Beginner's Gameplay Mechanics

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Shmuel

Grateful Servant of God
This topic will feature a relaxed set of gameplay mechanics which will be easier for Novices to pick up. Once a player has a good grasp of how things work, the full set will be put in force.
 
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Becoming Injured and getting Knocked Out


The chance of a character becoming injured are slim and it will happen over time, not all at once. Each time that an attack hits, under certain circumstances, there's a chance that the hit will be a critical hit. After a character suffers too many critical hits, they will become injured. Once injured, a character's stats will be halved. Injuries can only be healed when a character has sufficient time to rest. More than likely, a character will be knocked out several times before being in danger of becoming injured. Other characters that are close by can wake up characters that are knocked out.


A character is knocked out if his/her HP reaches 0.


A character becomes injured if his/her VP reaches 0.


Normally, even if an attack hits, there's no need to worry that it will be a critical hit. However, there are 2 things that give an attack a critical chance: Favored Territories and Fighting Style Weaknesses.


Favored Territories


Whenever a character is fighting in a Favored Territory, each successful hit is rolled for a critical chance. A d6 is rolled and if the result is a 6, the hit is critical, causing 1 VP loss in addition to the normal 1 HP loss.


Fighting Style Weaknesses


In addition to providing a variety of ways to describe attacks, Fighting Styles are arranged in 3 groups, in similar fashion to the game Rock, Paper, Scissors. Each Fighting Style group is strong or weak against the other Fighting Style groups. (2 Fighting Styles from the same group result in a normal attack). If a character is using a Fighting Style that is part of a group that is strong against the group that his/her opponent's Fighting Style is a part of, and the attack hits, a d6 is rolled, and a 6 results in a critical hit.


In the rare occasion that a character takes advantage of both conditions described above, a d6 rolling 5 or 6 will be critical.


Counters


However, if the character being attacked has one of those advantages over his/her attacker, there's a chance that a successful dodge could turn into a Counter. A Counter is a normal attack with an increased chance of hitting. A d6 resulting in 6 needed to Counter. If both conditions are met, a dodge could turn into a Critical Counter. A d6 resulting in 6 is needed for a Counter, followed by a d6 resulting in 5 or 6 if the Counter hits.
 
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Fighting Style Weaknesses (cont.)


Group A (Swords)

  • 1 - handed sword
  • 2 - handed sword
  • Dual swords



Group B (Hand-to-Hand)

  • Martial Arts
  • Dagger
  • Street Fighting



Group C (Poles)

  • Staff
  • Spear
  • Battle Axe



Group A (Swords) beats Group B (Hand-to-Hand)


Group B (Hand-to-Hand) beats Group C (Poles)


Group C (Poles) beats Group A (Swords)
 
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Character Stats


Hit Points (HP): Determines how many hits a character can take before being knocked out.


Vitality Points (VP): Determines how many critical hits a character can take before becoming injured.


Speed (SPD): Doesn't apply to Beginners.


Accuracy (ACC): Determines how often an attack will hit.


Evasion (EVA): Determines how often a character will dodge an attack.


Each character starts out with 10 points in each stat and is given 8 extra points to distribute as he/she sees fit. Each point raises a stat by 1 point. Any one stat can only be raised to 18. Stats can be lowered in order to raise others. Stats can't be lowered below 5 and each point lowered allows another stat to be raised by 1 point.


Masters can raise their stats beyond those of a Novice.
 
Traps


Traps can't be triggered, but are still visible if they were triggered by another character. If a character attempts to move onto a space that has a trap, he/she will move through, over, under, or around the trap without harm, if need be. In the case of traps that aren't visible, no trap will be mentioned as the character is unaware of it.
 
Artifacts


Masters possess an Artifact unique to each Territory. An Artifact grants special powers to its owner. Artifacts are pieces of equipment (such as a helm), but not weapons (such as a sword). Once a Master is defeated, Artifacts bestow a power similar to the previous Master's power.
 
Swordsmanship  Broken into Two Parts


Act I


Postures


Kata's


Waza's


Attitudes


Striking Zones


Act II


Mindset


Weapons types Eastern/Western orgins


Concepts


Ryu's


Texts:


Now we begin with explaining in detail Act 1


Posture as they all are based on the five elements in martial arts; Fire,Water,Earth,Wood,and Metal


First Posture based on the element of water. The concept is your movements should be as graceful/fluid as water.


This is the most basic stance in kendo which balances attack and defence. If correctly assumed, the trunk (do) and right wrist (migi-kote) are hidden from the opponent. The throat is visible, but the extended tip of the sword threatens a thrusting enemy with a likely counter-thrust. The head (men) is the only clearly open target, but this too is easily defended. If the kamae is not broken, the user can step into striking distance of the opponent whilst maintaining good defence.


A beginner learns this stance first in order to learn the correct striking distance, issoku-itto-no-maai.


Body position[SIZE=small][[/SIZE]edit]



In chūdan-no-kamae, the left foot is slightly behind the right with the left heel slightly raised, both feet are parallel, the hips are straight forward, shoulders are relaxed, spine is perpendicular to the floor at all times. The center of gravity should be centered between both feet.


The shinai is held with the hands in front of the waist, with the tip of the weapon pointed at the opponent's throat.


Second Posture is based on the element of fire. Being that your blade should strike with the ferocity of fire


 In jōdan-no-kamae, the sword is raised above the head with the tip (kissaki) pointing back and the blade facing up, in readiness to strike.[1] It is the most aggressive stance of the five.


There are commonly two types of jōdan-no-kamae, left (hidari) and right (migi), referring to which foot is out in front. As a more rare case, only one hand is used to hold the sword. Even rarer, the positions of the hands on the hilt of the sword may be reversed.


In normal practice or competitions, left (hidari) jōdan-gamae is the most common. Its advantage is the reach of the strike, the intimidating posture and the speed of the strike. Its disadvantage is the weak defense, since the throat, wrists and body are open. In order to protect the vulnerable area, a jōdan user must have a very fiery spirit to "scare off" the opponent. It is also more difficult to judge the striking distance (maai). Therefore, this stance is only used as the normal stance during practice or competition by experienced kendōka.


Third Posture is based on the element of earth. Simply have solid foundation on your stance.


Gedan-no-kamae (下段の構え Hiragana: げだんのかまえ?), frequently shortened simply to gedan, occasionally shortened to gedan-gamae, is one of the five stances in kendojōdanchūdangedanhassō, and wakiGedan-no-kamae means "lower-level posture." This position is adopted when the sword is held out in front of the body pointing at the waist in kendo, or at the knee or sometimes the ankle in kenjutsu.


Fourth Posture is based on the element of metal. Being firm and more offensive direct approach


Hassō-no-kamae (八相(八双)の構?, "all (eight) directions"), frequently shortened simply to hassō and occasionally called hassō-gamae, is one of the five stances in kendojōdanchūdangedanhassō, and waki. It is an offensive stance, named for one's ability to respond to a situation in any direction. Waki and hassō are not commonly used in modern kendo, except in kata.


In hassō-no-kamae, the left foot is forward, and the sword is held pointing upright with the hilt in front of the right shoulder. The blade should slope slightly to the rear. When cutting, the sword is raised above the head, as in jōdan.[1]


Last posture is based on the element of wood. Meaning ever growing & expanding. Thus your able to read the flow of the dance with your foe's blades.


Waki-gamae (脇構?), sometimes shortened to waki, is one of the five stances in kendojōdanchūdangedanhassō and waki, as well as other related and older martial arts involving Japanese sword. Waki-gamae is a stance involving the swordsman hiding the length of one's own blade behind their body, only exposing the pommel to the opponent. This stance was common when there was no standard length of sword and was often used as a deterrent to any opponents who did not know the range of the sword being hidden and could be used as a sort of bluff technique. It also serves to conceal the orientation of the blade to one's opponent, as to give him no hint about your own intention for the next attack.


This is the introduction as I'll post the rest in a bit.
 
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Today's posts is about Waza's,Kata's and Striking Zones.


Striking Zones


At best where you may strike to end any dance with blades let's get into it now.


Men: Head as this is your most vital weakpoint and should be protected at all times.


Do: Chest as this zone is has solar plexus,shoulder blades,lungs,etc means another duel clincher 


Kote: Wrist/Arm; The clavicle is there meaning if struck there your nerves are struck shutting down your arms nervous system making them useless


Throat: Vital as can't stress such importance


Legs: Unofficial strike zone but has the Achilles tendon &  Femoral Artery


Next is well a vital subject of Act 1 Waza's/Kata's


Techniques are divided into shikake-waza (to initiate a strike) and ōji-waza (a response to an attempted strike).[22] Kendoka who wish to use such techniques during practice or competitions, often practice each technique with a motodachi. This is a process that requires patience. First practising slowly and then as familiarity and confidence builds, the kendoka and motodachi increase the speed to match and competition level.


Shikake-waza[SIZE=small][[/SIZE]edit]



These attack techniques are used to create suki in an opponent by initiating an attack, or strike boldly when your opponent has created a suki. Such techniques include:


Tobikomi-waza


This is a technique used when one's opponent has weak kisei (spirit, vigour) or when they yield a suki under pressure. Always hold kisei and strike quickly.


Hikibana-waza


Body and shinai will lose balance as you strike or when being attacked. This technique takes advantage of this to help execute a strike. A good example is Hikibana-kote, when a strike is made to an opponent's kote as they feel threatened and raise their kensen as you push forward.


Katsugi-waza


This provides a surprise attack, by lifting the shinai over your shoulder before striking. Here a skilful use of the kensen and spirited attack is crucial for effective katsugi-waza or luring your opponent into breaking his/her posture.


Nidan-waza


There are two types. The first is for moving to the next waza after a failed first strike, and the second holds your opponent's attention and posture to create the suki for a second strike. The former requires a continuous rhythm of correct strikes. The latter requires continuous execution of waza, to take advantage of your opponent's suki.


Harai-waza


This can be used if one's opponent's kamae has no suki when your opponent tries to attack. Your opponent's shinai is either knocked down from above or swept up from below with a resulting strike just when his/her kamae is broken.


Debana-waza


This technique involves striking your opponent as you realise he/she is about to strike. This is because their concentration will be on striking and their posture will have no flexibility to respond. Thus debana-waza is ideal. This can be to any part of your opponent's body, with valid strikes being: debana-mendebana-kote, and debana-tsuki.


Oji-waza[SIZE=small][[/SIZE]edit]



These counter-attack techniques are performed by executing a strike after responding or avoiding an attempted strike by your opponent. This can also be achieved by inducing the opponent to attack, then employing one of the oji-waza.


Nuki-waza


Avoiding an attack from another, then instantly responding. Here, timing has to be correct. A response that is too slow or fast may not be effective. Therefore, close attention to an opponent's every move is required.


Suriage-waza


If struck by an opponent's shinai, this technique sweeps up their shinai in a rising-slide motion, with the right (ura) or left (omote) side of the shinai. Then strike in the direction of their shinai, or at the suki resulting from their composure's collapse. This technique needs to be smooth. That is, don't separate the rising-slide motion and the upward-sweeping motion or it will not be successful. Valid strikes include: men-suriage-menkote-suriage-menmen-suriage-dokote-suriage-kote, and tsuki-suriage-men.


Uchiotoshi-waza


This waza knocks an opponent's shinai to the right or left. This neutralises a potential strike and gives the ideal chance to strike as an opponent is off-balance. For success, an opponent's maai has to be correctly perceived and then one knocks down their shinai before their arm fully extends. Valid examples are: do-uchiotoshi-men and tsuki-uchiotoshi-men.


Kaeshi-waza


This technique is a response. As an opponent strikes, you parry their shinai with yours. Then flip over (turn over your hands) and strike their opposite side. Valid strikes include:men-kaeshi-menmen-kaeshi-kotemen-kaeshi-dokote-kaeshi-menkote-kaeshi-kote, and do-kaeshi-men.
 
Today we're covering a important one Attitudes. As it's based on my knowledge from the text The Book of Five Rings.

  1. Upper
  2. Middle
  3. Lower
  4. Right Side
  5. Left Side

The five attitudes of swordsmanship are referred to as the five classifications of areas for attack on the human body. These are areas which are noted for their advantages when striking at an enemy, and the strategist is said to think of them when in situations where, for any reason, you should not be able to strike them. Then his mind should adjust accordingly.



Your attitude should be large or small according to the situation. Upper, Lower and Middle attitudes are decisive. Left Side and Right Side attitudes are fluid. Left and Right attitudes should be used if there is an obstruction overhead or to one side. The decision to use Left or Right depends on the place.




As each is thought of as an attitude, it could be thought of that Musashi means to practice with each "attitude" so that you do not become over-reliant upon one, something which Musashi repeatedly notes as being worse than bad technique.


"No Attitude" refers to those strategists who do not go with the use of the "Five Attitudes" and prefer to simply go without the attitudes of the long sword to focus entirely on technique, as opposed to focusing on both technique and the five attitudes. This is similar to taking chances as opposed to making chances.


The attitude of "Existing - Non Existing", mixes the Five Attitudes with the Attitude of "No Attitude", meaning that the user of the longsword uses the techniques and principles of both at whichever moment he or she finds most opportune.


"In-One Timing" refers to the technique of biding your time until you can find a suitable gap in the enemies' defense, to which you will deliver one fatal blow to the enemy. Although this is said to be difficult, Musashi notes that masters of this technique are usually masters of the five attitudes because they must be perceptive of weaknesses. It is rumored that Musashi disgraced a former sword master by using such a technique with a Bokken, but there are no descriptions mentioning "In one" timing.[citation needed]


"Abdomen Timing of Two" refers to feinting an attack, then striking an enemy as they are retreating from the attack, hitting them in the abdomen with the correct timing of either two moves or two seconds. Although the technique seems relatively simple, Musashi lists this as one of the hardest techniques to time correctly.


"No Design, No Conception" refers to When word and actions are spontaneously the same. Aside from this philosophical approach to the meaning, the technique is relatively simple to explain: if you are in a deadlock with the enemy, using the force from the cut, you push with your body and use the disciplines outlined in the Void Book to knock the enemy over.



This is the most important method of hitting. It is often used. You must train hard to understand it.




"Flowing Water Cut" technique refers to if you come into a fight with an enemy of a similar level to you in swordsmanship. When attacking fast, Musashi notes that you will always be at stalemate, so like Stagnant water, you must cut as slowly as possible with your long sword. At the beginning of this technique you and your opponent will be searching for an opening within each other's defense. When your opponent either tries to push off your sword, or to hasten back as to disengage it, you must first expand your whole body and your mind. By moving your body first and then that of your sword, you will be able to strike powerfully and broadly with a movement that seems to reflect the natural flow of water. Ease and confidence will be attained when this technique is continuously practiced upon.


"Continuous Cut" refers to when you are again faced with stalemate within a duel, where your swords are clasped together. In one motion, when your sword springs away from theirs, Musashi says to use a continuous motion to slash their head, body, and legs.


"Fire and Stone's Cut" refers to when your swords clash together. Without raising your sword, you cut as strongly as possible. This means cutting quickly with hands, body, and legs.


"Red Leaves Cut" refers to knocking down the enemy's long sword in the spirit of the "No Design, No Conception" cut.
 
Final Act as this is meant to convey to trainee's importance of weapons & warrior concepts

  1. Act II
  2. Weapon Types & Concepts

First we go into a weapons


The Katana


The quicker draw of the sword was well suited to combat where victory depended heavily on fast response times. The katana further facilitated this by being worn thrust through a belt-like sash (obi) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved tachi had been worn with the edge of the blade facing down and suspended from a belt.[7][10]


The length of the katana blade varied considerably during the course of its history. In the late 14th and early 15th centuries, katana blades tended to have lengths between 70 and 73 cm (27½ and 28½ in). During the early 16th century, the average length approached closer to 60 cm (23½ in). By the late 16th century, the average length returned to approximately 73 cm (28½ in).


Tachi


Authentic tachi were forged during the Kotō period, before 1596.[5] With a few exceptions, katana and tachi can be distinguished from each other if signed by the location of the signature (mei) on the tang. In general the signature should be carved into the side of the tang that would face outward when the sword was worn on the wielder's left waist. Since a tachi was worn cutting edge down, and the katanawas worn cutting edge up the mei would be in opposite locations on the tang of both types of swords.[6]


An authentic tachi that was manufactured in the correct time period averaged 70–80 centimeters (27 9/16 - 31 1/2 inches) in cutting edge length (nagasa) and compared to a katana was generally lighter in weight in proportion to its length, had a greater taper from hilt to point, was more curved with a smaller point area.[7]


Unlike the traditional manner of wearing the katana, the tachi was worn hung from the belt with the cutting-edge down,[8] and was most effective when used by cavalry.[9]Deviations from the average length of tachi have the prefixes ko- for "short" and ō- for "great, large" attached. For instance, tachi that were shōtō and closer in size to a wakizashiwere called kodachi. The longest tachi (considered a 15th-century ōdachi) in existence is more than 3.7 metres (12 ft) in total length with a 2.2 metres (7 ft 3 in) blade, but believed to be ceremonial. In the late 1500s and early 1600s many old surviving tachi blades were converted into katana by having their original tangs cut (o-suriage), the signature would be lost in this process.[10]


For a sword to be worn in "tachi style" it needed to be mounted in a tachi koshirae. The tachi koshirae had two hangers (ashi) which allowed the sword to be worn in a horizontal position with the cutting edge down.[11] A sword not mounted in a tachi koshirae could be worn tachi style by use of a koshiate, a leather device which would allow any sword to be worn in the tachi style.[12]


Bo-Staff


The Japanese martial art of wielding the  is bōjutsu. The basis of  technique is te, or hand, techniques derived from quanfa and other martial arts that reached Okinawa via trade and Chinese monks. Thrusting, swinging, and striking techniques often resemble empty-hand movements, following the philosophy that the  is merely an "extension of one’s limbs". Consequently, bōjutsu is often incorporated into other styles of empty hand fighting, such as karate. It should be noted that the "bō" is also used as a spear and long sword in some of its motions, such as upward swing and slashing motion across the body as well as extensions by gripping one end and thus increasing its length as thus making it similar to a spear.


The  is typically gripped in thirds, and when held horizontally in front, the right palm is facing away from the body and the left hand is facing the body, enabling the staff to rotate. The power is generated by the back hand pulling the staff, while the front hand is used for guidance.  technique includes a wide variety of blocks, strikes, sweeps, and entrapments. The  may even be used to sweep sand into an attacker’s eyes.


Last weapon Daggers


The main-gauche (French for "left hand", pronounced: [mɛ̃ ɡoʃ]) was used mainly to assist in defense by parrying enemy thrusts, while the dominant hand wielded a rapier or similar longer weapon intended for one-handed use.[6] It was a relatively large dagger, having a longer and heavier blade (often measuring 19 inches or slightly more in length) and very long, straight quillons. Its most characteristic feature was a wide knuckleguard that curved from the quillons to the pommel and protected the hand. The guard was usually (but not always) triangular in outline, and the quillons typically measured 11 or more inches from tip to tip.[3][4][5]


Since this style of dagger was usually made en suite with a cup-hilted rapier, the decoration of the knuckleguard tended to reflect that of the cup of the rapier. The edges of the guard are usually turned over toward the outside, possibly to trap the point of the opponent's blade and prevent it from slipping into the defender's hand. The quillons are normally cylindrical with knobbed tips, and in many instances are decorated with spiral fluting. The pommel is normally decorated to match the quillons and made to resemble the pommel of its matching rapier, while the grip is usually made of wood and wrapped with twisted and braided wire.[3][4][5]


The blade is normally made in three distinct sections or zones. The first section, near the hilt, comprises the ricasso (unsharpened portion) which is flat-sided and slightly beveledat the edges with one or two small holes at its forward end. In some examples there are two arms running parallel to the sides of the ricasso with spaces inbetween, designed to catch the opponent's blade in a manner similar to the curved quillons of a dagger. On the side of the ricasso opposite the knuckleguard there is usually an oval depression for the thumb. The second section of the blade is normally single-edged with a flat triangular cross-section. The edge faces the wielder's left when the dagger is held in the ready position. The back of the blade (the dull edge) in this section is usually filed with a series of grooves or notches. The third and longest section of the blade extends to the point, and is double-edged with a diamond cross-section. It will occasionally have notches or serrations for a short distance along the edge which corresponds to the back of the previous zone. Although this form is typical, numerous variations can be found including those with curved quillons, rounded guards or blades with only two sections. These various forms reached their peak of development in the late 17th century and, despite a period of decline, the weapon continued to be used even into the 18th.[3][4][5]


Swordbreaker[edit]








 

Schematics of a Swordbreaker of the early 17th century





The swordbreaker was a dagger that had large, deep serrations along one side of the blade, resembling the barbed teeth of a comb and designed to entrap an opponent's blade, allowing a variety of follow-up techniques. Like the triple dagger, the swordbreaker was a rare form of parrying dagger compared to the main-gauche, partly due to the difficulty of crafting such a specialised weapon. One Italian example dated around 1600 can be found in the Wallace Collection in London and has a hilt consisting of a pair of straight quillons and a ring guard.[3][5][7]


It is uncertain whether "swordbreakers" could in fact break sword blades as suggested by some scholars,[5][8] as swords of this era were intended to stand up to substantial forces, well in excess of what could be generated by a fighter's off-hand. Swords are sometimes depicted in Fechtbüchern as withstanding a two-handed attempt to break them (or show off their resilience).[9] Late Renaissance rapiers and smallswords may not be as robust as the cutting swords of earlier times, however, and have indeed been known to break on occasion, so the claim may have more veracity in relation to the typical civilian weapons of this period.


The term is also applied in modern times to the various devices (such as hooks or spikes) found on some bucklers which served the same purpose as the parrying dagger to entrap an opponent's blade.[10]


Trident dagger[edit]








 

Trident dagger, 16th century, made in Germany. Picture taken at the Château d'Écouen, France.





Trident daggers (or triple daggers) have blades divided lengthwise into three parts which fold together to resemble a conventional blade. When a mechanism near the hilt is released the two side blades open under spring pressure to form the "trident", flying apart until they are stopped by the ends of the curved quillons. This creates a dagger capable of trapping blades more securely and easily. Like the swordbreaker, the triple dagger was a rare form of parrying dagger compared to the main-gauche.[3][5][11]


Warrior Concepts


Timing: This comes down to mental state of observing movements & patterns


Zone: This being your defense area as protect it all costs


Reach: The is applies on any weapon type: Some are long,short or mid range


This should be enough for the trainee's.
 
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