GURPS Martial Arts - Home

An especially appropriate theme for the Classical campaign
is The Contender (p. 250), with the PCs playing
Olympic wrestlers, boxers, and pankrationists. Greek fighters
such as Milo of Croton (p. 21) and Theogenes of Thasos
(p. 21) were professionals, fighting full-time. Theogenes
fought so often that he lacked the time to earn his keep any
other way! Between Olympic events, athletes toured, competing
for prize money in regional matches. The Olympics
were the season’s peak event. Roman gladiators suit this
theme equally well – pampered, massaged, fed, and trained
to fight. The call of the arena seduced free men and women,
even nobles, to take up the trident and net.
Another excellent theme is War is Hell (p. 248). Warrior
PCs might be elite members of Alexander’s Companions,
Spartan hoplites, or Roman legionaries. Appropriate Greek
styles are Hoplomachia (pp. 161-162) for hoplites and Heroic
Spear Fighting (p. 196) for the early Greek warriors of
Homeric epic. Armatura and Armatura Equestris suit
Roman troops.
The Quest (p. 247) is almost required for a mythic Greek
game. The Gods are always sending strapping young heroes
(sometimes demigods) on quests that demand much swordplay,
spear combat, and wrestling. On completing their
quest, the heroes usually end up in charge. This sets the stage
for a mythic War is Hell game, as the heroes fight to expand
– or merely to keep – their kingdom.
HISTORICAL CHINA
No place is more storied in the martial arts than China. In
fact, China’s influence is so profound that many people associate
the term “martial arts” exclusively with Asian arts – and
sometimes specifically with Chinese ones.
Spring and Autumn
The period known as “Spring and Autumn” lasted from
722 to 481 B.C. It was during this time that the xia lived (see
Xia, p. 8). The xia are a Martial Arts campaign waiting to
happen. Many modern martial-arts legends originate in tales
of the xia.
The xia confront bandits, corrupt bureaucrats, evil warlords,
and injustice in general. In a magical campaign, they
face the supernatural as well. The Vigilante Justice (p. 249)
theme is tailor-made for them – they aren’t government officials
but self-motivated do-gooders bent on justice, not law!
The period of the xia is rather short, but there’s no good reason
not to extend it. Later xia might confront Mongol
invaders, fight the Manchu, and stand side-by-side with
Shaolin monks.
Virtually any kung fu style is appropriate for xia. In a cinematic
game, any Chinese style works, no matter how
anachronistic. Cinematic Wushu (pp. 206-207) is especially
suitable. It’s a 20th-century style, but actors in wuxia movies
are frequently Wushu practitioners.
Campaigns featuring xia work best if using the realism
level described for Epic (p. 239) or even Over-the-Top (p. 239),
as legends of the xia emphasize abilities far beyond the constraints
of reality. Almost any power level can work if cinematic
abilities exist – although players familiar with the
genre might be disappointed if the game lacks wire-work,
invincible swordsmen, and magic, all of which drive up the
power level. Even in games that lack cinematic abilities, the
242 CAMPAIGNS
PCs should firmly believe in such things and expect and
respect the supernatural.
Medieval China
“Medieval China” describes a long period for a huge
country. This can be daunting to those unfamiliar with
Chinese history, but the necessary research is worth the
effort – frequent warfare, secret societies, invasion, and
rebellion make it a time of high adventure! Many kung fu
styles claim origins in this era, too, so PCs can interact directly
with style founders . . . or be them, in a high-powered
game. Finally, the Shaolin Temple is at the height of its
power during this age.
Any kung fu style would fit a game set in medieval China.
Styles with a verifiable existence during the early years, such
as Shaolin Kung Fu (p. 194), are appropriate throughout the
period. Later styles, such as Pak Hok (p. 188) and T’ai Chi
Chuan (pp. 200-201), claim earlier origins and wouldn’t be
out of place. As always, Wushu (pp. 206-207) works well in a
cinematic campaign thanks to its appearance in modern
films.
Modern China
Modern China is fertile ground for adventure – especially
during the tail end of the 19th century and opening decades
of the 20th.
From 1899 until 1901, the Boxer Rebellion raged. Those
events make an excellent backdrop for confrontations
between martial arts and modern firepower. A campaign
could focus on waves of sword-wielding kung fu artists versus
small groups of heroic Japanese, Americans, and
Europeans . . . or on heroic Chinese martial artists rallying
their brethren against colonial oppressors!
A down side to this kind of campaign is that the Boxer
Rebellion demonstrated just how ineffective the martial arts
are against guns and disciplined troops. This might still be
true in a game with cinematic abilities – Hypnotic Hands
and Power Blow won’t stop bullets. Heroes with unrealistically
high Dodge scores can handle gunfire routinely, but this
unbalances melee combat. The Rebellion is a great background
for a Secret Abilities campaign (p. 240), though: perhaps
the Boxers had special abilities, just not enough masters
to defeat the numbers and technology of the colonial powers.
In the decades after the Boxer Rebellion and before
World War II, China is a land in chaos, with enemies inside
and out. Foreigners and Chinese can adventure side-by-side.
In the 1920s and 1930s, feuding warlords, White Russian
refugees, Western adventurers, encroaching Japanese, and a
Communist revolution provide an explosive mix . . . all in a
land steeped in martial arts. Many period-piece movies are
set in this time, including the Once Upon a Time in China
series and Bruce Lee’s The Chinese Connection.
William Fairbairn’s (pp. 23-24) special police unit in
Shanghai – constantly involved in tricky situations and fights
(armed and unarmed), and with a colorful character in
charge – is a great employer for PCs in this period. It’s also a
good backdrop for a high-realism campaign. Fairbairn himself
suffered serious injury using his martial arts against
troublemakers!
After WWII, Communist China suppressed the association
of superhuman powers with the martial arts. Chinese