don’t matter in a film as long as
  the script says the hero hits.
  In addition, the realities of moviemaking had their impact.
  With the ability to cut and edit scenes together, film shootists
  could fire their guns as often as necessary, unlimited by the
  actual ammunition capacities of their weapons. Once they
  started shooting, the action didn’t need to stop for reloading,
  and the heroes could deal with scores of enemies. To this day,
  this is probably one of the most important fictional licenses
  appropriated by creators of gun fu.
  To increase the drawing speed, actors sometimes used light-
  weight props rather than real guns, and new types of holsters
  were developed that made it easier to draw the weapon than
  from an ordinary, utilitarian holster. Most early Westerns fea-
  tured gunslingers that were one-trick ponies – they displayed
  only a couple gun moves here and there – and while shootouts
  were important, they never dominated the film. Despite its
  advanced date, Henry Hathway’s True Grit (1969), a classic
  with the late John Wayne as Marshal Reuben “Rooster”
  Cogburn, is a good example for this style.
  Other important influences on the gun fu genre were the
  “spaghetti Westerns” pioneered by Italian director Sergio
  Leone. Films such as A Fistful of Dollars (1964), For a Few
  Dollars More (1965), The Good, the Bad, and the Ugly (1966),
  and Once Upon a Time in the West (1968) sharpened or
  invented many modern views about the Western shooter. The
  gunfights in Leone’s movies (and their many imitations) were
  carefully choreographed and filmed, with distinctive sound
  and visual effects. What’s more, A Fistful of Dollars is an almost
  blatant remake of Akira Kurosawa’s samurai movie Yojimbo
  (1961). It shows how easy it is to convert conventional martial-
  arts combat to gunplay – and vice-versa, since Yojimbo in turn
  was based in broad strokes on Dashiell Hammett’s hard-boiled
  .45-shooting detective novel Red Harvest (1929), set during the
  American Prohibition era.
  With new life breathed into the Western genre in the late
  1960s, many directors started to make more gritty movies
  beginning in the 1970s – but often kept the cinematic gun-
  play. Such films include Clint Eastwood’s The Outlaw Josey
  Wales (1976) about Rebel gunslinger Josey “Mr. Lightning”
  Wales, and the more allegorical Pale Rider (1980), in which a
  lone gunfighter appears as though one of the Four Horsemen
  of the Apocalypse.
  The more recent revisionist Westerns followed in the foot-
  steps of these earlier archetypes, even if their themes and top-
  ics subtly changed. While there may be more emphasis on
  showing the “real” Old West, which is depicted as being much
  more complicated (and often, more interesting!) than the leg-
  ends of old, shooters like Matthew Quigley in Quigley Down
  Under (1990), Charley Waite in Open Range (2003), or Seth
  Bullock in Deadwood (2004-2006) are still fast and deadly. Of
  course, flamboyant modern Westerns that use a more openly
  cinematic approach also exist. A prime example is The Quick
  and the Dead (1995) – a film that is literally only about shoot-
  ing it out.
  The Western genre is one of
  the oldest in cinema – Edwin
  Porter’s The Great Train
  Robbery dates from 1903.
  HISTORY OF GUN FU
  
  MACHINE GUNS
  AND TUXEDOS: THE
  HOLLYWOOD TRADITION
  Conventional Hollywood films also developed their own
  brand of gun fu. War movies and gangster films, detective sto-
  ries and action thrillers: They all kept the traditions of the
  Western – shootists capable of impossibly accurate shots,
  weapons with infinite ammunition supply, exaggerated bullet
  impacts, and so on.
  It is gun fu when James Bond uses precision long-range
  shots to drop bad guys with a single .32-caliber bullet from his
  tiny Walther PPK pistol (High-Tech, p. 99). It is gun fu when
  John McClane fires endless bursts from a captured H&K
  MP5A3 “machine gun” (High-Tech, p. 123) in Die Hard (1988).
  It is gun fu when people fly around like puppets when hit by
  the hero’s shotgun. And it is most definitely gun fu when the
  hero(es) fire unsupported machine guns, often literally single-
  handedly, such as in Commando (1985), Predator (1987), or the
  Rambo films (1982-2008).
  WUSHU AND WONDERNINES:
  THE CHINESE CONNECTION
  Much of what is considered gun fu today is the result of a
  special situation. In the 1980s, Hong Kong movie audiences
  vastly preferred martial-arts films to any other action-film
  genre. A few Chinese moviemakers, chief among them director
  John Woo, wanted to create films set in the modern era,
  inspired by gangster stories in the American and French tradi-
  tions. In order to cater to the viewing tastes of the time, they
  therefore made films that used guns galore but employed the
  aesthetics (and certain other elements) of the martial-arts
  genre. John Woo’s early classics like A Better Tomorrow (1986),
  The Killer (1989), and Hard-Boiled (1992) pretty much defined
  this style. Many of his style elements were soon widely copied
  by other filmmakers in Hong Kong and abroad.
  The Hong Kong gun fu films are distinctive in combining
  personal drama with many action scenes – especially over-
  the-top shooting scenes. In these, gun shots take the place of
  martial-arts moves, the shootists often brandishing handguns
  in both hands (replacing fists, swords, or nunchakus). The
  gunfighters fire and dodge on the move, wire-flying through
  the air – just like the Wushu stylists so prominent in Chinese
  martial-arts movies.
  The aspect of guns standing in for more archaic melee com-
  bat has been taken up in many gun fu films. One of the most
  obvious but simultaneously most unique examples of the
  seamless replacement of close combat with gunplay is Baz
  Luhrmann’s Romeo + Juliet (1996). In this adaptation of
  William Shakespeare’s play, the characters simply use guns
  marked “Knife” or “Sword” instead of the weapons mentioned
  in the original text.
  OVER-THE-TOP AND FAUX
  REALISM: MODERN ACTION
  Modern action movies now comprise the core body of the
  gun fu genre. During the 1990s, many Hollywood directors (as
  well as their peers in France, Germany, Russia, the United
  Kingdom, etc.) gradually embraced the Eastern concept of gun
  fu. One of the earliest of these films was Robert Rodriguez’s
  low-budget El Mariachi (1992), a true bloodshed flick that dis-
  places the action from Hong Kong to Mexico. Rodriguez
  refined his style in Desperado (1995), a somewhat sanitized but
  much slicker remake-cum-sequel.
  The one film that had the greatest impact on the almost
  universal success of gun fu in modern moviemaking is cer-
  tainly The Matrix (1999) and its sequels. Although nominally
  set in the future, much of the action takes place in a world
  resembling the present, with contemporary TL8 firearms. It
  combines the by-then traditional double-handed akimbo
  shooting and New York reloads with stunning slow-motion
  scenes where the shooters literally dodge bullets. Most films
  following in its steps have copied features or the general aes-
  thetics of this film.
  BLASTERS AND RAY GUNS:
  SHOOTING THE FUTURE
  Science-fiction films set in the far future often feature gun
  fu elements, especially those that evolved out of the pulp fic-
  tion genre. Space operas frequently draw heavily on other
  storytelling traditions – including the Western. It is no coin-
  cidence that science fiction’s most prominent gunslinger, Han
  Solo, wears his blaster pistol in a well-worn leather fast-draw
  holster straight out of a Western. The Star Wars movies (1977-
  2005) also include many other elements of gun fu – acrobat-
  ics and dodging, one-shot kills of heavily armored mooks,
  opponents who never seem to hit the heroes, and so on.
  Many later SF films are clearly inspired by this – including
  more humorous efforts, such as The Fifth Element (1997). This
  shows even more gun fu elements, many adapted from 1980s
  action movies.
  LIGHTS, CAMERA . . . AND ACTION!
  6
  There, you see, is a man who could hunt flies with a
  rifle, and command a ducal salary in a Wild West show
  to-day if we had him back with us.
  – Mark Twain, “Fenimore Cooper’s Literary Offenses”
  
  If you set the gun perfectly, there’s no emotion, but if you pick
  up a gun without any support, without any help, there’s passion.
  – John Woo, John Woo – The Films
  Gun fu shootists usually don’t fire their weapons like ordi-
  nary shooters – they have to look cool while doing it! This
  chapter explores the mechanics behind the cinematic action.
  SHOOTING WITH STYLE
  7
  CHAPTER TWO
  SHOOTING
  WITH STYLE
  BULLET BALLET
  Can I move? I’m better when I move.
  – The Sundance Kid, Butch Cassidy and the Sundance Kid
  Most Gun Fu shooters always fire on the move – while run-
  ning, jumping, riding a horse, or driving a car. This stands in
  stark contrast to realistic shooting, where movement of the
  shooter makes hitting difficult – especially if the target is mov-
  ing as well! Cinema and other fictional sources gloss over such
  difficulties – and GURPS offers a variety of ways to allow such
  stylish bullet ballet.
  GETTING CLOSE
  Despite
  using
  ranged
  weapons,
  most Gun Fu stylists prefer to get close
  to their opponents. This has the advan-
  tage that it is easier to hit, especially if
  the stylist aims for specific hit locations
  (see pp. B398-400). Likewise, some
  weapons, such as shotguns, may be
  more effective at short range. Mainly,
  however, it is a question of style. Gun
  Fu shooters like to get up and personal!
  To close the distance, many Gun Fu
  stylists will employ Acrobatics, Flying
  Leap, or Jumping to cartwheel or dive
  near their opponent. They may also use
  specialized skills or techniques such as
  Lizard Climb, Breakfall, or Rappelling.
  SHOOTING
  ON THE MOVE
  Move and Attack (pp. B365-366)
  is the standard maneuver for firing
  on the move. The basic penalty for
  shooting while in motion is -2 or the weapon’s Bulk penalty,
  whichever is worse.
  Gun Fu shooters often opt for much more drastic maneu-
  vers to avoid obstacles, surprise opponents, enable last-minute
  shots, or simply look cool. Stunts include sliding down banis-
  ters (possibly while supine!), skidding across slippery ground,
  swinging from a rope, and diving under or over obstacles. For
  detailed rules, see Acrobatic Movement in Martial Arts
  (pp. 105-107).
  Simplified Range
  Lookups on the Size and Speed/Range Table (p. B550) can slow cinematic gun-
  play – especially when not using a map. Optionally, the GM can divide range into
  a series of broad bands as shown in the following table.
  Range Band
  Penalty
  Actual Ranges
  Description
  Close
  0*
  0-5 yards
  Melee or close-quarters
  engagement.
  Short
  -3
  6-20 yards
  Pistol engagement.
  Medium
  -7
  21-100 yards
  Shotgun or SMG
  engagement.
  Long
  -11
  101-500 yards
  Rifle engagement.
  Extreme
  -15
  501+ yards
  Sniper engagement.
  * Bulk penalties apply if combatants are close enough to punch and grapple.
  Use the mean actual range in yards, if known, to determine a fight’s starting
  range band. If you don’t know this, then use the description or common sense
  to assign the starting band based on what initiated the violence; e.g., when kick-
  ing down a door, it’s safe to assume Close range! Gunmen at Close and Short
  range can move between these bands by taking a Move maneuver on their turn.
  Action at Medium range or above stays there. If the GM wants more fluid shifts,
  such as in a car chase, then he should see GURPS Action 2: Exploits.
  
  When using such acrobatics as the movement portion of a
  Move and Attack maneuver, the benefits and drawbacks of
  Move and Attack “stack” with those of the feat. This gives an
  additional -2 on both the attack roll and any roll required for
  the stunt – the price of doing two things at once! However, after
  attempting such a move, your next dodge (only) is automati-
  cally an Acrobatic Dodge (p. B375), whether or not you used
  the Acrobatics skill: You dodge at +2 if your feat succeeded, at
  -2 if it failed.
  Gunslinger lets a gunman ignore both the basic Move and
  Attack penalty (-2 or Bulk) and the extra -2 for stunts. A realis-
  tic gunman can only buy off the basic Move and Attack penalty,
  using the Close-Quarters Battle technique (p. 26).
  Example: Kim wants to cartwheel five yards toward cover
  and, at the same time, continue firing her H&K MP5K subma-
  chine gun (Bulk -3) at a group of bad guys. As per Tumbling
  (Martial Arts, p. 106), the cartwheel at her Move requires an
  unmodified Acrobatics roll, which becomes -2 with the
  extra -2 for an Acrobatic Attack. Her Guns roll has the
  usual -3 for Move and Attack due to the gun’s Bulk,
  plus another -2 for her stunt, for a total penalty of -5.
  Since this is a Move and Attack, Kim can’t parry or
  retreat afterward . . . and thanks to her tumbling, her
  next dodge counts as an Acrobatic Dodge, but she
  could end up in the wrong spot or even fall down.
  SHOOTING
  WHILE MOUNTED
  Riding, Driving, Boating, and Piloting suffer the
  same -2 that all movement tasks experience when tak-
  ing a Move and Attack maneuver (p. B366). To elimi-
  nate this, learn Combat Riding, Combat Driving, or
  Combat Piloting (p. 26) at skill+2 or better.
  Shooting while riding requires you to roll against
  the lower of Riding or shooting skill to hit (p. B397).
  Gunslinger lets you ignore this. Special tricks like
  clinging to the side of a mount and shooting over or
  under it will also result in penalties (pp. B397, 548).
  You can reduce these through Mounted Shooting
  (p. 28). Finally, if you’re not the one controlling the
  animal, your shooting skill can’t exceed the rider’s
  control skill.
  Shooting while driving or piloting a boat or air-
  craft can result in several penalties – but flying itself
  doesn’t result in a penalty (p. B398). However, if
  you’re the driver, skipper, or pilot, you’re at -2 or your
  weapon’s Bulk penalty, whichever is worse (p. B470).
  Gunslinger lets you ignore this, just as it lets you
  ignore Bulk on foot. A rough ride or tumbling flight
  gives a penalty – see Weapon Fire from a Moving
  Vehicle (pp. B469, 548) for this. You can reduce this
  through Mounted Shooting (p. 29). Furthermore,
  your shooting skill can’t exceed the vehicle operator’s
  control skill. For weapons mounted on a vehicle, such
  as a door-mounted minigun or a machine gun on a
  pintle, see Vehicle Weapon Mounts (p. B467).
  SHOOTING WITH STYLE
  8
  Who Draws First?
  Their speeddraw mechanics were very different. Han’s incorpo-
  rated movements of shoulders and knees, a slight dipping, a partial
  twist. Gallandro’s was ruthless economy, an explosion of every
  nerve and muscle that moved his right arm alone.
  – Brian Daley, Han Solo and the Lost Legacy
  In a standoff between two gunmen in combat, resolve the situ-
  ation using the turn sequence (p. B363). The faster gunman takes
  his turn first, shooting if his weapon is ready or he can Fast-Draw
  it, or taking a Ready maneuver otherwise. Then the slower gun-
  fighter acts. And so on.
  If combat isn’t in progress, use these rules:
  1. Neither fighter has a ready weapon.
  • One knows Fast-Draw; the other doesn’t. The shootist with
  Fast-Draw rolls against skill. Success lets him shoot first. Failure
  means the situation unfolds as a standoff between fighters who
  don’t know Fast-Draw. Critical failure means he drops his weapon
  or shoots himself, and his foe fires first!
  • Both or neither knows Fast-Draw. Roll a Quick Contest. Use
  Fast-Draw if both gunmen have it, shooting skill if neither does (or
  if one does, but failed; see above). Regardless of the skill used,
  apply all Fast-Draw modifiers. Give -1 to the shootist with the
  worst Bulk and +4 to anyone who already had his hand on his
  gun. Fastest Gun in the West (p. 18) adds its bonus here. The win-
  ner fires first. In a tie, they shoot simultaneously!
  2. One fighter has a ready weapon.
  • His opponent knows Fast-Draw. Roll a Quick Contest. The
  ready gunslinger uses shooting skill, at +1 if he has Combat
  Reflexes. The unready gunman uses Fast-Draw skill modified as
  for a Quick Contest of Fast-Draw (above), but with an additional
  -10! The winner shoots first. In a tie, the ready shooter fires first.
  • His opponent lacks Fast-Draw. The ready gunman shoots
  first.
  SHOOTING FOR EFFECT
  Subtlety is a thing for philosophy, not combat. If you’re going
  to kill someone, you might as well kill them a whole lot.
  – Vulcan Raven, The Last Days of Foxhound
  In a Gun Fu campaign, two rather different ways typically
  exist to deal with opponents: one centers on precision and skill;
  the other, more on sheer violence. Dramatics often determine
  which way is used, not realistic or tactical considerations. The
  same hero may dispose of a roomful of opponents with single
  shots, then kill his next opponent by emptying an entire maga-
  zine into him.
  
  ONE SHOT, ONE KILL
  Possibly the most common and at the same time most cin-
  ematic (that is, unrealistic) feature of gun fu gunfights is the
  quick and instantaneous death of the bad guys. While it realis-
  tically normally takes seconds – if not many minutes – for
  somebody to die even if mortally wounded, in the movies, the
  opponents immediately drop dead when hit. Gun fu shootists
  will use precision shooting and perfect one-bullet kills when-
  ever dramatically appropriate.
  To a certain degree, this is the result of using high Guns
  skill to attack high-value hit locations (pp. B398-400) like the
  vitals or the skull. However, movie conventions are at least
  equally important. The primary mechanic to enable this is the
  Cannon Fodder rule (p. B417). Certain opponents, especially
  named enemies or exceptional cannon fodder, may be exempt
  from the Cannon Fodder rules.
  UNTIL YOU’RE
  DEAD, DEAD, DEAD!
  Another staple of gun fu combat is to riddle opponents with
  bullets, instead of using single shots (see One Shot, One Kill,
  above) or double-taps, as would be more realistic. Frequently, an
  entire magazine is expended – or even a cinematically extended
  magazine. Fanning, fast-firing, and full-automatic weapons are
  a gun fu stylist’s friends (see High-Speed Shooting, p. 11).
  Probably even more important is the Infinite Ammunition cam-
  paign toggle (p. B417) or the Infinite Ammunition perk (pp. 19-
  20), depending on the GM’s preference.
  The GM should make the players aware of opponents who
  aren’t cannon fodder and should receive this “special treatment.”
  The smaller the number of enemies, the less likely it is that they
  are mere mooks that can be blown away with single shots . . .
  SHOOTING WITH STYLE
  9
  Every gun makes its own tune.
  – Blondie, The Good,
  the Bad, and the Ugly
  Hokey religions and ancient weapons are no match for a
  good blaster at your side, kid.
  – Han Solo, Star Wars Episode IV: A New Hope
  Many of the gun fu styles of cinema are often used in
  conjunction with hard-hitting melee combat. Martial Arts
  details several styles and techniques that prominently fea-
  ture in gun-oriented cinematic combat. The recommenda-
  tions below are intended to replicate the fighting as seen in
  action-movie combat, but they are not exhaustive or even
  required; players should feel free to ignore them or adapt
  them to their character concept.
  Double Trouble (pp. 31-32) specialists often utilize flashy
  kicks and sweeps to complement their theatrical style.
  Suitably acrobatic styles include Wushu (Martial Arts,
  pp. 206-207), often featured in conjunction with action-
  movie heroes, and Capoeira (Martial Arts, pp. 153-154).
  For Way of the West (p. 35) stylists, the most common
  melee method is to “pistol-whip” or “buffalo” an hombre
  who doesn’t quite deserve to die. The Pistol-Fist perk
  (p. 21) is an expeditious way to handle this common West-
  ern lawman maneuver. Axe/Mace and Knife skill for effi-
  ciently wielding a tomahawk, a piece of hickory, or a Bowie
  knife is also recommended.
  Ultimate Shootists (pp. 34-35) often use grapples, dis-
  arms, Judo throws, and brutal Targeted Attacks, such as
  (Exotic Hand Strike/Neck). Efficient melee-combat styles
  like the Fairbairn Close Combat Training (Martial Arts:
  Fairbairn Close Combat Styles, pp. 9-11) or Krav Maga
  (Martial Arts, p. 183) are vicious, and lack the high-line
  kicks and back flips of Double Trouble stylists. Instant
  Arsenal Disarm (p. 28) is a suitable technique, too.
  Sentry removal often goes hand in hand with the Sniper
  (pp. 33-34) and One-Man Army (pp. 32-33) styles. Thus,
  consider spending extra points on any military hand-to-
  hand style from Martial Arts. Knife, in particular, is a com-
  mon melee weapon. A Combination such as (Judo
  Grapple/Face + Knife Thrust/Neck), for instance, is a staple
  of the cinematic commando and sniper.
  Kung Fu and Gun Fu
  MULTIPLE ATTACKS
  I think it’s always best to use two guns . . . If there was some
  way to hold three, that would be even better.
  – Stephen Sommers, The Mummy commentary
  A gunman – however numerous his limbs and weapons –
  may normally select one “offensive maneuver” (All-Out Attack,
  Attack, or Move and Attack) each turn. This maneuver grants
  him one attack, although his attack can use rapid fire (see
  p. B373). Two advantages modify these assumptions:
  Altered Time Rate: Each level gives an additional maneuver
  per turn – not just an extra attack! Apply the rules below sepa-
  rately to each offensive maneuver chosen.
  Extra Attack: Each level gives an additional attack per offen-
  sive maneuver. For instance, someone with Extra Attack 2
  could choose Attack and make three attacks; if he also had
  Altered Time Rate 1, he could pick two Attack maneuvers and
  make three attacks with each.
  
  Attacks must use ready, loaded firearms. Weapons with one
  shot can attack only once. Attacks involving the “off” hand are
  at -4 without Ambidexterity or Off-Hand Weapon Training
  (pp. 20-21).
  Once per offensive maneuver, a shooter who desires more
  attacks may trade one (and only one) of his attacks for one of
  these two incompatible options:
  Ranged Rapid Strike: A gun with RoF 2+ can make a Rapid
  Strike (p. B370). This is two attacks with the same firearm,
  usually on two targets, at an extra -6. To improve this, learn the
  Quick-Shot technique (p. 29). Those with Gunslinger take half
  the penalty.
  Dual-Weapon Attack: A gunfighter with two ready firearms
  in different hands can split one of his attacks into two attacks,
  one with each gun. Both attacks are at an extra -4. To improve
  this, learn the Dual-Weapon Attack technique (p. 27).
  MULTIPLE TARGETS
  A gunman with just one attack can engage only a single tar-
  get unless he uses spraying fire (p. B409). If he has two or more
  attacks thanks to Dual-Weapon Attack, Extra Attack, or Rapid
  Strike, he can use them to shoot multiple foes. He can fire on
  at most one enemy per attack unless he uses spraying fire with
  that attack. To attack multiple targets and/or use spraying fire,
  he must have the necessary RoF and shots. Even if he isn’t
  using spraying fire, all shots fired by any given gun in a turn
  are subject to that rule’s arc-of-fire restrictions.
  ALL-OUT ATTACKS
  Suppression Fire (pp. B409-410) and Whirlwind Attack
  (p. 30) are exceptions to these rules. Either of these All-Out
  Attack maneuvers is all you can do on your turn, regardless
  of special advantages.
  You can use two guns here. If you do, you may attack the
  same or separate arcs or opponents with them. Extra Attack
  (any level) means there’s no penalty for this other than any
  off-hand penalty that may apply. Otherwise, apply any rele-
  vant Dual-Weapon Attack penalty that you
  haven’t bought off.
  RATE OF FIRE
  Each weapon used with these rules can fire
  its listed RoF once per maneuver. This
  amounts to once per turn unless the gunman
  has Altered Time Rate. That advantage warps
  time for the user and his gear, letting him use
  full RoF during every maneuver.
  A warrior who makes multiple attacks with a
  single gun during his maneuver must divide the
  gun’s RoF among those attacks. The exact split
  is up to him. For each attack, use only the shots
  fired on that attack to calculate the rapid-fire
  bonus. Attacks from separate guns use each
  weapon’s full RoF – subject to the same rule if
  RoF is somehow split among targets.
  A gunman can use High-Speed Shooting
  (p. 11) to improve RoF here. In that case, divide
  the enhanced RoF according to the rules above.
  Penalties for RoF-boosting tricks affect all shots
  taken with a gun being fired this way.
  If a shooter’s total RoF with all weapons is 5+
  thanks to RoF-boosting tricks and/or multiple
  guns, he may use Suppression Fire (p. B409).
  When this is possible only with the combined
  RoF of two or more firearms, determine effec-
  tive skill separately for each weapon. Roll to hit
  separately, too – this makes it obvious which
  hits come from which gun.
  Example: A gunman using two RoF 3 pistols has overall RoF
  6 and thus could attempt suppression fire. His maximum effec-
  tive skill would be 6, rolled once per weapon, because RoF 3
  enjoys no rapid-fire bonus. If he had a true RoF 6 weapon, with
  a rapid-fire bonus of +1, he would roll just once but at 7.
  SHOOTING WITH STYLE
  10
  Quick-Readying
  Nearby Weapons
  Readying a weapon from the ground normally takes two Ready maneu-
  vers: one to kneel or crouch and grab it, and one to prepare it for combat.
  Getting into a low posture at the start of your first turn counts as a “step”;
  so does standing up at the end of your second turn. However, you can try
  a showy Ready maneuver that lets you grab and ready a weapon in one
  second. This requires a DX or Fast-Draw roll, at -3 if you crouch first or -5
  if you use a foot to flip the weapon into your hand while standing.
  Likewise, it takes two Ready maneuvers to fetch a weapon from a
  table or a weapon rack: one to grab it (and possibly release it from the
  rack), and one to prepare it for fighting. You can remain standing,
  though; you needn’t crouch. In this case, readying the weapon with a sin-
  gle Ready maneuver requires a DX or Fast-Draw roll at -3.
  In all cases, success means you ready the weapon in one second
  (never instantly, even with Fast-Draw). Failure means you don’t grasp the
  weapon and waste your entire turn clutching the air. Critical failure
  means you knock the weapon 1d yards away in a random direction.
  “Unsafe” guns without internal safeties (High-Tech, p. 93) that are prone
  to accidental discharge, such as most TL4-5 and many TL6 firearms,
  may fire accidentally upon hitting the ground! In fact, this is almost a
  cinematic convention, even for guns that cannot go off this way . . .
  On an 18, you smash your hand into the floor, wall, or table. Roll
  thrust crushing damage to your hand – or to your face, if flipping a
  weapon with your foot!
  Are you telling me one guy came in here and killed eight men with eight extremely well-aimed
  shots in just a few seconds?
  – Agent Paul Smecker, The Boondock Saints
  
  GURPS offers mechanics for several mutually exclusive
  ways to exceed a weapon’s listed RoF – mostly for single-action
  (RoF 1) revolvers. Full details are in High-Tech (pp. 83-84), but
  here’s a quick recap.
  FANNING
  To fan a single-action revolver, hold down the trigger and
  strike the hammer repeatedly with a free hand. The attack roll
  is at Guns (Pistol)-4, and you can’t Aim; learn the Fanning
  technique (p. 27) to buy off the -4. This improves RoF to 2.
  You can increase RoF to as high as 5, but each +1 to RoF
  gives another -2 to skill that you can’t buy off. At RoF 5, add
  2 to Rcl, too. A critical failure when fanning means you fire
  no shots and must roll 1d: On 1-3, you drop your gun; on
  4-6, you bruise your hand, causing moderate pain (p. B428)
  for minutes equal to margin of failure.
  FAST-FIRING
  When using a weapon with RoF 2 or 3 (any double-
  action revolver, any pump- or lever-action firearm, and any
  semiautomatic weapon), you can pull the trigger and/or
  operate the lever or pump faster, increasing RoF by 1-3 (to
  5 or 6). The attack roll is at shooting skill-4; learn the Fast-
  Firing technique (p. 27) to buy off the -4. Rcl is unchanged
  at +1 to RoF, rises by 2 at +2 to RoF, and increases by 4 at
  +3 to RoF. At RoF 5+, you can’t use spraying fire (p. B409)
  except with a full-automatic weapon, but you can use sup-
  pression fire (p. B409).
  Fast-Firing Energy Weapons: This rule might apply to
  beam weapons, Gauss guns, etc., depending on the techno-
  logical assumptions. In quasi-realistic settings where such
  weapons must charge an accumulator before each shot and
  dissipate heat afterward, you can’t fast-fire them. In worlds
  where superscience blasters ape conventional firearms –
  or where energy weapons use (and eject) disposable power
  cartridges – maybe you can!
  THUMBING
  To thumb a single-action revolver, hold down the trigger
  and use the thumb on the same hand to fire the gun by manip-
  ulating the hammer. The attack roll is at Guns (Pistol)-2. Learn
  the Thumbing technique (p. 29) to buy off the -2. Success lets
  you fire at RoF 2. Failure means you can’t fire. Critical failure
  means a dropped gun or a wild shot (GM decides what it hits).
  The main advantage of thumbing over other techniques is
  that it lets you fire two revolvers!
  TWO-HANDED THUMBING
  Alternatively, hold your single-action revolver two-handed
  and use the thumb of your off hand to operate the hammer.
  This increases RoF to 2 at no penalty. You can increase RoF
  to 3 or 4; the attack roll is then at Guns (Pistol)-2. Learn the
  Two-Handed Thumbing technique (p. 30) to buy off the -2.
  SHOOTING WITH STYLE
  11
  HIGH-SPEED SHOOTING
  TRICKY SHOOTING
  Tricks like Feint and Deceptive Attack needn’t be limited to
  melee. They might work at a distance – and this might be real-
  istic. However, the GM may reserve these options for
  Gunslingers, or simply forbid them.
  PREDICTION SHOT
  Ranged combat involves “leading the target”: following his
  motion and shooting so that the shot will intercept his path.
  Many marksmen even claim to be able to read a target’s body
  language, deduce his reaction to seeing or hearing a weapon,
  and shoot where he’ll jump or weave. To simulate such strate-
  gies, allow Deceptive Attack (p. B369) with ranged weapons.
  The attacker’s effective skill after all modifiers must be at least
  10, making this option most useful at short range. The defense
  penalty reduces Dodge only.
  RANGED DISARMS
  Cinematic gunmen often shoot weapons from their ene-
  mies’ hands. To do this, attack the weapon as usual (pp. B400-
  401) and declare your intent beforehand. On a hit, roll damage
  as usual . . . but instead of harming the weapon or your
  enemy’s hand, your enemy must make a ST roll at -1 per 2
  points of damage rolled. Failure means he’s disarmed!
  
  RANGED FEINT
  The target of a ranged attack only gets to dodge if he’s aware
  of the shooter, because then he can read his adversary’s body
  language and guess when the shot will come. A shooter can
  read his target’s body language, too, though. This makes “mind
  games” possible: The GM may rule that a ranged attacker can
  feint (p. B365) by faking a shot to draw the defender’s guard or
  by “aiming” at one target and then suddenly spinning to shoot
  at another. This is only possible if the attacker could hit the tar-
  get with his weapon and his victim is aware of him (an
  unaware mark gets no defense!). Modifiers that would apply to
  an actual attack also apply to the feint. When using this rule,
  ranged combatants can attempt All-Out Attack (Feint).
  SHOOT ’EM UP!
  These tricks work best when the gunman shoots up the
  scenery to find his mark’s range and make his victim freeze
  up momentarily. Thus, rapid-fire bonuses (p. B373) do
  increase effective skill for Prediction Shot. A shootist can
  also use some of his RoF to make Ranged Feint more effec-
  tive – up to his full RoF, if that’s all he does that turn. This
  won’t hit his foe, but add the rapid-fire bonus for the RoF
  used to his skill for the feint. For example, a gunslinger
  doing an All-Out Attack (Feint) with a RoF 15 gun could use
  5 rounds in the feint portion, for +1, and then 10 rounds in
  the attack, for +2 to hit.
  SHOOTING WITH STYLE
  12
  NEVER GO ALONE
  Cinematic shootists often have a partner that serves as a foil
  for jokes, a friend (even if they won’t admit it), and occasion-
  ally as someone to draw fire. In a Gun Fu game, a group of
  allies can combine their efforts in a number of ways.
  Advice: By spending one turn and a Do Nothing maneuver,
  you can observe and advise one ally. If he decides to listen to
  you, make a roll using the skill you want to advise with. The
  result affects all his rolls using that skill for that turn (includ-
  ing default use): +2 on a critical success, +1 on a success, -1 on
  a failure, or -2 on a critical failure.
  Back-to-Back: Adjacent allies cannot be flanked or surprised
  by enemies that any of them can see. In addition, they can
  perform actions for each other – such as reloading the partner’s
  weapons, combining Ready actions to hurry a long task, or con-
  ducting a quick buddy bandage. As the name implies, shots
  aimed at one gunman's back must go through the other's front!
  Buddy Bandage: Any ally that can touch you, has one hand
  free, and is holding bandages or a first-aid kit ready in his other
  hand can perform combat-speed bandaging. The medic must
  take a Concentrate maneuver and make a First Aid roll at -10
  for “instant” use. Success heals 1d-3 HP; critical success
  restores 3 HP. Failure has no benefit; critical failure costs 2 HP.
  Watch Out!: As long as they are within communication
  range, you can use a free action to inform your allies of the
  position of any enemy you can see.
  You know what it takes to make a shot at that range? . . .
  Humidity, elevation, temperature, wind, spindrift. There’s a
  6- to 10-second flight time so you have to shoot at where the
  target’s going to be. Even the Coriolis effect, the spin of the
  Earth, comes into play.
  – Gunnery Sergeant Bob Lee Swagger, Shooter
  By taking considerable extra time, you can exceed the
  usual limits on Aim (p. B364). This is a specialized use of
  Time Spent (p. B346). It requires at least three of the follow-
  ing: somewhere to brace, a scope, ballistic tables, a wind
  gauge, and a trained spotter (Observation 12+) equipped
  with optics (unless you have the Deadeye perk, p. 18).
  Extended aiming works as follows.
  The first three steps are simply ordinary Aim maneu-
  vers. For each step past the third, make an IQ-based Guns
  roll at -6; learn the Precision Aiming technique (pp. 28-29)
  to buy off the -6. Success grants the bonus listed in the
  table; you may shoot or keep aiming. Failure costs you all
  aiming bonuses – start over. Critical failure means the tar-
  get sees a protruding barrel or glint off the scope!
  The final bonus to Accuracy can’t exceed the lower of
  your scope’s bonus and your gun’s basic Accuracy. Bonuses
  for scopes and bracing add normally.
  For more complete rules, see High-Tech (p. 84). This
  version is streamlined for Gun Fu campaigns.
  Precision Aiming
  Total Time (Seconds)
  With Deadeye 1
  With Deadeye 2
  With Deadeye 3
  Total Bonus
  1
  1
  1
  1
  +Accuracy
  2
  2
  2
  2
  +Accuracy+1
  3
  3
  3
  3
  +Accuracy+2
  6
  6
  5
  5
  +Accuracy+3
  12
  11
  10
  9
  +Accuracy+4
  24
  22
  20
  17
  +Accuracy+5
  45
  41
  36
  32
  +Accuracy+6
  90
  81
  72
  63
  +Accuracy+7
  
  You’re your own Patriot missile system!
  – Garrett Lawton, Hollow Point
  Cinematic shootists know all manner of tricks to get out
  of trouble (or even to get into trouble). Perks, skills, and
  techniques are often formal components of gun fu styles like
  those in Chapter 4. Such styles also recommend several
  advantages, albeit as optional elements. For examples of
  these abilities in action, see Inspirational Fiction (pp. 44-48).
  STYLE COMPONENTS
  13
  ADVANTAGES
  Morpheus: Men have emptied entire clips at them and hit
  nothing but air. Yet their strength and their speed are still based
  in a world that is built on rules . . .
  Neo: What are you trying to tell me? That I can dodge bullets?
  – The Matrix
  Certain advantages either work differently in a Gun Fu
  game or require interpretation for gunmen. Those described as
  “cinematic” have Gunslinger (pp. 15-16) as a prerequisite.
  Acute Vision
  see p. B35
  Acute Vision helps shooters spot threats (which is especially
  effective for heroes with Enhanced Time Sense; see p. 14),
  enables the Tracer Eyes perk (p. 22), and improves the sighting
  radius used for the Close-Quarters Battle technique (p. 26) and
  Cool Under Fire perk (p. 18).
  Altered Time Rate
  see p. B38
  This advantage is unrealistic for ordinary humans.
  Believable shootists should learn perks (notably Quick Reload,
  Quick-Sheathe, and Quick-Swap), the Fast-Draw skill, and
  techniques (particularly Fanning, Fast-Firing, Quick-Shot,
  Thumbing, and Two-Handed Thumbing) to operate faster.
  However, the flashiest gun fu masters in the movies – sci-fi
  flicks, especially – seem capable of warping time. In campaigns
  with such superhuman gunmen, the GM may allow one or
  more levels of Altered Time Rate to individuals who have
  Gunslinger. Heroes with this trait rarely need the mundane
  abilities noted above – they can do all that and more
  with their extra actions!
  Ambidexterity
  see p. B39
  Two-gun shootists with this advantage can
  skip
  Off-Hand
  Weapon
  Training
  (pp.
  20-21).
  Ambidexterity does the same thing for every combat
  skill! It does not eliminate the -4 for using two guns
  at once, though; for that, learn Dual-Weapon Attack
  (p. 27) or buy Extra Attack (p. 15).
  Enhanced Dodge
  see p. B51
  Enhanced Dodge is a perfect fit for Gun Fu games! The GM
  might want to let almost anybody, even the newspaper boy, buy
  Enhanced Dodge 1. Heroes with Gunslinger may purchase sev-
  eral levels – perhaps as many as four, in campaigns based on
  movies where the protagonists can literally cartwheel through
  hails of bullets without being nicked.
  A special form of Enhanced Dodge exists in settings with
  lots of explosions, and even cannon fodder may have several
  levels of this:
  Enhanced Dodge (Dive for Cover): You get an extra +1 to
  Dodge only when diving for cover (p. B377) to escape an explo-
  sion. 5 points/level.
  CHAPTER THREE
  STYLE
  COMPONENTS
  
  Enhanced Time Sense
  see p. B52
  The GM may permit cinematic gunmen with Gunslinger to
  buy Enhanced Time Sense (ETS). In some campaigns, this
  advantage might have benefits beyond those described in the
  Basic Set (GM’s decision).
  Dodging Bullets
  The gunman may attempt to dodge any firearms attack if
  he’s in a position to hear the weapon’s report or notice its
  flash (or a reflection) – or if the projectile is in his field of
  vision, because then he can see it! When in doubt, roll against
  the better of unpenalized Hearing or Vision. If he has Danger
  Sense, he always gets a Dodge roll, even against an attack
  from behind.
  Shooting Between Raindrops
  At the GM’s discretion, moving obstacles – fan blades, six
  lanes of traffic, etc. – give -2 to -4 for cover or intervening fig-
  ures, or a speed modifier, where this would be worse (e.g., -6 to
  shoot between the cars of a train passing at 40 mph). A gun-
  man with ETS can easily perceive momentary windows of
  opportunity and thus ignore these penalties.
  Super-Fast Draw
  In a Wait situation or a standoff that would normally be
  resolved using Basic Speed or a Contest of Fast-Draw or Guns,
  the gunman automatically acts before everyone who lacks
  ETS. If some fighters have ETS and others don’t, use the usual
  method to decide the order of actions within each group – but
  the shootists with ETS all act before those without, regardless
  of speed or skill.
  Bullet Time
  The gunman may spend 3 character points to stop time
  so that he may act out of turn. He can do this at any time –
  even between an enemy’s attack roll and any defense rolls or
  damage rolls that would follow. This can’t interrupt death,
  though; if a failed HT roll means the PC is dead, he’s dead
  (but see Dramatic Death, p. 18).
  Entering Bullet Time gives the hero one turn to do any-
  thing that he could do with a normal turn; he cannot spend
  more points to buy multiple, consecutive turns of stopped
  time. After that, ordinary time resumes and the GM assesses
  the outcome of the gunman’s actions, which might include:
  • All-Out Attack, Attack, or Move and Attack maneuver to
  make as many attacks as his guns and abilities allow. Roll to
  hit normally. The targets are defenseless! The GM deter-
  mines damage effects and applies them the instant time
  returns to normal, before anything else occurs.
  • One of the above maneuvers to pluck bullets out of the
  air. The player may specify how close he lets them come
  before he stops time. Grabbing a bullet takes a DX roll and
  uses up one attack. Snatched slugs have no momentum
  upon returning to normal time – they cannot injure anyone.
  • Move or Change Posture maneuver. When time speeds
  back up, he’s in a new location or posture.
  • Ready maneuver to reload or grab another weapon.
  When normal time resumes, the gun is loaded, readied, etc.
  If the gunslinger moves even a step during Bullet Time,
  all “paused” attacks on him automatically miss when time
  restarts. If he moves between a weapon and its intended vic-
  tim, the attack hits him when the passage of time resumes,
  although he may defend normally. Should his actions move
  another person into the path of a suspended attack, it hits that
  person instead – but the victim may defend.
  During Bullet Time, everything but the PC who initiated the
  change freezes . . . from his perspective. He sees everybody else
  paused in mid-step, bullets hanging in air. He and any items
  he’s carrying are the only things that move. The rest of the
  world sees him travel in a blur.
  Some further options:
  Bullet-Time Ballet: Optionally, when someone buys Bullet
  Time, other combatants with ETS can elect to “buy in” for 3
  points. They must shout this out as soon as the first fighter antes
  up, or be stuck in regular time! Everybody in Bullet Time gets
  one turn, acting in descending order by Basic Speed. They affect
  each other normally, but the rest of the world remains paused. If
  the GM allows this, he should give NPCs who can use Bullet
  Time and other rules that cost points – like Buying Success
  (p. B347) and Flesh Wounds (p. B417) – a pool of unspent points.
  Bullet Time in Bulk: The GM may opt to remove the “no mul-
  tiple, consecutive turns” restriction, allowing gunmen with ETS
  to keep spending points to get several turns of action. This is use-
  ful for campaigns that emulate fiction where the hero can, at the
  climax of the adventure, act almost at will in stopped time!
  When used with Bullet-Time Ballet, everyone who wants to
  remain in Bullet Time must ante up before each turn.
  Not Quite Bullet Time: A warrior who can merely slow time
  rather than stop it should buy Altered Time Rate instead,
  adding limitations like Costs Fatigue (-10% per 1 FP per turn),
  Limited Use, and Takes Recharge if he can use his gift only
  infrequently, similar to Bullet Time.
  STYLE COMPONENTS
  14
  Desirable Advantages
  A few advantages suit shootists especially well. In addi-
  tion to those singled out here, traits with combat benefits –
  especially Daredevil (p. B47) and Luck (p. B66) – are as
  valuable to gunslingers as they are to other warriors.
  •Mundane Traits. Advantages that enhance vision or sit-
  uational awareness are wonderful – particularly Acute
  Vision (p. B35), Combat Reflexes (p. B43), Danger Sense
  (p. B47), Night Vision (p. B71), and Peripheral Vision
  (p. B74). Ambidexterity (p. B39) is good if you use two
  guns, and Signature Gear (p. B85) is a great way to get your
  guns of choice.
  • Cinematic Traits. Enhanced Dodge (p. B51) is indis-
  pensable when your foes are shooting back, Extra Attack
  (p. B53) is the Rolls Royce of two-fisted-shooting abilities,
  and Gizmos (p. B57) is excellent for pulling out ammo and
  accessories. All have Gunslinger (p. B58) as a prerequisite.
  • Exotic Traits. The GM may let heroes with Gunslinger
  buy Altered Time Rate (p. B38), Enhanced Time Sense
  (p. B52), and/or Enhanced Tracking (p. B53). Superhuman
  senses like 360° Vision (p. B34), Dark Vision (p. B47),
  Infravision (p. B60), Scanning Sense (p. B81), and Tele-
  scopic Vision (p. B92) are valuable, too, but tricky to justify
  for ordinary humans.
  
  Enhanced Tracking
  see p. B53
  Heroes with Gunslinger can buy Enhanced Tracking. Its
  primary benefit, apart from making Whirlwind Attack (p. 30)
  more effective, is to allow Aim maneuvers with one extra ready
  weapon per level – a feat of limited value, given that
  Gunslingers wielding several guns typically use pistols that
  enjoy full Acc without Aim. A new enhancement can make this
  advantage appealing to cinematic snipers, though.
  New Special Enhancement
  Multiple Lock-Ons: You can track multiple targets even if
  you have only one weapon, and gain the benefits of your Aim
  maneuver if you attack any of them. This lets you use scopes,
  Precision Aiming (p. 12), etc., against as many targets as you
  can track: two with Enhanced Tracking 1, three with Enhanced
  Tracking 2, and so on. +20%.
  Extra Attack
  see p. B53
  Gunmen with Extra Attack can shoot a firearm with each
  hand at no penalty beyond the -4 for the off hand. This makes
  the Dual-Weapon Attack technique largely redundant for such
  gunslingers. Gun fu masters often have the modifiers below.
  New Special Enhancement
  Multi-Strike: You can strike more than once with the same
  weapon or limb, allowing you to make more attacks than you
  have weapons. You can split your guns’ RoF between as many
  targets as you have attacks (two at Extra Attack 1, three at
  Extra Attack 2, and so on) without using the Quick-Shot tech-
  nique (p. 29) or Spraying Fire (p. B409). You can even spend a
  single attack to shoot at several opponents with one of those
  two moves and then use your remaining attacks to engage lone
  targets. Assign the desired number of rounds to each target
  and work out the attacks normally. Note that this lets you
  spread around your weapons’ RoF – not exceed it! +20%.
  New Special Limitation
  Single Skill: Your Extra Attacks apply only to one combat
  skill. For instance, Extra Attack 2 with Single Skill, Guns
  (Pistol) lets you attack three times – but at least two attacks
  must use Guns (Pistol). To attack more than once using
  a weapon skill, you need either one weapon per attack or
  Multi-Strike. -20%.
  Gizmos
  see p. B57
  Some gun fu masters always have just the kit they need. The
  GM may allow PCs with Gunslinger to buy Gizmos with
  Accessibility, Only for Gun Fu, -20% – that is, for 4 points
  apiece. Each Gizmo lets the shootist pull a single piece of gear
  out of thin air once per game session. This can’t be heavier
  than Basic Lift/10 lbs. nor have a Bulk worse than -4. Allowed
  items fall into two categories:
  1. Kit the gunslinger owns but didn’t specify he was carrying.
  This means a modest-sized gun, a shooting accessory (optics,
  suppressor, etc.), or Armoury tools that the hero currently has
  stashed somewhere. Signature Gear and firearms with
  Weapon Bond are definitely valid! Treat a preaccessorized gun
  that falls within the weight and Bulk limits as a single item.
  Once revealed, the Gizmo works as if it had been carried all
  along, and it counts as encumbrance.
  2. Consumables. Each Gizmo can give one reload (belt, clip,
  magazine, power cell, speedloader, etc.) or parts enough for
  one repair or modification. These things don’t have to be
  among the gunman’s purchased gear. Parts or ammo can be
  worth at most 1% of the campaign’s starting money ($200, in a
  modern-day game).
  Gizmos simply aren’t there to be found or lost until invoked.
  If this “magic” doesn’t suit the campaign’s realism level, the
  GM should forbid the advantage.
  Gunslinger
  see p. B58
  This is the cinematic gunman advantage. It covers all one-
  and two-handed ranged weapons used with any specialty of
  Beam Weapons, Gunner, Guns, or Liquid Projector. In a Gun
  Fu campaign, it gives the benefits described in the Basic Set,
  access to any cinematic ability (advantage, perk, skill, or tech-
  nique) that the GM feels could logically work with a gun, and
  these following combat effects.
  • While you can’t add your gun’s Acc bonus when you Move
  and Attack, you can ignore its Bulk penalty as well as any extra
  penalties the GM assesses for jumping or acrobatics on foot.
  This makes Close-Quarters Battle (p. 26) redundant for you.
  • Ignore the -2 for pop-up attacks (p. B390). You enjoy the
  benefits of Cool Under Fire (p. 18) without needing that perk.
  • Ignore the rules for Bulk in close combat (p. B391). You
  don’t get your Acc bonus there, but you never suffer a Bulk
  penalty. Close-Hip Shooting (p. 26) is unnecessary for you.
  • Ignore the Hypnotism and Power Blow prerequisites for
  Invisibility Art (p. 24) and Flying Leap (p. 24), respectively.
  • Halve the default penalties for Fanning (p. 27),
  Fast-Firing (p. 27), Quick-Shot (p. 29), Thumbing (p. 29), and
  Two-Handed Thumbing (p. 30). If you choose to raise these
  techniques, buy them up from their improved defaults.
  • Halve the sum of all Fast-Draw (Ammo) penalties and
  round in your favor. You can easily reload while moving,
  crouching behind cover, etc.
  Special Limitations
  At the GM’s option, you can buy a cheaper version using the
  Accessibility limitation (p. B110).
  STYLE COMPONENTS
  15
  They have the numbers, but the
  only real gunman within light-years
  is standing right in front of you.
  – Han Solo, Han Solo and
  the Lost Legacy
  
  Arsenal: All one-handed ranged weapons used with Beam
  Weapons, Guns, and Liquid Projector (beam pistols, hand-
  guns, self-defense sprays, and machine pistols and sawed-
  off shotguns used in one hand); all two-handed ranged
  weapons used with Beam Weapons, Guns, and Liquid
  Projector (all varieties of long arms, from shotguns to
  flamethrowers to laser rifles); or everything used with just
  one of the three skills above (e.g., “Beam Weapons Only” or
  “Gunner Only”). -20%.
  Gun Rack: All one-handed ranged weapons used with either
  Beam Weapons, Guns, or Liquid Projector (e.g., “One-Handed
  Guns Only” or “One-Handed Beam Weapons Only”); all two-
  handed ranged weapons used with either Beam Weapons,
  Guns, or Liquid Projector (e.g., “Two-Handed Guns Only” or
  “Two-Handed Beam Weapons Only”); or everything used with
  one specialty of the three skills above (e.g., “Guns (Pistol) Only”
  or “Beam Weapons (Rifle) Only”). -40%.
  Type: A subset of everything used with one specialty of the
  three skills above (e.g., “Revolvers Only” or “Blaster Pistols
  Only”). -60%.
  Model: One specific model of ranged weapon (e.g., “Colt
  Model 1873 Only” or “Ford ‘Solo’ Blaster Only”). -80%.
  STYLE COMPONENTS
  16
  PERKS
  I want you to curve the bullet.
  – Fox, Wanted
  Gun Fu games feature three important categories of
  perks (see Perks, pp. B100-101): Style Familiarity, Style
  Perks, and Weapon Bond. All can be learned in play. Each
  perk costs a point.
  Style Familiarity
  Style Familiarity means you’ve studied and/or practiced one
  of the gun fu styles on pp. 31-35. Paying a point to be familiar
  with a style gives these benefits:
  • You’re automatically familiar with every gun your style
  covers in your setting (GM’s decision). In effect, Style
  Familiarity includes a limited form of Cross-Trained (p. 18).
  Only buy Cross-Trained separately for familiarity with firearms
  outside your style.
  • You can acquire the style’s Style Perks, learn its cine-
  matic skills (provided that you have Gunslinger), improve its
  techniques whenever you have enough points, and buy any
  optional traits that would otherwise be off-limits. Style
  Familiarity counts as an Unusual Background (p. B96) that
  justifies these purchases.
  • You have an implicit understanding with rival gunmen
  who use that gun fu style. When delivering a challenge, penal-
  ties for lack of Cultural Familiarity never apply.
  Style Perks
  I know what you’re thinking. “Did he fire six shots or only
  five?” Well, to tell you the truth, in all this excitement I kind of
  lost track myself. But being as this is a .44 Magnum, the most
  powerful handgun in the world, and would blow your head clean
  off, you’ve got to ask yourself one question: “Do I feel lucky?”
  Well, do ya, punk?
  – Inspector Harry Callahan, Dirty Harry
  Style Perks are minor advantages for gunmen, each repre-
  senting a little extra training, a trick, a social edge, or access to
  a cinematic rule. Anybody can purchase one such perk per 20
  points in combat, military, or police skills. In addition to
  this, practitioners of a specific gun fu style can buy one of
  their style’s listed perks per 10 points spent on the style’s
  skills and techniques.
  Example: Bubba Lee Jones has spent 46 points on com-
  bat and police skills. This lets him buy any two Style Perks
  that he wishes; he chooses Tacticool and Tracer Eyes. Of
  those 46 points, 31 were spent on the skills and techniques
  of the Sniper style (pp. 33-34). Bubba can thus take another
  three Style Perks, but is limited to those listed for Sniper; he
  buys Cool Under Fire, Deadeye, and Gun Whisperer (Rifle).
  At the GM’s option, a character template for a combative
  occupation might qualify as a “style.” If so, a hero built with
  that template may buy the Style Familiarity perk for it, and
  the GM will choose a selection of perks that fit the tem-
  plate’s theme.
  Below, an asterisk (*) indicates a cinematic perk that
  requires Gunslinger. Perks with a † require specialization by
  skill, weapon, etc., as noted. An item marked ‡ might simply
  be a campaign option that’s free to Gunslingers or even to
  everyone, but in a game where it isn’t universal, it’s a perk;
  see Cinematic Option (p. 17).
  Shooting Skills
  Many perks and techniques refer to “shooting skills.”
  These skills are Beam Weapons (p. B179), Gunner
  (p. B198), Guns (pp. B198-199), and Liquid Projector
  (p. B205). Where a trait calls for specialization by shooting
  skill, each specialty of one of these skills is a separate skill
  that requires its own perk or technique. Feel free to abbre-
  viate, though – Grip Mastery (SMG) is simpler to write and
  remember than Grip Mastery (Guns (Submachine Gun))!
  The GM may optionally allow certain shooting perks
  and techniques for nonfirearms that resemble firearms in
  form or operation. Good candidates are man-portable
  weapons used with Artillery (pp. B178-179); crossbows,
  which use Crossbow (p. B186); and slingshots and spear-
  guns operated with the Bow (Slingshot) and Crossbow
  (Speargun) specialties (High-Tech, p. 201).
  In fact, the GM may allow any ranged combat skill to
  work with suitable perks and techniques. An elvish archer
  might take Bend the Bullet (Bow), or a ninja could use Whirl-
  wind Attack (Shuriken) to scatter shuriken in all directions.
  
  Akimbo*†
  Having two hands full of weapons (usually guns!) doesn’t
  restrict your actions much. You can open doors, reload, and so
  on without putting anything down, just as if you had two
  empty hands. This doesn’t help you fight using two weapons –
  take Ambidexterity, Dual-Weapon Attack, Extra Attack, or Off-
  Hand Weapon Training for that. Similarly, Akimbo doesn’t let
  you grapple with weapon-filled hands. You must specialize by
  skill, typically Guns (Pistol).
  Area Defense*†
  You can shoot down incoming projectiles! You must special-
  ize by shooting skill. Your basic Parry is (shooting skill/2) + 3.
  Modifiers: -15 for the small target and short time window;
  +1 for Combat Reflexes or +6 for Enhanced Time Sense;
  Enhanced Parry (Area Defense), if the GM permits that
  advantage; full Accuracy, regardless of weapon, if you have
  Gunslinger; any rapid-fire bonus (you may fire up to your
  gun’s RoF).
  Any success stops the projectile. Any failure doesn’t! This
  perk is highly cinematic – don’t sweat details like where misses
  go or the target’s exact SM and speed. However, the GM is free
  to make rockets and missiles (rather than bullets, daggers, or
  arrows) easier to hit, or to limit this perk to such targets only.
  Armorer’s Gift†
  You’ve practiced assembly and disassembly drills on
  firearms until you can do them in your sleep. Roll against the
  relevant Armoury or shooting skill specialty to accomplish this
  in record time: 10 seconds for a handgun, 30 for a long arm
  (e.g., rifle), or 60 for a support weapon (e.g., rocket launcher).
  Conditions don’t matter – you can do this upside down, blind-
  folded, underwater, etc. You also get +2 on rolls for Immediate
  Action (p. 28). You must specialize by shooting skill, and you
  only get this perk’s benefits when you’re familiar with the spe-
  cific weapon.
  Army of One*
  You can shoot machine guns from the hip and fire shoulder-
  launched missiles while steering a car with the other hand.
  When wielding a heavy weapon with any Artillery or Gunner
  skill – or with the GL, LAW, or LMG specialty of Guns – you
  may ignore any † (two-handed) or M (mounted) note on its ST,
  and all extra crew requirements, as long as you meet the ST
  listed for it in the table. This lets you use it one-handed, sans
  loaders or assistants.
  Bank Shot*†
  You can ricochet bullets off surfaces to hit a target behind a
  hostage, around a corner, etc. The DR and HP of the things
  you’re bouncing shots off aren’t important – what matters is
  that these objects are convincingly hard. Roll to hit as usual,
  using the full range along the indirect path to the target, and
  add -2 per ricochet. You must specialize by shooting skill.
  Bend the Bullet*†
  With a flick of the wrist, you can give your bullets a curv-
  ing trajectory much like that of a spinning bowling ball or cue
  ball. This allows you to ignore -2 of the total penalty for cover,
  intervening figures, and target posture (see Target, p. B548).
  You must specialize by shooting skill. The GM decides
  whether beams can curve!
  Cinematic Knockback*†‡
  If the campaign doesn’t generally use Cinematic Knockback
  (p. B417), being able to produce that effect is a perk. Note that
  movies are the only place you’ll see this perk in action, because
  it’s totally unrealistic! Even large-caliber rifles and autocannon
  can’t push around a human. The “knockback” some people
  claim to have witnessed is the victim jumping in surprise or
  staggering from injuries.
  You must specialize by shooting skill. Not just any gun will
  do, though! The weapon must be covered by your specialty and
  suitably imposing: a 12-gauge, not a runty .410; a .44 Magnum,
  not a dinky .22.
  Cinematic Option*†‡
  The alternatives described under Cinematic Combat Rules
  (p. B417) generally don’t cost points because they’re campaign
  options: Everybody uses them or nobody does. The GM may
  wish to allow certain rules that normally aren’t used in the
  campaign on a PC-by-PC basis, however. Access to each of
  these is a perk. Suitable choices for individual character abili-
  ties are Bulletproof Nudity, Cinematic Knockback, Flesh
  Wounds, Infinite Ammunition, and TV Action Violence. The
  GM should require specialization by skill for perks that modify
  attacks; e.g., Cinematic Knockback.
  For detailed examples, see Cinematic Knockback (above)
  and Infinite Ammunition (p. 19-20). However, any perk marked
  ‡ could work this way.
  Concealed Carry Permit‡
  In Gun Fu campaigns that pay lip service to legal
  niceties, it’s usually illegal to carry concealed firearms with-
  out suitable Legal Enforcement Powers and/or Rank. People
  who lack those advantages need a permit for this, which
  counts as a perk. Optionally, action-movie cops who have
  Legal Enforcement Powers can obtain a “Heavy Weapons
  Permit” perk to legitimize assault weapons and explosives
  for police work!
  Cookie Cutter*†
  You can use a full-automatic weapon (optionally, even a
  shotgun!) to cut holes through walls, floors, and ceilings – like
  a jigsaw through plywood. Each magazine emptied creates an
  opening big enough to admit one SM 0 person (or two people
  clinging to each other).
  STYLE COMPONENTS
  17
  Walther PPK, 7.65mm, with
  a delivery like a brick through a
  plate glass window.
  – Major Geoffrey
  Boothroyd, Dr. No
  
  You must specialize by shooting skill. The weapon matters
  less and need not be one that could actually chew through the
  target’s DR or HP. In the movies, this perk works fine with
  everything from 9mm machine pistols to powerful science-fic-
  tion assault rifles. Cookie Cutter only allows dramatic exits and
  entries, though. You can’t use it to bypass armor or the plot –
  no destroying vault doors in crime stories!
  Cool Under Fire
  You don’t experience “tunnel vision” under fire and can
  quickly update your mental picture of the battlefield. When
  making pop-up attacks (p. B390), you don’t suffer the -2 to hit
  provided that the target is no further away in yards than your
  Per plus Acute Vision (if any). This perk is redundant if you
  have Enhanced Time Sense or Gunslinger.
  Cross-Trained*†‡
  You’re familiar with every make and model of gun within a
  particular shooting skill specialty. You can pick up any such
  weapon and fire it with no unfamiliarity penalty (see p. B169).
  If the Gun! or Shooter! wildcard skill (p. 24) is used in the cam-
  paign, this perk becomes superfluous – if you are capable of
  using all Guns specialties, there’s no need for familiarity with
  specific makes and models . . .
  This perk is cinematic, but a version that covers a large-but-
  finite list is realistic for spies and soldiers who receive lavish
  training. The GM decides what constitutes such training and
  which models it covers. Alternatively, the GM may see familiar-
  ity as fussy and ignore it; in effect, everybody is Cross-Trained
  for free.
  Deadeye
  You’re a natural sniper. You can accurately gauge range,
  windage, thermal effects, and so on, allowing you to attempt
  Precision Aiming (p. 12) without special equipment. Since
  you aren’t fooling with ballistics tables, spotting scopes, etc.,
  you may reduce the total time required to claim your
  Precision Aiming bonus by 10% (round up) after all other cal-
  culations. You may buy this perk several times; each level
  improves your margin by 10% (to a maximum of Deadeye 3,
  with a 30% reduction).
  Dial-a-Round*†
  If you use a weapon loaded with two or more different types
  of projectiles, you can always fire a type of your choice, as long
  as there’s still one remaining in the weapon. This is entirely cin-
  ematic, of course, as there’s no way the cartridges can
  rearrange the order in which they are loaded! For extra fun, the
  GM can demand that, similar to a cinematic martial artist
  announcing the name of his next maneuver, the PC has to
  shout out loud which round he’s going to shoot! You must spe-
  cialize by shooting skill.
  Dramatic Death*‡
  You’re guaranteed to go out with a bang! If the dice sentence
  you to death but not to instant death (like an execution or a
  nuclear blast), roll 1d+1 for the number of seconds you get for a
  dying action (see Dying Actions, p. B423). During this time, you
  suffer all injury effects except unconsciousness or death, but you
  can otherwise do whatever you want. Then you die.
  Dual Ready†
  You can use one Ready maneuver to draw two items, one in
  either hand. Specialize by particular left hand/right hand com-
  bination; e.g., Dual Ready (Detonator/Bomb) lets you ready an
  explosive in your right hand and its radio control in your left
  hand. Dual Ready is redundant for items you can Fast-Draw –
  but not everything allows Fast-Draw.
  Early Adopter†
  You have access to firearms that haven’t entered production
  (see High-Tech and similar sources for introduction dates). In
  a more realistic campaign, this means prototypes; the GM may
  limit you to guns a year or two down the road. In a cinematic
  game, if even one weapon of a given type (e.g., “belt-fed
  machine guns”) already exists, you can have any gun like that
  from your TL! You must pay for this hardware with starting
  money – or, more likely, as Signature Gear. Each broad cate-
  gory of weapons has its own specialty: Early Adopter (Pistols),
  Early Adopter (Rifles), etc.
  Fastest Gun in the West†
  Your fast-draw is really fast. In any Quick Contest of Fast-
  Draw to see who draws first, add 1 to your margin; e.g., failure
  by 1 becomes success by 0. This perk also gives you a chance
  to outdraw a rival who has Enhanced Time Sense: If you beat
  him by 10+ in the Quick Contest, or roll a critical success and
  he doesn’t, you win!
  You may buy this perk several times. Each level improves
  your margin by 1. The GM sets the limit, if any – perhaps two
  levels in a realistic campaign. Specialties match those for
  Fast-Draw.
  STYLE COMPONENTS
  18
  
  Fireball Shot*‡
  You’re not limited to the meager effects of buckshot when
  firing a scattergun – your shotgun blasts actually explode!
  When shooting at inanimate targets (cars, ground, etc.), each
  shotshell round acts as a small grenade: Damage becomes 3d
  cr ex, RoF and Rcl are as for firing slugs, and other stats are
  unchanged. When shooting directly at people, your shells still
  deliver shot.
  This trait only suits over-the-top campaigns, but it is just a
  perk – you could achieve comparable results for 0 points by
  buying exotic ammo. It’s inspired by action movies where
  heroes without military weapons can blow up things simply
  because it’s dramatic.
  Flimsy Cover*‡
  They can’t hit what they can’t see! Whenever you take cover
  behind anything large enough to hide you, ignore Cover
  (p. B407) and Overpenetration (p. B408). Lampposts, trees, car
  doors, stacks of cardboard boxes, sofas, and the ever-popular
  overturned saloon table will shed enemy bullets like tank
  armor, regardless of DR and HP. This only works against small
  arms – and only while you hide. As soon as you expose your-
  self, the world works normally again.
  Grip Mastery†
  Switching between one- and two-handed grips normally
  takes a Ready maneuver, but you can switch between grips on
  a gun as a free action once on your turn, before or after your
  maneuver. If using a firearm that requires two hands to cock,
  this lets you cock the weapon as usual but end your turn with
  a hand free (e.g., to parry or Fast-Draw a pistol). You must spe-
  cialize by shooting skill; Grip Mastery (Pistol) and Grip
  Mastery (SMG) are popular.
  Gun Sense*†
  You have a sixth sense about guns pointed at you. You must
  specialize by shooting skill. Whenever somebody has you in the
  sights of a gun used with that skill and you can see him, make a
  Per-based skill roll. Success lets you know whether his gun is
  loaded and functional, or whether it's jammed, safetied, or oth-
  erwise can't shoot you. You can also use this perk to detect the
  status of a weapon carried by any ally within arm's reach.
  Gun Shticks†
  Some gun Shticks let gunslingers impress an audience.
  Others have practical uses. All require specialization by skill.
  Make a skill roll to perform the Shtick without dropping or
  accidentally discharging the firearm. A few examples:
  Next Time, It’s Your Head*: You’re adept at intimidating
  rivals by shooting at their clothing or minor personal acces-
  sories. Make a standard attack at -2 or the penalty for the near-
  est body part, whichever is more severe. A hit does no damage,
  but lets you try Intimidation (p. B202) against that foe as a free
  action, at a bonus equal in size to half the attack penalty,
  rounded up. Some examples: Severing a belt or a necktie is a
  torso shot (no penalty), and gives -2 to hit and +1 to
  Intimidation. Cutting a cigar in half is a face hit, at -5 to hit and
  +3 to Intimidation. Shooting off a hat would be a skull attack,
  for -7 to hit and +4 to Intimidation. The GM may also assess
  your victim minor penalties for being without his belt, hat, etc.
  Stone-Cold Killer*: Every shot you fire is an instrument of
  intimidation! You don’t just shoot enemies – you blast them
  through windows, blow off their limbs, and produce foun-
  tains of gore. On any turn during which you shoot someone
  and inflict a wounding effect beyond mere injury – crippling,
  knockdown, death, etc. – make an immediate shooting skill
  roll. Success lets you try Intimidation against any witnesses
  as a free action.
  Trick Reload: You can reload a gun using a complicated
  trick. Describe this when you buy the perk; you might drop a
  magazine and kick it into the magazine well, or toss two shells
  into the open breech of a double-barreled shotgun. Your Fast-
  Draw (Ammo) roll doubles as an Influence roll (p. B359) for
  the purpose of impressing (not intimidating or asking help
  from) onlookers.
  Twirl: You can present a gun butt-first as if to surrender it
  . . . and then make a shooting skill roll to ready it instantly, with
  time left to attack. When using a single-action revolver, you can
  fire it after this move – the spin cocks the hammer! In the Old
  West, this was called the “Road Agent Spin.” This perk is cine-
  matic for any firearm but a handgun (one-handed weapon with
  Bulk no worse than -3).
  Wall o’ Lead*: You know how to keep heads down by shoot-
  ing up the scenery! On your turn, state that this is your goal
  and make any attack or series of attacks that your abilities
  allow. However, you don’t wound those whom you “hit.”
  Instead, make a group Intimidation attempt against everyone
  you would have hit. Apply the penalty for group size for the
  total number of foes fired on, but add the rapid-fire bonus for
  all shots fired. For instance, if you spray two RoF 10 machine
  pistols at 10 mooks and “hit” six men, you get -2 for trying to
  intimidate 10 people but you also get +4 for RoF 17-24, since
  your total RoF is 20!
  Gun Whisperer*†
  You know the exact state of the gun you’re using. It’s
  almost as though it speaks to you! You must specialize by
  shooting skill. Whenever you pick up a gun covered by that
  skill, you immediately know whether the safety is on,
  whether it’s jammed, and whether there’s a bullet in the
  chamber (handy for Russian roulette). You also know how
  much ammo is left, and of what type, should you not already
  know that for some reason.
  Hand Cannon
  You can fire big freakin’ guns. Add +1 to your ST for the sole
  purpose of avoiding penalties for insufficient ST to wield
  firearms. You may buy this perk twice, for double the benefit,
  in a realistic campaign – or as many times as the GM is willing
  to allow in a cinematic game! This ST does count for the pur-
  pose of Army of One (p. 17), and it stacks with levels of Huge
  Weapons (ST) (see Power-Ups 2: Perks, p. 6).
  Infinite Ammunition*‡
  You never run out of ammunition, regardless of your
  weapon’s Shots statistic. This is an extremely unrealistic ability
  but such a stock feature of gun fu stylists – and indeed most
  cinematic gunmen – that it’s probably unfair to treat it as any-
  thing more than a perk in a Gun Fu game. It’s easier to tell a
  story when the characters don’t have to sweat fussy details like
  acquiring and carrying ammo, counting shots, and reloading!
  STYLE COMPONENTS
  19
  
  There are two variants:
  Over-the-Top Ammo: This version is the least realistic but
  also the most common: You truly have infinite ammo! You can
  go on shooting forever without reloading, and you have no need
  to carry or even pretend to carry ammunition, much less buy it
  or worry about it as encumbrance. Gunslingers in Westerns use
  this option: Every moviegoer knows why a “six-shooter” is
  called that, but most directors regard the painfully slow reload
  times for 19th-century weapons as a deadlier threat to drama
  than the jarring fiction of bottomless revolvers. Cheesy military
  action movies also use this variant – the worst B movies give
  even disposable antitank weapons multiple shots.
  Quasi-Realistic Ammo: This version adds a veneer of real-
  ism. You might carry spare ammo and reload during lulls in
  the shooting, but you never have to pause to reload in a gun-
  fight. The GM may require you to pay for ammo and maga-
  zines – and perhaps limit you to that many shots total – but you
  can still ignore their encumbrance. For example, in Last Man
  Standing, gunman “John Smith” fills some two dozen maga-
  zines and frequently reloads his Colt .45s, but in action, he
  often fires more shots than the 16 rounds his two pistols could
  hold – and he doesn’t seem to be carrying all those magazines!
  Those magazine-filling scenes, however, help the viewer sus-
  pend disbelief.
  The GM decides what version to use, and he
  may wish to make it a campaign option.
  Intuitive Armorer†
  You can maintain one personal weapon without
  needing the Armoury skill. You must specialize by
  gun, which is often Signature Gear. Roll against IQ
  instead of Armoury to fix that firearm or install
  standard accessories. For two or more guns that
  require a given Armoury specialty, it’s more effi-
  cient to spend 2 points for Armoury at IQ level than
  to buy multiple copies of this perk.
  Just Winged Him*†‡
  You’re adept at deliberately grazing foes – per-
  haps to take prisoners or live up to the Pacifism dis-
  advantage. You must specialize by shooting skill.
  Before attacking with a suitable weapon, you may
  declare the maximum injury that you’re willing to
  inflict with the attack, regardless of damage rolls or
  number of shots fired. If you hit, find injury as usual and use
  the lower of that or your stated limit as the actual wound. If the
  campaign uses Cannon Fodder (p. B417), you can say “0 HP”;
  this lets you drop mooks without truly harming them, in true
  comic-book fashion.
  This is an example of a Cinematic Option perk (p. 17). It
  effectively allows firearms to “pull punches” as described on
  p. B401.
  Lightning Fingers†
  You’re adept at operating your gun’s controls. If manipulat-
  ing a safety, selector switch, or anything similar normally takes
  a Ready maneuver, you can do so as a free action by making a
  successful shooting skill roll at the start of your turn; any fail-
  ure simply means the task takes its usual turn. If such a task
  works this way for everyone, you roll at +4. In a cinematic cam-
  paign, Lightning Fingers (Pistol) even lets you spin a revolver’s
  cylinder to the exact chamber you want – useful if the gun is
  loaded with different ammo types or has one round left, or
  when you want that chamber to be empty. You must specialize
  by shooting skill.
  Motorized Training†
  You use only half your vehicle’s speed, where favorable,
  when assessing speed/range penalties (pp. B469, 550). You
  may take this perk a second time, in which case vehicle speed
  doesn’t count at all where unfavorable. You must specialize
  by shooting skill.
  Muzzle Flamethrower*†
  When you fire a weapon for which you have bought the
  appropriate specialty of this perk, it will spew forth a yard-long
  flame from the muzzle. This gives a +2 bonus to Intimidation
  (p. B202). If you’re in close combat (pp. B391-392), the attack
  also becomes incendiary (inc)! Others are at +3 Vision to spot
  you firing in the dark.
  In actual movie-making, this is the result of special blank
  loadings, which are used to make the guns look more impres-
  sive. Sometimes they are even required because otherwise the
  muzzle flash can’t be seen at all, due to how a camera only cap-
  tures a limited number of frames.
  No Friendly Fire*‡
  Yours is a video-game world where guns only hurt enemies.
  Whenever you accidentally hit another PC, a friendly or neu-
  tral NPC, or anybody but a genuine opponent, you inflict no
  injury – even with automatic fire or explosives! Depending on
  the campaign, knockback may still occur (making friendly
  explosives a handy means of travel), and deliberate shots may
  still hurt (if not, then you can even shoot allies to signal them).
  Off-Hand Weapon Training†
  You’ve practiced a combat skill enough with your “off” hand
  that you can ignore the -4 for using that hand (see Handedness,
  p. B14). This benefits all actions based on that skill – including
  perks and techniques. You must specialize by skill; any shoot-
  ing or Fast-Draw skill qualifies, although gun fu practitioners
  mostly learn it for Fast-Draw (Pistol) and Guns (Pistol).
  STYLE COMPONENTS
  20
  
  This perk completely replaces the Off-Hand Weapon
  Training technique on p. B232. It has nothing to do with
  Dual-Weapon Attack (p. 27), though – to shoot two guns at
  full skill, improve that technique or buy Extra Attack.
  One-Armed Bandit*†
  You can operate a lever- or pump-action long arm one-handed
  and without changing grips. The gun’s RoF becomes 1. Roll
  against the appropriate Guns specialty before each shot. Failure
  wastes your turn; treat it as a Do Nothing maneuver. Critical fail-
  ure means an immediate roll on the Critical Miss Table (p. B556)!
  In anything but an over-the-top game, this perk works only for
  lever-action weapons, as these can be spun around the lever loop
  – which generally requires modification to enlarge it to avoid
  breaking your fingers! You must specialize by Guns skill.
  Pants-Positive Safety*‡
  You can carry a loaded, cocked firearm shoved through
  your waistband without any risk of accidental discharge – even
  if you leave the safety off!
  Pistol-Fist*†
  You can roll against Beam Weapons (Pistol) or Guns (Pistol)
  – you must specialize – to pistol-whip people. Treat this as a
  punch with brass knuckles. You can also parry melee attacks at
  (shooting skill/2) + 3, and even use this parry when slapping
  aside guns in close combat (see p. B376).
  Quick Reload†
  You can reload in record time! You must specialize by
  reloading scheme: Belt (for machine guns), Breechloader (for
  double-barreled shotguns), Detachable Magazine (for most
  modern automatics), Muzzleloader (for black-powder guns),
  Swing-Out Revolver (for modern revolvers), etc. See High-Tech
  for a full list.
  A successful Fast-Draw (Ammo) roll lets you reload as a free
  action for Detachable Magazine or for Swing-Out Revolver
  (with a speedloader), or with a single Ready maneuver for
  every other specialty but Muzzleloader. For the Muzzleloader
  specialty, you can take several levels of this perk, and a success-
  ful Fast-Draw roll chops 25% per level off reload time, to a min-
  imum of three seconds.
  This perk only seems cinematic. World-class competition
  shooters have demonstrated similar feats on high-speed film!
  Quick-Sheathe†
  This perk has two specialties:
  Quick-Sheathe (Long Arm): Unslinging or slinging any long
  arm requires two Ready maneuvers. A successful Fast-Draw
  (Long Arm) roll gets the gun out in just one second. This perk
  lets you roll against Fast-Draw (Long Arm) to sling it in one
  second as well. (Add a second to all times if the slung position
  is on the back.)
  Quick-Sheathe (Pistol): Getting a handgun into or out of its
  holster takes one Ready maneuver. A successful Fast-Draw
  (Pistol) roll draws it as a free action. This perk lets a roll
  against Fast-Draw (Pistol) to stow it as a free action, too.
  Quick-Swap†
  You’ve perfected the art of juggling one-handed weapons
  between hands. Shifting a weapon to an empty receiving hand
  normally demands a Ready maneuver, but becomes a free
  action with this perk. Swapping two weapons between full
  hands normally takes two Ready maneuvers, but requires just
  one with Quick-Swap. (Old West shootists, who often drew two
  pistols but only fired the one in their dominant hand, called
  this trick “crossing the border.”) You can use this perk once per
  turn, on your turn.
  You must specialize by one-handed weapon skill: Quick-
  Swap (Pistol), Quick-Swap (Throwing) for grenades, and so
  on. If two different weapons are involved, you need the perk for
  both skills.
  Recoil Rocket*†
  Whenever you shoot, you can opt to let your weapon to
  blast you straight back. This is Cinematic Knockback (p. 17) in
  reverse: Apply any knockback for your damage roll to yourself.
  This movement is in addition to anything allowed by your
  maneuver. Without Gunslinger, you’re at -2 to DX rolls, can’t
  retreat, and can’t use Acrobatic Dodge – just as for a Move and
  Attack. With Gunslinger, this is free, unpenalized movement!
  Rope Shooter*†
  You have practiced shooting cleanly through a rope; for
  example, to save a man from being hanged or to shoot down a
  chandelier. In reality, this is very difficult, not only because of
  the size of the target (SM -13 or worse), but also due to rope
  being Unliving (p. B380) and piercing attacks doing little dam-
  age because of that. This perk lets any hit with a bullet cut a
  rope, regardless of such details as damage, DR, and HP. Range
  and size modifiers apply as usual!
  Scattergun*‡
  This perk models the common myth that a shotgun blast
  spreads enough to wound multiple targets, especially at close
  range. When you fire a shotgun loaded with multiple-projectile
  rounds (shot or flechettes, not beanbag, slug, etc.), you may
  use Spraying Fire (p. B409) just as if you had a full-automatic
  weapon. Multiply out RoF – e.g., RoF 3¥9 behaves like RoF 27
  – but keep Rcl fixed at 1 for all targets.
  Silencer*†‡
  You can add a silencer to any weapon for which you have
  bought the appropriate specialty of this perk (following the
  usual Guns specialties). Silencer (Pistol) is probably most com-
  mon. In keeping with traditional movie conventions, the
  weapon does not need to be prepared for attachment! You can
  also silence ordinary revolvers or other firearms that are real-
  istically unsuitable for sound suppression. You still have to buy
  the suppressor as usual. However, its Hearing penalty is dou-
  bled as per the Cinematic Silencers rules (High-Tech, p. 159).
  STYLE COMPONENTS
  21
  All right, you primitive screw-
  heads, listen up! You see this?
  This . . . is my boomstick.
  – Ash, Army of Darkness
  
  Standard Operating Procedure†‡
  Each Standard Operating Procedure exempts you from
  having to inform the GM that your PC is doing something
  that’s second-nature for him. You always get the benefit of the
  doubt. Examples for gunslingers include:
  Back to the Wall: You always sit with your back to the wall
  and keep a minimum of one piece of improvised cover between
  you and the exits. This is most useful when you have the
  Flimsy Cover perk (p. 19)!
  Off-Screen Reload: You always reload between action
  scenes. You must have had access to reloads while “off screen,”
  and the GM is free to debit your ammo supply or bank account
  whenever you claim this perk’s benefits.
  On Alert: You always have full kit packed and ready to go in
  case of emergency. This doesn’t mean you react faster (get
  Combat Reflexes for that) – it just means always being able to
  scoop up all your gear without wasting valuable time.
  Sleep with One Eye Open: When visible movement occurs
  around you as you sleep, even activity that wouldn’t be loud or
  startling enough to rouse most people, you’ll awaken on a suc-
  cessful Vision roll. You’ll still be stunned (see p. B393) unless
  you also have Combat Reflexes!
  Supplier†
  Thanks to personal ties to a gun shop owner, an arms dealer,
  or a manufacturer, you get a discount on certain gear. You have
  to be able to contact your supplier to capitalize on this perk. You
  must specialize by category, which determines the markdown:
  All guns, ammo, and accessories: 10%.
  Category (e.g., guns, ammo, or accessories): 20%.
  Subcategory (e.g., rifles, rifle ammo, or scopes) or
  Manufacturer (e.g., H&K, Federal, or Bushnell): 30%.
  Anything more specific (e.g., H&K submachine guns): 40%.
  Halve the discount on items whose base cost exceeds cam-
  paign starting money.
  Sure-Footed†
  You’ve studied stable stances that let you ignore the -2 to
  attack and -1 to defend for one specific type of bad footing.
  Specialties include Ice, Naval (rocking ships and boats), Sand,
  Slippery (like blood), Snow, Uneven (including piles of
  corpses), and Water (up to waist-deep). This doesn’t aid DX in
  general, or Move.
  Tacticool*
  You’re a master at pimping-out “tactical” gear. All of your
  equipment is either matte black or camouflage, and sports
  numerous after-market add-ons. Whenever you wield a
  weapon or wear armor that you’ve personally customized, you
  get a bonus to all Influence rolls and reaction rolls made in
  combat: +1 if you’ve added one to three custom accessories (a
  paint job counts as one), +2 for four to eight, +3 for nine to 15,
  and +4 for 16 or more. Useless accessories (like any of the
  Tacticool Gadgets, p. 42) count as two. This perk doesn’t grant
  you the accessories – you must buy those as usual!
  Example: Bubba Lee Jones has the Tacticool perk. He totes
  a Colt M4A1 carbine (High-Tech, p. 119) to which he has
  added a twin-drum magazine (High-Tech, p. 155), a reflex
  sight (High-Tech, p. 156), a night sight (High-Tech, p. 156),
  a tactical light (High-Tech, p. 156), a targeting laser (High-
  Tech, p. 156), and a set of accessory rails (High-Tech, p. 161)
  to actually mount all the stuff. That’s six items, so he gets +2 to
  his Intimidation roll when he busts through the door with this
  baby – he calls her “Dita.”
  You need only take this perk once, but you only get the sin-
  gle largest bonus for your most-accessorized item, no matter
  how much “tactical” gear you shlep. (In the example, Bubba
  would still get +2, not +4, if he brought along Dita’s sexy twin,
  Rita, and held one in each hand.) This isn’t tied to any specific
  item, but tweaked-out configurations are personal – the bonus
  isn’t transferable if you lend your friends your kit, and another
  user’s hardware never gives you a bonus.
  Tap-Rack-Bang†
  You’re adept at getting your weapon back into action. If a
  malfunction occurs, you can attempt Immediate Action (p. 28)
  as a free action on any later turn. You must specialize by shoot-
  ing skill, and you have to be familiar (p. B169) with the specific
  weapon to use this perk.
  Tracer Eyes*
  You can see the paths of your bullets as they speed toward
  their target! Whenever you fire more than one shot at a target
  per turn, you get a noncumulative +1 to skill.
  This becomes a realistic perk for experienced shooters
  (Guns at DX+2 or better) with Acute Vision.
  Trick Shooter†
  You can pull off difficult noncombat shooting tricks that
  allow you to perform in a gun show, a circus, or a similar event.
  Make a skill roll at -4 whenever you attempt a trick. You must
  specialize both by shooting skill and by a general class of
  tricks, for example:
  Aerial Target Shooter: You can shoot glass marbles, coins,
  etc. thrown into the air. Some targets will be destroyed; others,
  neatly holed. Alternatively, you can put six shots into a can
  before it drops down, or split flying playing cards lengthwise.
  This also requires a successful Throwing roll by either yourself
  or your assistant.
  Chicago Typewriter: You can use bullet holes (or laser beam
  marks) to “write” or “draw” on a wall, car door, etc. How fast
  you can write depends on RoF. You need on average eight shots
  per letter. However, shotguns, mechanical machine guns, mini-
  guns, grenade launchers, and other inaccurate weaponry will
  only work in a cinematic campaign.
  STYLE COMPONENTS
  22
  This gun you’re holding
  belonged to your father; he
  could conduct a symphony
  orchestra with it.
  – Sloan, Wanted
  
  Tack Driver: You can hit a nail with a bullet, driving it into
  the wood. Alternatively, you can shoot out all markings on a
  playing card pinned to a target, or shoot off the cigarette from
  the mouth of an assistant.
  Trick Shooter only works in noncombat situations, on inan-
  imate objects. Maximum range is Per, plus any levels of Acute
  Vision, in yards. Penalties for restricted vision are doubled.
  Upside-Down Shooting†
  You have practiced shooting a handgun with the grip up,
  using the ring finger (or even the pinkie) to squeeze the trigger.
  You can ignore the -2 penalty to Guns (Pistol) that would ordi-
  narily result from holding the weapon wrongly. As you can't
  see the sights, you can't take Aim or All-Out Attack
  (Determined) maneuvers – only Attack or Move and Attack.
  Upside-Down Shooting is today more at home with cine-
  matic shooters, but it was developed to deal with a specific tac-
  tical problem – that you have to draw your handgun from the
  belt or a cross-draw or hip holster with the off-hand (because
  the opposite hand is otherwise engaged or out of commission).
  In such a case, it is faster to use Upside-Down Shooting than
  to try to reverse the weapon first (the latter gives a -2 Fast-
  Draw penalty; the former gives no penalty). Don’t forget to
  match this with Ambidexterity (p. 13) or Off-Hand Weapon
  Training (pp. 20-21), or you will also suffer the -4 penalty for
  using the off-hand.
  Walking Armory*‡
  No matter how many guns you carry, their weight never
  counts as encumbrance. Moreover, you need not concern your-
  self with the practicalities of how and where you carry them
  all. The weapons are still there, though – get Gizmos (p. 15) for
  undetectable guns.
  Weapon Bond
  You own a weapon that’s uniquely suited to you. Add +1
  to effective skill when using it. This has nothing to do with
  quality – you’re just used to your weapon. If you lose the
  weapon, you lose this perk! You may start play with a bond to
  any weapon bought with cash or as Signature Gear.
  This perk is almost universal among gun fu practitioners.
  Note that many gunmen use sets of weapons – especially
  paired handguns. To get the above benefits with all of those
  weapons, buy one perk per weapon.
  STYLE COMPONENTS
  23
  SKILLS
  Rourke’s hands dropped to waist level, the twin stainless .45s
  spinning on his index fingers in the trigger guards, the pistol
  butts arcing into his fists, his thumbs snapping back the ham-
  mers and both pistols firing simultaneously . . .
  – Jerry Ahern, The Survivalist #2: The Nightmare Begins
  Shooting skills (p. 16) are of course vital in a Gun Fu game,
  along with Armoury (p. B178) for Immediate Action (p. 28)
  and gunsmithing (pp. 40-41). Below are notes on some other
  important skills. Skills marked with an asterisk (*) are cine-
  matic and only available to PCs with Gunslinger. Those with a
  † require you to pick a specialty.
  Blind Fighting*
  see p. B180
  Gun fu masters must know Zen Marksmanship (p. 24) to
  use Blind Fighting outside of close combat. Follow the rules for
  combining Blind Fighting with Zen Archery – that is, roll
  against both skills at -6 to locate distant targets. Blind Fighting
  has another -4 in a noisy gunfight . . . unless your target is the
  only other shooter, in which case you get +4!
  Breaking Blow*
  see p. B182
  The GM may allow a new specialty – Breaking Blow
  (Guns) – that lets gunmen shoot for the weakest point in
  inanimate objects with a firearm. This is useless against
  thinking opponents and their armor, but valuable for blowing
  open locks and doors.
  Gun Fu Skills Levels
  See Meaning of Skill Levels and Choosing Your Skill
  Levels (pp. B171-172) for general guidelines. Most Gun
  Fu heroes won’t have shooting skills (p. 16) and simi-
  lar relevant skills below 16. That should be enough for
  James Bond and similar extraordinary shootists. Par-
  ticularly spectacular performers should have skill lev-
  els of 20 or above; even 30 may be possible.
  
  Breath Control
  see p. B182
  Careful breathing can to an extent mitigate shaky hands
  caused by shock (p. B419), irritating conditions (p. B428), and
  state of mind (enemy Influence rolls, Fright Checks, mental
  disadvantages, etc.). At the GM’s option, a successful Breath
  Control roll gives +1 to offset the total penalty for these things
  and to rolls for Precision Aiming (p. 12); success by 5+ or crit-
  ical success gives +2.
  Connoisseur†
  see p. B185
  In a Gun Fu game, Connoisseur (Guns) is widespread and
  defaults to Armoury or any shooting skill at -3 (use the IQ-based
  level!). A successful roll allows a gunman to give a suitably
  impressive lecture about a firearm’s quality or deadliness, which
  is good for +1 to reaction and Influence rolls – especially
  Intimidation – in many situations. If used to enhance Merchant,
  success gives +1 when trading in rare or custom firearms.
  Fast-Draw†
  see p. B194
  The specialties of greatest importance in a Gun Fu game
  are Ammo, Long Arm, and Pistol. Any attack roll penalty for
  combat maneuver, grappling, handedness, posture, or shock
  applies to Fast-Draw rolls and to DX rolls to reach weapons
  in close combat (p. B391). The GM may want to apply loca-
  tion modifiers, too:
  Ammo: +0 if using ammunition pouches on your belt, load-
  bearing gear, or a load-bearing vest, -1 if concealed at the small
  of your back or in a shoulder rig, -2* if stowed in an ankle rig
  or stuck into a boot, or -3 if in a pocket or similarly concealed.
  Long Arm: +0 if using a patrol sling, -2 if slung over the
  shoulder, or -4 if slung on the back.
  Pistol: +0 if tucked into the belt or holstered at your hip, -1
  if holstered at the small of your back or in a shoulder holster,
  -2* if holstered in an ankle holster or stuck into a boot, or -3 if
  in a pocket or concealed.
  * A weapon or ammo in a boot is easier to reach from low
  postures: When crouching, kneeling, or sitting, ignore the -2
  for a weapon in a boot and the -2 for posture, and roll at +0.
  Flying Leap*
  see p. B196
  Heroes with Gunslinger can simply ignore the Power
  Blow prerequisite, as that skill has little to do with their
  abilities.
  Invisibility Art*
  see p. B202
  Shootists with Gunslinger may ignore the Hypnotism
  prerequisite – they’re cinematically sneaky, not projecting
  chi-based mind control!
  NEW SKILL
  Optionally, the GM may permit marksmen to learn a spe-
  cial cinematic skill.
  Zen Marksmanship†
  IQ/Very Hard
  Default: None.
  Prerequisites: Gunslinger, shooting skill at 18+, and
  Meditation.
  This
  skill
  functions
  identically
  to
  Zen
  Archery
  (p. B228), but it is for point-target small arms – laser pis-
  tols, sniper rifles, etc. – instead of bows. You must special-
  ize by shooting skill specialty. The GM should forbid
  specialties that he feels lack the necessary finesse; Zen
  Marksmanship (Light Antitank Weapon) would be inap-
  propriate in most campaigns!
  STYLE COMPONENTS
  24
  Wildcard Skills
  Wildcard skills (p. B175) are a valid option in a cinematic
  campaign – and Gun Fu games certainly are always cine-
  matic! However, note that they are not a requirement – you
  can play cinematic without ever resorting to use wildcards.
  In the context of Gun Fu, two wildcard skills are espe-
  cially useful: Gun! (p. B175) and Shooter! (first introduced
  in Action 1: Heroes, p. 23). The former is plenty cinematic,
  while the latter goes beyond cinematic and into the realm
  of over-the-top action. The GM decides which, if any, of
  these is available in his campaign.
  Gun! (DX). Replaces all Beam Weapons, Gunner, Guns,
  and Liquid Projector specialties, and all associated Fast-
  Draw specialties (Ammo, Long Arm, and Pistol). It also
  allows an IQ-based roll for any use of Armoury (Heavy
  Weapons or Small Arms).
  Shooter! (DX). Replaces all Crossbow, Gunner, Guns,
  and Liquid Projector skills, plus associated Fast-Draw spe-
  cialties (Ammo, Arrow, Long Arm, and Pistol). Covers any
  use of Acrobatics, Jumping, or Stealth to move around in a
  gunfight. Counts as Brawling when slugging someone with
  a pistol. Works as Forced Entry when shooting locks and
  doors. Stands in for Throwing when hurling a hand
  grenade or an empty handgun at enemies (or a loaded
  weapon to an ally!). Make an IQ-based roll for Armoury to
  get a gun working again.
  Note that either means that most perks and techniques
  need to be bought only once rather than individually for
  each specialty. Both also make the Cross-Trained perk
  (p. 18) redundant.
  James Bond and similar extraordinary shootists have high levels in relevant skills.
  
  The shooting techniques described in this section obey the
  standard rules on pp. B229-230. Those marked with an aster-
  isk (*) are cinematic. Many of these are so risky – or so unlikely
  to be effective in a real shootout – that few shooting instructors
  teach them. This doesn’t mean they are impossible, only that
  gun fu stylists need Gunslinger to improve them. Anyone can
  attempt a cinematic technique, if the GM permits.
  Default Use: You can always attempt any technique at the
  listed default, even if you’ve spent no points to improve it.
  Using Techniques Together: Techniques that aren’t mutually
  exclusive (like Dual-Weapon Attack and Fanning, unless you
  have four hands) can be used together in a way that combines
  all of their effects in a single success roll. For instance, you
  could use Dual-Weapon Attack with Fast-Firing to shoot two
  pistols rapidly, rolling only once per hand to attack rather than
  separately for Dual-Weapon Attack and Fast-Firing. In such sit-
  uations, determine each technique’s relative level by taking the
  difference between its level and that of its parent skill. To cal-
  culate your level with the combined technique, sum the rela-
  tive levels of all the techniques involved and add the total to the
  underlying skill.
  Example: You have Guns (Pistol) at 16, Dual-Weapon Attack
  at 15, and Fast-Firing at 14. Your relative level with Dual-Weapon
  Attack is 15 - 16 = -1. Your relative level with Fast-Firing is
  14 - 16 = -2. When shooting pistols quickly with both hands, add
  relative levels and roll at Guns (Pistol)-3, or 13.
  Techniques and Gunslinger: Gunslinger’s ability to add
  some or all of Acc to a shot (or to eliminate Bulk, where
  applicable) aids attacks with all shooting techniques unless
  noted otherwise.
  Behind-the-Back Shot
  Hard
  Default: prerequisite skill-7.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill.
  This technique lets you shoot under your armpit, over your
  shoulder or head, or between your legs to peg a foe behind you
  without firing wildly or changing facing. The arm(s) used to
  control the weapon must be free to move in order to position
  the gun, and you have to be aware that your target is there in
  the first place!
  Roll against Behind-the-Back Shot to hit. This is a standard
  ranged attack, at an extra -1 if you target a specific hit location.
  You can only Aim first if you can see your target in a reflective
  surface; even then, the bonuses are halved. Likewise,
  Gunslinger gives half its usual bonus.
  In all cases, you’re at -2 to all active defenses until your
  next turn.
  Cavalry Training
  Hard
  Default: shooting skill-2.
  Prerequisites: Riding† and any shooting skill; cannot exceed
  shooting skill.
  STYLE COMPONENTS
  25
  TECHNIQUES
  Optionally, the GM may introduce wildcard skills
  (p. B175) that cover entire styles. Each “Style!” skill replaces
  all the skills of one gun fu style – including any optional skills
  the GM wishes to toss into the mix. If the gunman has Gun-
  slinger, this also includes his style’s cinematic skills. Style!
  skills are DX-based, but they allow IQ-, HT-, Per-, and Will-
  based rolls for skills controlled by those scores.
  A Style! skill removes the need to learn individual tech-
  niques. The stylist may roll against the maximum level
  allowed for any technique his style offers, using his Style!
  skill as the underlying skill. If a technique has no maxi-
  mum, use skill+3. Techniques that aren’t part of the style
  but that default to the style’s core skills default to Style! at
  the usual penalties.
  Even DX-3 level in a Style! skill grants Style Familiarity
  with that style and Cross-Trained with every weapon the
  style covers. Don’t buy these separately. The stylist may
  purchase his style’s Style Perks for a point apiece regard-
  less of total points in the style. If a perk requires specializa-
  tion by skill, the Style! skill is a valid specialty and the perk
  works with all applicable skills of the style.
  Example: Double Trouble (pp. 31-32) requires students
  to learn Acrobatics, Fast-Draw (Ammo), Fast-Draw (Pistol
  or SMG), and Guns (Pistol or SMG). Optional skills include
  Armoury (Small Arms), Connoisseur (Guns), Guns Art
  (Pistol or SMG), Holdout, and Jumping, any of which the
  GM might rule suit every stylist. Double Trouble! would
  replace all of these skills. With Gunslinger, it would replace
  Blind Fighting, Flying Leap, and Zen Marksmanship, too.
  A stylist with Double Trouble! could use any of his style’s
  techniques at its maximum level; for instance, he could try
  Dual-Weapon Attack at his Double Trouble! level when
  using paired pistols or SMGs.
  A gunman with Double Trouble! gains the benefits of
  Style Familiarity (Double Trouble) and Cross-Trained
  (Pistol and SMG) without having to buy either. He may
  ignore limits on points in style when he takes Style Perks,
  buying as many as he wants for a point apiece. If he
  selects the Off-Hand Weapon Training perk, it’s for Dou-
  ble Trouble! and lets him ignore the off-hand penalty
  whenever he uses that skill.
  Wildcard Skills for Styles
  
  This technique lets a cavalryman buy off the -2 for attack-
  ing on a turn when his mount attacks (see Attacks by Mounts,
  p. B397). In addition, improving Cavalry Training to skill-1
  lets him use only half his mount’s speed when assessing
  speed/range penalties (p. B550), where favorable, while
  improving it to full skill means only target speed matters. Skill
  with a mounted attack can’t exceed Riding skill – or Combat
  Riding (below), if better – and modifiers for a rough ride
  require Mounted Shooting (p. 28).
  † For similar benefits for vehicle-operation skills, see the
  Motorized Training perk (p. 20).
  Close-Hip Shooting
  Average
  Default: prerequisite skill.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill+3.
  “Hip shooting” refers to shooting done with the gun close to
  the body, without raising the gun high enough to use its sights.
  Hip-shooting stances are part of many realistic shooting styles
  – particularly those based on the teachings of William Fairbairn
  and Eric Sykes (see Martial Arts: Fairbairn Close Combat
  Systems for more on this). More importantly, hip shooting is
  especially popular in the Western and film noir genres. It does-
  n't allow Aim or All-Out Attack (Determined) maneuvers.
  The main advantage of the Close-Hip Shooting technique is
  that it allows you to engage an adversary at arm’s reach – that
  is, in close combat, where a gun normally gives a penalty equal
  to its Bulk (see p. B391). The Close-Hip Shooting technique
  represents training for this contingency: The shooter holds his
  weapon close to his body and fires instinctively. In close com-
  bat, apply the Bulk penalty to your Close-Hip Shooting level
  and then use the lower of your modified technique or your
  unmodified shooting skill to figure your attack.
  Example: Assassin Dean Delmore has Beam Weapons (Pis-
  tol)-16, Close-Hip Shooting (Beam Pistol)-18, and a ray gun
  with Bulk -2. A Lizardo warrior suddenly erupts from the Acid
  Swamp and charges Dean! Dean dodges, but he’s unable to
  back away for a clear shot. Normally, he’d shoot at 16 - 2 = 14,
  but this technique lets him shoot at 18 - 2 = 16. If he used his
  micro-blaster with Bulk -1, he would shoot at 18 - 1 = 17,
  reduced to his Beam Weapons (Pistol) level of 16.
  If you have Gunslinger, this technique is redundant for you.
  Close-Quarters Battle
  Average
  Default: prerequisite skill.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill+4.
  You’ve practiced shooting on the run at nearby targets – a
  situation known to tactical shooters as “close-quarters battle”
  (CQB). Whenever you take a Move and Attack maneuver
  (p. B365) to fire at a target whose distance from you in yards
  doesn’t exceed your Per plus Acute Vision (if any), apply the
  penalty for shooting on the move (-2 or firearm’s Bulk,
  whichever is worse) to your Close-Quarters Battle level. Then
  use the lower of your modified technique or unmodified shoot-
  ing skill to figure your attack.
  Example: Morton Locke has Per 12, Guns (Pistol)-12, Guns
  (SMG)-12, CQB (Pistol)-15, and CQB (SMG)-15. He runs into
  a cave carrying a Tommy gun with Bulk -5. Without CQB, the
  -5 for shooting on the move would put Morton at 12 - 5 = 7.
  However, at ranges up to 12 yards, he fires at 15 - 5 = 10! If he
  used his Colt .38 Super pistol with Bulk -2, he would shoot at
  15 - 2 = 13, reduced to his Guns (Pistol) level of 12.
  If you have Gunslinger, this technique is redundant for you.
  Combat Riding
  Hard
  Default: Riding.
  Prerequisite: Riding†; cannot exceed Riding+4.
  This technique represents training at riding under combat
  conditions. Use it instead of Riding whenever you roll to control
  your mount in battle. It doesn’t cover fighting – for that, learn
  Cavalry Training (pp. 25-26) and Mounted Shooting (p. 28) – but
  where the rules limit weapon skill to Riding, your limit is
  Combat Riding instead. Combat Riding never aids Riding rolls
  to mount up, stay mounted, or direct your mount hands-free, or
  such noncombat activities as dressage, racing, and travel.
  † Modern warriors can learn Combat Driving or Combat
  Piloting instead. This has the relevant vehicle-operation skill as
  its prerequisite and default, and it cannot exceed skill+4.
  Disarming
  see p. B230
  Disarming isn’t a shooting technique, but cinematic action
  heroes routinely use it to obtain an enemy’s gun. When
  attempting a barehanded disarm, you may try to snatch the
  weapon instead of knocking it away. Declare this before attack-
  ing. You have the usual -2 to hit for a non-fencing weapon.
  Your rival may parry your hand, potentially injuring it – and a
  gunman can use 3 + (Retain Weapon/2) for such a parry!
  STYLE COMPONENTS
  26
  
  On a hit, roll the usual Quick Contest. Against a weapon
  that can do cutting damage, including any gun with a bayo-
  net, you’re at -2. If you win, you have the weapon in hand.
  Unless you win by 5+, though, it will be unready until you
  take a Ready maneuver.
  Double-Loading
  Average
  Default: Fast-Draw (Ammo)-2.
  Prerequisite: Fast-Draw (Ammo); cannot exceed Fast-Draw
  (Ammo) skill.
  You’ve practiced reloading two chambers of a multi-bar-
  reled gun or a revolver at once. A successful Double-Loading
  roll gives all the benefits of Fast-Draw and means that each
  Ready maneuver taken to insert or manually extract one car-
  tridge affects two cartridges. This shaves off one extra second
  per pair of cartridges if the firearm ejects all of its casings at
  once, or two extra seconds per pair if the weapon requires you
  to extract each empty by hand.
  Dual-Weapon Attack
  Hard
  Default: prerequisite skill-4.
  Prerequisite: Any suitable shooting skill; cannot exceed pre-
  requisite skill.
  If you attack with two guns at once, you’re normally at -4 on
  each attack unless you have Extra Attack. This technique lets
  you buy off that penalty. To remove the extra -4 for the “off”
  hand, you’ll also need either Ambidexterity (p. B39) or Off-
  Hand Weapon Training (pp. 20-21).
  Dual-Weapon Attack (DWA) is primarily for Beam Weapons
  (Pistol), Guns (Pistol), and Liquid Projector (Sprayer). High ST
  (p. B270), perks like Army of One (p. 17) and One-Armed
  Bandit (p. 21), and weapon modifications (like sawing off a
  shotgun) can let you learn this for any shooting skill, however
  – and of course a four-armed gunman could shoot two rifles
  two-handed. The only absolute requirement is that you can use
  two weapons at once.
  You must learn DWA separately for each skill. For
  instance, attacking with two revolvers requires two DWA
  (Guns (Pistol)) rolls, but attacking with a revolver and a
  blaster pistol requires a DWA (Guns (Pistol)) roll and a DWA
  (Beam Weapons (Pistol)) roll.
  Per p. B417, when both attacks target the same foe, he
  defends at -1. Against guns, this only affects parries; attempts
  to slap the gun away in close combat, Area Defense perk
  (p. 17), Precognitive Parry, etc. Dodge is unaffected
  Fanning
  Hard
  Default: Guns (Pistol)-4.†
  Prerequisite: Guns (Pistol); cannot exceed Guns (Pistol) skill.
  This technique lets you buy off the basic -4 to Guns (Pistol)
  for fanning a single-action revolver with RoF 1 held in one
  hand. See Fanning (p. 11).
  † Default is Guns (Pistol)-2 for those with Gunslinger.
  Fast-Draw Opponent’s Weapon
  Hard
  Default: Fast-Draw (Any)-5, Judo-5, or Wrestling-5.
  Prerequisite: Any Fast-Draw skill; cannot exceed prerequi-
  site skill.
  This technique allows you to Fast-Draw a weapon carried
  by another person. If the weapon isn’t visible to you, then
  you’re at an additional -2 to draw it (if there’s even a weapon
  there!) – and all penalties to draw a concealed weapon are
  doubled. Critical failure means that you have no active
  defense against your opponent’s next attack. Your foe can try
  to dodge or parry this Fast-Draw attempt, and may use 3 +
  (Retain Weapon/2) for such a parry.
  Fast-Firing
  Hard
  Default: prerequisite skill-4.†
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill.
  This technique lets you buy off the -4 to skill for fast-firing
  a weapon with RoF 2 or 3. See Fast-Firing (p. 11).
  † Default is shooting skill-2 for those with Gunslinger.
  Feint
  Hard
  Default: prerequisite skill.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill+4.
  In a campaign that uses Tricky Shooting (pp. 11-12), this
  technique represents practice with ranged feints. If you know
  it above default, use it instead of the underlying skill whenever
  you feint.
  Flank Shot
  Hard
  Default: prerequisite skill-2.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill.
  You normally have -10 to shoot outside your arc of vision
  (see p. B74 or p. B389). Turning toward your target to remove
  this penalty is easy enough, but that requires movement points
  and may place other threats in your blind spot. Flank Shot
  offers an alternative: a sharp shoulder check, boosting aware-
  ness at the cost of balance.
  STYLE COMPONENTS
  27
  Well, he thinks he’s the best guy
  in the game. I think he’s right.
  – Robert Deguerin, Eraser
  
  This technique enables you to shoot to your side (not
  behind you) without changing facing. Make a standard ranged
  attack at your Flank Shot level, with an extra -1 if you target a
  specific hit location. Gunslinger gives half its usual bonus, and
  you cannot Aim at all. You suffer -2 to all active defenses until
  next turn.
  Cinematic pistoleros often shoot two one-handed weapons,
  one to each side! It doesn’t matter what weapon shoots to
  which side – that’s a matter of crossing your arms, at most.
  Apply the modifiers for the “off” hand (-4) and Dual-Weapon
  Attack (-4 on both), plus -2 for Flank Shot. To be proficient at
  this, improve Flank Shot and eliminate the other penalties the
  usual way.
  If you have Peripheral Vision, you don’t need this technique!
  Hands-Free Riding
  Hard
  Default: Riding-3.
  Prerequisite: Riding; cannot exceed Riding skill.
  Using only one hand to control your mount gives -1 to all
  Riding rolls, while using no hands at all gives -3; see Mounted
  Combat (p. B396). This technique represents training to buy off
  these penalties. Roll against Hands-Free Riding instead of
  Riding to control your mount using no hands. If you’ve
  improved this technique at all, you may ignore the -1 for using
  only one hand.
  Immediate Action
  Average
  Default: prerequisite skill-4.
  Prerequisite: Armoury or any shooting skill; cannot exceed
  prerequisite skill.
  This technique permits you to buy off the basic -4 to clear a
  stoppage. See Immediate Action (below). When learning
  Immediate Action, base shooting skill on IQ, not on DX.
  Shooting skill versions default to the Armoury specialty used
  with the relevant weapons, also at -4, but you must still choose
  a shooting skill specialty, not an Armoury one.
  Instant Arsenal Disarm*
  Hard
  Default: Armoury (Small Arms)-5.
  Prerequisites: Armoury (Small Arms) and any unarmed
  grappling skill; cannot exceed Armoury (Small Arms) skill.
  This move lets you disarm a gunman by taking his weapon
  apart. First, roll against your grappling skill at -4, not this
  technique, to grab his weapon (see Grabbing, p. B370). On a
  success, immediately roll a Quick Contest: Instant Arsenal
  Disarm vs. your foe’s DX or Retain Weapon (p. 29). Victory
  means you remove an important component of his weapon,
  such as the slide of a semiautomatic pistol, rendering it
  unable to fire. If your opponent wins, but by less than 3, his
  weapon is intact but unready. On any critical failure, your
  rival isn’t disarmed and may opt to roll at full skill to shoot
  you in the hand!
  You must specialize by type of gun. While the technique
  defaults to Armoury, its specialties correspond to those for
  shooting skills.
  Mounted Shooting
  Hard
  Default: shooting skill-4.
  Prerequisites: Riding or a vehicle-operation skill (Bicycling,
  Driving, Teamster, etc.)†, and a shooting skill; cannot exceed
  shooting skill.
  You’ve practiced shooting a ranged, handheld weapon from
  a moving mount or vehicle – horse, howdah, stagecoach, open
  biplane, etc. You must specialize by both weapon skill and
  mount or vehicle type. Use the specialties listed for the two
  skills chosen as prerequisites.
  If you’ve improved this technique, modifiers for a rough ride
  and/or limited mobility (see Attacking from Moving Vehicle or
  Mount, p. B548) – including those for turning in the saddle
  to shoot – can’t reduce your shooting skill below your
  Mounted Shooting level when using your chosen weapon
  from the specified platform. Other penalties apply normally.
  Remember that skill with a mounted attack can’t exceed
  Riding (for a mount) or Driving, Piloting, or Teamster (for a
  vehicle). If you’re a passenger, you’re limited by your driver
  or pilot’s skill.
  † The GM may allow Mounted Shooting with other skills
  involving device-assisted movement; e.g., Parachuting.
  Precision Aiming
  Average
  Default: prerequisite skill-6.
  Prerequisites: Any shooting skill and Observation; cannot
  exceed shooting skill.
  This technique enables you to buy off the -6 to shooting
  skill when rolling to claim extra Aim bonuses. See Precision
  Aiming (p. 12). Rifle is by far the most common specialty!
  When learning this technique, base shooting skill on IQ, not
  on DX.
  STYLE COMPONENTS
  28
  Immediate Action
  The quick procedure most likely to return a malfunc-
  tioning firearm to service is called Immediate Action. See
  Stoppage (p. B407) for basic rules. The -4 to the Armoury or
  IQ-based shooting skill roll mentioned there can be bought
  off with the Immediate Action technique (above).
  Modifiers: Any penalties to shoot the weapon that the
  gunman would have for tech level (p. B168), unfamiliarity
  (p. B169), and/or default between shooting skill specialties
  (p. B199); +1 for Weapon Bond (p. 23); +2 for Armorer’s
  Gift (p. 17).
  The time needed for Immediate Action varies by gun.
  The average is three Ready maneuvers. Reduce this to two
  Ready maneuvers for a magazine-fed automatic weapon
  or to one for a revolver. The Tap-Rack-Bang perk (p. 22)
  makes Immediate Action a free action!
  For more on Immediate Action, see High-Tech (p. 81).
  
  Example: Assassin Dean Delmore has DX 11, IQ 12, and
  Beam Weapons (Rifle) at 16. His IQ-based Beam Weapons skill
  is 17, making his Precision Aiming (Rifle) default 11. Investing
  6 points gives him Precision Aiming (Rifle)-17.
  Quick Mount
  Average
  Defaults: Acrobatics-3, Jumping-3, or Riding-3.
  Prerequisite: Acrobatics, Jumping, or Riding†; cannot
  exceed prerequisite skill.
  This technique represents training at quickly mounting a
  horse or similar beast. Roll against it instead of Acrobatics,
  Jumping, or Riding for this purpose. See Mounting Up
  (p. B396).
  † The GM may allow Quick Mount for motorcycles and cars
  (a speedy slide into the seat through an open window). The
  technique then requires Acrobatics, Jumping, or the appropri-
  ate Driving skill.
  Quick-Shot
  Average
  Default: prerequisite skill-6.†
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill.
  This technique lets you buy off the -6 to perform a Ranged
  Rapid Strike with a RoF 2+ gun. See Multiple Attacks (pp. 9-10).
  † Default is shooting skill-3 for those with Gunslinger.
  Retain Weapon
  Hard
  Default: DX; cannot exceed DX+5.
  You must specialize by shooting skill. When wielding a
  suitable weapon, you may use Retain Weapon instead of DX
  whenever somebody actively tries to disarm you (see
  Knocking a Weapon Away, p. B401). Should an adversary
  attempt to disarm you using brute strength, you may make
  a ST-based Retain Weapon roll instead of a ST roll; find your
  ST-based level by subtracting DX and adding ST.
  Staying Seated
  Average
  Default: Riding.
  Prerequisite: Riding; cannot exceed Riding+4.
  This technique represents special training in the art of stay-
  ing on the back of a mount. When rolling for any reason to
  avoid falling off your mount (for instance, the situations on
  p. B397), use Staying Seated instead of Riding. The GM may
  allow a similar technique for Driving (Motorcycle).
  Targeted Attack
  Hard
  Default: see below.
  Prerequisite: Any shooting skill; special maximum.
  Hits on “high-value” targets – face, chinks in armor,
  weapons, etc. – are effective fight-stoppers. Policemen often
  aim for the legs; special-ops soldiers, for the head; and cine-
  matic gunfighters, for the opponent’s pistol.
  For each Targeted Attack (TA), the gunman must specify a
  shooting skill and a target. The target can be a hit location
  other than the torso (Eye, Face, Arm, etc.), chinks in armor at
  a specific hit location (Torso Chinks is valid, although the GM
  may rule that some armor isn’t vulnerable), or Weapon. The
  shooting skill must cover firearms capable of attacking the
  selected target – a condition that most often affects attacks to
  the vitals, eye, or chinks in armor (see pp. B399-400).
  The default penalty equals the modifier to hit the target: -2
  for Arm or Leg, -3 for Groin or Vitals, -4 for Hand or Foot, -5
  for Face or Neck, -7 for Skull, or -9 for Eye. It’s -10 for chinks
  in armor on any of these locations (this replaces that location’s
  penalty), but only -8 for chinks in torso armor. Assume -4 for
  Weapon; use such a TA normally for shortswords, pistols, etc.,
  but roll at +1 vs. large weapons (broadsword, rifle, etc.) and -1
  vs. small ones (dagger, holdout pistol, etc.).
  By improving TA, the shootist can buy off up to half of
  his default penalty (round up). Write the TA as “TA
  (Specialty/Target).”
  Examples: TA (Pistol/Weapon) defaults to Guns (Pistol)-4
  and can’t exceed Guns-2. TA (SMG/Head) defaults to Guns
  (SMG)-5 and can’t exceed Guns-2.
  Thumbing
  Hard
  Default: Guns (Pistol)-2.†
  Prerequisite: Guns (Pistol); cannot exceed Guns (Pistol) skill.
  This technique allows you to buy off the -2 to Guns (Pistol)
  for thumbing a revolver. See Thumbing (p. 11).
  † Default is Guns (Pistol)-1 for those with Gunslinger.
  Timed Dodge*
  Hard
  Default: Dodge-2; cannot exceed Dodge.
  This technique helps you defend against opponents who use
  acrobatics or speed to get behind you and attack. It lets you
  buy off the -2 to Dodge against “runaround” attacks (p. B391).
  STYLE COMPONENTS
  29
  Two lessons, my son. First, watch behind you. Second, count your shots – four
  bullets for one man, that’s a waste.
  – Ryan, Death Rides a Horse
  
  If you’ve improved this technique, you can alternatively use
  it to keep track of an enemy who ends up behind you because
  you moved. Designate one foe before moving. If he attacks you
  before your next turn, you may use Timed Dodge against his
  first attack.
  Whichever application you choose, you may use Timed
  Dodge only once per turn.
  Two-Handed Thumbing
  Hard
  Default: Guns (Pistol)-2.†
  Prerequisite: Guns (Pistol); cannot exceed Guns (Pistol) skill.
  This technique permits you to buy off the -2 to Guns (Pistol)
  for thumbing a single-action revolver held in two hands. See
  Two-Handed Thumbing (p. 11).
  † Default is Guns (Pistol)-1 for those with Gunslinger.
  Whirlwind Attack*
  Hard
  Default: prerequisite skill-5.
  Prerequisite: Any shooting skill; cannot exceed prerequisite
  skill.
  Whirlwind Attack is a special All-Out Attack that lets you
  shoot as many foes as your RoF allows, regardless of where
  they’re standing. Its rules replace the regular All-Out Attack
  rules. It’s all you can do on that turn, and it leaves you with no
  active defenses.
  The firearm you use must be capable of RoF 2+. If it’s a full-
  automatic weapon or one that fires bursts, use listed RoF.
  Otherwise, use the highest RoF you could achieve with any
  applicable rule under High-Speed Shooting (p. 11). In all cases,
  RoF cannot exceed remaining shots.
  To perform the Whirlwind Attack, spin in place (you can-
  not step) and attack all foes surrounding you in clockwise or
  counterclockwise order – you choose the order and how much
  of your RoF to expend on each target. Determine a random hit
  location for each enemy and then roll against Whirlwind
  Attack to hit, with the usual modifiers for rapid fire, range,
  and hit location, but ignoring modifiers for any implied
  Fanning, Fast-Firing, etc. Gunslinger adds Acc or half Acc
  (with a one- or two-handed weapon, respectively) as usual, but
  only against one opponent of your choice, plus one additional
  foe per level of Enhanced Tracking. If any attack is a critical
  miss, then it and all remaining attacks become critical misses.
  Roll on the Critical Miss Table (p. B556) once per attack!
  Your opponents defend normally. You may end a Whirlwind
  Attack facing in any direction.
  STYLE COMPONENTS
  30
  Gamers who want bullet-twisting tricks to be supernat-
  ural capabilities instead of a consequence of campaign real-
  ism level may prefer the Imbuement Skills of Power-Ups 1:
  Imbuements.
  • Arching Shot lets a bullet avoid vertical obstacles –
  surely more impressive than the Bend the Bullet perk!
  • Bank Shot does what the similarly named perk does
  and more, as it takes penalties for ricochets upon itself
  instead of adding them to attack rolls, inflicts a defense
  penalty, and can even bounce shots off fragile surfaces.
  • Burning Strike makes any weapon a flamethrower,
  delivering its full damage as a burning attack instead of
  merely
  adding
  incendiary
  effects
  like
  the
  Muzzle
  Flamethrower perk.
  • Conic Blast can engage multiple foes in a broad arc
  with one unpenalized attack roll. It brings the benefits of
  the Scattergun perk to any gun, renders the Quick-Shot
  technique largely redundant, and can often emulate the
  Whirlwind Attack technique – minus the All-Out Attack.
  • Cutting Strike enables bullets to sever almost any-
  thing that isn’t susceptible to piercing attacks – including
  foes with Injury Tolerance. Thus, it does what the Rope
  Shooter perk does, and more.
  • Forceful Blow is identical to the Cinematic Knock-
  back perk, but it doesn’t need a big gun. With both, the
  perk lets the bullet cause knockback as if crushing, and the
  Imbuement then doubles the effect!
  • Guided Weapon and Homing Weapon ignore range
  penalties and let bullets evade obstacles, doing what the
  Bend the Bullet perk and Zen Marksmanship skill do, but
  far better.
  • Incendiary Weapon adds serious burning damage,
  beyond the scope of the Muzzle Flamethrower perk.
  • Multi-Shot is truly amazing! It can increase RoF more
  dramatically than the Fanning, Fast-Firing, Thumbing, or
  Two-Handed Thumbing techniques – and it could “stack”
  with these to achieve terrifying rates of fire. Once RoF is
  sufficient to enable Spraying Fire or Suppression Fire
  (p. B409), the Scattergun perk and the Quick-Shot and
  Whirlwind Attack techniques all become less impressive.
  • Penetrating Strike is superior to the Breaking Blow
  skill, giving larger armor divisors against all targets.
  • Shattershot and Shockwave allow bullets to throw frag-
  ments and explode, respectively, giving similar functionality
  to the Fireball Shot perk, but against any target and with any
  gun. By letting one shot injure several faraway foes, they also
  fill a role similar to the Whirlwind Attack technique.
  • Stealthy Attack gives Hearing penalties beyond what
  the Silencer perk can manage – and the resulting penalties
  do “stack.”
  Many feats could work either way, but Imbuements are
  usually more flexible and dramatic. Of course, you could
  use the rules in Power-Ups 1 and Gun Fu together! See the
  notes on Forceful Blow, Multi-Shot, and Stealthy Attack for
  a few examples of such “stacking.”
  Beyond Cinematic
  
  Maybe it’s the way they sling the artillery . . . Texas-style: low
  and handy.
  – Denver Jones, Cripple Creek
  Gunfighting legends of derring-do draw from a broad
  source of inspiration, ranging from 18th-century adventure
  tales to 19th-century dime novels and traveling shows to mod-
  ern films with millions of dollars worth of computer-generated
  imagery. Gun Fu focuses on cinematic gunplay, and it distin-
  guishes between gunplay styles based primarily on cinematic
  heritage and those founded on historical tradition. This allows
  players to pick a style that is true to its cinematic inspiration
  and that suits his vision of his PC.
  The following section uses martial-art and firearm style
  templates as introduced in Martial Arts and High-Tech.
  DOUBLE TROUBLE
  5 points
  George: Hey, kid, maybe think about firing one piece at a time.
  Saves an arm for the señoritas. You know what I mean?
  Nick Kang: Nah, double the pleasure, double the fun. If you’ve
  got enough ammo, that is.
  – True Crime: Streets of L.A.
  You walk in the footsteps of Miyamoto Musashi, with a
  deadly weapon in each hand. You have mastered techniques to
  create a deadly rhythm: “two drumsticks, one sound.”
  Double Trouble stylists have become a staple of modern gun
  fu cinema, and are the signature shooting specialists of direc-
  tor John Woo and his admirers. Woo’s Hong Kong noir films
  produced a distinctive “bullet ballet” featuring dual-pistol-
  wielding gunfighters in highly choreographed fight scenes,
  combining physical artistry and finesse with gunplay – in stark
  contrast to the bulging muscles and fiery explosions of the
  One-Man Army stylists (pp. 32-33) of earlier action films.
  Modern gunmen of the Double Trouble variety tend to be
  very mobile – leaping, jumping, and sliding through their com-
  bat scenes as they dodge and shoot. Acrobatics is essential.
  Gunslinger, Enhanced Dodge, and the Flying Leap skill are also
  needed to fully replicate the most cinematic performances of
  this style.
  Stylists who have truly mastered Double Trouble will want
  Enhanced Time Sense, which allows gunmen to access Bullet
  Time (p. 14) for truly impressive feats, such as leaping from
  cover while shooting down multiple enemies with Flank Shot.
  Perks such as Cookie Cutter and Recoil Rocket provide cine-
  matic flare.
  The core of the Double Trouble style relies heavily on
  Ambidexterity or Off-Hand Weapon Training for both Fast-
  Draw (Ammo) and a single-handed ranged-weapon skill –
  normally Guns (Pistol). Many stylists will replace this with
  Guns (SMG) for machine pistols and submachine guns
  (together with the relevant perks and techniques), or at least
  add it. Because using two handguns is fundamental to the
  style, practitioners may buy the Off-Hand Weapon Training
  perk as soon as they’ve bought all the basic style compo-
  nents (instead of waiting for the usual 10 points in skills and
  techniques).
  Skills: Acrobatics; Fast-Draw (Ammo); Fast-Draw (Pistol or
  SMG); Guns (Pistol or SMG).
  Techniques: Close-Hip Shooting (Pistol or SMG); Close-
  Quarters Battle (Pistol or SMG); Dual-Weapon Attack (Pistol or
  SMG); Fast-Firing (Pistol); Flank Shot (Pistol or SMG); Quick-
  Shot (Pistol); Targeted Attack (Pistol or SMG/Skull).
  Cinematic Skills: Blind Fighting; Flying Leap; Zen Marks-
  manship (Pistol).
  Cinematic Techniques: Timed Dodge; Whirlwind Attack (Pis-
  tol or SMG).
  Perks: Akimbo (Pistol or SMG); Gun Shtick (Stone-Cold
  Killer, Twirl, or Wall o’ Lead); Infinite Ammunition; Off-Hand
  Weapon Training (Fast-Draw, Pistol, or SMG); Quick Reload
  (Pistol or SMG); Quick-Sheathe (Pistol); Quick-Swap (Pistol or
  SMG); Weapon Bond.
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and Per.
  Advantages: 360° Vision; Ambidexterity; Danger Sense;
  Enhanced Dodge; Enhanced Time Sense; Enhanced Tracking;
  Extra Attacks; Gunslinger; Peripheral Vision; Signature Gear.
  STYLES
  31
  CHAPTER FOUR
  STYLES
  Shootin’ Irons
  The “gun” in gun fu isn’t confined to firearms but
  rather means any ranged weapon that doesn’t rely on
  the muscle power of its user. Air guns, water pistols,
  needlers, rocket launchers, lasers, blasters . . . any such
  weapon is usable with the styles in Gun Fu. Also see
  Shooting Skills (p. 16).
  For example, while Way of the West (p. 35) is pri-
  marily intended for Old West shootists with TL5
  revolvers, there is no reason it couldn’t work in a space
  setting where people use TL11 blasters. Simply replace
  Guns (Pistol) with Beam Weapons (Pistol) and modify
  the perks and techniques as necessary. See Way of the
  Galaxy (p. 35) as an example.
  
  Disadvantages: Bloodlust; Impulsiveness; Overconfidence.
  Skills: Armoury (Small Arms); Connoisseur (Guns); Guns
  Art (Pistol or SMG); Holdout; Jumping.
  Techniques: Behind-the-Back Shot (Pistol or SMG).
  Perks: Cinematic Knockback (Pistol or SMG); Cookie Cutter
  (SMG); Fastest Gun in the West (Pistol or SMG); Hand
  Cannon; Pistol-Fist (Guns); Recoil Rocket (Pistol or SMG);
  Supplier (Any).
  FUTURE KILL
  4 points
  The Gun Kata treats the gun as a total weapon, each fluid
  position representing a maximum kill zone, inflicting maximum
  damage on the maximum number of opponents while keeping
  the defender clear of the statistically traditional trajectories of
  return fire.
  – DuPont, Equilibrium
  To you, the laws of nature are merely propositions. Your
  marksmanship is a force of will that produces the impossible. In
  your hands, there is no entropy, no tentative probabilities. You
  shoot from a mountaintop, and those below can only weep.
  The Future Kill style is a full-on science-fiction combat style
  used by gunmen such as Neo in The Matrix, the scientifically
  trained “clerics” of Equilibrium, or the legendary assassins
  from the film Wanted. The style’s major shtick is not just highly
  cinematic gun tricks, but impossible feats, such as semi-guided
  bullets, inhuman accuracy, and blindingly fast draws.
  Future Kill requires liberal point totals to access its key
  advantages such as Enhanced Dodge and Enhanced Time
  Sense (Bullet Time is a must!), as well as Extra Attack,
  Gunslinger, and perks such as Area Defense, Bend the Bullet,
  and Infinite Ammunition. Cinematic skills such as Blind
  Fighting, Breaking Blow, and Zen Marksmanship are highly
  recommended. Without these traits, little distinguishes Future
  Kill from bog-standard shooting.
  The Whirlwind Attack technique is common in Future Kill,
  as are the Flank Shot technique and Bank Shot perk. High skill
  and these attack forms, along with the cinematic skills and
  advantages listed above, constitute major elements in this
  “impossible” style.
  Skills: Fast-Draw (Ammo); Fast-Draw (Pistol); Guns (Pistol).
  Techniques: Dual-Weapon Attack (Pistol); Fast-Firing (Pis-
  tol); Flank Shot (Pistol); Immediate Action (Pistol); Precision
  Aiming
  (Pistol);
  Quick-Shot
  (Pistol);
  Targeted
  Attack
  (Pistol/Skull).
  Cinematic Skills: Blind Fighting; Body Control; Breaking
  Blow (Guns); Flying Leap; Invisibility Art; Light Walk; Mental
  Strength; Zen Marksmanship (Pistol).
  Cinematic Techniques: Timed Dodge; Whirlwind Attack
  (Pistol).
  Perks: Area Defense (Pistol); Bank Shot (Pistol); Bend the
  Bullet (Pistol); Cinematic Knockback (Pistol); Cool Under Fire;
  Cross-Trained (Pistol); Deadeye; Early Adopter (Pistol); Gun
  Whisperer (Pistol); Infinite Ammunition; Off-Hand Weapon
  Training (Fast-Draw); Off-Hand Weapon Training (Pistol); Pis-
  tol-Fist (Guns); Quick Reload (Pistol); Weapon Bond.
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and Per.
  Advantages: Acute Vision; Ambidexterity; Combat Reflexes;
  Enhanced Dodge; Enhanced Time Sense; Extra Attack;
  Gunslinger; Signature Gear.
  Skills: Acrobatics; Armoury (Small Arms); Breath Control;
  Connoisseur (Guns); Gunner (Any); Guns (Any); Guns Art
  (Any); Holdout; Jumping; Meditation; Observation; Stealth.
  Techniques: Immediate Action (Any).
  Perks: Armorer’s Gift (Pistol); Supplier (Any); Walking
  Armory.
  ONE-MAN ARMY
  5 points
  Jack: Meet “Hamilton.”
  Murphy: I said get a couple of guys, Jack. A couple of guys.
  Jack: He is a couple of guys.
  – 3000 Miles to Graceland
  You are the lone commando, a super soldier, a master of
  mass-destruction; you maim and kill with heavy weapons; your
  enemies perish in a fiery blast or a “pink mist.” You deal death
  with big guns, big arms, and lots of explosions and mayhem.
  Outfitted with an arsenal of weapons, including machine guns,
  rocket launchers, grenades and grenade launchers, etc., the
  One-Man Army practitioner is a formidable opponent.
  STYLES
  32
  Dual-wielding semiautomatic pistols or machine pis-
  tols is a flashy shtick in cinematic campaigns, but reload-
  ing can be troublesome in games that are more realistic.
  A slow method to reload two pistols is this: Holster a pis-
  tol (one second or free action with Quick-Sheathe), use
  the free hand to reload the pistol being held (three sec-
  onds or free action with Quick Reload), then switch the
  process by holstering the loaded gun (one second or free
  action with Quick-Sheathe), drawing the empty gun (one
  second or free action with Fast-Draw), and reloading it
  (three seconds or free action with Quick Reload).
  A faster method is to place both guns in one hand (one
  second or free action with Quick Swap) and reload both
  guns simultaneously (three seconds or free action with
  Quick Reload). In this case, the GM may allow a version of
  the Double-Loading technique for loading two magazine-
  fed weapons at once.
  The Akimbo perk (p. 17), however, allows reloading
  to be conducted as if the shooter had one hand empty
  the whole time. Thus with Akimbo and Quick Reload, the
  whole process is a free action! This is not realistic of
  course, but it is in keeping with the aesthetics of Double
  Trouble in high-cinematic action.
  Reloading With Double Trouble
  
  Although firing a machine gun from the hip is trained by
  many armies, perhaps the first One-Man Army stylist to appear
  on the silver screen was himself a true one-man army –
  Lieutenant Audie Murphy, the most decorated U.S. serviceman
  of WWII, playing himself in the 1955 film To Hell and Back.
  From then on, cinematic muscle men in films such as
  Commando, First Blood (and its sequels in the Rambo series),
  Predator, and Universal Soldier have been popular.
  A high ST is important, but cinematic perks such as
  Walking Armory, Army of One, and Hand Cannon will save
  points for a higher skill in Guns (LMG). “Movie magic”
  explains the big muscles (or better-than-average Appearance)
  rather than raw strength.
  Perk selections for One-Man Army are numerous. Flimsy
  Cover, and many of the Cinematic Options, such as Bulletproof
  Nudity,
  are
  staples
  of
  the
  genre.
  Of
  course,
  Infinite
  Ammunition is almost required so that the hero can fire his
  weapon repeatedly without worrying about running dry.
  Lightning Fingers and the Immediate Action technique allow
  the gunner to get his weapon operable in a hurry.
  Gunslinger and a high skill in a chosen heavy weapon, such
  as Guns (LMG), is essential, but backup weapons – invariably
  including a large knife – should not be neglected. Stylists often
  make good use of Enhanced Dodge (Dive for Cover) too!
  The style’s optional traits reflect a military or mercenary
  background. Courtesy Rank is de rigueur for many One-Man
  Army specialists; choose Rank 4-5 for real ex-majors or
  colonels (with attendant minor benefits), rather than just using
  the rank as a moniker.
  Skills: Gunner (Cannon or MG); Guns (Grenade Launcher);
  Guns (LMG); Throwing.
  Techniques: Immediate Action (Grenade Launcher or LMG);
  Quick-Shot (LMG or MG).
  Cinematic Skills: Breaking Blow (Guns).
  Perks: Armorer’s Gift (Any); Army of One; Cinematic Knock-
  back (LMG or MG); Cinematic Option (Bulletproof Nudity);
  Cinematic Option (TV Action Violence); Early Adopter (Any);
  Flimsy Cover; Gun Shtick (Wall o’ Lead); Gun Whisperer (Any);
  Hand Cannon; Infinite Ammunition; Lightning Fingers (Any);
  Standard Operating Procedure (On Alert); Tacticool; Walking
  Armory.
  Optional Traits
  Attributes: Increased ST.
  Secondary Characteristics: Improved Basic Speed and Per.
  Advantages: Combat Reflexes; Courtesy Rank; Danger
  Sense; Enhanced Dodge (Dive for Cover); Gunslinger; Night
  Vision; Rank.
  Disadvantages: Bloodlust; Code of Honor; Duty.
  Skills: Armoury (Small Arms); Artillery (Any); Connoisseur
  (Guns);
  Expert
  Skill
  (Military
  Science);
  Explosives
  (Demolition); Fast-Draw (Pistol); Gunner (Any); Guns (Any);
  Intimidation; Knife; Shortsword; Soldier.
  Techniques: Immediate Action (Any).
  Perks: Cross-Trained (Any); Gun Sense (Any); Gun Shtick
  (Stone-Cold Killer); Scattergun; Supplier (Any).
  SNIPER
  5 points
  It takes a good marksman to shoot you at 50 feet from a mov-
  ing car, but it takes a great marksman to miss . . . while making
  it look like they are trying to hit you . . .
  – Michael Westen, Burn Notice #2.1
  Stalking death, they call you. “An outcast profession,” some
  say. Your stock in trade is patience, steel-edged nerves, and
  inhuman physical and mental discipline. You don’t use acro-
  batics or chromed automatics or showy moves. Just a single
  bullet, and the world shudders. One shot. One kill.
  The Sniper style is fitting for long-range specialists. These
  gunmen are often elite military or special-ops soldiers, such
  as Gunnery Sergeant Bob Lee Swagger in Shooter or Master
  Gunnery Sergeant Thomas Beckett in Sniper. Sometimes,
  however, the Sniper is simply a skilled civilian rifleman, such
  as Nathaniel “Hawkeye” Poe in The Last of the Mohicans or
  Matthew Quigley in Quigley Down Under. The Sniper style is
  also a frequent choice for assassins such as Miguel Bain in
  Assassins or John and Jane Smith in Mr. & Mrs. Smith.
  The Sniper is a different kind of action-movie gun expert,
  and his feats are just as unique and cinematic in their results:
  shooting a hostage taker who has a gun to the head of the
  hostage, or shooting through the eyepiece of a scope into the
  eye of an enemy sniper. The Targeted Attack technique will
  ensure this type of legendary success, even at extreme range.
  Snipers should have Acute Vision and an improved
  Perception score. Night Vision would also come in handy. In
  science-fiction settings, a cybernetic implant that grants
  Infravision or Hyperspectral Vision would be desirable. These
  enhancements help spot distant or hidden targets.
  For Snipers in highly cinematic campaigns, the Zen
  Marksmanship skill is a must; buy it up to high levels so that
  it can be used instantly (p. B228). Additionally, consider
  Extra Attack (Multi-Strike) and Enhanced Tracking (Multiple
  Lock-Ons) to aim at and attack several targets at the same
  time and fire at more than one in the same turn.
  STYLES
  33
  Thug: You can’t have more than eight shots but you’ve shot
  like twelve and I know you ain’t never reloaded!
  Jack Slade: So? Whatcha gonna do about it?
  – I’m Gonna Git You Sucka
  
  Gunslinger is an important advantage for this style, too.
  First, it allows the sniper to make impressive “snap shots”
  against nearby enemies. Second, while realistic snipers mostly
  hide and sneak around, movie Snipers are often required to
  engage in the typical action-movie gunfight. Don’t forget that
  due to their modest default from Guns (Rifle), Snipers often
  are quite proficient with other small arms, including pistols
  and submachine guns.
  Skills: Camouflage; Guns (Rifle); Observation; Stealth.
  Techniques: Feint (Rifle); Precision Aiming (Rifle); Quick-
  Shot (Rifle); Targeted Attack (Rifle/Skull or Rifle/Vitals).
  Cinematic Skills: Breaking Blow (Guns); Invisibility Art;
  Light Walk; Zen Marksmanship (Rifle).
  Perks: Bend the Bullet (Rifle); Cinematic Knockback (Rifle);
  Cool Under Fire; Cross-Trained (Rifle); Deadeye; Early Adopter
  (Rifle); Gun Shtick (Next Time, It’s Your Head or Stone-Cold
  Killer); Gun Whisperer (Rifle); Intuitive Armorer (Rifle); Light-
  ning Fingers (Rifle); Supplier (Any); Weapon Bond.
  Optional Traits
  Secondary Characteristics: Improved Per.
  Advantages: Acute Vision; Combat Reflexes; Danger Sense;
  Enhanced Tracking (Multiple Lock-Ons); Extra Attack;
  Gunslinger; Night Vision; Signature Gear.
  Disadvantages: Bloodlust.
  Skills: Armoury (Small Arms); Breath Control; Connoisseur
  (Guns); Fast-Draw (Long Arm); Guns (Any); Knife; Survival;
  Tracking.
  Techniques: Immediate Action (Rifle).
  Perks: Armorer’s Gift (Rifle); Bank Shot (Rifle).
  ULTIMATE SHOOTIST
  7 points
  You’re an expert in the use of all weapons and spacecraft
  needed for this mission.
  – General Munro, The Fifth Element
  To you, it is daisho . . . a bow of yew . . . a victory-bright
  blade. It is an extension of body and spirit with which you sow
  devastation unknown in simpler times. It is your gun – the
  modern embodiment of martial spirit.
  Ultimate Shootists are the elite gunmen of the silver
  screen: cinematic agents, special ops, and SWAT officers.
  They are proficient with any gun and capable of fantastic
  shots without the glitzy “bullet ballet” of Double Trouble styl-
  ists. Prominent examples include James Bond, Harry Tasker
  in True Lies, Jason Bourne in the Bourne trilogy, and Major
  Korben Dallas in The Fifth Element. These are coldly profi-
  cient killers, not gun dancers.
  Ultimate Shootists are not one-trick ponies and thus have
  no single definitive skill or shtick, save deadly proficiency with
  any weapon that comes to hand. This requires them to have a
  high basic Guns skill (usually Pistol, since handguns can be
  most easily concealed, and Rifle, Shotgun, and SMG default at
  -2). They are also familiar with many weapons – via the Cross-
  Trained perk – and have a few key effective techniques, such as
  Quick-Shot, especially useful when outnumbered, and Fast-
  Firing, which allows them to use semiautomatic weapons to
  pin down multiple opponents with suppression fire (p. B409).
  Targeted Attack is important, since it allows the shooter to con-
  sistently put bullets in the vitals or skull for one-shot kills.
  Note that optional techniques for Ultimate Shootists focus
  on Driving skills, which is a frequent activity of cinematic
  agents (this could be easily replaced by Boating or Piloting).
  A heavy investment in a number of specialized techniques
  (see Shooting While Mounted, p. 8) can be very helpful.
  Skills: Fast-Draw (Ammo); Fast-Draw (Pistol); Guns (Pis-
  tol); Guns (Rifle); Guns (Shotgun); Guns (SMG).
  Techniques: Close-Hip Shooting (Any); Close-Quarters
  Battle (Any); Fast-Firing (Any); Precision Aiming (Any);
  Quick-Shot (Any); Retain Weapon (Pistol); Targeted Attack
  (Any).
  Cinematic Skills: Blind Fighting; Breaking Blow (Guns);
  Invisibility Art; Light Walk; Zen Marksmanship (Any).
  Cinematic Techniques: Timed Dodge; Whirlwind Attack
  (Any).
  Perks: Cool Under Fire; Cross-Trained (Any); Fastest Gun
  in the West (Any); Fireball Shot; Gun Shtick (Any); Gun
  Whisperer (Any); Infinite Ammunition; Quick Reload (Any);
  Quick-Sheathe (Any); Quick-Swap (Any).
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and
  Per.
  Advantages: Ambidexterity; Combat Reflexes; Extra
  Attack; Gunslinger.
  Disadvantages: Code of Honor; Duty; Bloodlust.
  Skills: Armoury (Small Arms); Boating (Any); Breath
  Control; Driving (Any); Fast-Draw (Long Arm); Gunner
  (Any); Guns (Any); Piloting (Any); Stealth.
  STYLES
  34
  Crossbow Fu
  Gun Fu is about guns, but its styles could be adapted to
  relatively archaic ranged weapons, such as crossbows.
  Sniper (pp. 33-34) fits best – a crossbow is slow to reload,
  and it’s used for one careful shot. Way of the West (p. 35)
  might suit mounted crossbowmen, though, and Double
  Trouble (pp. 31-32) could work with pistol crossbows.
  Beefy fantasy warriors may even use One-Man Army (pp.
  32-33) with small siege engines!
  This is mostly a matter of replacing all Guns skills with
  Crossbow and all Fast-Draw skills with Fast-Draw (Arrow),
  and then recalculating style cost. Perks and techniques are
  easy to adapt. Only those that rely on guns’ technical work-
  ings, RoF, or high-tech ammo are flatly inappropriate –
  notably Cookie Cutter, Dial-a-Round, Double-Loading, Fan-
  ning, Fast-Firing, Fireball Shot, Immediate Action, Muzzle
  Flamethrower, One-Armed Bandit, Quick-Shot, Scattergun,
  Tap-Rack-Bang, Thumbing, Tracer Eyes, Two-Handed
  Thumbing, and Whirlwind Attack. Even then, imagination
  could come to the rescue; e.g., Dial-a-Round might let a
  crossbowman declare that he’s using special bolts when he
  shoots rather than when he reloads, while Muzzle
  Flamethrower could grant flaming arrows at will!
  Where Gunslinger is called for, use a crossbow-specific
  variant of Heroic Archer (Martial Arts, p. 45).
  
  Techniques: Combat Driving; Hands-Free Driving; Mounted
  Shooting (Any); Quick Mount.
  Perks: Bend the Bullet (Any); Cinematic Knockback (Any);
  Gun Sense (Any); Motorized Training (Any); No Friendly Fire
  (Any); Pants-Positive Safety; Supplier (Any); Walking Armory;
  Weapon Bond.
  WAY OF THE WEST
  6 points
  Gun-fighting! The art of slapping leather and burning
  powder – the talent of dropping the other fellow with a mini-
  mum loss of time, to the accompaniment of the fewest possible,
  if any, bullet holes in the anatomy of the fastest man!
  – Franklin Reynolds, “The Gun Fighter!”
  Whether law dog, cowpoke, or desperado, you handle a
  Peacemaker, Winchester, and street howitzer with stunning
  proficiency. You can ride fast and draw even faster. The
  notches in your gun handles tell the tale: When you slap
  leather, men die.
  Cowboys, Indians, and desperate gunfighters have been a
  staple of cinematic gunplay from the very beginning. Some of
  the first gunslingers to grace the silver screen were cowboys,
  and the earliest action films, though far from gun fu, included
  Old West gunfighters. Hollywood’s face-off at high noon is part
  of Wild West mythology; historically, only a few public man-to-
  man shootouts occurred. These were a rough-and-tumble
  expression of the Irish Code Duello (GURPS Age of Napoleon,
  p. 62) used back on the East Coast, with tin star badges and six-
  shooters replacing seconds and matched dueling pistols.
  The Way of the West style offers shootists a variety of gun
  skills intended to depict, in some incarnation, the cowboy gun-
  fighter of legend. Although the style requires skill in shotgun,
  rifle, and pistol in order to emulate the gunman who can han-
  dle any type of shootin’ iron, practitioners should decide
  whether to focus on one skill and its related techniques and
  perks, or to become a generalist. For instance, gunmen with
  only one revolver will want to improve Fanning, those with two
  revolvers will want to perfect Thumbing, while a rifleman will
  likely want One-Armed Bandit and the Fast-Firing technique.
  The optional techniques listed below focus on those useful
  for fighting while mounted, which will be very important if the
  hero will be engaging in gunfights from horseback.
  Skills: Fast-Draw (Pistol); Guns (Pistol); Guns (Rifle); Guns
  (Shotgun); Riding.
  Techniques: Double-Loading (Pistol or Shotgun); Dual-
  Weapon Attack (Pistol, Rifle, or Shotgun); Fanning; Fast-Firing
  (Pistol, Rifle, or Shotgun); Quick-Shot (Pistol, Rifle, or Shot-
  gun); Targeted Attack (Pistol or Rifle/Hand or Weapon);
  Thumbing; Two-Handed Thumbing.
  Cinematic Skills: Blind Fighting; Zen
  Marksmanship (Pistol or Rifle).
  Cinematic Techniques: Whirlwind
  Attack (Pistol).
  Perks: Deadeye; Fastest Gun in the
  West (Pistol); Gun Shtick (Any); Gun
  Whisperer (Pistol); Infinite Ammuni-
  tion; Lightning Fingers (Pistol, Rifle, or
  Shotgun); Off-Hand Weapon Training
  (Pistol, Rifle, or Shotgun); One-Armed
  Bandit (Rifle or Shotgun); Pistol-Fist (Guns); Quick Reload
  (Pistol, Rifle, or Shotgun); Quick-Sheathe (Pistol); Quick-Swap
  (Pistol); Rope Shooter (Any); Scattergun; Weapon Bond.
  Optional Traits
  Secondary Characteristics: Improved Basic Speed and Per.
  Advantages:
  Ambidexterity;
  Enhanced
  Time
  Sense;
  Gunslinger; Hard to Kill; High Pain Threshold; Luck.
  Disadvantages: Bad Temper; Code of Honor; Sense of Duty.
  Skills: Armoury (Small Arms); Axe/Mace; Brawling; Fast-
  Draw (Long Arm); Gunner (MG); Knife; Lasso; Teamster.
  Techniques: Cavalry Training; Close-Hip Shooting (Pistol
  or Shotgun); Combat Riding; Hands-Free Riding; Mounted
  Shooting (Pistol, Rifle, or Shotgun); Quick Mount; Staying
  Seated.
  Perks: Bank Shot (Pistol or Rifle); Cinematic Knockback
  (Pistol or Shotgun); Deadeye; Precision Aiming (Rifle);
  Supplier (Any).
  STYLES
  35
  Way of the Galaxy
  4 points
  Way of the West is the classic model for the styles
  of many gunfighters in science fiction and space
  operas – Han Solo in Star Wars probably being the
  most famous archetype. For these, use the following
  modified style template.
  Skills: Fast-Draw (Pistol); Beam Weapons (Pistol);
  Beam Weapons (Rifle).
  Techniques: Dual-Weapon Attack (Pistol or Rifle);
  Fast-Firing (Pistol or Rifle); Quick-Shot (Pistol or
  Rifle); Targeted Attack (Pistol or Rifle/Hand or
  Weapon).
  Cinematic Skills: Blind Fighting; Zen Marksman-
  ship (Pistol or Rifle).
  Cinematic Techniques: Whirlwind Attack (Pistol).
  Perks: Fastest Gun in the West (Pistol); Gun Shtick
  (Twirl); Gun Whisperer (Pistol or Rifle); Infinite
  Ammunition; Lightning Fingers (Pistol or Rifle); Off-
  Hand Weapon Training (Pistol or Rifle); Quick Reload
  (Magazine); Quick-Sheathe (Pistol); Weapon Bond.
  Optional Traits
  Secondary Characteristics: Improved Basic Speed
  and Per.
  Advantages: Ambidexterity; Enhanced Time Sense;
  Gunslinger; Hard to Kill; High Pain Threshold; Luck.
  Disadvantages: Bad Temper; Code of Honor; Sense
  of Duty.
  Skills: Armoury (Small Arms); Fast-Draw (Long
  Arm); Gunner (Any).
  Techniques: Close-Hip Shooting (Pistol or Rifle);
  Combat Driving or Piloting (Any); Mounted Shooting
  (Any).
  Perks: Bank Shot (Pistol or Rifle); Cinematic Knock-
  back (Pistol or Rifle); Gun Shtick (Any); Motorized
  Training (Any); Supplier (Any).
  
  T-800: The 12-gauge autoloader . . . the .45 Longslide, with
  laser sighting.
  Alamo Gun Shop Clerk: . . . anything else?
  T-800: Phased-plasma rifle in the 40-watt range.
  Alamo Gun Shop Clerk: Hey, just what you see, pal.
  – The Terminator
  Shootists require guns and ammo, as well as sophisticated
  gear to carry both. High-Tech and Ultra-Tech are the primary
  sources for these, but gun fu experts never object to more gear.
  This chapter offers additional equipment options, including
  tips on creating stats your own cinematic-style firearms
  EQUIPMENT
  36
  CHAPTER FIVE
  EQUIPMENT
  GUNS, LOTS OF GUNS
  Cinematic shooters need guns – but which guns depend
  both on the setting and on the type of shooter. The genre will
  often limit the selection of weapons available. Western gun-
  slingers use revolvers, modern heroes use submachine guns,
  space smugglers use blasters, etc. The TL and historical pro-
  duction dates given with most weapon descriptions allow the
  GM to determine what’s realistically available in a given time-
  frame and setting – but note that the gun fu genre often pays
  little respect to such confinements!
  Shooters are typically one of two kinds: extraordinary
  shooters who do impressive things with ordinary weapons,
  and shooters who use extraordinary weaponry and often
  impress more through their choice of guns than their skill
  with them. Combining these features is possible, of course.
  Cinematic heroes and villains may have guns that are
  unusual, either because they are used in a situation where
  they aren’t expected (for example machine guns or semiauto-
  matic pistols in an Old West setting) or because they are used
  out of their normal context (man-packing a vehicle minigun).
  The Early Adopter perk (p. 18) is especially useful for the for-
  mer approach; Army of One (p. 17) and Hand Cannon (p. 19),
  for the latter.
  REAL GUNS
  High-Tech lists hundreds of real TL5-8 firearms with their
  complete game stats. Even more historical guns can be found
  in other GURPS books (such as the High-Tech: Pulp Guns
  series). A few more follow below.
  Semiautomatic Pistols
  Due to their concealability and low weight, pistols are
  especially popular with Gun Fu shootists.
  CZ Model 75, 9×19mm Parabellum
  (Czechoslovakia, 1976-)
  A high-quality double-action pistol, popular as a
  military/police sidearm throughout the world, but also
  favored as the basis of a customized gun by many target
  shooters. More than a million have been distributed.
  Affordable yet utterly dependable, this “wondernine”
  design is also the choice of many cinematic professionals,
  such as bounty hunter “Rally” Vincent in Gunsmith Cats.
  The CZ75B (1998-) is an improved model with slightly
  different details; Shots 16+1(3), Cost $550/$27. Assassin Mr.
  Goodkat in Lucky Number Slevin uses this, for example.
  The CZ75 SP-01 Tactical (2005-) is still further enhanced,
  featuring improved-visibility sights (High-Tech, p. 156) and
  an underbarrel accessory rail (High-Tech, p. 161) as stan-
  dard; Wt. 3.1/0.7, Shots 18+1(3), Cost $700/$27. This can
  even mount a 0.7-lb. knife bayonet (Reach C) . . .
  How to Get Them
  In many realistic settings, guns are difficult to acquire.
  Even if you have all the necessary permits, running around
  with a handgun and using it (let alone a full-auto weapon)
  can get you into all sorts of trouble. Also, you actually can’t
  just find (and buy) a machine gun or rocket launcher at a
  downtown pawn shop, even in America . . .
  Gun fu stylists, of course, are not hampered by mere tech-
  nicalities like that. The GM can rule that there are, in fact,
  such places where PCs can acquire even the hottest hard-
  ware, without all the problems that illegal dealings usually
  entail (see The Black Market on pp. 7-9 in High-Tech).
  It’s often more appropriate for access to cost points in a
  cinematic Gun Fu campaign, however. Concealed Carry
  Permit (p. 17), Early Adopter (p. 18), and Supplier (p. 22)
  can justify possession of restricted, prototype, or costly
  firearms – and gun fu stylists tend to acquire such weapons
  as Signature Gear (p. B85). Futuristic and “impossible”
  hardware should use either Gadget Limitations (pp. B116-
  117) or Gadgets for Non-Gadgeteers (p. B477).
  
  Ruger KP90, .45 ACP (USA, 1991-)
  A reasonably priced, full-sized double-action pistol with
  aluminum alloy frame and stainless steel slide.
  H&K USP Match, 9×19mm
  Parabellum (Germany, 1997-)
  This is a fine (accurate) competition variant of the H&K
  USP (High-Tech, p. 102) with match barrel and trigger, as
  well as a muzzle weight (p. 42). Despite being intended for
  competition shooting, such guns are relatively often seen as
  “tricked-out” specialty weapons of cinema heroes, such as
  adventurer Lara Croft in Tomb Raider.
  Shotguns
  Shotguns are popular weapons in Gun Fu settings, due to
  their perceived superior effects – compare the Fireball Shot
  (pp. 18-19) and Scattergun (p. 21) perks.
  Miroku-Browning BPS Field,
  12G 3” (Japan, 1977-)
  Designed and marketed by FN-Browning but made by
  Miroku in Japan, the Browning Pump-action Shotgun (BPS) is
  a conventional sporting gun with 26” barrel – the one seen in
  Romancing the Stone has its barrel sawed-off to riot length
  (High-Tech, p. 106) of about 18”. If the shorter 12G 2.75” shells
  are used, it has RoF 2¥9 and Shots 4+1.
  Franchi PA3, 12G 2.75” (Italy, 1983-2002)
  The PA3 is a short “whippet” style pump-action shotgun
  with unchoked 8.5” barrel, pistol grip, and integral pistol fore-
  grip. It can be fitted with an optional 0.9-lb. folding stock
  (High-Tech, p. 160), as well; Acc 3, Wt. 6.3/0.33, ST 10†, Bulk
  -4*, Rcl 1/5.
  EQUIPMENT
  37
  Pistols Table
  See pp. B268-271 and High-Tech, p. 79, for an explanation of the statistics.
  GUNS (PISTOL) (DX-4 or most other Guns at -2)
  TL Weapon
  Damage
  Acc
  Range
  Wt.
  RoF
  Shots
  ST
  Bulk
  Rcl
  Cost
  LC
  Notes
  7
  CZ Model 75, 9¥19mm
  2d+2 pi
  2
  160/1,800
  2.9/0.6
  3
  15+1(3)
  9
  -2
  2
  $500/$27
  3
  [1, 2]
  8
  Ruger KP90, .45 ACP
  2d pi+
  2
  150/1,600
  2.6/0.5
  3
  7+1(3)
  10
  -2
  3
  $490/$27
  3
  [1]
  8
  H&K USP Match, 9¥19mm
  2d+2 pi
  3
  165/1,850
  3/0.5
  3
  15+1(3)
  9
  -3
  2
  $1,350/$27
  3
  [1, 2, 3]
  Notes:
  [1] No lanyard ring.
  [2] Very Reliable. Won’t malfunction unless lack of maintenance lowers Malf. (see p. B407).
  [3] Fine (accurate).
  Shotguns Table
  See pp. B268-271 and High-Tech, p. 79, for an explanation of the statistics.
  GUNS (SHOTGUN) (DX-4 or most other Guns at -2)
  TL Weapon
  Damage
  Acc
  Range
  Wt.
  RoF
  Shots
  ST
  Bulk
  Rcl
  Cost
  LC
  Notes
  7
  Miroku-Browning BPS, 12G 3”
  1d+2 pi
  3
  40/800
  8.3/0.33
  2¥12
  3+1(2i)
  10†
  -6
  1/5
  $525
  3
  [1]
  8
  Franchi PA3, 12G 2.75”
  1d+1 pi
  2
  40/800
  5.4/0.33
  2¥9
  3+1(2i)
  11†
  -3
  1/6
  $500
  3
  [1]
  7
  Mossberg Model 500 Cruiser,
  12G 3”
  1d+2 pi
  2
  40/800
  6.3/0.55
  2¥12
  5+1(2i)
  12†
  -4
  1/6
  $415
  3
  [1]
  Note:
  [1] First Rcl figure is for shot, second is for slugs.
  Rifles Table
  See pp. B268-271 and High-Tech, p. 79, for an explanation of the statistics.
  GUNS (RIFLE) (DX-4 or most other Guns at -2)
  TL Weapon
  Damage
  Acc
  Range
  Wt.
  RoF
  Shots
  ST
  Bulk
  Rcl
  Cost
  LC
  8
  IMI Galil MAR, 5.56¥45mm
  4d pi
  4
  600/2,500
  8.3/1.8
  9/11
  35+1(3)
  9†
  -4*
  2
  $1,100/$30
  2
  You know, it’s easier to pull
  the trigger than play guitar.
  Easier to destroy than to create.
  – The Mariachi,
  Desperado
  
  Mossberg Model 500 ATP6 Cruiser,
  12G 3” (USA, 1989-)
  This is a pump-action shotgun with 18.5” barrel without
  choke. Instead of a shoulder stock, it has only a pistol grip at
  the rear. Such guns are especially popular in the movies. It can
  be mounted below the handguard of a rifle, which adds -2 Bulk
  to the rifle. The mounting costs $100 and adds 0.5 lb. to the
  combined weight of rifle and shotgun.
  Rifles
  Gun Fu campaigns set in the modern era often feature
  selective-fire assault rifles and carbines.
  IMI Galil MAR, 5.56×45mm NATO (Israel, 1993-)
  The Galil Micro Assault Rifle (MAR) is a shortened variant
  of the IMI Galil ARM rifle (High-Tech, p. 117) with an 8.3” bar-
  rel. It’s typical of the compact assault carbines that are all the
  rage in contemporary action films. Selector options include
  three-round limited bursts (High-Tech, p. 83) and full-auto-
  matic. The MAR features improved-visibility sights and a fold-
  ing stock. Typical add-ons include accessory rails around the
  barrel to attach a reflex sight (High-Tech, p. 156) and/or a tac-
  tical light (High-Tech, p. 156), or similar gear.
  FICTIONAL GUNS
  I wanna introduce you to a personal friend of mine. This is an
  M41A pulse rifle, 10mm with over-and-under 30mm pump-
  action grenade launcher.
  – Corporal Dwayne Hicks, Aliens
  In futuristic settings, most or even all weaponry is obvi-
  ously fictional. See Ultra-Tech for an extensive collection of
  probable and not-so-probable developments for TL9-12,
  including rail and ray guns.
  In campaigns set in the historical past (TL4-7) or the mod-
  ern era (TL8), where characters could theoretically all use real
  weapons, fictional guns are often the hallmark of the cinematic
  hero (and villain). They help to set him apart from mere mooks
  and from the “everyday” conventional weaponry known to
  readers, TV-viewers, and movie-goers from the real world.
  Examples for fictional guns that play important roles
  include Colonel Sebastian Moran’s .455-caliber Von Herder air
  rifle in Arthur Conan Doyle’s “The Adventure of the Empty
  House”; Sabata’s .41-caliber 4-shot derringer in Sabata; the 1”
  XM18E1R revolver grenade launchers (High-Tech, p. 143) in
  Dogs of War; Hellboy’s 22mm BPRD Samaritan revolver in
  Hellboy; RoboCop’s OCP Auto-9 machine pistol in RoboCop; the
  Zorg ZF1 all-purpose gun in The Fifth Element; and many more.
  COMBINATION WEAPONS
  Cinematic shooters are especially fond of combination
  weapons. These can be real or fictional. Always popular
  are weapons with built-in melee weapons (see Bayonets on
  p. 197 and Combination Weapons on pp. 198-199 in High-Tech).
  They allow a gun fu stylist to show off his martial-arts skills – or
  at least look wicked! These can get more exotic, as well, like a
  meat cleaver under a Beretta Mod 92F pistol (High-Tech,
  p. 100), as in Blade II, or a retractable shortsword concealed in
  the grip of a machine pistol, as in Ultraviolet.
  Other common pairings include underbarrel grenade
  launchers like the Colt M203 (High-Tech, p. 142) and H&K
  AG36 (High-Tech, p. 144), but mounting a pump-action shot-
  gun like the Mossberg Model 500 ATP6 (above) under a rifle is
  almost as cool – as seen in Predator and other films. The latter
  can be upgraded with the Fireball Shot perk (pp. 18-19).
  In fact, anything can be combined. A few examples: A MAC-
  Ingram M10 machine pistol (High-Tech, p. 126) can be
  mounted below the barrel of a six-shot revolver grenade
  launcher, as in Cliffhanger. A single-shot grenade launcher can
  be mounted below a Saco M60 machine gun (High-Tech,
  p. 134), as in The Punisher. A six-shot revolver grenade
  launcher can be mounted below a H&K G3A4 automatic rifle
  (High-Tech, p. 116), as in Braddock: Missing in Action III. A
  caseless storm carbine (Ultra-Tech, p. 136) can be mounted
  side-by-side with a flamethrower, like in Aliens.
  For typical small arms, modify Bulk and ST as follows:
  Use the Bulk of the larger host weapon, adding -1 for a hand-
  gun or machine pistol, -2 for a grenade launcher or SMG,
  and -3 for a bulky multi-shot grenade launcher or other large
  weapon. Increase ST by +1 for a handgun or machine pistol
  up to 4 lbs. in weight, +2 for a grenade launcher or SMG up
  to 16 lbs. in weight, and by +3 for a weapon weighing more
  than that.
  Unless one of the weapons is designed to be mounted on the
  other, add cost and weight of the weapons to be combined.
  Then, increase the combined cost by 10% to cover gunsmithing
  and material costs.
  EQUIPMENT
  38
  Voilà: the ZF1. It’s light. The handle’s adjustable for easy carrying, good for
  righties and lefties. Breaks down into four parts, undetectable by X-rays, ideal for
  quick, discreet interventions. A word on firepower: titanium recharger, 3,000-round
  clip with bursts from 3 to 300 . . . And to finish the job: all Zorg oldies but goldies.
  Rocket launcher; arrow launcher with exploding or poisonous gas heads – very
  practical; our famous net launcher; the always efficient flamethrower – my favorite;
  and for the grand finalé, the all-new ice-cube system!
  – Jean-Baptiste Emmanuel Zorg, The Fifth Element
  
  STATS FOR MOVIE GUNS
  Whenever the heroes (or the villains!) need a unique gun,
  the GM has several choices to quickly come up with the neces-
  sary game stats.
  One is to use the stats of a real weapon, such as found in
  High-Tech or other books. This neatly ties in with how many
  prop guns are actually made for filming: by simply taking a real
  gun and giving it a new name, sometimes with modified
  appearance, sometimes straight from the box. Some examples:
  The handcrafted Hamilton revolver in Have Gun – Will Travel is
  just an ordinary Colt .45 SAA Cavalry (High-Tech, p. 95). The
  Bergmann Modell 1911 in Big Jake is really a dressed-up
  Walther P38 (High-Tech, p. 100). Kapitan Ivan Danko’s 9.2mm
  Podbyrin pistol in Red Heat is based on the .357-caliber IMI
  Desert Eagle (High-Tech, p. 102). The Acc-Mag railgun from
  Demolition Man is an H&K G11 prototype (High-Tech, p. 119).
  In most cases, the basic stats of the real guns are proba-
  bly not too far off from those of the fictional guns. The GM
  might opt for some minor tweaks. For example, in case of
  the Podbyrin, he could decide to increase the damage a bit
  in light of the movie’s claim that it is “the world’s most pow-
  erful handgun.” This approach will lead to relatively “realis-
  tic” results.
  A more cinematic way is to simply make things up, only
  loosely based on stats of similar historical weapons (or the
  generic guns in the Basic Set, Ultra-Tech, and other books). The
  GM could make up the stats as he goes and as the plot requires,
  only loosely bound by physical possibilities, mechanical reali-
  ties, and similar considerations. Just like movie-goers suspend
  their disbelief, especially if presented with a cool-sounding name
  and a lot of whiz-bang, cinematic shooters can be given guns
  that don’t ever need to work in real life. With the right presenta-
  tion, audiences (and players) have no problem with ignoring
  that rifles supposedly firing caseless ammunition eject empty
  brass, that 99-round magazines are barely large enough to hold
  25 rounds, and that 30mm grenade launcher prop rounds are
  clearly less than 20mm in diameter . . .
  EQUIPMENT
  39
  Some guns really are better than their closest rivals –
  nearly always because they’re later or more expensive
  designs (higher TL or cost). Others are reputedly superior
  thanks to marketing, celebrity endorsements, or appear-
  ances in popular fiction or the news, but their reputation
  isn’t wholly deserved. Some examples:
  Cult of the .45: The Colt .45 Government (High-Tech,
  p. 98) is a successful handgun. For almost a century now,
  millions of soldiers and cops have relied on it and its
  descendants! This longevity has exaggerated its reputation
  for reliability. Being on the winning side of high-profile
  shootouts, not to mention wars, has added unmatched
  stopping power to the legend. Such claims have elevated
  .45 ACP pistols to cult status.
  The Deagle: The Desert Eagle pistol (High-Tech, p. 102)
  and its ammo are heavy and expensive, and the gun is stop-
  page-prone. Nevertheless, legions of moviegoers and
  Counter-Strike players see it as the ultimate handgun
  because it’s massive and intimidating!
  German Engineering: Many special-ops units have
  adopted Heckler & Koch firearms. The role of political and
  corporate maneuvering, and the fact that the weapons are
  expensive and sometimes overengineered, is often over-
  looked. Cultists assume that if, say, the Navy SEALs use
  H&K weapons, these guns must be awesome!
  Mikhail’s Army: An AK-47 (High-Tech, p. 114) will never
  jam or break . . . right? Well, no. However, the gun is so sim-
  ply built and has such loose tolerances that it will work in
  conditions that most weapons will not withstand. This does-
  n’t make it a super-weapon, but together with its low, low
  price and high availability, it does make it the premier choice
  for both rugged conditions and untrained shooters . . .
  In a Gun Fu campaign, cult weapons might actually be
  superior! The GM can model this by making guns of one
  model, manufacturer, or caliber a quality grade higher than
  usual for the cost paid. This can only improve Acc and/or
  malfunction number (High-Tech, p. 79), so the GM may
  wish to assess other benefits:
  Hand Howitzer: The weapon is deadly. Treat it as firing
  extra-powerful ammo (High-Tech, p. 165) at all times – and
  when shooting such ammo, multiply Dmg, Range, and ST
  by 1.2, not 1.1! Alternatively, boost damage type from pi- to
  pi, pi to pi+, or pi+ to pi++.
  Hard-Core: The weapon is scary, and anybody wielding
  one gets +1 or more to Intimidation.
  Indestructible: The weapon has +1 or +2 to HT, and/or
  double HP.
  At the GM’s option, there might also be downsides:
  • Using a cult gun identifies you as a hotshot and a tar-
  get for baddies. You have Distinctive Features (p. B165)
  and/or a reaction penalty when using it.
  • Some ability is needed to capitalize on the weapon’s
  special properties. You might have to obtain it as Signa-
  ture Gear (p. B85), possess a Weapon Bond (p. 23) with it,
  or purchase a Supplier perk (p. 22) linking you to the
  manufacturer. Alternatively, the GM might require a Cin-
  ematic Option perk (p. 17) for access to the benefits of a
  given cult gun.
  • The cult gun is markedly inferior in some other
  respect; see below.
  Mook Guns
  Some guns are portrayed as worse than reality suggests.
  For example, the MAC-Ingram M10 (High-Tech, p. 126)
  has seen extensive use in Hollywood, mostly in the hands
  of mooks who miss the hero and get shot; thus, it has a rep-
  utation as a weapon for losers. The GM can invert any of
  the benefits above for particularly reviled models, manu-
  facturers, or calibers.
  Gun Cults
  
  EQUIPMENT
  40
  GUNSMITHING
  It’ll shoot the fleas off a dog’s back at 500 yards, Tannen, and
  it’s pointed straight at your head!
  – Dr. “Doc” Emmett Brown, Back to the Future Part III
  Gun fu stylists will often use guns modified to their specifi-
  cations – anything from a sawed-off shotgun to a pistol tricked
  out with every accessory in the book.
  Note that all rules below are generic. They may not apply
  to every particular firearm. Individual weapon descriptions
  may give indications whether specific modifications are
  either common or can’t be done at all. If nothing is specified,
  use common sense. For example, it is obvious that bullpup
  weapons can’t have their shoulder stock removed or replaced
  by a folding stock, or that the magazine capacity of a weapon
  with a tube magazine below the barrel may be reduced if the
  barrel is shortened.
  ACCURIZING
  Improving the Acc of a firearm – making it fine (accurate)
  or very fine (accurate) – usually involves a combination of
  modifications (High-Tech, p. 79). A match barrel is the most
  important feature; the original barrel will generally need to
  be replaced by a precision-made, often heavier barrel opti-
  mized for accuracy. The trigger is reworked for an easier
  squeeze and a clear breakpoint. Fully adjustable sights with
  well-defined foresight and rear sight usually replace the old
  sights. Finally, all the components are fine-tuned to each
  other so that optimum accuracy results.
  Accurizing takes a lot of time and money. Add 75% to cost
  for +1 to Acc, or 375% to cost for +2. The weapon needs a base
  Acc 2 or better to be accurized, and it must have Acc 4 or bet-
  ter for +2 to Acc. The former takes two Armoury (Small
  Arms)-4 rolls and two days’ work. The latter takes four
  Armoury (Small Arms)-4 rolls and at least four days’ work.
  ADDING ACCESSORIES
  See Firearm Accessories (pp. 41-43 and High-Tech,
  pp. 153-161) for many examples of gadgets that can be added
  to a firearm. Most require no or only minor modifications of
  the weapon – especially if accessory rails (High-Tech, p. 161)
  or similar mounting points are used. In general, an IQ-based
  Guns or Armoury (Small Arms)+4 roll is required to correctly
  fit a new accessory to a firearm.
  Things get a bit more complicated if, for example, a new,
  slightly longer barrel has to be fitted with a thread cut into it to
  mount a detachable sound suppressor (High-Tech, p. 159), or
  if a pistol stock (High-Tech, p. 160) is to be added to a pistol
  that is not designed to mount one. Such small gunsmithing
  jobs can be done by succeeding with an unmodified Armoury
  (Small Arms) roll.
  CONVERTING A LONG
  ARM INTO A BULLPUP
  Most ordinary long arms can be modified into the so-called
  bullpup configuration, that is a shape in which the trigger is
  moved forward of the action. This changes the balance of the
  weapon and reduces the length. However, it also means that
  the weapon can no longer be used left-handed (or right-
  handed, if so constructed), as the cases will be ejected into the
  face of the shooter. Also, a conversion requires extensive mod-
  ifications and often means a net weight gain.
  A complete gunsmith conversion of an ordinary long arm
  needs three Armoury (Small Arms) rolls and materials worth
  30% the cost of the weapon. The firearms market has also
  developed ready-to-install bullpup conversion kits, for example
  for the Ruger Mini-14 (High-Tech, p. 117). These conversions
  cost 25% the cost of the weapon and require only one Armoury
  (Small Arms) roll. In either case, improve Bulk by one step (to
  not better than Bulk -3) and increase weight by +1 lb.
  Note that the bullpup configuration is effectively a TL7 devel-
  opment. It works best with semiautomatics and full-automatics,
  but it can also be applied to bolt-action and pump-action guns.
  CONVERTING A
  SEMIAUTOMATIC TO
  FULL-AUTOMATIC
  Any semiautomatic weapon – regardless of whether it is a
  pistol, shotgun, rifle, etc. – can be converted to full-automatic
  fire. In fact, one of the problems of semiauto design is to keep
  them from firing bursts (runaway semiautos are a discomfiting
  and somewhat common occurrence on shooting ranges!). The
  first gunsmith and prototype manufacturer conversions
  appeared in the years between 1900 and WWI, a mere decade
  after the introduction of the first self-loading weapons.
  Converting semiautos to full-auto fire requires an Armoury
  (Small Arms) skill roll. Assign a penalty depending on the
  weapon’s basic design (which the GM may need to determine
  through research). For example, converting a Winchester M1
  carbine (High-Tech, p. 113) or certain open-bolt pistols such as
  the original semiautomatic Intratec TEC-9 (High-Tech, p. 101)
  is a favorable task, with a +1 difficulty modifier (p. B345).
  I got the idea from a French gunsmith named LeMat. Think of it,
  Johnny – a seven-shooter! One extra bullet that’ll make all the difference.
  – Cason Thomas, Johnny Ringo #1.1
  
  Converting a Colt AR-15 Sporter (High-Tech, p. 117) is an aver-
  age task with no modifier. Rebuilding a pistol such as the Colt
  Government (High-Tech, p. 98) into a selective-fire machine
  pistol is an unfavorable task at -1.
  Modifiers: +1 if the armorer has previously converted this
  type of gun successfully; -3 if this is his first attempt to con-
  vert any semiauto; and +2 for the availability of factory parts
  (which indicates a rebuild rather than a conversion). The
  kind of tool kit (High-Tech, p. 24) available will give further
  modifiers: A fully equipped Armoury workshop, with all the
  necessary hand and machine tools and a good stock of parts
  and materials gives +2; a Mechanic workshop gives no bonus,
  as does a portable Armoury tool kit; and an Armoury mini-
  tool kit gives -2.
  Conversion requires 10 minutes for a favorable task, 12
  hours’ work for an average task, and two days’ work for an
  unfavorable task. Failures don’t work, and they extend the con-
  version time by one day. Critical failures turn the gun into
  scrap metal. Any critical success gives a gun with ordinary
  Malf.; otherwise Malf. is -1 from the pre-conversion gun – con-
  versions almost never run as reliable as factory guns.
  RoF will typically be 20 for a converted pistol, 6 for a con-
  verted shotgun, 10 for a converted rifle in a large caliber such
  as 7.62¥51mm NATO, and 15 for a converted rifle in a small
  caliber such as 5.56¥45mm NATO.
  FITTING A GUN
  TO ITS OWNER
  A gun can be modified so that it fits its owner perfectly.
  Features like length of pull of the shoulder stock; overall
  weight; pistol grip shape and size; checkering or other texture
  improvement of the grip, trigger, hammer, or other surfaces;
  trigger pull; sights; etc. can be adjusted to a specific shooter.
  This also includes stocks for one-armed or one-eyed shooters,
  which need to be specially shaped.
  The ultimate modification is not a modification at all –
  rather, the gun is actually made to order for a shooter. This was
  and is common for the more expensive shotguns and sporting
  rifles, such as the Manton 12-bore Double (High-Tech, p. 104),
  H&H .600 Royal Express (High-Tech, p. 111, and High-Tech:
  Pulp Guns 2, p. 7), or Rigby Best Quality Double (High-Tech:
  Pulp Guns 2, p. 10). Paying full cost for a new gun of this type
  already includes fitting it to the owner.
  For other firearms, double cost of the weapon. The ideal
  way to model this in GURPS is to treat it as a Weapon Bond
  (p. 23). However, note that a shooter can also bond to a gun
  that is not modified in any way!
  SHORTENING A HANDGUN
  Most handguns with Bulk -2 or -3 can have their Bulk
  improved by one step by shortening the barrel (and slide, if the
  barrel is completely covered by it). The best anyone can get this
  way is Bulk -1. This will also lower weight somewhat (reduce
  by 0.5 lb. or so). Multiply Dmg by 0.85, and reduce Acc by 1.
  ST and Rcl may also get worse.
  A professional shortening requires 12 hours and one
  Armoury (Small Arms) roll.
  SHORTENING A LONG ARM
  Shortening a long arm usually means removing part of bar-
  rel and/or stock. Long arms with Bulk -6 or worse can be
  improved by up to two steps by shortening the barrel. Long
  arms with Bulk -5 or better can be improved by only one step
  by sawing off the barrel. In either case, Bulk can be improved
  a further step if the stock is removed or replaced by a folding
  stock (High-Tech, p. 160) – unless the weapon is a bullpup (but
  converting an ordinary long arm to a bullpup will also reduce
  Bulk by one step; see p. 40). A long arm’s Bulk can never be
  improved to better than Bulk -3.
  Simply sawing off barrel or stock requires nothing more
  than a hacksaw (High-Tech, p. 25) and a couple of minutes of
  sawing. However, for any weapon other than a shotgun, it is
  usually necessary to move back the sights, install new hand-
  guards, refinish the weapon, etc. This requires two days’ work
  and two Armoury (Small Arms) rolls.
  EQUIPMENT
  41
  FIREARM ACCESSORIES
  Gun fu stylists need stylish guns. Even ordinary firearms
  can be customized and tricked out to the max. See Weapon
  and Combat Accessories (p. B289) and Firearms Accessories
  (High-Tech, pp. 153-161) for a wide selection. The following
  items expand on these lists.
  WEAPON CUSTOMIZATION
  These customization options are both real and common in
  the movies.
  Compensator (TL6)
  A compensator is a muzzle attachment designed to reduce
  the recoil and muzzle rise of a firearm. It vents some of the fir-
  ing gases upward and/or to the rear, thereby reducing the
  climbing and recoiling movement of the weapon. This
  improves the chances of hitting with rapid fire.
  A compensator reduces the weapon’s ST rating by 1 and
  grants +1 to effective skill whenever three or more shots are fired
  (RoF 3+). A weapon fitted with it gives +2 to Hearing and Vision
  rolls to locate it in the dark, and it will ruin the night sight of the
  gunner (increasing any darkness penalties by -2, up to the max-
  imum of -9, p. B548). Any shooter unfamiliar (p. B169) with a
  weapon so fitted is at a further -2 to Guns due to the distracting
  flash and unburned powder propelled into his sightline and back
  at him during firing! A compensator can’t be combined with a
  sound suppressor. A compensator can be combined with a muz-
  zle weight, but the skill bonus can’t exceed +1. It can’t be com-
  bined with a muzzle port. $350, 0.2 lb. (pistol or SMG), 0.5 lb.
  (shotgun or medium-powered rifle), 0.7 lb. (high-powered rifle).
  Halve cost and weight at TL7. LC3.
  
  Muzzle Port (TL7)
  This adds ports or holes in the top of the gun’s barrel, vent-
  ing some of the firing gas to the top just like a compensator. A
  muzzle port reduces the weapon’s ST rating by 1 and grants +1
  to effective skill whenever three or more shots are fired (RoF
  3+). However, due to the ported barrel, the muzzle velocity of
  the projectile is reduced; this gives -1 to Dmg. Furthermore, a
  ported weapon gives +2 to Hearing and Vision rolls to locate it
  in the dark, and it will ruin the night sight of the gunner
  (increasing any darkness penalties by -2, up to the maximum
  of -9, p. B548). Any shooter unfamiliar (p. B169) with a
  weapon so fitted is at a further -2 to Guns due to the disconcert-
  ing flash and unburned powder blown into his sightline during
  firing! A muzzle port can’t be combined with a sound suppres-
  sor. A muzzle port can be combined with a muzzle weight, but
  the skill bonus can’t exceed +1. It can’t be combined with a
  compensator. $100. LC3.
  Muzzle Weight (TL7)
  A muzzle weight is a small weight attached below the bar-
  rel of a firearm (usually a handgun) to reduce the weapon’s ten-
  dency to flip upward during firing. This improves the chances
  of hitting with rapid fire, but it changes the balance of the gun.
  Properly tuned to gun and shooter, it can represent one of the
  small things that GURPS calls a Weapon Bond (p. 23). Muzzle
  weights were designed for and are mainly used on competition
  guns. They are also common in the movies as customization
  always looks cool . . .
  A muzzle weight grants +1 to effective skill whenever three
  or more shots are fired (RoF 3+), but it worsens Bulk by -1 – a
  pistol with Bulk -2 will have Bulk -3 with a muzzle weight fit-
  ted. A muzzle weight can be combined with a compensator or
  muzzle port, but the skill bonus can’t exceed +1. $100, 0.1-0.5
  lb. LC4.
  TACTICOOL GADGETS
  The following real gear is of dubious practical value, but it
  may be useful in truly cinematic campaigns.
  Mag Knuckles (TL7)
  This wicked-looking device is permanently attached to the
  base of a pistol magazine, arching upward along its forward
  edge. Inserted in the weapon, it protects the fingers of the
  shooting hand all the way up to the trigger guard. In melee
  combat, it can be used like brass knuckles (p. B271). It gets
  ejected when the magazine is changed. $20, 0.5 lb.
  Bubba Cup Holder (TL8)
  Attached to an accessory rail (High-Tech, p. 161) on the side
  of a long arm, this tactical cup holder can hold a can of beer or,
  for real survivors, a can of tactical bacon or other combat
  foods (see Go Tactical, or Go Home, below). $50, 0.5 lb.
  Underbarrel Pistol Mount (TL8)
  Attached to an accessory rail (High-Tech, p. 161) below the
  barrel of a long arm, this device allows a pistol to be clamped
  under the weapon. The idea is to use the pistol when the long
  arm runs dry or malfunctions, but this is really much less con-
  venient than drawing a pistol or simply reloading or fixing the
  long arm. Such a device is offered by an Israeli company for
  Glock pistols (High-Tech, pp. 100-101), but it could be made
  for any sidearm. The pistol doubles as a vertical foregrip as
  well. Adds -1 to long arm’s Bulk. $425, 0.5 lb.
  HOLSTERS,
  SCABBARDS, AND SLINGS
  Getting a pistol into or out of a holster takes one Ready
  maneuver. A successful Fast-Draw (Pistol) roll lets you draw
  a handgun as a free action; see Fast-Draw (p. 24). The
  Quick-Sheathe perk (p. 21) allows you to holster a weapon
  the same way.
  Unslinging or slinging a long arm takes two Ready maneu-
  vers – or three, if the slung position is on the back. For unsling-
  ing, a successful Fast-Draw (Long Arm) roll reduces these
  times by a second. The Quick-Sheathe perk extends the bene-
  fits of Fast-Draw to slinging a weapon.
  For those trying to maintain a low profile
  while packing heat, holster design and place-
  ment can greatly affect the Holdout skill. The
  best hiding places are the hardest to reach. A
  gunman must choose between getting to his
  gun quickly and keeping it out of sight.
  For additional information on holsters
  and other gear to carry guns, as well as
  some less cinematic gadgets, see High-Tech,
  pp. 153-154.
  Concealed Back Holster (TL6)
  This is a handgun holster worn on the
  back, below the neck. Realistically, it is diffi-
  cult to conceal anything in that area, espe-
  cially a normal handgun (a particularly slim
  and/or small weapon with Bulk -1 or better
  might work). It is also not very easy to get to –
  the shooter has to reach over the shoulder and
  into the collar to draw the gun.
  EQUIPMENT
  42
  Go Tactical, or Go Home
  In a campaign that wishes to take Tacticool (p. 22) to absurd lengths,
  almost any item can be “tactical” with some good marketing and a matte-
  black paint job (a testimonial by “real-life” SWAT members helps, too).
  Even items as prosaic as food are not safe from being marketed toward
  the tribal tattoo and wannabe Dim-Mak master:
  Tactical Food (TL7): These foods contain what warriors crave. Eating
  a complete meal temporarily adds 1 point to ST or DX for six hours. Tac-
  tical retort packaging can function as a single-use mini-tool kit (High-
  Tech, p. 24), and tactical cans can be used as an improvised missile
  weapon. $20, 1.5 lbs. per meal.
  Tactical Energy Drink (TL7): Double the electrolytes of a civilian drink!
  Chugging a can (real warriors require only a single Ready action) imme-
  diately restores 2 FP (+1 FP if you crush the can on your face, inflicting
  one point of cutting damage). Already full on FP? In that case, it tem-
  porarily adds 1 point to ST for one hour. $8, 1 lb.
  
  In cinematic campaigns, even a sawed-off shotgun
  with Bulk -3 (p. 41) could vanish in such a holster, as
  seen in Desperado. Detective John McClane demon-
  strates a more pedestrian solution for his Bulk -2
  Beretta Mod 92F (High-Tech, p. 100) in Die Hard, sub-
  stituting duct tape for the holster. -1 Fast-Draw
  (Pistol). -1 Holdout (but +5 if the person you’re trying
  to fool can only see you front-on, and can’t actually
  search you). $50, 1 lb. LC4.
  Fast-Draw Back Scabbard (TL6)
  This is a fast-draw scabbard for a long arm (or long
  melee weapon) worn on the back. It is open to one
  side (or will break open easily) so that the weapon can
  be drawn quicker by reaching over the shoulder. The
  scabbard (and gun) can’t be seen from the front (+3
  Holdout if the person you’re trying to fool can only see
  you front-on, and can’t actually search you), but it is
  easily visible from the rear or sides. It can be made for
  any gun with Bulk -4 or better, like many submachine
  guns or a short shotgun or carbine. This is demon-
  strated by adventurer Jack Colton with a sawed-off
  Browning BPS (p. 37) in Romancing the Stone. -1
  Fast-Draw (Long Arm). $100, 2 lb. LC4.
  Sleeve Holster (TL6)
  This is a spring-loaded holster strapped to the forearm. The
  wearer activates it via a lever near the elbow, typically by press-
  ing the elbow against the body. This requires a Fast-Draw
  (Pistol) roll. Success causes a slim metal bar to be thrust for-
  ward, allowing the gunman to grasp the handgun (no larger
  than Bulk -1) mounted at the end. Failure means the device
  fails to work properly; getting the weapon calls for the use of
  the free hand and a further Ready maneuver. Critical failure
  indicates the device breaks – extracting the gun means 2d sec-
  onds of prying and pulling with the free hand!
  For example, Captain James West uses a sleeve holster with
  a Remington Model 95 derringer (High-Tech, p. 91) in the TV
  series The Wild, Wild West. In Alien Resurrection, Christie has
  holdout pistols up both sleeves . . . A more cinematic version
  may even allow use of larger handguns with Bulk -2. For exam-
  ple, the Mariachi in Desperado has a full-sized Ruger KP90 pis-
  tol (p. 37) in either sleeve. -2 Holdout. $500, 0.5 lb. (1 lb. for a
  Bulk -2 handgun). LC4.
  Fast-Draw Rig (TL7)
  A holster and belt can be custom-built for speed. The drop-
  hip belt with its low-slung, smooth-drawing, steel-lined holster
  was patented in 1954 for Hollywood gunslingers. Although
  used in most Western movies, authentic Old West gunfighters
  never equipped themselves with it. Nevertheless, it is fast! +2
  Fast-Draw (Pistol). $500, 3 lbs. LC4.
  Machine Gun Case (TL7)
  A machine gun case allows the transportation of an auto-
  matic weapon in plain view, ready to fire, without the problems
  that carrying such a gun openly would entail. Innocent
  bystanders and casual observers will only notice the inconspic-
  uous case, while the shootist can open fire immediately, with-
  out taking the gun from the case.
  Realistic
  examples
  include
  the
  famous
  briefcases sold for the
  H&K
  MP5K
  subma-
  chine gun (High-Tech,
  p. 123). This is shown in
  action
  in
  The
  Replacement Killers and
  the
  Gunsmith
  Cats
  episode “Poison of the
  Scorpion.” More cine-
  matic equivalents are
  the
  guitar
  cases
  of
  Campa in Desperado.
  Shooting while hold-
  ing the case by the han-
  dle like a watering can
  is at -4 to Guns skill and
  multiplies Rcl by 1.5.
  For briefcases, a more
  efficient way suggested
  by special-ops instruc-
  tors consists of bracing
  the
  case
  against
  the
  midsection and holding
  it with both hands. This
  at least avoids the Rcl increase. Costs and weighs twice the
  gun’s cost and weight for a mass-produced case; triple cost for
  a custom design. LC2.
  MAGAZINE MODIFICATIONS
  AND RELOADING AIDS
  Several innovations exist to increase ammo capacity and/or
  cut reloading time for cartridge-firing repeaters. For the costs
  and weights of standard magazines, spare cylinders, and so on,
  see the weapon tables and descriptions.
  Speedload Magazine Holder (TL8)
  This is a reloading aid worn on the upper thigh, with one or
  more magazines stored in loops in such a way as to allow a
  one-handed (!) quick reload by pressing the empty magazine
  funnel in the pistol butt on the thigh. It reduces reloading time
  from three to two Ready maneuvers on a successful Fast-Draw
  (Ammo) roll. In a realistic campaign, carrying the magazines
  exposed in this way invites dirt to enter the magazines or can
  even damage the feed lips. This will give -1 to Malf.
  This cinematic gadget is shown in action by Lara Croft in
  Tomb Raider for her H&K USP Match pistols (p. 37) and by
  Lola in The Transporter 2 for her Glock 18C machine pistols
  (High-Tech, p. 101). $50, 0.5 lb. plus the weight of the maga-
  zines. LC4.
  Sleeve Magazine Loader (TL8)
  This is a cinematic reloading aid worn as a bracelet on the
  lower arm. On activation using Fast-Draw (Ammo), it shoves a
  fresh magazine into the butt of a pistol held in the same hand,
  reducing reloading from three to one Ready maneuver. Cleric
  John Preston in Equilibrium shows this in action. $100, 0.5 lb.
  plus the weight of one magazine. LC4.
  EQUIPMENT
  43
  
  The following inspirational fiction is useful for the visuali-
  zation of how the relevant styles, advantages, perks, skills, and
  techniques can look in action – but note that the entries are not
  intended as “write-ups” of the fictional characters.
  INSPIRATIONAL FICTION
  44
  APPENDIX
  INSPIRATIONAL
  FICTION
  FILMS AND TELEVISION
  Cinema is the medium of the gun fu genre, and the source
  and inspiration of most feats in Gun Fu! Note that these may
  contain spoilers.
  3000 Miles to Graceland (Demian Lichtenstein, 2001). One-
  Man Army Hamilton shows some spectacular acrobatic shoot-
  ing involving Dual-Weapon Attack (SMG), Flank Shot (SMG),
  and a pair of FN P90 personal defense weapons (High-Tech,
  p. 126). Ultimate Shootist Thomas Murphy demonstrates
  Cinematic Knockback (Pistol), Dual-Weapon Attack (Pistol),
  and Fast-Draw (Pistol) with two Colt .45 Government pistols
  (High-Tech, p. 98) – as well as Dramatic Death.
  Alien Resurrection (Jean-Pierre Jeunet, 1997). Space pirate
  Christie is a Double Trouble stylist with two holdout pistols
  (Ultra-Tech, p. 135) in sleeve holsters (p. 43). He demonstrates
  the Bank Shot technique with both a holdout pistol and a
  grenade launcher.
  Better Tomorrow, A (John Woo, 1986). Triad gangster Mark
  Gor is a Double Trouble stylist, displaying Combat Reflexes
  and Enhanced Dodge 1. He demonstrates New York reloads
  and the Cinematic Knockback (Pistol), Cinematic Option
  (Flesh Wounds), Dramatic Death, Infinite Ammunition (Quasi-
  Realistic), and Off-Hand Weapon Training (Pistol) perks.
  Among his techniques are Dual-Weapon Attack (Pistol and
  SMG), Fast-Firing (Pistol), Flank Shot (Pistol), Mounted
  Shooting (Motorboat/SMG), and Quick-Shot (Pistol).
  Boondock Saints, The (Troy Duffy, 1999). The brothers
  McManus
  are
  Double
  Trouble
  stylists
  with
  Infinite
  Ammunition (Quasi-Realistic), Off-Hand Weapon Training
  (Pistol), and Dual-Weapon Attack (Pistol). “Il Duce” shows a
  spectacular New York reload with a total of six handguns.
  Bourne Identity, The (Doug Liman, 2002). Ex-CIA black ops
  agent Jason Bourne is an Ultimate Shootist displaying Combat
  Reflexes, Cross-Trained (Realistic; all specializations), Off-
  Hand
  Weapon
  Training
  (Pistol),
  Standard
  Operating
  Procedure (Back to the Wall), Upside-Down Shooting (Pistol),
  Dual-Weapon Attack (Pistol), and Instant Arsenal Disarm
  (Pistol). Bourne performs an amazing acrobatic Targeted
  Attack (Pistol/Skull) while dropping down a stairwell.
  Commando (Mark Lester, 1985). Ex-Colonel John Matrix
  uses the One-Man Army style, demonstrating Danger Sense,
  Enhanced
  Dodge
  (Dive
  for
  Cover),
  Cinematic
  Option
  (Bulletproof Nudity and Flesh Wounds), Cross-Trained
  (Cinematic; all specializations), Infinite Ammunition (Quasi-
  Realistic), and Walking Armory. Especially prominent is the
  display of the Army of One perk when he one-handedly fires a
  Saco M60E3 machine gun (High-Tech, p. 134).
  Desperado (Robert Rodriguez, 1995). The Mariachi is a
  Double Trouble stylist using twin Ruger KP90 pistols (p. 37)
  and a sawed-off Colt Model 1878 “whippet” shotgun (High-
  Tech: Pulp Guns 1, p. 22). He shows fast-draws from sleeve
  holsters (p. 43) and a concealed back holster (pp. 42-43).
  Advantages on display include Danger Sense, Enhanced
  Dodge 3, Extra Attack 1, and Gunslinger. He demonstrates
  Akimbo (Pistol), Gun Shtick (Twirl), Infinite Ammunition
  (Quasi-Realistic), Pants-Positive Safety, and Pistol-Fist
  (Guns) – as described by Buscemi, he also has Cinematic
  Knockback (Shotgun). The Mariachi frequently uses acro-
  batic attacks and dodges. Among his techniques are Behind-
  the-Back Shot (Pistol), Fast-Firing (Pistol), Flank Shot (Pistol
  and Shotgun), and Quick-Shot (Pistol).
  Django (Sergio Corbucci, 1966). Django is a One-Man
  Army/Way of the West stylist with Combat Reflexes,
  Gunslinger, and Signature Gear. He exhibits Army of One,
  Early Adopter (Machine Guns), Gun Shtick (Twirl), Hand
  Cannon, and Off-Hand Weapon Training (Pistol). For maxi-
  mum effectiveness with his Colt .45 SAA Artillery revolver
  (High-Tech, p. 95), Django shows Fast-Draw (Pistol), Behind-
  the-Back Shot (Pistol), Fanning, and Quick-Shot (Pistol).
  Nobody does the right thing.
  – Marie Kreutz,
  The Bourne Identity
  
  Equilibrium (Kurt Wimmer, 2002). The Grammaton Clerics
  are masters of Gun Kata: a ritualized Future Kill style using
  pairs of compensated (p. 41) Beretta Mod 92F pistols (High-
  Tech, p. 100) converted to auto-fire (pp. 40-41), concealed in
  sleeve holsters (p. 43) complete with sleeve magazine holders
  (p. 43). Cleric John Preston demonstrates Ambidexterity,
  Combat Reflexes, Enhanced Dodge 4, Extra Attack 1, Extra
  Attack 2 (Multi-Strike), and Gunslinger. He displays acrobatic
  attacks and dodges, as well as many perks including Akimbo
  (Pistol), Infinite Ammunition (Quasi-Realistic), One-Armed
  Bandit (Shotgun), and Quick Reload (Magazine). Preston has
  high
  skill
  in
  Acrobatics,
  Blind
  Fighting,
  and
  Zen
  Marksmanship (Pistol). Among his techniques are Behind-the-
  Back Shot (Pistol), Close-Hip Shooting (Pistol), Flank Shot
  (Pistol), Retain Weapon (Pistol), and Whirlwind Attack
  (Pistol). He uses an interesting combination of Disarming
  (Karate), Gun Shtick (Twirl), Dual-Weapon Attack (Shotgun),
  and Flank Shot (Shotgun) with each hand to simultaneously
  relieve two guards of their Remington Model 870P cruiser
  shotguns (High-Tech, p. 106) and then shoot them with their
  own guns. Preston also quick-readies a weapon by kicking up
  an H&K G36 (High-Tech, p. 121) from the ground.
  Eraser (Chuck Russell, 1996). U.S. Marshal John “The
  Eraser” Kruger is a One-Man Army stylist displaying Early
  Adopter (Rifles), Hand Cannon, and Dual-Weapon Attack
  (Rifle) with two Cyrez EM-1 sniper railguns (compare Ultra-
  Tech, p. 141). He also shows the Cinematic Knockback (Rifle
  and Shotgun), Infinite Ammunition (Cinematic), and Silencer
  (Pistol) perks.
  Fifth Element, The (Luc Besson, 1997). Ex-Major Korben
  Dallas is an Ultimate Shootist complete with the Acute Vision,
  Combat Reflexes, Enhanced Dodge, Extra Attack 5 (Multi-
  Strike), and Gunslinger advantages. He demonstrates the
  Cookie Cutter (Rifle), Cross-Trained (Cinematic; every special-
  ization “needed on this mission”), Flimsy Cover, Gun Sense
  (Rifle), and Infinite Ammunition (Over the Top) perks, as well
  as the Fast-Firing (Pistol), Off-Hand Weapon Training (Rifle),
  and Targeted Attack (Pistol/Head) techniques.
  Firefly (Joss Whedon, 2002-2003). Captain Malcolm “Mal”
  Reynolds has the Gunslinger advantage, best shown in the
  episode “Serenity.” However, the real Gun Fu stylist in
  the series is River Tam – although her Future Kill talents are
  hidden by Partial Amnesia. In “War Stories,” she demon-
  strates Extra Attack 2 (Multi-Strike) – while using Blind
  Fighting and Zen Marksmanship! Jayne Cobb showcases
  both Connoisseur (Guns) and Tacticool.
  Fistful of Dollars, A (Sergio Leone, 1964). Gunman Joe is
  a Way of the West stylist. He fast-draws and fast-loads his
  Colt .45 SAA Artillery. Additionally, he displays Gunslinger,
  Fastest Gun in the West (Pistol), Gun Shtick (Twirl), Gun
  Whisperer (Pistol), Fanning, Quick-Shot (Pistol), and
  Targeted Attack (Pistol/Weapon).
  Good, the Bad, and the Ugly, The (Sergio Leone, 1966).
  “Blondie,” “Angel Eyes” Sentenza, and Tuco “The Rat” Ramirez
  are all Way of the West stylists. Blondie displays Fastest Gun in
  the West (Pistol), Gun Shtick (Twirl), Fanning, and Quick Shot
  (Pistol) with a cartridge-converted (High-Tech, p. 164) Colt
  Model 1851 Navy (High-Tech, p. 93). He uses Gun Sense to rec-
  ognize the sound of Tuco’s Colt Navy. Blondie also has Rope
  Shooter (Rifle) and Gun Shtick (Next Time, It’s Your Head).
  Tuco demonstrates Armorer’s Gift.
  Grenadier (Hiroshi Kojina, 2004-2005). The Enlightened
  Tendo Rushuna is a Way of the West stylist with Cinematic
  Option (Bulletproof Nudity), Deadeye, Gun Shtick (Trick
  Reload), Quick Reload (Cartridge), Rope Shooter (Pistol), and
  Weapon Bond. She also displays Danger Sense and Enhanced
  Time Sense with occasional Bullet Time.
  Hard-Boiled (John Woo, 1992). Hong Kong Police Inspector
  “Tequila” Yuen uses elements of both the Double Trouble and
  Ultimate Shootist styles, with lots of acrobatic attacks and
  dodges. Tequila has Combat Reflexes, Enhanced Dodge 2, and
  Gunslinger – the latter evidenced by his patented unaimed pre-
  cision revolver shots. His perks include several specializations
  of Cinematic Knockback and Cross-Trained (Cinematic; all
  specializations), as well as Akimbo (Pistol), Fireball Shot,
  Flimsy Cover, Infinite Ammunition (Over the Top), Off-Hand
  Weapon Training (Pistol and Shotgun), and Scattergun.
  Techniques on display are Dual-Weapon Attack (Pistol and
  Shotgun) and Quick-Shot (Pistol) – preferably with a Beretta
  Mod 92F in either fist . . .
  Judge Dredd (Danny Cannon, 1995). Judge Joseph Dredd
  shows the Dial-a-Round perk in action with his voice-activated
  Lawgiver 2 heavy pistol (compare Ultra-Tech, p. 135).
  Killer, The (John Woo, 1989). Triad hitman Ah Jong is a
  Double Trouble stylist displaying Combat Reflexes, Enhanced
  Dodge 1, and Gunslinger. His perks include Akimbo (Pistol),
  Cinematic Knockback (Shotgun), Deadeye, Dramatic Death,
  Gun
  Whisperer
  (Pistol),
  Infinite
  Ammunition
  (Quasi-
  Realistic), and Off-Hand Weapon Training (Pistol and
  Shotgun). He shows Close-Hip Shooting (Pistol), Dual-Weapon
  Attack (Pistol), Fast-Firing (Pistol), Flank Shot (Pistol), and
  Quick-Shot (Pistol), with lots of acrobatic attacks and dodges.
  He usually works with two Beretta Mod 92F pistols, but he also
  has a Walther PPK (High-Tech, p. 99) up his left sleeve (p. 43).
  Ah Jong quick-readies a weapon by catapulting a S&W Model
  36 Chief’s Special (High-Tech, p. 96) from a nearby table.
  Last Action Hero (John McTiernan, 1993). LAPD Detective
  Jack Slater is an Ultimate Shootist displaying Area Defense
  (Pistol), Infinite Ammunition (Cinematic), Pants-Positive
  Safety, and Walking Armory with an IMI Desert Eagle (High-
  Tech, p. 102). He also shows Dual-Weapon Attack (SMG) and
  Mounted Shooting (Automobile/Pistol).
  Last Man Standing (Walter Hill, 1996). Gunman “John
  Smith” has mastered the Double Trouble style to perfection,
  with two Colt .45 Government pistols as Signature Gear
  and with Weapon Bonds. He demonstrates Combat Reflexes,
  Gunslinger, and several perks, including Akimbo (Pistol),
  Cinematic Knockback (Pistol), Gun Shtick (Stone-Cold
  Killer), Infinite Ammunition (Quasi-Realistic), and Off-Hand
  Weapon Training (Pistol). Smith shows fast-draws and tech-
  niques like Dual-Weapon Attack (Pistol), Fast-Firing (Pistol),
  and Quick-Shot (Pistol).
  INSPIRATIONAL FICTION
  45
  Alan: Pang said you don’t
  waste bullets.
  Tequila: Are you testing me?
  – Hard-Boiled
  
  Last of the Mohicans, The (Michael Mann, 1992). Pathfinder
  Nathaniel “Hawkeye” Poe is a Sniper stylist showing
  Gunslinger in action – using “Killdeer,” a Kentucky rifle (High-
  Tech, p. 107) for which he also has a Weapon Bond. He demon-
  strates Deadeye, Quick Reload (Muzzleloader), Fast-Draw
  (Long Arm), and Dual-Weapon Attack (Rifle).
  Léon (The Professional) (Luc Besson, 1994). Mafia hitman
  Léon is an Ultimate Shootist, mainly using two compensated
  Beretta Mod 92F pistols with Weapon Bonds. He shows acro-
  batic attacks and displays Combat Reflexes, Extra Attack 2
  (Multi-Strike), and Gunslinger. His perks include Akimbo
  (Pistol), Armorer’s Gift (Pistol), Cookie Cutter (Pistol), Dramatic
  Death, Gun Sense (Pistol), Silencer (Pistol), and Standard
  Operating Procedure (On Alert and Sleep with One Eye Open).
  Lethal Weapon 4 (Richard Donner, 1998). LAPD Detective
  Martin Riggs uses the integral targeting laser (High-Tech,
  p. 156) of his Beretta Mod 92F for obliquely aiming a Bank
  Shot. Even more interesting, Wah Sing Ku shows the Instant
  Arsenal Disarm (Pistol) technique on Riggs’ Beretta. He also
  demonstrates dodging a bullet with Enhanced Time Sense.
  License to Kill (John Glen, 1989). CIA Agent Pam Bouvier
  demonstrates Cookie Cutter (Shotgun) with a Mossberg Model
  500ATP6 Cruiser shotgun (p. 38).
  Matrix, The (Andy and Larry Wachowski, 1999). “Neo” in
  the Matrix is a Future Kill stylist preferring matched pairs of
  guns like the Beretta Mod 92F, H&K MP5K (High-Tech,
  p. 123), CZ Sa vz. 61 Skorpion (High-Tech, p. 125), and IMI
  Micro-Uzi (High-Tech, p. 126). He demonstrates lots of New
  York reloads, acrobatic shooting and dodging, and the advan-
  tages Combat Reflexes, Enhanced Dodge 4, Enhanced Time
  Sense, Extra Attack 1, and Gunslinger. His perks include
  Akimbo (Pistol and SMG), Cross-Trained (Cinematic; every
  specialization uploadable), and Walking Armory. He displays
  Fast-Firing (Pistol) and Flank Shot (SMG). Neo shows how to
  quick-ready a weapon by picking up a Colt M16 (High-Tech,
  p. 117) from the ground during an acrobatic cartwheel.
  Max Payne (John Moore, 2008). NYPD Detective Max Payne
  is an Ultimate Shootist demonstrating Combat Reflexes,
  Enhanced Time Sense (specifically, Bullet Time), and
  Gunslinger, as well as Cinematic Knockback (Shotgun),
  Infinite Ammunition (Quasi-Realistic) and Off-Hand Weapon
  Training (SMG). He’s especially adept at acrobatic attacks and
  dodges. Max shows techniques like Dual-Weapon Attack
  (SMG) and Behind-the-Back Shot (Shotgun).
  Mummy, The (Stephen Sommers, 1999). Adventurer Rick
  O’Connell is a Double Trouble stylist – as are in fact most
  shooters in this movie. He employs twin Chamelot-Delvigne
  Mle 1874 revolvers (High-Tech: Pulp Guns 1, p. 7), showcas-
  ing Combat Reflexes, Enhanced Dodge (Dive for Cover),
  Infinite Ammunition (Quasi-Realistic), Off-Hand Weapon
  Training (Pistol), Fast-Draw (Pistol), Dual-Weapon Attack
  (Pistol), and Targeted Attack (Pistol/Weapon).
  My Name is Nobody (Tonino Valerii, 1973). “Nobody” is a
  Way of the West stylist with Gunslinger and Enhanced Time
  Sense (at least for his Super-Fast Draws). He also shows
  Fastest Gun in the West (Pistol), Gun Shtick (Next Time, It's
  Your Head and Twirl), Quick-Sheathe (Pistol), Fast-Draw
  (Pistol), Dual-Weapon Attack (Pistol), and Thumbing with his
  Colt Model 1851 Navy revolver.
  Outlaw Josey Wales, The (Clint Eastwood, 1976). Rebel
  Josey “Mr. Lightning” Wales is a master of the Way of the West.
  He has Combat Reflexes and perks like Fastest Gun in the West
  (Pistol), Off-Hand Weapon Training (Pistol), and several
  Weapon Bonds. His demonstration of a double-handed Gun
  Shtick (Twirl) with a pair of huge Colt Model 1847 Walker
  revolvers (High-Tech, p. 93) is flawless. In addition to high
  Fast-Draw (Pistol) and Guns (Pistol and Rifle) skill, he shows
  the techniques Combat Riding (Horse), Dual-Weapon Attack
  (Pistol), Hands-Free Riding (Horse), Mounted Shooting
  (Horse/Pistol), Quick Shot (Pistol), and Thumbing.
  Predator (John McTiernan, 1987). All the members of Major
  Alan “Dutch” Schaefer’s rescue team have the Infinite
  Ammunition (Quasi-Realistic) perk; Dutch himself also has
  Bulletproof Nudity. Sergeants Blain Cooper and Mac Eliot
  both have Army of One, used with a GE M134 helicopter mini-
  gun (High-Tech, p. 135).
  Quigley Down Under (Simon Wincer, 1990). Buffalo hunter
  Matthew Quigley is a Way of the West stylist. He demonstrates
  Signature Gear, Cinematic Knockback (Rifle), Deadeye, Early
  Adopter (Rifles), and Weapon Bond with his fine (accurate)
  Sharps Model 1874 (High-Tech, p. 110). Quigley also shows
  Fastest Gun in the West and Fanning with a cartridge-con-
  verted Colt Model 1860 Army (High-Tech, p. 93).
  Shadow, The (Russell Mulcahy, 1994). Pulp hero Lamont
  “The Shadow” Cranston is a Double Trouble stylist with two
  .45 Silver Heat pistols (custom-made Colt .45 Government
  Longslide models; see High-Tech, pp. 98-99). In the duel with
  Shiwan Khan, he demonstrates Area Defense (Pistol).
  Shoot ’Em Up (Michael Davis, 2007). Mr. Smith is an
  Ultimate
  Shootist
  demonstrating
  Combat
  Reflexes,
  Enhanced Dodge 4, Gunslinger, Armorer’s Gift (Pistol), Cross-
  Trained (Cinematic; all specializations), Infinite Ammunition
  (Quasi-Realistic), Off-Hand Weapon Training (Pistol and
  SMG), and Pistol-Fist (Guns). He’s especially adept at acro-
  batic attacks. Among his techniques shown are Dual-Weapon
  Attack (SMG), Flank Shot (Pistol), Mounted Shooting
  (Automobile/Rifle), Quick-Shot (Pistol), and Whirlwind
  Attack (SMG) – while dropping down a rope! He also quick-
  readies a weapon by grabbing an IMI Galil MAR (p. 38) from
  the ground while driving past it . . .
  Shooter (Antoine Fuqua, 2007). Ex-Gunnery Sergeant
  Bob Lee Swagger is a Sniper/Ultimate Shootist displaying
  Acute Vision, Combat Reflexes, Gunslinger, Deadeye, Sure-
  Footed (Naval Training), Close-Quarters Battle (Pistol and
  Rifle), Precision Aiming (Rifle), and Targeted Attack
  (Pistol/Skull and Rifle/Skull) – with everything between a
  .22-caliber “poodle shooter” and a .50-caliber Barrett M82A1
  (High-Tech, p. 118).
  INSPIRATIONAL FICTION
  46
  Now remember, things look bad and it
  looks like you’re not gonna make it, then
  you gotta get mean. I mean plumb, mad-
  dog mean. ’Cause if you lose your head
  and you give up then you neither live nor
  win. That’s just the way it is.
  – Josey Wales, The Outlaw
  Josey Wales
  
  Starship Troopers (Paul Verhoeven, 1997). Mobile Infantry
  soldier Juan “Johnny” Rico is an Ultimate Shootist displaying
  Ambidexterity, Army of One, Infinite Ammunition (Quasi-
  Realistic), Dual-Weapon Attack (Rifle), and Quick-Shot (Rifle),
  with an Morita assault rifle with underbarrel shotgun (com-
  pare Ultra-Tech, p. 136).
  Star Wars Episode IV: A New Hope (George Lucas, 1977).
  Smuggler Han Solo demonstrates the effectiveness of the
  Gunslinger advantage on several occasions. He has the perk
  Fastest Gun in the West – especially in evidence in the sequel
  Star Wars Episode V: The Empire Strikes Back (Irvin Kershner,
  1980). Solo wears a nice low-slung fast-draw holster (p. 43)
  for his BlasTech DL-44 blaster pistol (compare Ultra-Tech,
  p. 123) – for which he undoubtedly has Signature Gear and a
  Weapon Bond.
  Terminator 2: Judgment Day (James Cameron, 1991). The
  T-800 displays the Army of One perk, firing a Colt M79
  grenade launcher (High-Tech, p. 142) and a Hawk MM1
  grenade launcher (High-Tech, p. 143) one-handed, and man-
  packing a GE M134 helicopter minigun. In addition, he
  shows Cross-Trained (Cinematic; every specialization in his
  files) and One-Armed Bandit (Shotgun), the latter with a
  sawed-off Winchester Model 1887 (High-Tech, p. 105). In
  both the original The Terminator (James Cameron, 1984) and
  the sequel, the T-800 exhibits Connoisseur (Guns). He also
  displays Akimbo (Rifle and Shotgun) and Mounted Shooting
  (Automobile/Shotgun and Motorcycle/Shotgun).
  Tomb Raider (Simon West, 2001). Lady Lara Croft is a
  Double Trouble stylist with Combat Reflexes, Enhanced
  Dodge 2, Gunslinger, and Signature Gear. Among the perks
  shown are Akimbo (Pistol), Gun Shtick (Twirl), Off-Hand
  Weapon
  Training
  (Pistol
  and
  SMG),
  Quick
  Reload
  (Magazine), Quick-Sheathe (Pistol), and Rope Shooter
  (Pistol), plus Weapon Bonds for her H&K USP Match pistols
  (p. 37). Her skills include Breaking Blow (Guns), Connoisseur
  (Guns), and Fast-Draw (Ammo and Pistol). She is especially
  fond of acrobatic attacks and dodges. In this adventure, Lara
  displays the following techniques: Close-Quarters Battle
  (Pistol), Dual-Weapon Attack (Pistol), Fast-Firing (Pistol),
  and Mounted Shooting (Motorcycle/SMG). In the sequel
  Tomb Raider: The Cradle of Life (Jan de Bont, 2003), she also
  shows One-Arm Bandit (Rifle) and Mounted Shooting
  (Horse/Rifle).
  Transporter, The (Corey Yuen, 2002). Driver Frank Martin is
  an Ultimate Shootist. He has the Enhanced Dodge advantage
  (made easier by the clearly visible cinematic bullet paths) and
  shows how to quick-ready a pistol from a table by yanking the
  table cloth from it. In the sequel The Transporter 2 (Louis
  Leterrier, 2005), he demonstrates the Instant Arsenal Disarm
  (Pistol) technique with a H&K USP Match – where it is techni-
  cally impossible to remove the slide in this way.
  Trigun (Satoshi Nishimura, 1998): Vash the Stampede is a
  Way of the West stylist displaying Enhanced Dodge,
  Gunslinger, Area Defense (Throwing), Fastest Gun in the West,
  Gun
  Whisperer
  (Pistol),
  Infinite
  Ammunition
  (Quasi-
  Realistic), Just Winged Him (Pistol), and Weapon Bond.
  Nicholas Wolfwood is a One-Man Army stylist with Early
  Adopter (LAW), Hand Cannon, and Dramatic Death.
  INSPIRATIONAL FICTION
  47
  First-person shooter (FPS) games are a terrific source of
  gun fu inspiration. They’re all about shooting, and they
  crank cinematic excesses up to 11, limited only by hard-
  ware. Gunslinger certainly suits FPS-based campaigns, but
  here are some less-obvious ideas.
  Gaming hardware suggests several abilities. A few
  examples: Enhanced Tracking emulates having your char-
  acter’s entire field of view on a convenient screen. Quick-
  Shot and Fast-Firing reflect being able to shoot as fast as
  you can move a cursor and tap a button.
  Other capabilities can mimic shortcuts taken to stream-
  line the software. Cross-Trained might simulate different-
  looking weapons sharing computer code. Flimsy Cover can
  represent the fact that most scenery stops bullets – fully
  destructible environments add huge processor overhead!
  Of course, FPS games also take shortcuts that dismiss
  boring realism in the name of fun. For instance, heroes can
  lug many weapons, rapidly switch between them, and
  know how much ammo is loaded. Thus, Fast-Draw, Gun
  Whisperer, Quick-Sheathe, and Walking Armory are near-
  universal. The same goes for Fast-Draw (Ammo) and Quick
  Reload – FPS characters reload quickly or instantly,
  although actual Infinite Ammunition is rare.
  An old FPS standby is carrying two guns while grabbing
  items, opening doors, etc., and then using both weapons
  with no loss of (and sometimes a gain in) performance.
  Akimbo, Ambidexterity, Dual Ready, Dual-Weapon Attack,
  and/or Off-Hand Weapon Training are all exceptionally
  common! Similarly, heroes can use oversized and support
  weapons easily, often one-handed. Thus, Army of One and
  Hand Cannon are widespread.
  Countless other options suit particular weapons. Some
  guns can perform Area Defense against slow-moving pro-
  jectiles, Bank Shot is standard for grenades (hand and
  launched) and often extended to guns, most shotguns use
  Scattergun (and Double-Loading, if double-barreled), and
  Silencer is the norm for suppressed weapons.
  Still other traits ape game-specific features. Danger
  Sense produces effects similar to the “radar” and other
  cues common in video games. Enhanced Dodge is a simple
  way to handle stunts like “bunny hopping” and “dodge-
  jumping.” Tracer Eyes simulates how shots leave clear
  streaks or high-visibility hits. Certain games even have Bul-
  let Time, suggesting Enhanced Time Sense.
  Some options don’t suit FPS-inspired campaigns,
  though. Behind-the-Back Shot and Flank Shot are rare;
  few games let you interact with anything your crosshairs
  aren’t centered on. Immediate Action and Tap-Rack-Bang
  are pointless; video-game weapons never malfunction.
  Likewise, unless the scenery is destructible, Cookie Cutter
  is inappropriate.
  What About Video Games?
  
  Trinity Blood (Tomohiro Hirata, 2005). Tres “Gunslinger”
  Igus shows the Double Trouble style in action, complete with
  Enhanced Dodge (Dive for Cover), Enhanced Time Sense,
  Gunslinger, Cookie Cutter (Pistol), Gun Shtick (Stone Cold
  Killer), Off-Hand Weapon Training (Pistol), and Dual-
  Weapon Attack (Pistol).
  True Grit (Henry Hathway, 1969). Marshal Reuben
  “Rooster” Cogburn is a Way of the West stylist. He shows One-
  Armed Bandit (Rifle) with a customized Winchester Model
  1892 carbine (High-Tech, p. 110) with Weapon Bond, allowing
  him to fire it with one hand only. He also demonstrates
  Combat Riding (Horse), Dual-Weapon Attack (Pistol and
  Rifle), Hands-Free Riding (Horse), and Mounted Shooting
  (Horse/Pistol and Horse/Rifle).
  True Lies (James Cameron, 1994). Omega Agent Harry
  Tasker is an Ultimate Shootist. He displays Combat Reflexes,
  Enhanced Dodge (Dive for Cover), Gunslinger, Cross-Trained
  (Cinematic; all specializations), Flimsy Cover, Pants-Positive
  Safety, Dual-Weapon Attack (SMG), and Flank Shot (SMG).
  He also demonstrates acrobatic shooting and quick-readying
  a weapon by kicking up an Izhmash AKM (High-Tech,
  p. 114) from the ground. Another impressive move consists
  of a Fast-Draw (Pistol), 180° change of facing, and Targeted
  Attack (Pistol/Skull).
  Underworld (Len Wiseman, 2003). Death Dealer Selene is
  a Double Trouble stylist, using two muzzle-weighted (p. 42)
  Beretta Mod 92F pistols or twin Walther P99 pistols (High-
  Tech, p. 103), all converted to auto-fire (pp. 40-41). She
  demonstrates Combat Reflexes, Akimbo (Pistol), Cookie
  Cutter (SMG), Infinite Ammunition (Quasi-Realistic), and
  Off-Hand Weapon Training (Pistol), as well as Dual-Weapon
  Attack (Pistol).
  Wanted (Timur Bekmambetov, 2008). Assassin Wesley
  Gibson is a Future Kill stylist with Enhanced Time Sense
  (specifically, Shooting Between Raindrops), Extra Attack 1,
  and Gunslinger. Using a H&K USP Compact (High-Tech,
  p. 102) and a muzzle-weighted Beretta Mod 92S, he shows lots
  of acrobatic shooting, Akimbo (Pistol), Area Defense (Pistol),
  Bend the Bullet (Pistol), Zen Marksmanship (Pistol and Rifle),
  Behind-the-Back Shot (Pistol), Flank Shot (Pistol), and
  Mounted Shooting (Automobile/Pistol).
  Where Eagles Dare (Brian Hutton, 1968). OSS Lieutenant
  Morris Schaeffer is an Ultimate Shootist, displaying Combat
  Reflexes, Cross-Trained (Pistol and SMG; special-ops training),
  Silencer (Pistol), and Dual-Weapon Attack (SMG). He also has
  Infinite Ammunition (Quasi-Realistic), at least when using an
  ERMA MP40 (High-Tech, p. 124).
  INSPIRATIONAL FICTION
  48
  BOOKS AND COMICS
  Books and comics can also provide inspiration for Gun Fu
  campaigns.
  Ahern, Jerry. The Survivalist (Zebra Books, 1981-1993). Ex-
  CIA Agent John Rourke is an Ultimate Shootist preferring twin
  Detonics .45 Combat Master pistols (High-Tech, p. 99) and a
  Colt CAR-15 R6001 Sporter (High-Tech, p. 119). He demon-
  strates Combat Reflexes, Night Vision, Signature Gear,
  Deadeye, Off-Hand Weapon Training (Pistol), Pistol-Fist
  (Guns), Standard Operating Procedure (On Alert), Weapon
  Bond, Close-Hip Shooting (Pistol), Close-Quarters Battle
  (Pistol), Dual-Weapon Attack (Pistol), Quick-Shot (Pistol), and
  Targeted Attack (Pistol/Skull and Rifle/Skull).
  Drake, David. Hammer’s Slammers (Ace Books, 1979).
  Mercenary Major Joachim Steuben is a Way of the Galaxy styl-
  ist displaying Acute Vision, Gunslinger, Deadeye, Fastest Gun
  in the West, Weapon Bond, Fast-Draw (Pistol), Quick-Shot
  (Pistol), and Targeted Attack (Pistol/Skull). He wears a fast-
  draw holster (p. 43) for his engraved 1cm powergun (a 10-shot
  plasma pistol; compare Ultra-Tech, p. 127).
  King, Stephen. The Dark Tower (Donald Grant, 1982-2004).
  Gunslinger Ronald Deschain is a Way of the West stylist
  demonstrating Combat Reflexes, Gunslinger, Signature Gear,
  Akimbo (Pistol), Deadeye, Fastest Gun in the West, Off-Hand
  Weapon Training (Pistol), Quick Reload (Cartridge), and
  Weapon Bond for his twin Colt .45 SAA Cavalry revolvers
  forged from the steel of King Arthur’s sword Excalibur. His
  skills and techniques include Fast-Draw (Ammo and Pistol),
  Dual-Weapon Attack (Pistol), and Quick-Shot (Pistol).
  Shum, Howard. Gun Fu (Image Comics, 2005). Hong
  Kong Police Inspector Cheng Bo Sen is a Double Trouble styl-
  ist. He demonstrates Gunslinger, Akimbo (Pistol), Infinite
  Ammunition (Quasi-Realistic), Off-Hand Weapon Training
  (Pistol and SMG), Pistol-Fist (Guns), Dual-Weapon Attack
  (Pistol and SMG), Flank Shot (Pistol), and lots of acrobatic
  shooting.
  Sonoda, Kenichi. Gunsmith Cats (Dark Horse Comics,
  1995-2001). Bounty hunter Irene “Rally” Vincent is an Ultimate
  Shootist with Combat Reflexes and Gunslinger. Throughout
  the series, she displays perks such as Deadeye, Gun Shtick
  (Trick Reload and Twirl), Gun Whisperer, Lightning Fingers
  (Pistol), Pistol-Fist (Guns), Supplier (Gun Shop Owner, 10%),
  and Weapon Bond for her CZ Model 75 (p. 36). Rally also
  demonstrates Area Defense (Pistol), shooting at a grenade leav-
  ing the muzzle of a H&K HK69A1 launcher (High-Tech,
  p. 142) and detonating it. Some of her favorite skills and tech-
  niques are Fast-Draw (Ammo and Pistol), Mounted Shooting
  (Automobile/Pistol), and Targeted Attack (Pistol/Hand and
  Pistol/Weapon) – she frequently shoots off fingers, breaks knife
  blades, or detonates the ammunition remaining in a foe’s
  weapon by shooting at the magazine or cylinder.
  Incompetents are better off dead . . . Don’t you think?
  – Goldie, Gunsmith Cats: Goldie vs. Misty
  
  Accessories, 41-43; adding, 40.
  Accuracy bonus, 12, 40.
  Accurizing, 40.
  Action genre, 6.
  Acute Vision advantage, 13.
  Advantages, 13-16.
  Advice, giving in combat, 12.
  Aerial Target Shooter perk
  option, 22.
  Aiming, 12.
  Akimbo, 4; perk, 17, 32.
  Allies in combat, 12.
  All-Out Attacks, 10.
  Altered Time Rate advantage, 9,
  13.
  Ambidexterity advantage, 13.
  Ammunition, as perk, 19-20; as
  specialty, 24; bonus, 39;
  reloading, 4, 21, 27, 32, 42,
  43.
  Arching Shot Imbuement, 30.
  Area Defense perk, 17.
  Armorer’s Gift perk, 17.
  Army of One perk, 17.
  Arsenal limitation, 16.
  Back to the Wall perk option, 22.
  Back-to-back in combat, 12.
  Bank Shot Imbuement, 30.
  Bank Shot perk, 17.
  Behind-the-Back Shot technique,
  25.
  Bend the Bullet perk, 17.
  Blind Fighting skill, 23.
  Books, inspirational, 48.
  Breaking Blow skill, 23.
  Breath Control skill, 24.
  Bubba cup holders, 42.
  Buddy bandaging in combat, 12.
  Bullet ballet, 7-8.
  Bullet Time (ETS benefit), 14.
  Bullpups, 40.
  Burning Strike Imbuement, 30.
  Cavalry Training technique,
  25-26.
  Chicago Typewriter perk option,
  22.
  Cinematic Knockback perk, 17.
  Cinematic Option perk, 17.
  Close-Hip Shooting technique,
  26.
  Close-Quarters Battle technique,
  26.
  Closing the distance, 7.
  Combat Driving technique, 26.
  Combat Piloting technique, 26.
  Combat Riding technique, 26.
  Combination weapons, 38.
  Comics, inspirational, 48.
  Communicating in combat, 12.
  Companions in combat, 12.
  Compensators, 41.
  Concealed back holsters, 42-43.
  Concealed Carry Permit perk, 17.
  Conic Blast Imbuement, 30.
  Connoisseur skill, 24.
  Converting, a long arm into a
  bullpup, 40; a semiautomatic
  to full-automatic, 40-41.
  Cookie Cutter perk, 17.
  Cool Under Fire perk, 18.
  Crossbow Fu style, 34.
  Cross-Trained perk, 18.
  Cult of the .45, 39.
  Cult weapons, 39.
  Customizing guns, 40-41.
  Cutting Strike Imbuement, 30.
  CZ Model 75, 36, 37.
  Deadeye perk, 12, 18.
  Deagle cult, 39.
  Deceptive Attack combat option,
  11.
  Default use of techniques, 25.
  Desirable advantages, 14.
  Dial-a-Round perk, 18.
  Disarming technique, 26-27.
  Dodging Bullets (ETS benefit),
  14.
  Double Trouble style, 9, 31-32.
  Double-Loading technique, 27.
  Dramatic Death perk, 18.
  Drawing first, determining, 8.
  Dual Ready perk, 18.
  Dual-Weapon Attack, combat
  option, 10; technique, 10, 27.
  Early Adopter perk, 18.
  Energy weapons, fast-firing, 11.
  Enhanced Dodge advantage, 13.
  Enhanced Time Sense
  advantage, 14.
  Enhanced Tracking advantage,
  15.
  Enhancements, new, 15.
  Equipment, 36-43.
  Extra Attack advantage, 9, 15.
  Fanning firearms, 4, 11;
  technique, 27.
  Fast-draw back scabbards, 43.
  Fast-Draw Opponent’s Weapon
  technique, 27.
  Fast-draw rigs, 43.
  Fast-Draw skill, 8, 10, 14, 18-21,
  42-43; described, 24.
  Fastest Gun in the West perk, 18.
  Fast-firing firearms, 11;
  technique, 27.
  Feint technique, 27.
  Fiction, inspirational, 44-48.
  Fictional guns, 38.
  Films, inspirational, 44-48.
  Firearms, accessories, 41-43; see
  also Guns, specific types of
  guns.
  Fireball Shot perk, 18-19.
  First-person shooter (FPS)
  games, representing, 47.
  Fitting a gun to its owner, 41.
  Flank Shot technique, 27-28.
  Flimsy Cover perk, 19.
  Flying Leap skill,24.
  Forceful Blow Imbuement, 30.
  Franchi PA3, 37.
  Future Kill style, 32.
  German Engineering cult, 39.
  Getting close to targets, 7.
  Gizmos advantage, 15.
  Grip Mastery perk, 19.
  Guided Weapon Imbuement, 30.
  Gun fu, definition, 4.
  Gun Rack limitation, 16.
  Gun Sense perk, 19.
  Gun Shticks perk, 19.
  Gun Whisperer perk, 19.
  Gun! skill, 24.
  Guns, accessories, 41-43; benefits
  for, 39; combination, 38;
  cults, 39; customization,
  40-41; drawbacks for, 39;
  fictional, 38; mook, 39; movie,
  39; obtaining, 36; permitted
  with styles, 31; stats, 36-39;
  see also Weapons.
  Gunslinger advantage, 8, 10, 13,
  14, 16, 17, 21, 24, 25, 30;
  description, 15-16,
  Gunsmithing, 40-41.
  GURPS, 7, 11, 36, 41, 42; Action
  1: Heroes, 3, 24; Action 2:
  Exploits, 3; Age of
  Napoleon, 35; Basic Set, 3,
  14, 15, 40; High-Tech, 3, 6,
  10-12, 16, 18, 21, 22, 28, 31,
  36-48; High-Tech: Pulp
  Guns, 36; High-Tech: Pulp
  Guns 1, 44, 46; High-Tech:
  Pulp Guns 2, 41; Martial
  Arts, 3, 7-9, 31, 43; Martial
  Arts: Fairbairn Close
  Combat Systems, 3, 9, 26;
  Old West, 5; Power-Ups 1:
  Imbuements, 30; Power-Ups
  2: Perks, 19; Ultra-Tech, 36,
  38, 40, 44, 45, 47, 48.
  H&K USP Match, 37.
  Hand Cannon perk, 19.
  Hand Howitzer weapon benefit,
  39.
  Handguns, see Guns.
  Hands-Free Riding technique,
  28.
  Hard-Core weapon benefit, 39.
  High-speed shooting, 11.
  History, 5-6.
  Holsters, 42-43.
  Homing Weapon Imbuement,
  30.
  Hong Kong action genre, 6.
  Imbuement Skills, 30.
  IMI Galil MAR, 37, 38.
  Immediate Action, combat
  option, 28; technique, 28.
  Incendiary Weapon Imbuement,
  30.
  Indestructible weapon benefit,
  39.
  Infinite Ammunition perk, 19.
  Instant Arsenal Disarm
  technique, 28.
  Intuitive Armorer perk, 20.
  Invisibility Art skill,24.
  Just Winged Him perk, 20.
  Kung fu and gun fu, 9.
  Lightning Fingers perk, 20.
  Limitations, new, 15-16.
  Long arms, converting, 40, 41;
  stats, 37-38; see also Guns.
  Machine gun cases, 43.
  Mag knuckles, 42.
  Magazine modifications, 43.
  Martial arts and gun fu, 9.
  Mexican standoffs, 4.
  Mikhail’s Army cult, 39.
  Miroku-Browning BPS Field, 37.
  Model limitation, 16.
  Mook guns, 39.
  Mossberg Model 500 ATP6
  Cruiser, 37, 38.
  Motorized Training perk, 20.
  Mounted, shooting while, 8,
  25-26, 28.
  Mounted Shooting technique,
  28.
  Movie guns, 39.
  Multiple, attacks, 9-10; shots to
  kill, 9; targets, 10.
  Multiple Lock-Ons
  enhancement, 15.
  Multi-Shot Imbuement, 30.
  Multi-Strike enhancement, 15.
  Muzzle, ports, 42; weights, 42.
  Muzzle Flamethrower perk, 20.
  New York reloads, 4.
  Next Time, It’s Your Head
  Shtick, 19.
  No Friendly Fire perk, 20.
  Obtaining guns, 36.
  Offensive maneuvers, 9-10.
  Off-Hand Weapon Training perk,
  20.
  Off-Screen Reload perk option,
  22.
  On Alert perk option, 22.
  One shot to kill, 9.
  One-Armed Bandit perk, 21.
  One-Man Army style, 9, 32-33.
  INDEX
  49
  INDEX
  
  Pants-Positive Safety perk, 21.
  Penetrating Strike Imbuement,
  30.
  Perks, 16-23.
  Pistol-Fist perk, 21.
  Pistols, 36-37; see also Guns.
  Precision Aiming, combat option,
  12; technique, 28-29.
  Prediction Shot combat option,
  11.
  Publication history, 3.
  Quick Mount technique, 29.
  Quick Reload perk, 21.
  Quick-readying nearby weapons,
  10.
  Quick-Sheathe perk, 21.
  Quick-Shot technique, 29.
  Quick-Swap perk, 21.
  Range, simplified, 7.
  Ranged, disarms, 11; feints, 12.
  Ranged Rapid Strike combat
  option, 10.
  Rate of fire, 10.
  Real guns, 36.
  Recoil Rocket perk, 21.
  Reloading, 4, 32; aids, 43;
  related perks, 19-21; related
  techniques, 27; with Double
  Trouble, 32.
  Resolving standoffs, 8.
  Retain Weapon technique, 29.
  Rifles, 37, 38; see also Guns.
  Rope Shooter perk, 21.
  Ruger KP90, 37.
  Scabbards, 42-43.
  Scattergun perk, 21.
  Scenery, shooting up, 12, 19.
  Science-fiction genre, 6.
  Semiautomatic pistols, 36-37,
  40-41; see also Guns.
  Shattershot Imbuement, 30.
  Shockwave Imbuement, 30.
  Shoot ’Em Up! combat option,
  12.
  Shooter! skill, 24.
  Shooting, for effect, 8-9; on the
  move, 7-8; skills, 16; while
  mounted, 8, 25-26, 28.
  Shooting Between Raindrops
  (ETS benefit), 14.
  Shortening, a handgun, 41;
  a long arm, 41.
  Shotguns, 37-38; see also Guns.
  Shots needed to kill, 9.
  Silencer perk, 21.
  Simplified range, 7.
  Single Skill limitation, 15.
  Skills, 23-25; levels, 23; new, 24.
  Sleep with One Eye Open perk
  option, 22.
  Sleeve, holsters, 43; magazine
  loaders, 43.
  Slings, 42-43.
  Sniper style, 9, 33.
  Speedload magazine holders, 43.
  Spraying fire, 10.
  Standard Operating Procedure
  perk, 22.
  Standoffs, 8.
  Staying Seated technique, 29.
  Stealthy Attack Imbuement, 30.
  Stone-Cold Killer Shtick, 19.
  Style Familiarity perk, 16.
  Style Perks, 16-23.
  Styles, 31-35.
  Style! skill options, 25.
  Super-Fast Draw (ETS benefit),
  14.
  Supernatural capabilities, 30.
  Supplier perk, 22.
  Sure-Footed perk, 22.
  Tack Driver perk option, 23.
  Tactical, energy drinks, 42; food,
  42.
  Tacticool, gadgets, 42; perk, 22.
  Tap-Rack-Bang perk, 22.
  Targeted Attack technique, 29.
  Techniques, 25-30.
  Television, inspirational, 44-48.
  Terms, 4.
  Thumbing firearms, 4, 11;
  technique, 29.
  Timed Dodge technique, 29.
  Tracer Eyes perk, 22.
  Trick Reload Shtick, 19.
  Trick Shooter perk, 22.
  Tricky shooting, 11-12.
  Twirl Shtick, 19.
  Two-handed thumbing, 11;
  technique, 30.
  Type limitation, 16.
  Ultimate Shootist style, 9, 34-35.
  Underbarrel pistol mounts, 42.
  Upside-Down Shooting perk, 23.
  Using techniques together, 25.
  Vehicles and shooting, 8.
  Video games, representing, 47.
  Walking Armory perk, 23.
  Wall o’ Lead Shtick, 19.
  Way of the Galaxy style, 35.
  Way of the West style, 9, 35.
  Weapon Bond perk, 23, 41, 42.
  Weapons, combination, 38;
  permitted with styles, 31, 34;
  see also Guns.
  Western genre, 5.
  Whirlwind Attack technique, 30.
  Wildcard skills, 24, 25.
  Wondernines, 4.
  Zen Marksmanship skill, 24
  INDEX
  50
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