The martial arts system of  Oriental
Adventures  is among the best new additions to the AD&D® game in years. With
the many martial style combinations and
special maneuvers provided on pp. 102-5,
the DM can design a number of novel
fighting styles for an Oriental campaign.
But not every DM has the time to experiment with the system until a good selection
of martial arts styles is finally put together.
Also, few DMs want to be limited to the
four real-world martial styles on p. 101.
Presented here is a collection of 20 different styles for use in the campaign.
The 20 styles presented are divided into
two groups. The first 12 styles, named for
assorted animals, are among the most
ancient styles known in my campaign.
These styles are studied by members of
most Oriental character classes, although
monks constitute the majority of the students. The second group consists of eight
newer styles created to address the specific self-defense needs or martial philosophy of a given class. The origins, ideals,
and techniques of these 20 styles are discussed later.
Some martial arts styles given here
include maneuvers that vary from the
official rules. These are noted in the style
descriptions below. The DM may wish to
consider how these changes affect play
before including them in the campaign.
One rule change recommended heartily
is that the naginata be included in the list
of weapons able to perform the martial
arts weapon style maneuvers (see footnote
"f "  on p. 42 of  Oriental Adventures).  The
naginata is viewed as not just another pole
arm in the Orient; it is an important close
relative of the spear. The spear and naginata are often taught side by side within a
school or style. Both weapons are wielded
in similar ways and are used to play similar roles. If the spear may be used to perform the weapon style special maneuvers,
then so should the naginata. The nagimaki,
a weapon intermediate between the spear
and naginata, may also be used to perform
weapon style maneuvers, although the
nagimaki is not nearly as popular as the
spear or naginata. 

The martial styles presented in this
article are not intended as detailed simulations of real-world martial arts systems.
Although a few bits and pieces of martial
arts history and tradition are included in 
these styles, as a whole, these styles are
unique to my campaign. Accurate comparisons cannot always be drawn between
actual martial arts systems and styles
created for a fantasy world. The tiger style
presented here is not a depiction of tigerclaw kung fu, but is simply my version of
how the holy monks and nuns of ancient
times were advised by the gods to study
the tiger to become great fighters.

The 12 animal styles are but a few of the
many martial arts systems founded after
long, patient study of the combat methods
of animals. A person might spend years or
even decades in the wild, observing an
animal to master every attack, defense,
movement, and tactic of the creature.
From this single-minded study, ancient
ascetics developed the first known martial
arts systems.

The early monks studied many types of
animals ? mammals, birds, insects, rep
tiles, and even rare magical beasts. Consequently, a wide variety of maneuvers and
styles evolved. Radically different systems
often arose from studying the same animal, since an animal may teach many
lessons to different students. The tiger
system of one school might concentrate on
the tiger?s stealthy moves and grand leaps,
while another tiger style might focus on
the great cat?s powerful claws and bite.

Historically speaking, a bewildering
variety of styles arose to compete for the
attention of potential students. Rivalry
between teachers was fierce. Arguments
often flared over varying interpretations
of the same style, and bloody feuds were
fought between promoters of different
styles.

Eventually, these many styles coalesced
into major schools with large followings. A
pupil would identify their school by
describing themselves as a student of a
particular animal. These major schools
gave birth to many variations and substyles, but most martial artists could find
common roots in one or more of the great
animal styles. Many lesser styles passed
into obscurity with the major schools or
the petty secrecy of teachers who refused
to pass on hidden knowledge. 

A number of important new styles
evolved out of the great animal schools.
Some styles combined the attacks and
maneuvers of older animal styles to create
hybrid systems. Others were created to
best exploit the strengths of newly devised
weapons, such as the nunchaku, tonfa (tuifa), or sai. 

Some styles were designed to suit the
needs of a specific group. Ninja cultivated
the secret martial arts systems of ninjutsu.
Women of the court practiced with spear
and naginata, and learned to use many
unobtrusive weapons to defend themselves. Holy pilgrims perfected styles that
provide the gentle strength to overcome
any aggressor. Of the many specialized
styles to command specialized followings,
eight are described below, after the 12
animal styles are discussed. 

The tables below list the important data
of the 20 martial styles, reflecting the
f o r m a t   o f   T a b l e   6 8   o n   p .   1 0 1   o f   Oriental
Adventures. The tables also note what
weapons, if any, are taught in a given
style. Other weapons that are sometimes
favored by a given style are discussed in
the style descriptions following the tables.
Some weapons are forbidden to certain
character classes, of course, so schools
should be flexible enough to accommodate
the requirements or limitations of a student?s character class. 

Footnotes indicate special features of or
changes in a particular special maneuver.
These changes are discussed in greater
detail in the style descriptions. Those
changes deemed unacceptable by the DM
may be ignored or replaced by other official special maneuvers.

The 12 animal styles
 

Bear	Cat	Cobra	Crane	Dragon
Dragonfly	Hawk	Leopard	Mantis	Monkey
Snake	-	^Up^	-	Tiger

Bear.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 8 
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Lock 1,2,3,4. Strike 1,2. Vital area 2. Movement 3. Mental 3. 
WEAPONS: None.

The bear is a fitting teacher for
the student of the wrestling art. The bear
strikes hard, grapples a foe with crushing
locks, and cannot be moved if he does not
wish to move. The bear never yields or
weakens. The bear thinks only of attack,
never of defense.

The student of the bear must emulate
the ferocity and indomitable will of the
bear to master this wrestling style. The
student learns to strike with crushing or
stunning blows and to resist being moved
or thrown. But most important, the student of the bear masters the use of all
locks and holds.

No particular weapons are favored in
this style, and none are commonly taught
to the student. The student uses whatever
weapons are common to his class,
although the student usually prefers powerful weapons that require great strength
to wield, such as the tetsubo, or twohanded sword. This style is popular with
bushi and yakuza.

Cat.  

NUMBER OF ATTACKS: 3/1
DAMAGE: 1-4
AC: 8
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Movement 1,5. Throw 1,2. Push 2. Kick 3. Mental 2,4.
WEAPONS: None

The cat style was designed after
long study of the small, quick felines such 
as the civet, lynx, and even the common
domestic cat. This style promotes speed,
active defense, and deft footwork instead
of the crushing power of those styles
based on the great cats. The student of the
cat learns to attack with speed and surprise, overwhelming the foe with a flurry
of well-placed blows. The student must be
swift on defense, relying on footwork and
deceptive moves to avoid attacks.

The martial artist learns to survive great
falls and regain his feet instantly, and
aspires to become as adept at leaping and
springing as the felines he studies. The
student trains hard with a partner to learn
to follow and counter any motion made by
the opponent. He also works with his
teacher to gain total awareness of his
surroundings, and to move and fight in
the dark as easily as any cat. Through this
great awareness, the practitioner is able to
kick an opponent behind him by perform-
 ing an agile body twist.

Students of the cat favor knife fighting,
slashing with twin daggers just as the cat
uses its claws. This style is popular with
women, who also train with the naginata.
The cat style is examined by certain ninja
to adapt the Blind Fighting maneuver to
many ninja styles.

Cobra.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-8
AC: 8
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Vital area 1,2,3,4. Strike 1,2. Lock 1,3. 
WEAPONS: None

The student of this style must
spend years in intense study of this deadly,
yet shy creature. The cobra picks its
moment of attack with great care, then
strikes with exquisite precision and power.
The cobra hits its prey where it is most
vulnerable, then locks onto the victim with
an unbreakable death grip. The cobra
style employs pure, offensive power, trusting deadly skill to gain victory before its
foe strikes back.

The student of the cobra must study
anatomy to be able to hit hard at the opponent?s vital points. The jaws of the cobra
inspire this style?s powerful locks. Ultimately, the student aims to learn the difficult Distance Death maneuver, striking the
foe at range just as the cobra may spit
death at its prey.

No particular weapons are preferred in
this style. The cobra system is a favorite of
ninja and highly aggressive warriors.

Crane.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-6
AC: 5
PRINCIPLE ATTACK: Hand & foot 
SPECIAL MANEUVERS: Vital area 1,2,3. Weapon 1,2. Strike 2. Movement 4. Mental 1,3.
WEAPONS: Varies

The crane fights with a broad
array of weapons. It can strike vital points
with its beak, kick with its long, slender
legs, and smash with its great, sweeping
wings. The crane is a canny fighter,
retreating when necessary to study an
opponent, then returning to strike again.
The crane wisely avoids or deflects an 
opponent's attack, then responds with a
swift cutting blow to a vital point. 

The student of the crane seeks to use all
of his natural weapons with equal skill.
The martial artist can strike vital areas
with both foot and fist. On defense, the
student must be able to dodge an attack or
deflect a missile through superb footwork.
His mind must be alert and strong.

Just as the crane uses many natural
weapons to best effect, so, too, must the
student of the crane master different <check this>
weapon combinations to give the student
the most effective mode of attack. A number of weapon sets are taught in the crane
style. The weapons studied depends upon
the student?s teacher or school. Weapons
are combined in two-hand styles to give
the fighter a broad range of attacks. Common weapon pairs are: two jo sticks, two
nunchaku, two sai, sword and jitte, sword
and war-fan (gunsen), and sai and chain.
Other, stranger combinations are taught
by some schools.

Dragon.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-8
AC: 8
PRINCIPLE ATTACK: Foot 
SPECIAL MANEUVERS: Kick 1,2,3. Strike 1,2. Lock 4. Mental 5. 
WEAPONS: Kau sin ke

The student of the dragon
studies one of the most exciting of all
styles. The dragon teaches his students the
use of powerful kicks by the example of
his sweeping tail. The dragon?s great
strength and claw strikes inspire the student to use his fists with overpowering
force. The dragon?s crushing jaws instruct
the martial artist in the use of an immobilizing lock. The student duplicates the
dragon?s natural armor by developing
iron-hard skin of his own.

tudents of the dragon favor weapons of
high damage potential, such as the slashing naginata or halberd. The kau sin ke is
taught in all schools of the dragon style in
order to emulate the sweeping smash of
the dragon?s tail. The chain is occasionally
taught for the same reason. The dragon
style is popular with all types of warriors.

Dragonfly.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-4
AC: 5
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Push 1,2,3. Vital area 3. Movement 4. Mental 1,2,5,6
WEAPONS: None

The dragonfly style is perhaps the most mysterious and rarest of all
animal styles. The student of the dragonfly
strives to become as light and agile as the
flitting insect he observes. The dragonfly
moves quickly, strikes precisely, and has
total control over its motion and energy. 

The student must train hard to master
both his physical and spiritual energies so
that he may master the energies of others.
The student allows his ki to flow and
merge with his opponent?s energies, then
takes control of his opponent?s ki so that
he may direct his opponent?s motion and
energy wherever he wills. In this way, the
student may deflect any attack, follow and 
counter any move, or send any opponent
reeling with but the slightest and most
gentle touch.

The student?s mastery of his own body
provides him with superior defense. The
student learns the special Mental 5 maneuver, Flowing Water, which allows the martial artist to become as evasive and agile
on defense as the flitting dragonfly. The
Flowing Water maneuver improves the 
student?s Armor Class by 2 through swift,
defensive moves. The Flowing Water state
can only be achieved when the student
wears no armor and is unencumbered by
heavy gear (see Table 2 footnotes).

The ultimate achievement of the dragonfly style is the ability to levitate. Levitation
is taught only to those students who are
most dedicated and who prove worthy of
this secret teaching 

Weapons are almost always ignored by
the students of the dragonfly in favor of
the ability to master one?s inner energy.
This style is rarely studied by anyone
other than monks or shukenja.

Hawk.  

NUMBER OF ATTACKS: 3/1
DAMAGE: 1-6
AC: 8
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Strike 2,3. Lock 1. Vital area 1. Kick 2.
WEAPONS: None

The hawk is a hunter greatly
revered for its swift attack and infallible
aim. The student of the hawk emulates the
birds talons through powerful fist blows,
choking locks, and accurate finger strikes 
to nerve centers. The student?s flying kick
is inspired by the hawks diving attack. 

Students of the hawk usually disdain the
use of weapons, preferring to rely on their
own natural weapons instead. The hawk
style is advanced by those who consider
offense vastly more important than
defense.

Leopard.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 7
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Movement 1,5,6. Strike 1,3. Kick 2. Lock 2. Mental 2. 
WEAPONS: None

The leopard provides lessons
in the importance of speed, cunning, and
awareness of one?s surroundings. The
leopard stalks silently, seeks an opening,
and strikes with a burst of blinding speed.
The great cat?s moves are subtle and
deceptive. The rake of its rear claws is its
deadliest attack

The student of the leopard trains his 
body to move with grace and rhythm, and 
to make deceptive feints to produce an 
opening. The student copies the leopards' 
pounce through mighty leaps and flying 
kicks. The leopards trick of trapping its 
prey with jaws and foreclaws to rake with 
its rear claws is studied closely, so that the 
student may trap his foe with a Locking 
Block maneuver, followed by sharp kicks 
to the body. The final goal of the student is 
to copy the leopards' sudden attack by 
mastering the Speed (Movement 6) special 
maneuver. 

    Students of the leopard prefer weapons 
that simulate the leopards' slashing claws, 
such as the dagger, short sword, or kama. 
The leopard style is popular with those 
who want to combine speed with power in 
a combat system. 

Mantis. 

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 7
PRINCIPLE ATTACK: Foot
SPECIAL MANEUVERS: Kick 1,2,3. Lock 1,2. Movement 4,5. Mental 1.
WEAPONS: None

Although the mantis is a small 
insect, its great skill enables it to defeat 
insects much larger than itself. The student 
of the mantis copies the insect's 
grasping forelegs by using a hooked hand 
position that allows the martial artist to 
score blows and make strong arm locks. 
The hopping movements and footwork of 
the mantis are duplicated by the many 
kicks and great leaps of the student. The 
importance of fluid footwork is constantly 
stressed by the teacher, since footwork is 
the key to the defensive moves of this 
system.

Weapons are occasionally taught to the 
students of the mantis, though no specific
weapon is universally favored. Weapon
choice is a matter of character class or the
teacher's personal preference.

Monkey.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 6
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Throw 1,2,3,4. Weapon 1. Movement 2. Lock 1,3. 
WEAPONS: Bo stick, jo sticks

The monkey is an agile, acrobatic fighter who defeats his enemy
through trickery and cunning. His deceptive moves lure a foe into making mistakes
that the monkey takes advantage of. The
monkey uses his environment to the fullest. Trees and foliage may be used to
escape a foe, swinging vines to maneuver
into good position, and sticks to smash an
opponent at range.

The student of the monkey must master
the rolls and falls of his simian teacher.
The monkey?s grasping hands are studied
for the student to learn strong throws and
crushing locks. The monkey stylist often
battles from a low, crouched position, and
learns to fight even when forced to the
ground.

The monkey?s use of sticks and tree
limbs as weapons inspires the student to
master the bo and jo sticks, and occasionally other stick- or staff-like weapons such
as the tonfa, kiseru, or tetsubo. But the
student must thoroughly understand that
a cunning mind is always the best weapon.

A few students of this style study a
variation called the ?horse-monkey,? which
is based on the observation of the strong
great apes. Students of the horse-monkey
learn the Strike 3 (Eagle Claw) maneuver
instead of the Movement 2 (Prone Fighting) maneuver learned by those who
observe the smaller monkeys. The horsemonkey style has a base AC 7 instead of
the AC 6 of the monkey style.

Snake.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-4
AC: 6
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Movement 1,2,4,7. Lock 1. Vital area 1,3. Throw 2. 
WEAPONS: None

The snake stylist studies not
only the cobra, but a variety of snakes to
learn a great many lessons. Some snakes
bite and lock onto their prey, while others
use a constricting attack, using their entire
body as a weapon. The snake has control
over every fiber of its body. The snake
strikes swiftly on attack, twists away to
avoid counterattack, and curls back to
strike again. So superior is the snake?s 
body control that it cannot be held or
hindered.

The student of the snake aims to master
every aspect of his body?s motion. The
student must be able to avoid any attack
through deceptive turns and twists, and to
return to attack suddenly. Ultimately, the
student achieves such great physical control that he cannot be magically slowed.

The student learns to strike an opponent?s vital points and to capture his foe
with a, choking constriction. The student
can attack and defend in any position
without hindrance, even when forced to a
prone position. He can regain his feet as
swiftly as the snake rises to strike.

No particular weapons are favored in
this style, though a variety are taught by
different schools. The weapons taught
vary from region to region. The snake
style is sought out by martial artists who
wish to combine an evasive defense with a
solid offense.

T i g e r .   

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-8
AC: 8
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Strike 1,2,3. Lock 1. Kick 2. Mental 2.
WEAPONS: None

The tiger is the most respected
and feared of all hunters. The tiger stylist
is taught to overwhelm his opponent with
crushing blows and kicks before the foe
can return the attack. The tiger?s jaws
instruct the martial artist in the use of a
choking lock. The tiger?s pounce inspires
this style?s flying kick.

Students of the tiger often employ great,
slashing weapons in combat, such as the
naginata or halberd. Weapons are often
disdained by students, however, as this
style does not lack power.

The eight specialized styles
 

Bone Breaker	Dark Hand	Eight-Legged Man	Eye of the Hurricane	Fist within Glove
Oaken Grip	-	Silken Spear	-	Sword Breaker
-	-	^Up^	-	-

Bone Breaker.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 7
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Strike 1,2. Vital area 1. Weapon 2. Lock 3. Mental 2,4,5. 
WEAPONS: Ninja-favored weapons

The bone breaker art is
one of two specialized styles studied exclusively within ninja clans. This style combines the power of the tiger and cobra
styles with the speed and awareness of the
cat style. Masters of the art of bone breaking learn to score hard fist blows, strike
vital nerve points, and disable a limb with
a sudden attack. The ninja also trains to
smash an opponent?s weapons with his
own.

The ability to fight at night is crucial to a
ninja, so the student must master the cat?s
ability of blind fighting. The ninja also
trains to toughen his flesh to avoid injury.
This Ironskin maneuver seems to be based
on the mystic ki training of ninjutsu rather
than the study of the noble dragon.

The ninja always learns to perform the
weapon breaker maneuver with two
weapons typically taught within the ninja
clan. Popular ninjutsu weapons include
the sai, jitte, spear (shakujo yari), bo stick,
and chain.

To teach the bone breaker art to one
who is not a member of the ninja clan is
an offense against the clan ? one that
carries a mandatory death sentence.

Dark Hand.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 6
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Vital area 1,2,3. Strike 1. Weapon 1,2. Throw 3. Mental 2,4. 
WEAPONS: Ninja-favored weapons

The dark hand is also a
secret system closely guarded by a ninja
clan. Its origins are similar to that of the
bone breaker style, save that this style
relies more on the attacks of the cobra
style and the defensive speed of the cat.

The ninja trains in the use of weapons to
catch or shatter an opponent?s weapons.
The weapons taught in this style include
all martial arts weapons favored by ninja.
To teach this style to an outsider means
certain death.

Eight-Legged Man.  

NUMBER OF ATTACKS: 3/1
DAMAGE: 1-4
AC: 8
PRINCIPLE ATTACK: Foot 
SPECIAL MANEUVERS: Movement 1,2,4,5. Kick 1,3. Throw 2. Mental 2. 
WEAPONS: None 

This style finds its
origin in the footwork and kicks of the
mantis combined with the offensive speed
promoted by certain feline styles. The
student of this style relies heavily on fast,
precise footwork to place himself in a
position to attack with as many kicks as
possible. A master of this rare art moves
in the manner of a spinning top, delivering
a flurry of kicks to targets in every direction. Variations of this style are likened to
the spider or octopus because of the many
foot strikes of this system. 

The practitioner of this style trusts his
offensive speed and footwork to overcome
any foe, rather than the crushing power
or active defense of other systems. The
student must develop strong, willowy legs
to accomplish the difficult kicks and
bounding leaps that are taught. Since
footwork is all important, a downed fighter must regain his feet without hesitation
to remain in the battle. An awareness of
everything around the martial artist allows
him to lash out in all directions with furious kicks. 

Weapons are totally ignored in this style.
This style is aggressive and physically
demanding, and is not popular with gentle
pilgrims or those lacking the will to practice constantly.

Eye of the Hurricane.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-4
AC: 5
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Throw 1,2,4. Push 1. Movement 3,6, Mental 1,2,3,5¹.
WEAPONS: None

¹ The Mental 5 maneuver in this style is not the Ironskin maneuver, but is instead the Flowing Water state that improves Armor Class by 2 through speed and agility.

This difficult
system finds its origin in the dragonfly
style, with important techniques borrowed
from the monkey and feline styles. The
student of this art strives to unite body
and mind to achieve a state of spiritual
perfection and tranquility. In addition to
the necessary physical skills, the student
of this art must learn patience, clear
thought, and an understanding of the
minds of others. While all else may be
chaos and confusion, the student of this
art remains calm and serene within the
eye of the hurricane.

This system stresses defensive speed and
control of the opponent?s actions above all
else. The student cannot be harmed by the
violent forces around him. Any attack is
deflected away harmlessly, followed by a
gentle strength that subdues the foe rather than injures him. Any attempt to move
the student is met by a mystic ki power
that roots the martial artist to the ground. 

The student can push himself to achieve
bursts of sudden offensive speed, but his
primary goal is to always remain swift on
defense. Like the student of the dragonfly,
the master of this style learns the Flowing
Water maneuver (Mental 5¹), which allows
him to improve his Armor Class by 2 when
unarmored (see Table 2 footnotes).

Weapons are uniformly ignored in this
style. The eye of the hurricane system is
popular with monks, shukenja, some wu
jen sorcerers, and other martial artists of a 
spiritual or mystical mind.

Fist within Glove.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-4
AC: 6
PRINCIPLE ATTACK:  Hand
SPECIAL MANEUVERS: Lock 2,3,4. Weapon 1-2. Push 1. Throw 4. Mental 1,2,3.
WEAPONS: Varies

This style is popular with mendicant pilgrims, monks, nuns,
and other peaceful folk who require a selfdefense system that provides good protection without obvious armament. This style
teaches restraint and discipline in all
things, with violence used only as a last
resort. An aggressor should be subdued
with as little fuss and harm as possible in
this style. The student always tries to
avoid, or even run from, a potential conflict; if necessary, though, he can defend
himself or others with his simple pilgrim?s
staff or bare hands.

The student practices with unobtrusive
weapons, such as the bo stick, jo sticks,
kiseru, tonfa, or other weapons that
appear as simple agricultural tools or
common items of the traveler. Peace is
maintained by a gentle and harmless
demeanor ? not by open displays of force.
A pilgrim can handle any bandit or mercenary he encounters, but never displays
any hint of aggression or challenge that
might invite attack. His true power is
always well-cloaked, like a fist concealed
within a silken glove. 

Another common weapon of the pilgrim
is a hardwood flute about 2-3? in length.
This flute is treated as a jo stick in combat,
but whistles a swirling tune as it is swung
about in battle. Some monks and shukenja
 are reputed to carry magical flutes that
allow the owner to transform his ki power
into spell-like songs, similar to the instruments of the bards. Each flute?s set of
spell-songs is unique.

Oaken Grip.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 7
PRINCIPLE ATTACK: Foot
SPECIAL MANEUVERS: Kick 1,2,3. Weapon 1, Lock² 2,3. Movement 4. Mental 5.
WEAPONS: Varies

² The Lock maneuvers of this style require the use of a special weapon.

This style is inspired by
the kicking and footwork of the dragon
and mantis, but promotes the use of powerful hardwood weapons. The student
learns solid footwork for defense and
flamboyant kicks for offense. He trains his
body to be resilient and resistant to injury.

The practitioner of this style uses the
three-piece rod, nunchaku, or tonfa to
deliver crushing blows. These weapons
are also used to catch an opponent?s weapon or to grab an arm or disable a limb
with a lock of oaken strength. When using
one of the weapons of this style, the student may perform a Locking Blow maneuver or an Incapacitator maneuver. If
attempting a lock maneuver without one
of the aforementioned weapons, the
attempt is made at ?2 on the ?to hit? roll,
since the student is specifically trained to
use a weapon. No weapons other than
those mentioned above may be used to
perform an oaken lock.

Silken Spear.  

NUMBER OF ATTACKS: 1/1
DAMAGE: 1-4
AC: 6
PRINCIPLE ATTACK: Hand 
SPECIAL MANEUVERS: Weapon 1,2,3. Vital area 1. Movement 2,4³. Throw 4. Mental 1,2,3. 
WEAPONS: Spear, naginata.

³ This Movement 4 is the Arrow Cutting special maneuver that allows a character to deflect missiles when using a weapon.

This style is commonly
taught to women of the court, from an
exalted empress to an ordinary handmaiden. A noblewoman is expected to fight
when necessary to defend herself or her
clan. She must learn to employ weapons,
common implements, and her environment to defeat any foe.

The use of weapons is essential to this
style. The woman is expected to master
the spear and naginata together to perform 
the weapon-style special maneuvers.
The woman also learns the art of Arrow
Cutting, which allows her to deflect missiles with the spear or naginata. In the
Arrow Cutting maneuver, the martial
artist uses the weapon to knock arrows
and other missiles aside, rather than dodging or deflecting missiles with the hands.

The woman may use the steel cloth
spear (Weapon 3) to perform the other
weapon special maneuvers; she may also
use it to knock aside missiles with the
arrow cutting art. If the woman does not
have a spear, naginata, or steel cloth spear,
she may still attempt to deflect missiles,
but at ?4 on her saving throw (this
allowed due to the heavily stressed training with the weapon).

A woman trained in the silken spear
may fight unarmed if need be, though she
prefers to use or improvise weapons if she
can (she can turn a simple piece of silken
cloth into a flashing spear, if necessary).
Some women even learn to use a simple
stool or bench as an effective weapon
(treat such a weapon as a tonfa with a
speed factor of 6-8). 

Occasionally, noblewomen are taught to
conceal weapons on their person in case
of emergency. They may hide a dart or
dagger in the sleeve or carry an elegant
fan that conceals a rigid set of steel ribs
(treat as a gunsen). Small razors may be
hidden under long fingernails; these
razors may also be poisoned (treat as a
nekode with a speed factor of 1 for purpose of damage). The kanzashi, a sharppointed, ornamental hairpin that often
contains a lethal poison, is commonly
worn. Treat the kanzashi as a nekode that
inflicts l-3 damage to small- or man-sized
opponents and 1-2 damage to large foes.

Female ninja, or kunoichi, often learn
this style so they may more easily infiltrate
a royal court and play the role of a handmaiden or lady?s bodyguard. A kunoichi
spy will, of course, conceal a vast arsenal
in her clothing or costume.

Sword Breaker.  

NUMBER OF ATTACKS: 2/1
DAMAGE: 1-6
AC: 8
PRINCIPLE ATTACK: Hand
SPECIAL MANEUVERS: Lock 1,2,3. Weapon 1,2. Strike 2. Throw 3. 
WEAPONS: Sai, jitte.

The sword breaker
style was developed by local police forces
to deal with unruly swordsmen. Constables or community defenders of the bushi
or yakuza class often study this art to
defend themselves and their towns from
drunken samurai or other lawbreakers.

The sword breaker style combines
strong wrestling moves with the skills of
catching and breaking a samurai?s blades.
The student usually learns the use of the
sai or jitte to catch and shatter a criminals
weapon. The jitte is learned by most constables, while elite police officers favor the
sai as a symbol of rank. Other weapons
are studied, including the bo stick, jo
sticks, tonfa, or chain. These weapons are
favored by poorer communities, since they
may be easily made or adapted from agricultural tools. The sode garami is also a
popular weapon with police since it may
be used to entangle and subdue a criminal. 

This style, or a variation thereof, is
occasionally studied by sohei or palace 
guards in order to disarm and subdue a
foe without wounding him. To spill blood
on sacred palace grounds or within a holy
temple is sacrilegious in some lands.

Concluding thoughts
In designing a new martial arts style, the
DM should strive to create something
special while keeping the power of the
style within reasonable limits. Try linking
different special maneuvers into logical,
yet imaginative styles that center around a
solid idea. An intriguing animal, a colorful
phrase, an informative martial arts book,
or a flamboyant movie stunt may provide
a good starting point for a novel martial
arts style. Try giving a special maneuver a
unique twist to make it more original.
Look for a new way to use a martial arts
weapon or play with various martial style
combinations to see what new combinations fall out of Table 69.

Don?t be afraid to experiment with radical ideas outside the regular campaign.
Within the campaign, limit the more unorthodox martial styles to NPCs until you are
sure such styles are suitable for PCs. Err
on the side of caution. Novelty is fun and
desirable, but becomes an aggravation if
martial artists become too powerful. Martial arts combat benefits the game only
when it is fair and well-balanced, not
when it produces inhuman killing
machines who ruin the campaign.