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The world has seen a mind-boggling variety of
polearms – more than a few of which have been the subject
of multiple fighting styles. Historians often dismiss
these weapons as suitable only for mass combat and illtrained
peasant infantry. Historical warriors, on the other
hand, often regarded polearms as ideal for man-to-man
combat. Indeed, some Masters of Defence held certain
varieties of bills and glaives to be superior to all other
weapons! Of course, most of these martial artists used
polearms that were shorter, lighter, and far more agile
than the full-length battlefield weapons that historians
read about in chronicles of old wars.
The specifics of polearm-fighting styles vary as much
as the weapons, but a few principles are nearly universal.
Polearm fighters normally hold the shaft in a Defensive
Grip (pp. 109-111) and parry with both the blade and the
haft. Most attacks are Defensive Attacks with the tip
(thrusts). The warrior saves swings for fallen or disarmed
foes – but uses Committed Attack (Strong) when he does
swing. The fight consists primarily of using Evaluate and
Wait to circle and look for an opening, or Feint to create
one. Most styles avoid close-in fighting and seek to keep
enemies at bay, although some teach kicking.
Chinese polearm styles differ somewhat in that while
they’re pragmatic, they also contain extravagant flourishes
to impresses friend and foe alike. Polearm Art is a common
addition.
For more on the weapons used in polearm fighting, see
Chapter 6.
Chinese Horse-Cutter Fighting
4 points
This Chinese style uses the pudao or “horse-cutter,” a
weapon functionally similar to the European halberd.
It’s suitable for use with the halberd and the Okinawan
bisento as well.
PA KUA CHUAN
5 points
Pa Kua Chuan – also called Pa Kua Chang, Bagua, or
Baguazhang – is one of the three major “internal” arts of
Chinese kung fu, the others being Hsing I Chuan (pp. 162-163)
and T’ai Chi Chuan (pp. 200-201). Legend places its origins as
far back as the 14th century. Its verifiable history starts in 1796.
Pa Kua Chuan translates literally as “eight trigram palm,”
hinting at its basis in the I Ching. Practitioners walk in circles
while making complex hand movements. The art is nonaggressive,
and based on avoiding blows and redirecting the foe’s
attacks. It does include some strikes – especially with the open
palm (treat as Hammer Fist). These are effective, although they
look deceptively lazy and unskilled.
The Pa Kua Chuan practitioner normally chooses Wait,
Defensive Attack, or All-Out Defense (Increased Parry). Only
after his opponent commits to an attack does he respond –
most often with a lock or a throw. Strikes are infrequent;
Polearm Fighting
Skills: Polearm; Polearm Art; Staff.
Techniques: As Naginatajutsu (p. 186), plus Counterattack
(Polearm) and Spinning Strike (Polearm).
Perks: Form Mastery (Horse-Cutter); Grip Mastery
(Horse-Cutter).
Optional Traits
Advantages: Combat Reflexes.
Glaive Fighting
4 points
This Welsh polearm style uses the dueling glaive or the
forest bill. Swiss halberd fighting would be almost identical
– just change the Form Mastery specialty to Halberd.
Skills: Brawling; Polearm; Staff.
Techniques: Counterattack (Polearm); Disarming
(Polearm); Feint (Polearm or Staff); Hook (Polearm);
Kicking; Knee Strike; Spinning Strike (Polearm); Sweep
(Polearm); Targeted Attack (Polearm Swing/Leg);
Targeted Attack (Polearm Thrust/Vitals).
Perks: Form Mastery (Dueling Bill); Form Mastery
(Dueling Glaive).
Optional Traits
Advantages: Combat Reflexes.
Naginatado (or Atarashii Naginata)
4 points
Naginatado is the sport form of Naginatajutsu (p. 186).
Stylists use a wooden naginata for kata and solo drills – a
practice dating back to the early 17th century – and a
bamboo-bladed weapon and kendo armor when sparring.
Valid targets in bouts are the head, neck, torso, and shins.
Skills: Polearm Sport; Savoir-Faire (Dojo); Staff Sport.
Techniques and Perks: As Naginatajutsu.
stylists prefer evasion and redirection to taking the offensive.
Move and Attack, Committed Attack, and All-Out Attack are all
extremely rare for the same reason.
Developing and channeling chi is the ultimate goal of Pa
Kua Chuan. The style can be effective in a realistic game . . . but
it’s devastating in a cinematic one. Masters avoid incoming
blows with steady walking and sidestepping, and use Push,
Pressure Points, and Power Blow to defeat attackers.
Legend tells of a friendship between a famous Hsing I
Chuan master and a renowned Pa Kua Chuan master. Some
sources say that they fought a three-day duel before the Hsing
I Chuan master finally laid out the Pa Kua Chuan master with
a strike! Each master was so impressed by the other’s style that
they shared their secrets, cementing the tradition of training
one another’s students. Whatever the truth, Pa Kua Chuan
practitioners frequently learn Hsing I Chuan as well, students
of one art are welcome at schools of the other, and the styles
have borrowed from one other – some Pa Kua Chuan schools
teach linear forms from Hsing I Chuan.
STYLES 187